Shutter Speeds:Summary

As regards my favourite prints from the two exercises I have chosen number 8 from the Shutter Speeds exercise  I like the feel of the blurred movement combines with the sharper elements. I like the combination as it gives a feeling of speed and the disturbance of the water. Not totally a smooth extended exposure of water , as is often done with the sea and waterfalls, but a way of implying the force as well as the speed of the water.



However I prefer the sharper elements of image number 6 of the Panning series,the car being sharper and the blurred background and wheels give a better feeling of the motion. Not really speed, but the fact it is a moving car and not a static object. The kind of combination that would be ideals for photographing motor sport, particularly on a bend so the vehicle can be followed through and captured on the apex and the follow throgh allows the photographer to follow a natural curved movement. Which is a lot easier then trying to capture the image going directly across the field of view

Shutter Speeds Panning

This exercise is to see the effect of following movement as it moves across the focal plane of the sensor/film.

Following the motion with the subject as near to the centre of the fame as possible, before firing the shutter (panning) I tried to stay as close as possible the same combinations of speed and aperture I did in the previous exercise.

I tried to choose moving subjects at roughly the same speed for the following images:

Shutter Speeds Panning - 1


Exposure 1/3200 sec
Aperture f/4.0
All movement has been frozen which almost make the car look static, no real feeling of speed or any movement.

Shutter Speeds Panning - 2


Exposure 0.001 sec (1/1600)
Aperture f/4.0

A combination of frozen movement and the narrow depth of field required to give the fast speed to take this shot still don't combine to give any indication of speed or movement.

Michael Wolf welcomes World Press Photo controversy - British Journal of Photography

I have reservations over this work until I saw it a the Format Photography Festival in March. This is what I noted "it has a power of narrative that is due to the fact that once the initial images are  taken out of their "environment" it all starts the brain working to decode the storyline".

Michael Wolf uses cropping to isolate specific images and by removing some reference areas it creates a new narrative. An innocent image of someone crossing a street by cropping in close with other people. Taking this image as an example, close cropping gives a feeling of entrapment and claustrophobia as the "cast" appear to move closer together;it becomes a CCTV image of a mugging about to occur.

It's as much about choosing the decisive moment to press the shutter as it is about placing the main components into the image to relay the new storyline the characters have to follow. As such I consider this to be photography of the street and of equal value as any street photography.

Derby vs Westfield

I am starting a personal project which I aim to run alongside the course materials to see if I can improve it as the course progresses. There may be some crossover as well at some point. the main aim of the project will be exploring the Westfield Shopping Centre and how it's spaces relate to and impact the greater environment of the city itself. Click on the images to open them on Flickr to see them at full resolution, I will gladly welcome any constructive comments...

Bruce Gilden goes "head on" in Derby

Exclusive video: Bruce Gilden goes "head on" in Derby - British Journal of Photography

Bruce Gilden: 'Head On' - Trailer from Olivier Laurent on Vimeo.

This is a link to a trailer for great video by Olivier Laurent currently being shown at the Derby Museum and Art Gallery as part of the Format 11 international photography festival. This years is dedicated to Street Photography.

Bruce Gilden was filmed on the streets of Derby getting some of the shots being exhibited alongside the documentary and it gives an insight into his methods and motivations. It clearly shows how the mantra of the street photographer " get in close" can be achieved with sympathy and compassion for the subject. His skill is as much about his observation of his subjects as his ability to communicate with them.

This confirms that excellent Street Photography is created by more than merely acting as an observer, but also by getting an empathy with the subject. Until you can understand , how can you explain.

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