الاهداف المتحركة .. لقطات فنية باسالیب ومعادلات سهلة ، مجلة فن التصوير اللبنانية _ع٢٢

**Ali Abbass** · 03-13-2023, 12:01 AM

Moving targets, artistic clips, with easy methods and equations

Shutter speed and focal length or aperture, f, are the most important in the field of taking pictures.
Each one imposes the other.
But it is not acceptable for either of them to control the work of the photographer.
Hence, we have to understand the effects of each of them on the image to control movement, or moving targets, because freezing the movement of the subject always depends on these two issues, with multiple methods, methods, and equations to reach important and distinctive shots at multiple technical levels.

All common cameras share a programmed reflex and 10 x 8 inch monorail 110 cameras. Instimatics, even small disc cameras, have a basic thing, which is that the combination of their apertures with shutter speeds is what influences the adjustment of the amount of light going towards the film.
Camera 126 - Instimatic. Which was very popular in the previous stages, it relied on a fixed focal stop of f / 11 and a constant shutter speed of 1/60 of a second. It needed bright sunlight for a good daytime exposure with a medium speed film.

The inverse relationship between . P and shutter

At f / 11, the aperture of the camera was then too small to give a good depth of field in the event of seeking emergency shots. The images will be quite clear here, but from a distance of about two meters to infinity. And without being restricted to the issue of focus, that the narrow aperture allows at the same time a very small amount of light to infiltrate through the lens, and this small amount of light needed a relatively long time for 1/60 of a second to display the film in its correct form, from here the apertures and shutter speeds become linked with each other some. A small aperture needs a slower shutter speed to achieve correct exposure, and this is what anistimatic cameras are built on. .. But with literally advanced cameras, we find the possibility of choice within our reach with a variety of possibilities for apertures and shutter speeds. Thus, we can achieve the same first equation, a slow shutter speed with a narrow aperture - and we can also work
In other equations, with a faster shutter speed and a wide aperture. Instead of allowing a small amount of light to reach the film for a relatively long time, we allow a greater amount of light to do its work for a shorter period. The final result on the image is good at one optical rate, despite the change of processes.

Shutter preference

The mere thought of taking a picture of a moving subject inevitably prompts us to think about the appropriate shutter speed. Hence, we find that sports photographers always prefer to work with manual or automatic cameras that allow for manual control. This means that there is no urgent need for high-tech cameras in terms of motion capture engine in a sporting event, but rather we have to know the methods used to capture well.

Freezing the active movement at a high shutter speed is one of the measures that achieve what we need as a first principle. Nikon (FM2), for example, provides sports photographers with a maximum working speed, stopping the scene, no matter how fast it is, given that it gives us a shutter speed of up to 1/4000 of a second, although the lower speeds available in most cameras can usually achieve what is required of them in this field. .
Here we point out that the freedom to choose a very high shutter speed depends on several other factors related to the following: the amount of sunlight, the speed of the film, and the width of the aperture. These are the other sides of the speed equation, as we mentioned earlier. For example, the maximum speed in (FM2) will be very excessive and not required on a cloudy day with Kodachrome 25 film and a f / 5.6 lens. Here we may need a completely opposite speed instead of 1/4000, and perhaps it is a speed 1/30 second or slightly higher to reach a satisfactory result in this field.
So we understand from this that the maximum speed films (400 aza) make things easier for the photographer in the case of active shots.. The difference between a slow 50 aza film that is not suitable for motion pictures, and a high-speed film, is like the difference between a speed of 1/30 of a second and a speed of 1/2000. .
However, we will always need to know the characteristics of each film we use, and what shutter speeds are required with it to freeze movement. In another standard field, we find that the speed of 1/125 of a second is sufficient speed to capture a moving subject with its feet sharply and well. On the other hand, we find that 1/1000 of The second is speed Required to freeze a moving motorcycle in its lane. And the speed of the matter is also important. The direction of movement for the camera is equally important when the subject is heading towards the camera or away from it.
Usually moving subjects close to the viewer give the impression of speed much faster than reality, and with the installation of a long lens we will have to use a faster shutter speed to freeze the apparent movement of the subject. Here it is necessary to work on increasing the distance from which you work while changing our point of view so that the movement of the subject is walking towards us instead of being across our capture line.

Moving targets

It often happens that we cannot use an ideal speed to achieve light levels that are too low to allow our task, especially in areas of interior work when really short exposure times are possible. Here, without resorting to flash, we find multiple ways that can capture movement or send a strong impression of movement in our photos. Even with internal filming, as we mentioned, that is, in closed stadiums.
If we know the origins of the game that we want to take pictures of, this means that we know very well the location from which we can capture the decisive sports moments. With the high jump player with the stick reaching the top of his jump, or with the basketball player rising towards the basketball net, we know that there is an opportunity to release the shutter at a slow speed, taking into account the simple grunting of the reflex camera mirror mechanism, as it is our way to capture the peak of the active movement.
As an alternative to freezing a moving subject at high shutter speeds, we should try to encircle the camera at slower speeds, or deliberately blur the subject by adopting lower apertures to give the impression of movement.. For encircling it involves detecting movement as it passes through the field of view. We have to press the shutter gently in the middle of the burst and follow this burst With a soft movement.
The shutter speeds used for enveloping depend on the speed of the subject and its distance from us. With slow speeds of up to 1/30 of a second, we can capture a cyclist or runner. Clear prominence against a gentle background with active movements of the subjects. We should use a faster shutter speed, but we should not worry unjustifiably by searching for the exact required speed, because fencing is far from being an exact science, and from here we will find that the first attempts we make will stan the impression of speed. Lively and good.

Boundary aside, we can create a strong low-light, slow-speed effect - on the shutter level - that allows the moving subject to come unnoticed. It happens here that the outer borders of the subject will be striped and sparse to give an impressionistic effect that works well with bright colors in particular.

**Ali Abbass** · 03-13-2023, 12:03 AM

Softness with white, black and colored

The dance moves, horse racing and ice skating are lifelike scenes and suit the intentional blurring style, as are the rapidly shooting waterfalls and stream are other favorite subjects. Slow shutter speeds of about 1/15th of a second give the moving water a milky appearance that adds a tinge of mystery to the landscape. Here, of course, low-speed films should be used.

We have to use a tripod focus at the water's edge to keep the rocks and vegetables very clear. Slow films will provide us here with small apertures the opportunity to reduce shutter speeds in order to improve the quality of the final image. As for very slow speeds - a second or more - we can install a filter with no density to reduce the level of overall luster.
Since zero-density filters absorb light of all wavelengths equally, there should not be any effect on the color matter, and there is a series of searchlights available to reduce the light in varying proportions. An NDI filter, for example, has a filter element of ten and will require an exposure adjustment of three and a half stops.

The pause, so if our exposure is to a waterfall at 1/125 of a second at f/16, the filter will allow the speed to be reduced to 1/8 of a second to achieve the desired and deliberate blurring.
Although ND filters should not affect the color balance, we find that long exposures have a clear effect, as with exposing the color film to more than a second, a large reaction occurs from the sensitive layers leading to the failure of the color exchange.. Although these smears can be filtered It is often desirable to work with shutter speeds greater than the second in the first place.
So is the case with sensitive layers. Black and white film is subject to the same mutual failure, although there are no obstructive smears here. It will take an additional exposure each time, and with plans to use a shutter speed of 1 second, we'll have to calculate for 2 minutes instead with the shutter open. Instead of two seconds we have to give five seconds, and instead of four seconds we have to give 12 seconds. Then, as an alternative, we can forget about those exposures and experiment with multiple exposures, in front of a subject of these patterns, such as a river, for example, to reach our own advantages.

Collaborate with Flash

With a camera distinguished by the facilities of multiple exposure, we can achieve a correct exposure in stages. Instead of taking a single shot in half a second, we have to make four individual exposures of 1/8 of a second on the same frame, and the tripod will keep the still rocks clearly visible.
As the exposure builds up to its correct amount, if our calculations are correct the shape of the water will change slightly between each exposure. Here we can achieve a shot where gas appears to be flowing rather than liquid flowing!
This multiple exposure is the alternative that can be kept in mind, and there is another option that gives us the opposite effect, which is the electronic flash, which should be considered as a contributing element in stopping the active movement inside and outside. If we do not benefit from it clearly with the waterfalls outside, we must try with it inside. Studio studies of liquids emptied from one glass into another often benefit from the intense clarity afforded by flashlight.
As for indoor sporting events, a powerful flash unit can be used, and with cooperation between the photographer and the subject, exciting pictures can be taken with multiple and regular flash flashes.

الاهداف المتحركة .. لقطات فنية باسالیب ومعادلات سهلة ، مجلة فن التصوير اللبنانية _ع٢٢

الاهداف المتحركة .. لقطات فنية باسالیب ومعادلات سهلة ، مجلة فن التصوير اللبنانية _ع٢٢

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