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Ex 3.2 Durational space

Following my research (see separate post durational space (pr2)) into photographers using slow shutter speeds and other techniques to show movement in the frame, this post shows my own experiments with these techniques.

These contact sheets, show the images and the various camera settings used (images are counted across and down in references).

Movement contacts-1 Movement contacts-2

 

Image 1, used multiple exposures of the same tree branches. The sky’s colour hue was tweaked in LR to enhance the abstract feel. I found it challenging using multiple exposures in-camera – a number of other shots involving over-laying images didn’t work particularly well, with the layers not well-balanced. I think that with digital technology, combining exposures in Photoshop could be a more effective and efficient approach.

Image 2, was taken while rotating the camera – this works well where there is a hub-point in the image.

Images 3 & 4 use a panning techniques at 1/15 sec and 1/4 sec respectively. At 1/15 the subject remains more-or-less coherent against a blurred background. Whereas at 1/4 both the subject and background are subject to severe movement blur. In this camera, Panasonic LX100, I need to turn off image stabilisation or set it only for vertical stabilisation to allow panning.

Movement-4

Images 5 & 6 use 1/15 sec speeds to capture moving subjects, without panning.  It was difficult to manage over-exposure without an ND filter in fairly bright conditions. However, the blown highlights add something to the surreal feel in these blurred images, including the trace of a cricket ball.

Movement-5

Images 7 – 11 were shot in lower light, making exposures at slow shutter speeds easier to manage. The all involve ICM (intentional camera movement). The extent of the blur is influenced by the distance from the camera, so in 11 where the trees are isolated from the background, the blur exaggerates the isolation. At 1/4 sec, 10 with movement across the frame gives a painterly feel to the landscape, like a water-colour wash.

Movement-11

 

I enjoyed these experiments and will deliberately use these techniques in my work – it takes some ‘letting-go’ of images that are at least sharp in some aspects. I will look into purchasing an ND filter for my camera to broaden the range of possible shooting conditions and better manage exposures.

I found that ICM techniques require a large number of shots to find a few that work. In particular that they don’t work so well in colour when there are significant white areas in the frame (show as white streaks). Nonetheless, something with which to perceiver.

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