When we talk about movement in our images, we could be referring to any number of phenomena, storytelling, or design elements.
For this creativity exercise, we’re going to discuss three fundamental ways to approach movement in the frame, and you can tackle whichever challenges or appeals to you most.
1. Suspended movement
Perhaps the most obvious type of movement in photography, suspended movement illustrates one of the camera’s most remarkable attributes: the ability to freeze a literal split second, to capture details imperceptible to the human eye. It’s the mid-action pause: hair flying, arms flailing, dust kicking, waves crashing. Get your subjects running, jumping, twirling, tossing, shaking, skipping, leaping. Great implied movement suggests the seconds that will follow the suspended moment, giving a viewer a strong sense of what would happen if the scene “unpaused.”
2. Motion blur
Often associated with poor technique or inadequate lighting conditions, motion blur can be a striking representation of dynamic energy when incorporated deliberately. Remember that motion blur, usually produced at very slow shutter speeds, can come from either side of the camera: when, between the time the shutter opens and the time the shutter closes, either a) you move or b) an element within your frame moves. That means you might seek out opportunities in which you can capture a subject’s movement amidst the stillness of the setting (a tripod can be helpful!), or you might introduce movement to a motionless setting (as by panning ). And remember, motion is not confined to living subjects; it happens all around us in ways we may not always recognize: clouds move through the sky, shadows and light move across the floor, leaves rustle, curtains billow in the breeze ….
3. Visual flow
What is “flow” in art? Visual flow takes the viewer’s eye on a graceful, often gently meandering, visual journey through your photographic composition. Flow is dynamic, continuous, and unforced; take a look at Van Gogh’s “Starry Night,” Munch’s “The Scream,” Hokusai’s “Great Wave” for textbook examples of visual flow, and you’ll find your eye cannot resist the movement they compel. Lines, especially curved or undulating lines, are of particular value in creating visual flow as they draw the eye across or throughout the frame. Repeating elements can establish rhythm and build momentum to carry the eye from one point to the next. And progressive gradations – of color, of size, of light, of shape – are especially powerful in gently coaxing the eye through a photograph; motion blur itself often appears as a gradation of tone, color, and transparency in the frame. Any time the eye is naturally and predictably encouraged to move, to be carried from one area to the frame to another, you have visual flow. These are the kinds of image that make you experience great movement — even when nothing is actually moving.
How will you incorporate movement in your photos? Can you incorporate one, two, or even all three of these types in one frame? What happens if you approach the same subject or scene with both a very fast shutter speed (to capture suspended movement) and then, in the next frame, a very slow shutter speed (to capture motion blur). Should all photographs have visual flow? Do yours? Think, too, about how you gravitate towards incorporating movement in your normal shooting (try something new!), as well as the types of movement you are drawn to the in work of others.
What’s the best way to improve your photography? Shoot thoughtfully and frequently! Try new things and embrace creative and technical challenges.
The images in this post were shared from our creativity exercises on the Clickin Moms photography forum. Become a member today to see all of the projects, contests, and amazing tutorials we have in store!