TECHNICAL PHOTOGRAPHIC EXERCISE

The following images reflect technical photographic exercises to practices using the Canon EOS 550D in preparation for my photo essay.


In the interest of the marker, the photographs featuring the Tin Robot and Nun which experimented with depth of field were not taken with a Canon EOS 550D but rather my own Nikon D3000. This was done so I could put to practice everything I had learned on the 550D with my own accessible camera which I feel I achieved successfully. All other photographs within this folder were captured using a 550D. 

Within Robot and Nun 1,2,3 and 4 I have experimented harshly with different depths of field. In Robot and Nun 1 and 3 the subject in the foreground is in sharp focus while the background including the subject furthest from the camera is blurred softly out of focus. As a result the main point of interest within 1 and 3 is automatically directed towards the Robot.  In the case of Robot and Nun 2 and 4 the main point of focus is reversed displaying the subject nearest to the camera to be soft and blurred but the subject in the background in crisp and clear focus. Such a style was captured using a shutter speed of 1/60th with a very low F number of around F4/F4.5. Partly to do with how close up the images were taken in regards to the two subjects and partly because of how small the aperture ring was due to the low F number, all four images reflect an extremely shallow depth of field. 

This photo was created for the shear purpose of displaying the complete opposite depth of field to that of Robot and Nun 1,2,3 and 4. Although still captured at a shutter of 1/60th the F number used was considerably higher than the last at F 16/18. As a result the entire image is in focus. If I had used an even higher F number it would have made the focus of the background even higher as at present it is still a little blurred. I feel that using a maximum depth of field has its appropriate uses such as in land or cityscape photography as it makes sure all elements within the frame are clearly captured. However with still life photography such as this a shallow depth of field works the best so there is no competition as to what the eye is drawn to first.


The following photographs entitled Kerry 1,2,3 and 4 reflect similar styles of camera technique to that of their predecessor in the way that the both sets convey the same subject captured in the same style of framing but displaying opposite depths of field.  In Kerry 1 and 3 both images were taken with a shutter of 1/60th and an F number of 4.0/4.5 to create the subject in focus but the background soft and blurred. In Kerry 2 and 4 the photos were captured using a high F number of around 16/18 to capture both subject and background in crisp focus.


A key difference of course with these images compared to the set before is that not only is a living subject used rather than still life, but the images were captured outside using natural light rather than direct controlled light. I feel that this style of outdoor natural light photography is a lot more effective for several reasons: for one thing the sun hitting the back of the subject high lights her out line giving the fair areas, such as her hair, a glowing appearance. Another reason the outdoor style works better is because the background is more built up giving a lot more texture to the photograph compared to the plain wall of the previous set. As a result the picture is aesthetically pleasing as a stronger juxtaposition between is created between subject and background. 



Within these two photographs I feel I successfully managed to capture a focus through shot. The two images were taken one after the other focusing the view finder first on the subject so as to capture her in focus and then on the bush the reverse the focus. They were taken on an F number of around 4.5 for a shallow depth of field so as to exaggerate the focus through to the maximum. As I was using automatic focus the execution of both images was carried out in a very clean and smooth manner.    

These 10 photographs of a plastic glowing ghost were all captured using a range of different shutter speeds.  From top left: 30 seconds, 10 seconds, 0.5 seconds, 1/4th, 1/10th, 1/25th, 1/50th, 1/60th, 1/80th, 1/100th. They were all taken evenly using a still camera with no other interfering light. The F number used was very low to let in as much light as possible.  Despite the range of shutters, there is not a radical difference between each shot bar the first two on the top far left. As the shutter was so slow for both of these not enough darkness was allowed in to accentuate the detail of the subject with the result being two distorted glowing shapes. 

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 These two photos reflect effective above and below shots also known as high camera angle and low camera angle shots. By taking the photograph high above the subject an impression of weakness is reflected up on the subject while giving the viewer a sense of domination. On the other hand a low camera angle reverses such an idea making the subject look important and powerful.

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These two photographs are almost identical in terms of composition and subject matter. They are even captured using the same Aperture of F5.6. A key difference between them is that the first photo was captured using a shutter speed of 1/20 and the second at 1/1000. Such radical difference reflects only in the water protruding from the hose held by the subject. The first picture exaggerates the fast motion of the spurting water giving it a silky mist like quality, whereas the second photo lets enough light into the image to break down the water freezing it in motion crisply. As the shutter is so high each droplet of water can be seen clearly. Such a technique is often used within sports photography. 

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Exactly the same principle in terms of photographic technique has been used when capturing these four photographs. The difference being that this time the subject matter is that of stones being dropped in to a pond. Exactly the same principle in terms of photographic technique has been used when capturing these four photographs. The difference being that this time the subject matter is that of stones being dropped in to a pond.  






These two images consist of roaring traffic across a motorway and were taken over a bridge. A low ISO of 100 was used so the light was the least sensitive it could be wile also displaying the best possible quality. A very slow shutter speed of 25 seconds was used so as to harshly exaggerate the fast passed traffic. Due to the very low shutter the camera only picked up very bright aspects of the subject matter which in this circumstance was the front or rear lights of the traffic and pursued them as far as it could.

 



Within this photograph I was attempting to convey an abstract version of the two previous traffic light trails images. To execute smooth light trails such as above, the camera when capturing must be very still on a tripod. To spoil such a smooth and flowing effect I heavily rocked the tripod holding the camera as it was capturing. The result exaggerated the light trails effectively making them loose, wild and manic.

 

 The following three photographs were all taken using Bulb Mode. This was effective as it allowed me to keep the shutter running for as long as I felt necessary. The top two photos were taken at 18.1 seconds and the bottom at 30.4 seconds.  This set reflects my experimentation in drawing with light through the medium of sparklers. I feel it was a good effort as due to the appropriate shutters and ISO used, the trails from the sparklers stand out unmistakably against the illuminated background.  

 Just like in the case of the previous group, these four photos are experimentations using Bulb Mode with an added use of pop up flash. Each photograph experiments with capturing the subject several times within the same frame. This was created by the subject holding a source of light under his head to illuminate his face and moving systematically closer to the camera.  When doing so the subject would have to pause for seconds at a time so as to be picked up by the shutter, each pause was another appearance within the image. Due to both the very slow shutter and the fact that the subject was not in the same place for a substantial amount of time, a lot of light has travelled though his various appearances giving him a ghost like appearance.  I feel in a way the last image is possibly one of the strongest as there is no active background engulfing each appearance like the predecessors.