d) Looking at the aim it is possible to foresee where the lights streaked by the blur will end up. They must end up – during and at the end of the movement of the photocamera – where a darker area of the subject used to be: that’s where they will find enough “virginity” in the film to register!
e) Subjects where intense and small lights or dense and large shadows coexist are the best: the former, by moving the photocamera, can be inscribed in the latter.
f) The bright night (city night, fair night, street lights) is the great friend of planned movements: for obvious reasons. Nobody prevents a movement of one second to scratch the emulsion with the lights, continuing in a pose on a tripod of half a minute to record the entirety of the very dark subject, especially if with the movement we have finally brought the lights out of scope!
g) The other rules are about 130: but by managing these you will discover them immediately. ”