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Photo Assignment 05/04/08

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In this dual reflection photo, winds gusting to thirty mile per hour, the store's awning was flapping with the wind.

The photo was taken about 40 miles west of West Bend, in Columbus, WI. Photo info here
 
Motion

May 10, 2008 Road America. Only got one session before it broke!:sick But I'm ready for the race in June.

Becky
 

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So I am a couple days late... sand storms, bad connections... you know! At least this picture was not taken months ago... I did not know you could still do that! if you know what I mean!

On 211 towards Canyonland, Needles area, Utah, a little creek before Newspaper Rock... as is!... and no... I was not looking through the view finder!!! I stayed dry...


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Be well... Ara & Spirit
 
Feedback I

Well, this is ridiculously late, but that's not going to stop me from doing it. My head and heart have been in a different place lately, and the later this got, the more distant it seemed. I do apologize to those of you who took the time to take a picture and participate in our assignment. Late though it is, I hope you get something from my comments.

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130253 was up first this time around. As you have surmised from previous assignments, I'm a sucker for these sort of abstract, painterly images. This one is particularly effective, in that it breaks all the rules. I like, too, that the motion seems to be occurring in two opposing directions. It's a wonderful, colorful blur.

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Lamble's is a nice submission. I particularly like the vertical composition. It would be tempting—if only for practical reasons—to orient this horizontally, but his decision works better. The fellow in the foreground and the audience are static, but the bikes, of course, are moving. The blur of motion is very slight, making the image appear almost out of focus. I might like to have seen a bit more blur. The result may have been more abstract, but perhaps more dramatic, too. Nonetheless, it's a nice shot.

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When I first saw grossjohann's first submission, I was quite taken with the interpretation of the theme. The lighting is quite nice and I love how the three men appear to be stacked, each facing in a different direction. For a still image of three men, it's rather dynamic. It's also a bit frenetic, with lots of planes and surfaces leaving the image, lots of competing lines.

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GJ's second submission, uncropped, is a bit pedestrian at first glance; however, it also exhibits a certain nobility. This lone aircraft, which we know is enormous, is not only dwarfed by this cloud but viewed from above—God's perspective, perhaps. It's a neat image in that regard, and I applaud his decision about where to place the plane in the image. Of any quadrant, this one works the best.

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Voni came in this time with two canine images. This one is almost purely abstract, but retains enough of the original form to be at least recognizable. It's an interesting study, but doesn't tell much of a story. It does reveal motion, and that's our theme.

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In contrast, I love Voni's second submission. It's hard to resist a dog's exuberance. I also love the composition: placing the pup in the upper half of the picture, the photographer draws the viewer's eyes toward the subject. Often, in images such as this, the shadow is cut off, but here we have both the subject and its shadow. In many respects, I could argue that the shadow is the subject. It's like two simultaneous views of the same image—akin to BeerTeam's bridge photo with a view of the rearview mirror. I hope that's not too obscure a reference. Anyway, this is a neat shot that I like very much, Voni.

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If this picture doesn't make your heart melt, there's something wrong with you. Theme? Motion. Or Springtime. Or childhood. Or freedom. Or the hunt. Or. . . . This is a universal image in many respects. It's a masterful composition. Many emerging photographers (Franze is not one; he's quite experienced) would have placed the girl dead center. Instead, he balances her against the tree that, while it dominates the image, is clearly not the subject. One could argue that the subject—unseen—is a butterfly. I love how she is just ready to dart out of the frame, as children do, darting here and there, and then right out of childhood. This is, at least for me, a very powerful image.

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130253 (what kind of name is that, anyway?) brings us two more images, and in many respects, they are my favorites this time. They are motorcycle related and reveal not just motion, but one which we all know and love. The first image causes a kind of vertigo as the viewer struggles to see which end is up. The second is far more straightforward and easy to interpret. I've always admired images like this of rigid symmetry. They're hard to pull out of a camera. The first image is enriched by the inclusion of both the shadow and the yellow line. These are really neat shots which reveal motion in a very appealing way.

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Voni brings us another good motion photo. This is another photo of childhood exuberance. I like this photo for the technique it reveals: shooting motion with a flash. Most cameras shoot a flash picture at about 1/60 sec; however, the flash itself fires at about 1/10,000 sec. The flash exposure, though, only provides part of the exposure. The result is some motion and some frozen image. DSLRs allow you to manipulate this in a number of ways. You can shoot at higher shutter speeds (typically 1/250 sec.) and some even have "high-speed flashes" allowing you to shoot flash at even higher speeds. Some will shoot a burst of flashes allowing you to get 4, 7, even 13 images on a single frame. You can even choose to have the flash fire either at the beginning or the end of the exposure (referred to as "rear-curtain sync"). 100 bonus points for the tyke tunneling in his nose. 500 bonus points if he ate it. (No offense intended, that's a Caddyshack reference).

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Hallisbruce weighed in with a cool nature shot. I'm sure it was tough to resist the temptation to crop this. Even out of the camera, it's a great capture. You can see some motion in the birds wing (is a hawk?) but the rest is frozen nicely. The foreground could be distracting, but given that it appears to be a nest, it works nicely. It's also a really good exposure. I love the play of light in the tail feathers.

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As is so often the case, RandallIsland returns with an interesting study. 50 bonus points for the good advice on the well-worn helmet. There appears to be an attempt at motion in the background. Were the camera and helmet moving simultaneously? They appear to be mounted on a board? If I'm right in my assumptions, it may have been more effective with a slower shutter speed, and perhaps more distance to the background. . . . Maybe outdoors at night. It's a concept worth pursuing. I would encourage you to keep working on it.

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OldPaul brings us another nice image. This doesn't say "motion" to me. I understand from the title that there's a lot of hub-bub in the pits, but I'm not seeing it. This photo says, "standing around," even though that may not at all have been what was going on. It's a nice composition, beautiful colors, and great contrast and saturation. Imagine this photo taken on a tripod: Everyone in the picture a ghostly image, but the cars clear and sharp. That may have communicated a much greater sense of motion in exactly the same scene.

Wow, this is hard work. I'm all tuckered out. I'll return with more later. I promise it won't take several weeks.
 
Feedback II

Back for more fun and games after a restful night's sleep, dreaming of reflections. . . .

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Kbasa has a couple of photos that I really like this week. This one is only marginally successful as a motion shot, though it does reveal—successfully reveal—motion. Now here's the tricky part: a slower speed would have blurred the background rendering a greater sense of speed, but does he want to portray this rider as speeding past the crowd? Probably not. It's an interesting background that helps to tell the story (of a bike judging) and it's very well composed. Nary a head is cut off, including the rider and his hat. And whereas even portions of the bike are blurred with motion, the rider's face is razor sharp. It's a good capture.

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This is hilarious. I LOVE the bike and the riding gear. That's not Tina on the back. Who is it, you devil? It looks like loads of fun. In comparison to other photos, though, this reveals no motion whatsoever. The high shutter speed freezes everything and the bike could well be on its side stand. Obviously an action shot, it's reasonably well composed for such a rapid shot. 500 bonus points for the vintage gear.

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I really like Burnszilla's submission, above. Here the photo tells a story by obscuring the subject, here bandmates playing some tune. As I said earlier, this reminds me a bit of an impressionist painting, one that reveals its subject in oblique and textural ways. Although a successful shot where the foreground is still and the subject moving, this would have been even stronger through use of a tripod or setting the camera on a flat surface. This would have been most successful with the drum kit, parts of which are static, others moving. May not have been possible. Neat image regardless.

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Beerteam's submission is bridging two assignments: motion and reflection. Nicely done. This is an inventive interpretation. It's a nice composition and exposure, but requires explanation. The awning is so obscure and the motion so slight. I especially admire the reflection and secondary arch in the window on the far right. With this photographer, I have to assume that was intentional. This is an enormously complex image, and in that I admire it very much.

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BT's other image, again requiring an explanation, but one that reveals perhaps the most inventive interpretation of motion. This is a fantastic exposure, one that captures both the evening sky and the illuminated dial of the clock. It's interesting that the perspective/choice of lens doesn't allow the clock standard and the building to be simultaneously perpendicular: the building appears on a slant, the clock straight; straighten the building, there goes the clock. I agree with his decision. Neat shot.

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MLS2GO brings us a very interesting image, not dissimilar to a few of 130253's submissions (I'm not asserting any copying here—I tried a few myself but was dissatisfied with the results). It's not a remarkable photo, one of those that so many of us have grabbed on our bikes: a bit of windshield and instrument panel and whizzing scenery. It is a pleasant subject, much better than buildings or barren farm land. What is interesting, though, it that this is a case study in relative motion. The flowers close to the camera are very blurry and can be seen rushing by, but the flowers in the distance reveal very little motion. This is why we struggle to read highway signs in the distance rather than when they are up close. Very interesting study here and one that could be used to illustrate a number of motion lessons. Nice.

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Hallisbruce brings us a beautiful nature shot. What magnificent animals. It's a good exposure and I like his compositional choice. Though the sheep are dead-centered, they are covering the bisecting horizon and leading the viewer's eye out of the frame. I would prefer not be looking at them from slightly behind, but droves of big horn sheep can be very uncooperative that way. This is another shot where the motion is utterly frozen and reveals what could be an elaborate taxidermist's display. I understand, of course, that this is not, and is a wonderful image of beautiful wild animals. Would a slower shutter speed have enhanced or detracted from this image?

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Becky's got two really interesting shots here that offer two nice comparisons. The top photo reveals almost no motion whereas the bottom photo does show some movement. I like the composition of the top better. It's a better, a more exciting angle. The shadow tells me that this was shot when the sun was high in the sky, near mid-day. The exif data—if it is to be believed—shows the top photo was taken around 10 a.m. and the bottom closer to noon. Look at the difference in contrast. The top photo is a beauty whereas the bottom is "muddy," probably the result of shooting into the sun. This is an object lesson in shooting during the golden hours and with the sun at your back. Combining the best of both these photos would result in a masterful image. Taken separately, they're each good.

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Beemerchef chimes in this week with a wonderful motion study. I love the brown colors in this image, too. The chosen shutter speed allows there to be motion seen in the churning water while the background is visible in sharp contrast. An even slower speed (perhaps only possible with an ND filter) may have shown even greater motion, the sort of painterly light one often sees with these water images. I love how the water nearly splashes the viewer, Ara got down very close to the water to take this shot. It's a great composition.

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I flat-out love Sheridesabeemer's shot this time around. Gail has a wonderful capture here. Like MLS2GO's shot this reveals relative motion, too, though this is also circular motion. It's also a perfect panning shot, in which Gail moves with the horse as it spins by. The background and farther objects are blurred at progressively greater rates, while the horse, moving at exactly the speed of the panning camera, is revealed in sharp relief. If I were to pick a nit, I would have moved closer in order to eliminate the red guard rail, either including the horse's feet or getting in closer for a 3/4 shot. It's hard to find fault with this otherwise perfect image. You should be really proud of this well-executed shot, Gail. And if this is any indication of the creativity your new camera will unleash, you have many more to look forward to. Sorry if I missed it, but what did you buy?

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Our last submission is from CWaterous—and a good one at that. This is a great action shot of a young woman taking her horse through its paces. It makes me think of those famous motion studies that finally revealed—once-and-for-all—that all four hoofs come off the ground when a horse is in a dead run. This horse, however, is barely galloping. A well-executed image, it is a bit pedestrian. A slower shutter speed would have given a far greater sense of motion. Perhaps a different perspective may have lent greater interest, though they probably don't want you out in front of the horses, I'll bet. Not a great motion study, but a good photograph and one worth exploring further. Thank you for submitting and do join us again!

Well, that's it folks. I want to apologize again for having let this go, and to thank GrossJohann for stepping up and doing an assignment. I'll be doing some more, and encourage others to jump in as well. I can help you or—as in GJ's case—you can take the ball and run with it. Suggestions for themes are always welcome, too. Happy shooting and I'll see you again soon.
 
Thanks Tom

Beerteam's submission is bridging two assignments: motion and reflection. Nicely done. This is an inventive interpretation. It's a nice composition and exposure, but requires explanation. The awning is so obscure and the motion so slight. I especially admire the reflection and secondary arch in the window on the far right. With this photographer, I have to assume that was intentional. This is an enormously complex image, and in that I admire it very much.

I crawled on the sidewalk 5 minutes for that shot!!!

BT's other image, again requiring an explanation, but one that reveals perhaps the most inventive interpretation of motion. This is a fantastic exposure, one that captures both the evening sky and the illuminated dial of the clock. It's interesting that the perspective/choice of lens doesn't allow the clock standard and the building to be simultaneously perpendicular: the building appears on a slant, the clock straight; straighten the building, there goes the clock. I agree with his decision. Neat shot.

With the 28 wide angle of the S70 Point and Shot, the straight line on the edge of the photos are not perpendicular to the horizon . When it is a concern, I take a few extra shots with a very slight camera opposing tilt. Then I pick the image that I like.


Well, that's it folks. I want to apologize again for having let this go, and to thank GrossJohann for stepping up and doing an assignment. I'll be doing some more, and encourage others to jump in as well. I can help you orÔÇöas in GJ's caseÔÇöyou can take the ball and run with it. Suggestions for themes are always welcome, too. Happy shooting and I'll see you again soon.

Tom, Thanks for doing this. Last summer we had pages of shots, I stopped posting assignments when I stopped riding for the winter. This early spring we have much less participation than last summer. Hope this get going again.

I have to apologize for showing reflection photos on a motion assignment. What happens is the assignment often do not work my schedule. The reflection theme was when I rode an off-road event and I could of done all kinds of actions shots. The Motion them was when the Motion Picture was in the area. Some assignment work perfect, like the "Old School " theme when the motion picture was in Oshkosh.


Are we going to have a Photo Assignment "Meet and Greet" at the Gillette National?
 
Speaking of photo assignments, isn't it time for a new one? My company is sending me to Montego Bay for a week (leaving soon) and I'm sure it will offer me some excellent photo opportunities; assuming I manage to get out of the office. :heh
 
I wouldn’t take it so hard, Gail. The boys are just picking on you because they like you.

It is a great shot and deserves to be posted.
 
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