Hi this is Joe McNally for Adorama TV
and in this segment I'm gonna talk about two different approaches in terms of
showing motion. Adorama TV presents
Photo on the Go with Joe McNally. So there are events you are presented as a
photographer
some what you have control over, others you have no control over.
Such an event on that you have no control over
is an Olympics. So here this runner is passing me by and I'm literally
in a pen with not just dozens but
hundreds of other photographers all of whom have the same lenses,
basically the same angle. How do I come up with something that's a little bit
different?
So my assignment at that point was not to be literal
I didn't need to show the faces of the runners and quote unquote get the winner.
So I came in super tight with a six hundred millimeter lens and I
panned, just to get the energy of the runner across.
Panning is a technique where you're moving your lens
with the moving subject. So in other words
the world is sorta spinning away behind
but you're hoping for a core of sharpness with your subject because you're hopefully
tracking that lens at the same speed that the subject
is moving across the field of view of your lens
and I can't handle hold the 600 at a
15th or a 30th of a second. This technique is dependent on slightly
slow shutter speeds. So my best friend in this situation because I'm cramped
in a pen you know with other photographers
is a monopod.
Call it I don't know a quick and dirty tripod or something I don't know.
It's nowhere as near stable as a tripod
but for a long piece of glass in a situation like this, really essential.
Okay it extends obviously just like a tripod I use Gitzo’s stuff
that is
is a tried-and-true brand in the marketplace. Strong,
sturdy, fairly light and compact. They make a lot of them now with carbon fiber so it's
not a big weight to carry around with you. Hi Joe McNally here for Adorama
be sure to check out at Adorama’s latest contest to win prizes.
So for the panning shot of the runner
this was an essential piece of equipment for the shot you see over my shoulder
right now
the monopod goes away. Here I'm actually
in control to a degree because I'm working with my subject
and I'm using a flash in this instance. Flash gives you stopping power okay.
Probably the same setup shutter speeds roughly 30th, 15th, 8th
of a second in that neighbourhood, but what I'm doing here
as the swimmer say is going along the pool lane
right in here, this to the swimmers right in here. I'm literally
running along the pool and I'm hand holding the camera
and I'm straight flashing. Right on the hotshoe
and I'm just banging away at my subject.
Click, click, click you know just trying different
techniques to keep my shoulders straight, keep my
camera fairly steady referencing the subject but also moving at the same time.
It's something that you have to shoot a lot of frames of to make sure that you
get one
that actually works. In this instance I'm right on the edge, I have the core of
sharpness
which is given to me by what's known as flash duration.
Meaning the flash is firing very very fast even though my shutter speed is
quite slow.
Need for slow shutter speed is directly in relation to
how much motion you're trying to show. Slower shutter speed
more blur, more motion. Slightly faster you're going to have
more detail and a little less evidence of motion.
So two different techniques. One where I am NOT in control at all
and I am again recording the event from a distance with a long lens
but still trying to come up with some measure of difference and then
in this instance, were I'm running along with a flash
dedicated okay, on the camera and
providing my sharpness as everything's moving here.
I'm running the swimmers moving all that stuff, the world is in motion
and the flash helps
me keep it sharp. This is Joe McNally for Adorama TV
and this segment was about two different approaches
to show motion with a still camera in your hands.
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