Saturday, 20 March 2010
This first shot was taken as a "standard" or conventional - taken without too much consideration for the composition.
In the next shot I came in very close and photographed a detail of the doorway - some very weather-worn wooden carving.
Finally, placing the church in the landscape.
For me the closely cropped shot is the least successful of the quartet. There is little interest in it and by pulling out slightly, including more of the cross in the foreground, then this would have had more interest. I did like the sunbleached wood and the curves within the carving and then the edge of the door way and finally the shadow.
Saturday, 13 March 2010
I selected these two photographs as my favourites. Why? Simply because to me they provide me with a real sensation of speed and movement. In the first photograph, there is no detail discernible, however to the viewer its clear that these are two vehicles travelling on a road - OK some pre-conceptions, but this is what I am looking for.
Using slow shutter speeds is not always the only way to demonstrate speed. My shot of the kite surfer was taken at 1/500th, but, due to the frozen spray and wake, as well as the stance adopted by the surfer, I feel there is a real feeling of speed and effort shown in the shot.
I shall later show photographs taken at other times of different subjects which also demonstrate panning and non-panning techniques.
1. I started the panning exercise at 1/1000th as I felt that for this subject faster shutter speeds would always freeze the movement and would not add value. Here, using ISO 1600, to get a fast enough shutter speed, all movement is frozen. To the viewer the car appears static and could be parked in that road.
2. At 1/640th, some slight movement becomes discernible, particularly in the wheels as they have a different movement to that followed by the panning motion. Because there is this slight suggestion of movement, there is a question in the viewers' mind as to whether the car is static or parked.
3. In the photograph to the right, the car's wheels are showing definite movement and there is some perceptible movement in the background. This is giving that impression of movement, but only on close inspection. The viewer still cannot see real movement.
4. At 1/250th there is definite blurring of the background due to the panning motion, however, to me this is still insufficient to show movement as a whole. Again, the wheels are nicely blurred, while the car remains sharp.
9. This is probably my favourite in the sequence. Good image sharpness through panning, combined with a low enough shutter speed to give that all important impression of movement and speed. The buckled bodywork at the rear of the car really makes the car stand out.
10. Now, I am moving into the more difficult zone of panning - here there is a great sense of movement and speed. Does it matter that the car is not wholly sharp - probably not. This all depends on the subject matter and what the photographer is trying to convey to the viewer. Curiously, the front of the car is much sharper than the rear. I can only think that, since I am panning in an arc, then here we have a shutter speed which is just slow enough to capture the differential between front and back caused by the relative different panning speeds.
11. To me this is a pleasing shot which demonstrates movement through panning. The car is not as sharp as it could be, but I feel this does not detract from the overall shot.
Sunday, 7 March 2010
12. The patterns I referred to above are clearly visible in this detail. There is, to me, another curious effect happening. The direction of travel is not clear. If anything, to me, the car appears to be travelling backwards - perhaps this is the effect caused by "darker" colours being "on top" of the lighter bodywork, for example, the tax disc picked out in green.
12. 1/15 detail
13. Great impression of movement, helped by the headlight adding a "streak".
14. Detail from the above shot at 1/10 second. Taking the reference of the frame away from the subject, there is clearly an impression of movement, becoming abstract, but now there is certainly no real sense of direction. Such an effect may be desired, depending upon the subject matter and what the photographer wishes to convey.
14. 1/10 detail
16. Showing just a portion of the frame shot at 1/4 second. The cars are no longer discernible and we are left with an abstract streak across the tarmac. Our knowledge of the surroundings tells us that these are cars travelling along the road; this opens up the idea of how a photographer can make use of everyday knowledge stored in the viewers' brain, to convey a greater sense of what the photograph is depicting.
16. 1/4 detail
17. 1/2 second
18. 6/10 second
Saturday, 6 March 2010
At f8, there is an increasing depth of field, particularly beyond the main subject. The nearer post are still not in focus, but they are much clearer than in the first photograph. I find that this is not as satisfactory visually as the first photograph, being more of a distraction, rather than a a means of accentuating the subject. It is certainly of interest that the background has been thrown into sharper focus much more extensively than the foreground.
Monday, 1 March 2010
I felt this set best illustrated the effects of focusing at different points at the widest aperture. Here I enhanced the effect by using the telephoto end of my 24-105 zoom.
This, first frame in the sequence, probably illustrates the effect most graphically with the focal point set close to the camera, very little is in focus with the majority of the subject out of focus.
Here I have focused on the beach huts beyond the central point, throwing those in the foreground and in the central area out of focus, though there is a gradual increasing sharpness of the subject as you go through the central are towards the background.
Of the three photographs in the sequence, my preferred is the last one with the sharp focus in the background. This makes the background really stand out and becomes the centre of attention. The eye is led into the photograph and depthe is given as a consequence. I feel, though, that this is going to be dependent on the subject matter and what is hoped to be achieved with the composition.