Brief:- Choose a subject that includes both stillness and movement. Seek out a variety of different instances of this subject. Make a series of photographs that shows the visual effect of stillness and movement within these different but similar settings. When you’re assessing your photographs, try not to think in terms of what is ‘photogenic’ in the usual sense of the word. Go beyond that. Ask yourself if your photographs communicate what you intended: stillness and movement. Do your photographs communicate any other ideas? In other words, are they symbolic or metaphorical? This capacity to take something unintentional and make something out of it is a sign that you’re developing as a photographer. If you’ve discovered a metaphorical aspect to your photographs, develop a new series based on this.

I have been making photos for this brief for a while now, exploring with people, road traffic, boats, racing cars, aeroplanes, and finally decided on roundabouts. So over the past two days I have been out to re-shoot the photos, so that I could get the images that I want. Its taken me a while to get used to what shutter speed is best for different subjects depending on the amount of motion of freezing of motion that you want.

I have tried to make a series that has a level of tonal and colour consistency, and tried to show a selection of movement and stillness within them.

This was my first attempt at trying to present a series. I have put photos together/next to each other before, but had not previously considered that series requires a consistency and flow that joins them together. The result isn’t perfect but I will develop further as time goes on. I have really enjoyed the process. Its taken a while, and the results are not perfect, but overall I am pleased.

Roundabout Series

Boat Series.tif

For both series I made initial selections in Lightroom by assigning an attribute, then reviewed only those selctions by highlighting which attributes I wanted to see in the same grid. Once I had developed the photos and taken them over to Photoshop, I then realised that some of the selections did not work together. I went back to Lightroom, changed some selections, then I redeveloped by selecting all (Ctrl + A) and then Sync develop settings. This meant that I had similar white balance and tone. I made individual adjustments, then press G to view in grid, to see if the adjustments were bringing the range closer together.

I had to go a step further and see if I could blend a Typhoon jet aeroplane into one of the images. It doesn’t go with the series but watching a few YouTube videos on selecting and blending was rally useful and I have learned a new skill.

Exercise-1.11-4

References

Webflippy; 2016; Photoshop Tutorial – How to cut out a tree in Photoshop

Dewis, Glynn; 2015; Tricky Cut Outs made EASY and FAST: PHOTOSHOP #76

Smith, Colin: 2015; How to combine photos in Photoshop with Layer Masks, seamless blending technique

 

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