Posted on Apr 12, 2010 | Comments 0
In the modern photographical art, the optical lack of clarity and photographing the subject in movement has a larger frequency in the photography composition.
The images done with longer periods of exposure not only dissolve the shape of objects in movement but also introduce in the composition a specific element of photography.
This element is the “time of movement”. Unavoidably, when losing the shape of the subject through witch we actually see the object, the object tends to dissolve into the composition mass.
The result is an expression tool very specific for the photography, which was taken and experimented with by the photography revolution.
Later on in the postmodern deconstruction , Michael Wesely – an artist living in Berlin, born in 1963 in Munich- who can serve as an example for this topic, has taken the lack of clarity theme in photography – through different technical means – and has generated in a contemporaneous context a remarkable artistic tool.
The photography with long time of exposure or optical lack of clarity is not a new concept. The technical and artistic concept has the same age as the photography itself (generated by the low sensibility of the laboratory materials). Presently the time of exposure meets extreme variations from 1/8000 seconds to hours and even months.
The secret to a perfect photography with a long exposure is a solid tripod and a camera which will allow a long exposure. At the digital cameras, the long exposure, over 30 seconds, are created in “B”-“bulb” mode.
In the photography with different levels of movement clarity there are some things that need to be considered.
It can be done from a train in movement with the camera set on a tripod sticking out of the train wagon’s window or simply holding the camera in your hand. The same procedure works if done from a car in movement.
Special effects come to life early in the morning or in the evening at twilight when the day meets the night.
From the technical point of view for the movement effect you must consider both the photographer’s speed and the quantity of light which impresses the photo sensible surface.
The graphical effects are special but this type of photography requires many frames and a lot of patience and shooting from a car in movement will ensure a line of light which will add a spectacular note to any urban scenery you choose to shoot.
The photography must exist in a plane or an area where such optical clarity can exist. As a point of reference in the photography composition the frame lines will align to that optical clarity point. This is part of the mechanism through which we understand and recognize the images.
The photography with complete lack of clarity refers to the visual resemblance that such an art might have to water color paintings or with graphical design including the shape metaphor. It refers as much as possible to the analogy with the plastic spot but using the specific photography language ultimately referring to the quantity and quality of light.
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