Experimental / Photography

Afternoon At The Playground: Studies in Motion

August 21, 2017

charles i. letbetter - studies in motion

Anyone with kids knows that there are times when you just have to turn them loose outside and let them play—run out all the excess energy that’s been building up inside their little bodies. We hit that point with our little ones recently so we tossed em in the car, butts first, and drove to the nearest facility durable enough to handle their rowdiness. Upon arriving, we opened the doors and watched as they ran with abandon, like a couple of puppies let off their leash. They played until they were thoroughly exhausted, which takes about 10 minutes according to them, and then made them play for 50 minutes more, which they considered torture.

Being that it was World Photography Day, I decided that this would be a good opportunity to take some pictures of the munchkins as a reminder that there really are moments in their lives when we’re not tempted to duct tape them to a wall. The problem with that plan is that the playground is delightfully covered in shade, which is a benefit for everything except taking good, crisp photographs. At least, such is the case with my camera. I understand newer cameras don’t have as much a noise issue in low light as do older ones. I’m not blessed with a newer camera, though, because people like you aren’t giving me any money. Such is life.

Why do we need clear, crisp photos all the time, anyway? Okay, it’s understandably frustrating when we have one chance to get a final shot of great-aunt Matilda before she ventures off into the great scented-candle-beyond and her face is blurred. Or, at least, we think it’s blurred. What we miss, though, in our fanatical insistence on overly sharp-focused photographs is the alternative translation of shape and form that takes place when we allow motion to happen. Shapes morph and features change giving us a different perspective on a world that never stops moving.

So, we let motion happen. We set apertures tight and shutter speeds low and tried to stay still and let the motion happen. Of the 19 photos below, that approach worked in all but one. For that one, which is instantly recognizable, I apparently moved in the opposite direction of the child. The result is a photo that looks as though it has had a paint stroke filter applied. I assure you that hasn’t happened.

For the sake of reference, we’ve included the aperture and shutter speed settings with each photo. Click on any of the images below to view the full-sized set. Then, go out and give it a try for yourself. You might be surprised by what you see.

[tg_masonry_gallery gallery_id=”11453″ layout=”contain” columns=”3″]

Photography / PotD

Life’s A Blur

June 7, 2015

Watch Me Hoop! (2011)

You don’t learn to walk by following rules. You learn by doing, and by falling over. -Richard Branson

[one_half padding=”4px 10px 0 4px”]Photography has enough rules to choke a mule. There are rules about exposure. There are rules about depth of field. There are rules about framing and composition. There are rules about color, rules about black and white, and rules about mixing the two. Rules here, rules there, and there will always be that social media troll who wants to argue that you didn’t follow this rule or that, therefore your image is flawed. I have even seen student photographers carry around and religiously consult notebooks full of rules, making sure with each shot that they weren’t breaking any of the important ones. I don’t think any of those students ever actually made it as photographers.

While rules are certainly there for a reason, and the greater majority of the time actually do make sense, photography is not about rules. It can’t be. When photographers set out to only play by the rules, they get photos that may be technically correct but are emotionally lacking in anything resembling passion. Photographs without emotion are pointless. Why capture something that doesn’t make us feel, that doesn’t stir something inside us, that isn’t worth remembering? We take enough flak already from those who say photography is too automated, too reliant on technology, to be an art. If all we are doing is following the rules then we prove our critics right: the results are not art.

So we are devoting a full week of #POTD to breaking all the rules. Well, okay, we won’t have time to break all the rules. After all, there are only seven days in a week and just about any photographer can come up with at least ten rules that govern their specific style of shooting. So, I’ve chosen rules that I, personally, am likely to break most often; the ones where, for me, passion and creativity are more likely to outweigh the need to observe the rules. Young photographers, please note: when I break a rule, I almost always do so intentionally and with a specific purpose in mind. This isn’t arbitrary, except when it is. Totally.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]The obvious error in today’s image is the amount of blur, not just in the hoop, but the little girl as well. We talked about motion blur just a couple of days ago, so click the link and read that piece first if necessary. I won’t repeat much of it here. One can easily argue that the motion blur of the hoop is like the effect of water in a stream: the picture just wouldn’t look right without it. That part isn’t really breaking the rules. The question comes in whether I should have used a slightly faster shutter speed to stop the motion of the little girl. My answer, obviously, is no.

Children are, themselves, a constant blur of motion, especially when they are between the ages of two and three. I love being at the playground with Kat’s little ones and seeing all the motion, and with it an equal dose of emotion, coming from all these tiny creatures who are having the time of their lives. If children are so naturally given to motion, shouldn’t their photos reflect that reality? Sure, we can make them sit still momentarily for a portrait, but when one is trying so very hard to show me, with incredible amounts of pride, just how well she can hoop, just like momma, to not include the motion of her little body would have been absolutely criminal! She was gyrating so fervently as to involve every muscle she has.

So, we break the rules about motion and blur. We still managed to capture that look of determination on her face and all the colorful richness of that early summer morning. She’s framed well and the background isn’t overwhelming. We still have a very good picture. What’s most important, though, is we have a picture her mother cherishes. This little girl just finished kindergarten and is growing, as children tend to do, with more speed than a parent wants. She’s beautiful. She has a little sister now and I’m guessing by this time next year she’ll be trying to teach her how to hoop as well. Capturing the joy of these moments is more important than following a set of rules. [/one_half_last]

Photography / PotD

Riding The Wave of (e)Motion

June 5, 2015

Removing the Afternoon (2010)

I always thought of photography as a naughty thing to do — that was one of my favorite things about it, and when I first did it, I felt very perverse. – Diane Arbus, On Photography by Susan Sontag

[one_half padding=”4px 10px 0 4px”]When I first started taking pictures, holding so tightly onto a Canon F1 to the point it couldn’t help but shake, motion blur was my most common menace. Figuring out how to work the combination of f-stop and shutter speed with whatever ASA film I was using (usually 400) so that I wouldn’t get blur was a severe obstacle for me to overcome. I don’t even want to think about how many potentially great pictures were lost, or how many rolls of film I wasted, simply because I could not, for the life of me, keep the damn camera still. The bad news: I still can’t, even though it’s for much different reasons now. There are days when having a tripod, even for simple shots, is a lifesaver.

What has changed over the years, though, is our attitude toward motion blur. While there has always been some acceptance of the error under very limited circumstances, such as pictures of flowing streams of water, it is generally considered a mistake. The most common one I caught then, and still often have problems eliminating, is that the subject will move, just a hand or maybe shift a foot, right as I’m clicking the shutter. I hate having to count aloud before taking each shot, but there are some people who cannot stand still for more than a split second, and some toddlers who can’t stand still at all. For them, warning exactly when the shutter is about to click is the only way to get a clean shot in environments where one can’t work with a super-high shutter speed. Otherwise, you’re throwing away the frame.

Today, we’re more forgiving of certain kinds of motion blur, such as in today’s photo. We are more likely to understand that the motion is necessary to communicate the story of the photo effectively. Capturing just the right amount of blur confirms for us that the subject isn’t just posing for a picture, but that something is actually happening; that we’ve captured an event as it was taking place, something that will never happen exactly the same way ever again.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]Natural light indoors makes motion blur practically inevitable. Shooting natural light indoors always requires a higher ISO (we used 800 for this shot) to capture the light, and a slower shutter speed/f-stop combination (we were at f/2.8, 1/125 for the series from which this shot is taken). If we put the camera on a tripod, which is generally what I would suggest, then those settings are probably workable for most portrait situations. But if you’re not shooting portraits, if there is actually something happening in front of you, then blur is inevitable. That puts the photographer in the position of asking themselves, “Is it worth the blur?”

Honestly, when I took these shots, I fully expected that it was the fringe on her top that was going to give me the most problem, and there’s not a shot in the set where every strand is staying still. Could I have fixed that on camera? Sure, but doing so would have left us with a much less emotional image. With the motion, we have a greater sense of what is going on. We are closer to understanding the story (or creating our own) and connecting to the energy of the image. Without the blur, especially in her hair, this picture comes off bland and a bit boring.

This is an example of natural light sometimes giving us what we don’t know we want. Experimenting, being willing to risk some mistakes, knowing from the start that nothing you’re about to shoot may be usable, is one of the things that makes photography exciting, and that excitement becomes part of the fabric of the resulting image. Motion blur still isn’t something we want to see too often, and the majority of images do better without it but, don’t be afraid of the emotion that comes with a little bit of blur; it may just make the whole picture worthwhile.[/one_half_last]

Afternoon At The Playground: Studies in Motion