#EwenInBhutan

Our journey through Bhutan is underway. A super lovely bunch of people and some amazing moments for the camera await us. We're starting in Paro, because that's where the planes land!

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It's easy to overlook the obvious places as a photographer, and the Dzong overlooking Paro city is one of the easiest of all sites to visit in Bhutan. Few people come to Bhutan without stopping by this Dzong. It's full of beautiful details, and all day is visited by locals dressed in respectful attire (traditional clothing). We take our time and look for where the light is doing something a bit special.

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Have noticed this year that since leaning into the idea of working with softer blacks in my editing, my photography is also leaning into more shadow play. Am seeking out the shadows, rather than avoiding them.

There is always a dance between how we edit, and how we capture.

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I just cannot resist this totally cliche shot. It's kind of mandatory to play with lenses and light anytime I stop for a bunch of prayer flags.

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Say hello to Rinzi :) He's just the coolest tour guide in all of Bhutan. I've worked with him for so long now, I can't remember what it was like to travel in Bhutan without him. Rinzi has that perfect balance of being helpful, without being pushy. Being friendly, without being too chatty. Being planned, but also being flexible.

I am lucky to work with such great people in the Himalayas.

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Prayer flags in the Himalayas. Bhutanese style.

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So much to like about Bhutan. The big things, but also the little things.

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I'm so lucky to be travelling with a lovely bunch of people on this trip. All of them have travelled with me before, all of them have an open embrace for cultures, and all of them are enjoying the art of slow travel and slow photography. We take our time. We're not here to see or capture "everything", but simply to enjoy every moment.

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On this trip I have three lenses doing most of the work. My 100mm F2.8 Macro will come out from time to time, mostly for butterflies! But sometimes it's handy for a tight shot of the landscape as well.

My other two lenses are 18mm F1.8 and 40mm F2. I have an extra camera with the birding lens, that sits on the bus most of the time and gets ignored :)

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Sometimes we have a little fun with the locals, and join them for a selfie session. It's a great opportunity to talk about light, prime lenses and connecting with your subject. Portraits with willing subjects is a lot of fun, for everyone.

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A few scenes from Dordenma, one of the most impressive Buddha statues you'll ever see.

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Sometimes I forget that Bhutan is a real place, and not just a fantasy in my head where horses are grazing in front of a 17th century dzong while a river flows by with glacial waters and a flock of shelducks.

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We make plans around the big things. A country. A temple. A festival. But the moments that stick are the little ones, like a butterfly on a marigold in winter.

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We only ever see pieces of the story. A version of it, and even then only part of that version. What happens after the shutter has clicked?

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Gosh it's been a lovely day here in Bhutan. Again. Had so much wonderful light, and lovely locals. I'm way behind on editing my photos.

Here's a few shots of the doggies at Khamsum Yulley the other day. Sweet little souls.

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Two of my favourite things, together at last. Monks and ICM. Bhutan is kind of where I started my journey with Intentional Camera Movement. I need to find time to explore this a little more.

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@ewen This is neat! How did you get the chonky squares in the ICM photo, instead of streaks or smears?
@guyjantic

The base image is a fresco painted on the wall, made of the squares of different colours :)
@ewen Ah, simpler than I thought (I was imagining some kind of environmental strobing thing)
@ewen Dreamy stuff 😍
@StevenLawsonPhotography

Thanks Steven :) I have a bucket of ICM shots from that day. Hard to pick just one.

@ewen I do love the ICM. The image is a bit... primal. Soft pastels and teeth. An open mouth. A scream?

Also trying (sorry, but ICM really interests me) to analyse your movements there. I think I can see two different rotations, so I'm guessing spin clockwise, pause, then spin widdershins? Couldn't see much lateral movement.

It's one of the most effective and evocative and mysterious ICM images I've seen!

@carusb right!? It doesn't even look like a camera produced image. It looks like an abstract geometric painting.
@ewen this is surreal and gorgeous, thank you for sharing.
@shom

Thanks Shom! It makes me happy when something pops out of my brain and other folks like it too.
@carusb

I call this motion "wonky rotation". I have a fraction of a second at the start to imprint the base geometrics, then my usual rotational attempt ensues.

Thankyou so much for the kind words Chris. I think the colour palette of the blocks, and the little gold Tibetan script thrown in for good measure, just provide such a compelling baseline for ICM.

I see this technique as building layers, until you end up with something new. Like mixing paints to create colours. I think Sally Mason does this so well with her coastal scenes.

https://www.sallymasonphotography.com/
Sally Mason Photography

I am a landscape photographer based in the Cotswolds, UK. I spend much of my time walking the British countryside and coast - photographing nature's incredible diversity - from wide open landscapes to little noticed details. Intentional camera movement (ICM) has become my main working method. Gi

Sally Mason Photography
@ewen Thanks for the link, I hadn't come across her. And thanks for the explanation. I need all the help I can get, as when I try ICM it's with film, so pretty high stakes, and no chimping!
@carusb

:)

I also made a second video last year on ICM but with moving prayer wheels. That was fun.

https://youtu.be/vlZbk49VBLY

@ewen Thank you, I really enjoyed that. Maybe I should get a digicam...

I was wondering about using a digicam to 'rehears' movements, so I could see which bits get emphasised and which canceled, before trying it with film. But I know from previous digi vs film experiments, that doesn't end well.

I'll probably sacrifice another expired roll for ICM next spring, when sparse trees, new leaf colour, flowers and sky tend to make me excited about ICM again.

BTW can you see the image when making it?

@carusb

I do think rehearsing movement is a good idea. Getting the knack of how rotate your camera body smoothly is definitely something to practice. You don't see the image build on screen, it's dark while exposing. But you start to work out where the centre of the spin is located for a given lens.

35mm is a good wide-ish perspective. 50mm maybe starts getting too limiting. I used to shoot a lot on my old DSLR days without looking through the viewfinder, when I had awkward angles for examples. So I got used to imaging "what does my lens see". This is a useful skill for ICM :)