For those of you that
have been following my Daytime Long Exposure you can see that I enjoy creating
images that are a composite of more than one image. My first attempt was the
Algarve Wind Farms, a year later the Southern Straits Boat Race and now, I want
to introduce my Kite Surfer #1.
My vision in this
technique is to convey the range of motion of the subject matter. In the world of photography, we are reducing
reality from four dimensions onto a two dimensional slate (we reduce it even
further of we convert to black and white as it is not our reality, we see the
world in colour and not b&w). By
using time as an additional tool in your creative arsenal, you can expand the
limited range of expression within the world of photography.
Within Daytime Long
Exposure Photography, subject matters are normally complete stagnant, such as
rocks, land or building, as in Architectural Photography, and the moving part
of the image is either clouds or water.
Since my subject matter of wind farms, boats, kite surfers are all
dynamic and have an ‘in-between’ range of motion, I wanted to find a way to
implement them into the composition and found that artistically it works best
if their motion is frozen within the image.
In a way it resembles panning, although we know that the subject is
moving, we freeze it and have everything around it in motion.
The image below is a
composite of three images:
- The sky: 4 minute
exposure with 13 f-stop ND filter
- The water: since I wanted to get the motion of the waves and
not a marble slate effect, a 6 second exposure in the mid day sun with a 6
f-stop ND filter
- Lastly a still shot of the kite itself and the surfer. TIP: don’t hesitate to change lenses for
the close in detail shots, I took this one with a 200 mm lens while the
rest were with a wide angle 24 mm.
End Result:
Kite Surfer #1,
Tel-Aviv, Israel
To learn more and get
additional tops on Daytime Long Exposure Photography, please go to:
www.SharonTenenbaum.com where you can
find the ebook: How to Create Long Exposure Fine Art Photography.