All Images Copyright Mark Lindquist Photography 2000-2017 - All Rights Reserved


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MOTION BLUR PHOTOGRAPHY by artist / photographer Mark Lindquist
Definitive works of motion blur abstracts and photography from the early 2000's - 2017

Early Mark Lindquist Motion Blur Photograph using the "panning technique" 2005

The title of this photo is Step Into The Light.  It was made by using a technique called panning.  As the subjects walked by
I followed them with my camera and lens.  Having just the right shutter speed, the background blurred beautifully,
and the foreground subjects blurred enough to make the photograph interesting (intriguing)
but also implying motion through fast walking.  This early photo was a success because it created a narrative
(people walking toward the light) directly ahead with a context, the blurred colors that wrap around them in the background.

I find that motion blur photography seems to transport the ordinary into the realm of the extraordinary.
The colors become richer as the blend together.  The motion becomes evident as lines and shapes move about the page.
Overall it's like entering into a dream world, a place where the eye can wander and the mind can wonder.

Mark Lindquist Motion Blur Photographic Abstract Made in 2005:

Mark Lindquist Fish Dream: Coy Koi, Motion Blur Abstract 2005

The title of this photo comes from the form of the fish in the lower right of the photo.
While photographing outdoors in the middle of the 2005 Florida winter, late in the afternoon,
I was shooting with my Nikon D2H camera making hundreds of exposures of the same subject.
In this case it was a clear vase that was reflecting a beautiful late sky, and the grass and trees surrounding.
As always when I'm photographing, I focus on the specular highlights that I can lock onto, and I begin a
repetitive dance with the camera, moving the lens and camera in a gyro-motion, definitely eccentric yet
carefully controlled. Purposeful in attempting to maintain steady, even movement while concentrating on
the subject and the colors of the reflection.  After about 300 hundred exposures, I began to relax into a kind of daze
and began to loosen up, letting go of the tightness in my wrists and arms, the way a potter lets go when throwing.
I had nothing more on my mind then enjoying the afternoon, feeling privileged to be photographing with wonderful
light, great weather, and good gear and especially good glass for the object to come through.

After sessions like this, my course is to bring the gear in, as by this time it's getting late, and then to begin sifting, wading through the hundreds and hundreds of exposures.  The exposures vary, but are mostly reiterations of what was before and what came after, in terms of movement.  A slide show would seem as though the image was swaying in the wind.
Crunching through the images, suddenly one caught my eye.  It was different, unusual.  I pulled it up and out of the rest by bringing it into Photoshop for a quick edit, which was sometimes the way I worked back then.  As the image began to take shape and form through my editing, I was astonished to find the fish in the lower right hand corner just hovering there, as though in a dream state.

It's a Koi, I muttered, a Coy, Koi.  And I had my title and a magical print followed.


All Images Copyright Mark Lindquist Photography 2000-2017 - All Rights Reserved