MOTION BLUR AND OUTOFFOCUS EFFECTS KEVIN JAMES 1

MOTION BLUR AND OUT-OF-FOCUS EFFECTS KEVIN JAMES – 1 FEBRUARY 2017

MOTION BLUR AND OUT-OF-FOCUS EFFECTS • Why would you? • Some in-camera techniques using control over aperture, shutter speed, focus point, filters and flash • Some examples of each • References

MOTION BLUR AND OUT-OF-FOCUS EFFECTS FOR EXAMPLES SEE REFERENCES

MOTION BLUR AND OUT-OF-FOCUS EFFECTS Aperture – isolate subject, throw background out of focus FOR EXAMPLES SEE REFERENCES

MOTION BLUR AND OUT-OF-FOCUS EFFECTS Aperture – isolate part of the subject so that the rest of it becomes “background” FOR EXAMPLES SEE REFERENCES

MOTION BLUR AND OUT-OF-FOCUS EFFECTS Shutter speed – slow (say, 1/30 th to around 10 seconds), tripod but image stabilisation can extend hand-held range FOR EXAMPLES SEE REFERENCES

MOTION BLUR AND OUT-OF-FOCUS EFFECTS Shutter speed – slow with pan, blurs subject and background (if shutter speed is too high can just look like pan with camera shake) FOR EXAMPLES SEE REFERENCES

MOTION BLUR AND OUT-OF-FOCUS EFFECTS Shutter speed – fast with pan – fast moving subjects FOR EXAMPLES SEE REFERENCES

MOTION BLUR AND OUT-OF-FOCUS EFFECTS Shutter speed – very long exposure (60 to 300 seconds) with ND filter (turn off LE NR) Often very effective in monochrome See http: //www. paulsanders. biz/ FOR EXAMPLES SEE REFERENCES

MOTION BLUR AND OUT-OF-FOCUS EFFECTS Shutter speed - intentional camera movement (ICM) vertical, horizontal or circular A tripod gives more control for vertical and horizontal Take care if using very wide-angle lens on close objects Zoom during exposure FOR EXAMPLES SEE REFERENCES

MOTION BLUR AND OUT-OF-FOCUS EFFECTS Flash – rear curtain sync (flash fires at end of exposure giving sharp subject with trail behind obtained during exposure to ambient light) FOR EXAMPLES SEE REFERENCES

MOTION BLUR AND OUT-OF-FOCUS EFFECTS • Exposure through soft-focus or other filters Lensbaby – see http: //lensbaby. com/un/ “Vintage” lenses Pinhole cameras

MOTION BLUR AND OUT-OF-FOCUS EFFECTS Remember that these techniques can be used across all photographic genres -

MOTION BLUR AND OUT-OF-FOCUS EFFECTS • Software • If all else fails, there is always Photoshop. . . .

MOTION BLUR AND OUT-OF-FOCUS EFFECTS • Some references • Paul Sanders - http: //www. paulsanders. biz/ - long exposure • Envato-tuts - http: //photography. tutsplus. com/ • Digital Camera World http: //www. digitalcameraworld. com/2012/02/25/motion-blur-how-to-create-asense-of-speed-in-your-photos/ • Picturecorrect - http: //www. picturecorrect. com/tips-for-creating-dynamichigh-impact-photographs/ • Huff. Post Arts and Culture - http: //www. huffingtonpost. com/mingthein/photography-and-psychology-part-1_b_4380400. html • Digitalphotosecrets - http: //www. digital-photo-secrets. com/tip/3326/how-touse-rear-curtain-flash-for-creative-photos/ • Swedish Association for Nature Photographers http: //www. naturfotograferna. se/index. php/foereningen/in-english

SOME APPROACHES TO COASTAL LANDSCAPE PHOTOGRAPHY SAFETY WEATHER AND TIDES USEFUL EQUIPMENT AND CLOTHING PHOTOGRAPHIC EQUIPMENT AND TECHNIQUES CAMERAS TRIPODS BAGS SHUTTER RELEASE AND TIMING LENSES NEUTRAL DENSITY FILTERS GRADUATED FILTERS FOCUSING WHAT DO THE PICTURES LOOK LIKE? A SHORT SLIDE SHOW

SAFETY SAFETY ESSENTIALS CHECK THE WEATHER – WIND ACCUWEATHER - http: //www. accuweather. com/en/gb/unitedkingdom-weather CHECK THE TIDE TIMES - https: //www. tidetimes. co. uk/hurst-pointtide-times ROUTE OUT EQUIPMENT AND CLOTHING BOOTS + SOCKS + GLOVES WATERPROOF OVER-TROUSERS WATERPROOF JACKET HAT WHISTLE

CAMERAS NO RESTRICTIONS! USE WHAT YOU LIKE! SOME USEFUL FEATURES INCLUDE: - MANUAL CONTROLS INTERCHANGEABLE LENSES ABILITY TO MOUNT ON A TRIPOD DURABILITY AND WEATHER RESISTANCE SMALL SIZE / LOW WEIGHT CHEAP AND QUICK TO REPAIR !

TRIPODS IT'S A COMPROMISE LARGE AND STRONG ENOUGH TO SUIT YOUR CAMERA THE EXTENSION YOU WANT SOMETHING YOU CAN CARRY SOMETHING YOU CAN AFFORD HAS TO WITHSTAND SALT WATER / SALT SPRAY

BAGS IT'S A COMPROMISE LARGE AND STRONG ENOUGH TO TAKE YOUR KIT WEATHER RESISTANT COMFORTABLE TO WEAR EASY TO GET ON AND OFF EASY TO GET AT YOUR KIT MAYBE YOU COULD FIT IN A KIT-KAT? IT CAN MAKE A DIFFERENCE TO YOUR DAY!

SHUTTER RELEASE AND TIMING SELF-TIMER USUALLY OFF, 2 OR 10 SECONDS “FUNCTION BUTTON” ? ELECTRONIC OR MECHANICAL CABLE-RELEASE CAMERA COMPATIBILITY CONVENIENCE / EASE OF USE / PRICE SHUTTER SPEED AUTOMATIC OR MANUAL SETTING, “T” OR “B” : YOU DECIDE!

LENSES IT'S YOUR CHOICE! FOR CONVENTIONAL LANDSCAPE SHOTS I USE - 10 -24 mm ZOOM WITH OIS (15 -26 mm FF EQUIVALENT) 18 mm PRIME (27 mm FF EQUIVALENT) ALSO A 35 mm PRIME (~ 50 mm FF EQUIVALENT, SAME FILTER THREAD AS 18 mm, TAKES 10 -STOP ND FILTER) FOR MOVING WAVES I USE - 55 -200 mm ZOOM WITH OIS PLENTY OF SCOPE FOR EXPERIMENTATION!

NEUTRAL DENSITY FILTERS REDUCE THE AMOUNT OF LIGHT REACHING THE SENSOR SHUTTER SPEED HAS TO BE INCREASED TO COMPENSATE SHOULD MAINTAIN THE SPECTRAL DISTRIBUTION OF AMBIENT LIGHT AVAILABLE IN VARIOUS BLOCKING STRENGTHS ALL SIZES AND FILTER THREADS / MOUNT TYPES MANY MANUFACTURERS RANGE OF PRICE / QUALITY CHOICES SEE YOU TUBE / MANUFACTURERS INSTRUCTIONS INCREASE EXPOSURE TIME BY 10 “STOPS” e. g. 1/30 th → 32 seconds B+W see https: //www. schneideroptics. com/filters/ LEE FILTERS see http: //www. leefilters. com/

NEUTRAL DENSITY FILTERS Numbering / identification ND. 3 (101) = 1 stop compensation ND. 6 (102) = 2 stops compensation ND. 9 (103) = 3 stops compensation ND 1. 8 (106) = 6 stops compensation ND 3. 0 (110) = 10 stops compensation B+W see https: //www. schneideroptics. com/filters/ LEE FILTERS see http: //www. leefilters. com/

GRADUATED FILTERS THE SKY IS OFTEN BRIGHTER THAN THE REST OF THE SCENE GRADUATED FILTERS REDUCE LIGHT FROM THE SKY ONLY SAME CONVENTION FOR NUMBERING / IDENTIFICATION HARD STOP OR FADE USUALLY RECTANGULAR 50/50 - ND/CLEAR

USING GRADUATED FILTERS THE SKY IS OFTEN BRIGHTER THAN THE REST OF THE SCENE GRADUATED FILTERS REDUCE LIGHT FROM THE SKY ONLY SAME CONVENTION FOR NUMBERING / IDENTIFICATION HARD STOP OR FADE USUALLY RECTANGULAR 50/50 - ND/CLEAR

SETTING UP AND MAKING YOUR SHOT USUALLY USE LOWEST ISO AVAILABLE EXPOSURE READING FOR THE LAND / SEA ONLY EXPOSURE READING FOR THE SKY CALCULATE DIFFERENCE IN f/STOPS (EV) USE BRAIN OF DATA SHEET TO CHOOSE FILTER MANUALLY SET EXPOSURE TIME FOR LAND COMPOSE AND FOCUS INSERT FILTER SET TIMER AND PRESS THE BUTTON CHIMP REPEAT UNTIL SATISFIED IT'S NOT FOOLPROOF – YOU MIGHT STILL HAVE TO USE S/W REFER TO CAMERA HISTOGRAM AND HIGHLIGHT OVERLOAD DISPLAY

FOCUSING OFTEN WANT LARGE DEPTH OF FIELD USE A HIGH f/No (SMALL APERTURE) DEPTH OF FIELD PREVIEW CAN BE USEFUL (Function button? ) USE CAMERA's FOCUSING AIDS FOCUS PEAK HIGHLIGHTING ON-SCREEN MAGNIFICATION ELECTRONIC SPLIT-IMAGE FOCUS ON SOMETHING CLOSE or USE HYPERFOCAL DISTANCE or USE CAMERA's ELECTRONIC DEPTH OF FIELD SCALE CHECK AFTER EXPOSURE AND ADJUST

SSO WHAT DO THE PICTURES LOOK LIKE? IT DEPENDS ON SPEED OF MOVING ELEMENTS IN THE SCENE (WAVES, CLOUDS) DIRECTION OF MOTION RELATIVE TO YOUR CAMERA PROXIMITY TO YOUR CAMERA ANGLE OF VIEW EXPOSURE TIME