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Assignment 4 – Languages of Light


Concluding notes on Assignment 4

Brief – Conclude your notes with a personal reflection on how you’ve developed the exercise in order to meet the descriptors of the Creativity criteria.

Creativity assessment criteria – Imagination, experimentation, invention.

Within the assessment statements this relates to development of analytical and creative thinking, using independent judgement and presenting a developing personal voice.


I tend to work from instinct when approaching new areas, rather than through inspiration. I find this allows me to apply my own imaginative ideas, rather than apply those of others. At the same time, in my head, I am being influenced in a passive way by artists that have struck a chord with me. In exploring studio photography for the first time I found myself initially wanting to create a similar candid look that my experience of street photography had drawn me to. This is why I directed the models to look away from the lens and to adopt naturalistic poses. Experience and research then taught me that this was not the best approach. I thought carefully about how to apply this to my final sitting. I wanted to create something with more drama, as well as developing a more intimate relationship between the model and the lens.


This was the biggest area for me to take on board for this project. I haven’t shot in a studio before, or used flash photography in a formal shoot. I did have to research technical requirements and took a while to set up the studio and equipment in my living space. Playing around with an onion in still life form initially helped me prepare in terms of settings etc. The first sitting with the three models taught me a lot about positioning of the model, avoiding shadows and finding the right focal point. In the second sitting with Zack we had a lot of fun playing with different props and outfits. It was also interesting to see the difference that the background colour/tone makes to the feel of the shot. I also found that being more direct with the model allowed me to experiment with different moods in the models facial expressions.


A difficult area to apply in terms of my approach. I did have to be quite inventive in terms of setting up a home studio and organising the space for the shoots. I also spent some time exploring props to use in the shots and looking at ways to add interesting dimensions to the images. These included using fairy wings, hats and a variety of musical instruments in the shots. I also played a little with having more than one model in the shots and they played off each other. These were fun to do but not as successful in terms of creating a satisfying image. This is an area for development as I would enjoy being more playful in setting up studio shots.

So am I developing a personal voice in my photography? I always shy away a little from becoming too involved in emulating other photographers as I want my creativity to come from within. If this project, and in fact this course, has taught me anything it is to be more open to considering the work of others. It was in studying others’ portraiture during this project that really helped me to develop my own style, whilst applying the skills of others. It also showed me how important it is to consider the connection between the lens and the subject matter, and this can be reliant on many things. It could be connected to the relationship between the model and photographer, it could be related to the photographer’s direction or perhaps the context and set up. But in all these areas there is always the element of chance that steps in.




Heads – Philip-Lorca diCorcia

A different approach to street photography

The focus for my work in assignment 2 was ‘Crowds’. Living in London this worked really well within the Street Photography genre. I have long been a fan of street photography in terms of aesthetics and conveying a captured moment. This project allowed me the opportunity to explore the genre in a more personal way, as well as opening my eyes to the variety of forms it can take and the practical and moral issues surrounding it. As the photographer I do feel a little uncomfortable taking candid shots of strangers in open places and I pick my subjects and context with care. I therefore read articles on the series ‘Heads’ by Philip-Lorca diCorca with great interest.

The series of 17 images were selected from 4000 shots taken over a period of 2 years. Each image was taken without the subject knowing and the final choices were then exhibited in Moma. The collection then became part of a court battle when one of the individual’s recognised his photo. The court eventually found in favour of the artist – citing advocates of free speech and the exceptions to privacy rules that art can be exempt from. The MOMA site details the case here.

Putting the controversy of the case aside, these images are notable in how individual they are as pieces of art. The ultra realism within each face, the dark background in broad daylight, and the complete openness of the individuals’ expressions. The hidden nature of the camera has allowed the photographer to create something individually candid that would be impossible to achieve if the subject were aware of the shooter.

Assignment 5 – Photography is Simple

 Assignment 5 notes


In your assignment notes explore why you chose this particular subject by answering the question ‘What is it about?’.

What is it about?

The answer to this question leads me again to the context and is also ever changing if I look at the journey I went through with this project. It took me a little while to select the subject matter for this final project. My other two possibilities were the Victorian Gardens close to my house, or selective images of my son. I settled on shooting Carlton Mansions in Brixton for several reasons. Partly because it is a building that I have been fascinated with purely on aesthetics alone, and I am a believer in ‘Shoot what you love.’ Also because I have been looking for an opportunity to find out more about the building’s history.  The other main reason was to attempt to improve my skills in photographing architecture.

So in terms of Barratt’s contexts it is clear that my original shot of the whole building, and the images picking out the decorative aspects of the facade, have a very strong link to the ‘internal context’ (Terry Barrett – Photography and Context 1985). These images are very much about the information within the frame. In these instances it is the aesthetic aspects of the structure itself that initially appealed to my photographers eye.

There is a contextual shift within the set in the inclusion of information surrounding the picture ie ‘the external context’ where additions have been made to the building through the years. Here we see the purpose, or function, of the image change. The influence of the residents is clearer in their adornments, they have left their ‘stamp’ on the structure. This does become multi layered through research. There are simplistic affectations in terms of stencilling and spray can work, but the ripples of political passion have echoed through the years with the hugely iconic mural ‘Nuclear Dawn’ (Brian Barnes and Dale McCrea – 1981).

This inclusion of original context, information surrounding the picture, is also illuminated with the plaques on the wall – one of which captions the building with ‘Housing the Homeless and many cats’ – this is one of my trial shots and not in the final ten. My chosen plaque relates to the anniversary of the Nuclear Dawn mural – a more politically significant adornment.

A little research into the recent history of the building also builds on this context. My first ‘google’ led me to a local newspaper article on the 2014 eviction of the ‘creative community’ that had set up home in the building (Brixton Blog – 2014). Brixton Blog on Carlton Mansions This gives an interesting insight into the community that helped to shape the more recent features of the building eg murals, colourful script, plaques etc. The article also demonstrates the political and social repercussions linked to new housing law reform of 2014.

I also enjoyed the insight given into the lives of those who lived in the building just prior to the eviction in another local newspaper article (Brixton Buzz – 2014). Living in Carlton Mansions

The final two images that I chose to include are a little more ambiguous. I like the presence of closed curtains, suggesting there is more to find out and how well that links to the slightly cryptic yet transparent ‘Brixton Bizness Centre’.

Another element that I enjoyed including within the frames was the foliage. This building is situated within a very urban environment, placed between the regenerated, hipster influenced Brixton Village and the highly residential social housing side of town. Seeing the weeds and overgrown flora creeping its way into the building in images introduces another level of contradiction in terms of energy and aesthetics.

In exploring my skills, and the purpose behind my choice of a ‘decaying’ building, I also found myself questioning what it is that draws photographers to such subject matters.

Looking at the work of Christian Richter there is an attraction to the contradiction between a grand piece of architectural design and the complexity of destruction that time effects upon it (dezeen – 2016). Christian Richter – Abandoned Empty Buildings

Architectural photography has many functions of course and for me it tends to be the image that represents a familiar scene in an unexpected way that is appealing. Perhaps this is why I am drawn to a genre that has been dubbed (The Guardian – 2016) ruin porn by the media. I do feel uncomfortable with photographs that depict the difficult situations and suffering that others go through. This can be images of poverty, post natural disaster, war torn environments etc. In capturing aspects of a decaying building it is the aesthetic qualities that both people, the elements and time have had in effecting change that appeals to me.

This particular building does now have another chapter in its life. The most current article talks about continuing the regeneration of the area and linking the art community history to future plans for the space to house local creative businesses (Future Brixton – 2016).  The future for Carlton Mansions


Final Set – Post Production Edits 

In presenting my final images I have reselected and edited in reference to tutorial feedback. Some images were over exposed and required post production work.

In analysing my own skill progress in working with architecture I did find it easier to work in my comfort zone of using the 85mm prime lens and picking out abstracted elements, rather than framing the whole building. There were problematic areas in shooting the whole building. It was in a narrow street with no access to a second storey as a vantage point for the photo. Hence the difficulty in fitting the building symmetrically and balanced within the shot. I tried to use this to my advantage in the hope that the building would ‘loom’ over the viewer, but geometry hasn’t quite worked.





I also explored the changing the contrast and framing of the main building picture. This was a difficult one to frame due to the height of the building and narrowness of the street.


Part Four – The Language of Light

Project 4 – Ex nihilo

‘In many ways studio photography is the exact opposite of working ‘in the world’. You don’t discover light in the studio, you build and shape it ‘ex nihilo’ – out of nothing.’

I was quite excited at the prospect of exploring ‘studio photography’ and developing skills in controlling the creativity through use of light. One thing I discovered immediately is what a steep learning curve this would be and how little I understood of this process.

The course material breaks down the areas to consider into four main points.

Quality – as pointed out this could be considered as quite a subjective area, however in terms of enhancing form and creating an aesthetically pleasing image, a suggestion of paying attention to the softness or hardness of the light to change the mood, crispness and detail helped in definition in relation to this brief.

Contrast – I find the notion of the fill light a little difficult to process. In this instance I used the dim window light coming through the blinds as my fill light. This was not ideal as it was static and its effectiveness was mostly influenced by changing the position of the key light in the room.

Direction – This is where I had most control for my Onion shots set up. I used a tripod lamp and changed both the angle, distance and height of the lamp for each shot. I am a fan of using shadows to enhance the composition of a shot and frame the form of an object. Unfortunately using the window as my fill light meant the shadows were quite dim.


Exercise 4.4

Use a combination of quality, contrast, direction and colour to light an object to reveal it’s form.

Shooting from above with equal angles from differing sides for the key and fill light creating an image with a small but dark shadow and flat background.


A more acute angle from the key light and shooting at eye level has enhanced the depth of field and created a multiple pale shadow pattern.


Key light and camera both at 0 degrees creates a pleasing ‘floating’ effect and leads the eye directly to the centre of the onion.


Equal angles again from the key and fill light – but this time a greater shooting distance. A double shadow enhances the depth of field and emphasises the spherical aspect of the onion.


Part Four – The Language of Light

Project 3 – The beauty of artificial light

Exercise 4.3

Capture ‘the beauty of artificial light’ in a short sequence of shots.

In researching shooting in artificial light I was particularly drawn to the Golden Light produced in the London Night Images created by Rut Blees Luxemburg. Something that I have found often pervades my night time city shots when focusing on the wider landscape. Particularly street shots.


Liebeslied: My Suicides – (Rut Blees Luxemburg 2006)

I enjoy city night photography. There is something in the variety of light sources, strengths and colours, mixed with the constant movement and black sky background that creates something very distinctive and bold. I also like to embrace the opportunity for manipulation that it brings. Within this shot the blur of the car on the left of the picture accentuates the movement within the frame. In opposition to this the car at the front on the right is scattered with bokeh light drops reflected on the side. The intensity of the light sources fading in the distance accentuates the depth of field. Getting the exposure just right to create enough sharpness on focal points, but including blur and bokeh takes consideration.

Brixton on a Saturday night

‘Neon lights, shimmering neon lights and at the fall of night this city’s made of light’ (Kraftwerk, ‘Neon Lights’ from the album The Machine Man, EMI 1978)

What a perfect quote to include in the OCA course book.

The neon lights of London, particularly in Piccadilly Circus or Leicester Square, dominate the landscape. The work of Sintaro Sato reminded me of these viewpoints as well as visiting Time Square. A real festival of illuminated colour.

Night Lights by Shintaro Sato (Seigensha 2014)

In my exploration of neon in the city I decided to attempt something a little more minimalist.

The famous Electric Avenue recently had a multicoloured Neon Sign installed, unveiled my Eddy Grant himself, who made the street famous with the song ‘Electric Avenue’. On the night I was shooting there happened to be a very bright and full moon. I gave myself the challenge of placing both in shot but ensuring they were both surrounded by black. It took a while to wait for the position of the moon and to get a shot when all the letters were illuminated (they fade in and out).

Moon and Electric Avenue

While waiting for the moon to place itself for me, I played around with blurring the neon sign. It has intensified the colours and created an interesting ballooning effect.

Electric Avenue blurred

Always a pleasing effect and easy to achieve, I couldn’t resist including one bokeh shot. Simply put, bokeh is the pleasing or aesthetic quality of out-of-focus blur in a photograph, but it does take a certain amount of skill in its composition and choice of sharpness and composition within the frame.

Brixton Bokeh

Illuminating trees in public spaces has become very fashionable. It is particularly prevalent at festivals but has recently been introduced in city spaces – all along the South Bank there is a particularly effective display. Trees do tend to blur into the background at night. A constantly changing and beautiful part of the landscape it seems an unnecessary use of artificial light, it does bizarrely add a certain unexpected beauty. This particular tree is the focal point of the main square in the area and a really popular gathering point. Mini weekend festivals often take place around it. The ultra artificial colours offering a juxtaposition in relation to a natural object creates a pleasing aesthetic.

Windrush Square Tree

Part four – The Language of Light

Project 2 – ‘Layered, complex and mysterious…’

Exercise 4.2

In manual mode take a sequence of shots of a subject at different times on a single day.

Early morning light

One of my favourite times of day to shoot. The length of the shadows and angle of the light brings a golden blue hue to the landscape. For ease I chose to shoot from my bedroom window. As the view is wide I used my wide angle lens, but focused on the reflection point in the window. The blue of the sky and the reflections are very clear. There is also a strong contrast between the areas lit by the sun and those in shadow, creating a very defined image.


Mid morning light

Nearly two hours later the shadows are less distinct on the buildings and the golden sheen on the flat roof has shifted. The window reflection and blue sky is still very clear. The colours on the buildings are less light blown and more vivid. The golden light from the sun is illuminating the mid points of the image now.


Mid afternoon light

The light has now washed the colour out of the foreground focus of the image. Shadows now allow the brick work in the buildings in the background to become more defined. The reflection in the window has disappeared and the black roof surrounding it is now almost white from being drenched in sunlight.


Early evening light

With the sun shifting the blue sky is now white, but the reflection has returned, revealing the blue tones,  The colours are more washed out overall and there is only a tiny edge of golden sunlight at the top of the background houses, this has created a satisfying chimney shadow on the side of the building.


Late evening light

The buildings are blocking out the final sunlight of the day, creating a flatter representation of the scene. All colours are muted by shadow, but more realistic in relation to each other.

Part Four – The Language of Light

Project 1 – Exposure

Exercise 4.1

Set your camera to auto and shoot three tones – dark, mid and light.

Add sketches of the histogram for each tone.

Dark tone photo


Histogram – dark ISO 320
Mid tone photo
histogram – mid tone – ISO 200
Light tone photo
Histogram – light tone – ISO 100

The exercise illustrates well the flaws in relying on the camera to judge the correct exposure for subjects due to gauging its light from the midtone in a frame. Something that I had already experienced in attempting to shoot details in moon shots, or the whiteness in snowy landscapes. Each of the highly diverse tones show very similar histogram patterns. The main difference being the change in ISO when set on auto.

Repeat the same process in manual mode using the meter scale to place the dark, mid and light tones correctly.

Dark tone photo in manual
Histogram sketch for dark tone in manual mode
Photo for mid tone in manual mode
Histogram for mid tone in manual mode
Photo for light tone in manual mode
Histogram for light tone in manual mode

By using the meter gauge zero point and moving to the left and right to compensate for the camera’s ‘mid tone’ adjustments, a truer representation of the actual tone is achieved.

Assignment 3 -The Decisive Moment

‘Just be receptive and it happens’ (Cartier-Bresson – 2001)  

In attempting to understand or define the essence of ‘The decisive moment’ I initially got lost in my own literal translation of the term. This greatly limited both my appreciation and understanding of the potential involved in exploring this concept.

It was watching the movie ‘L’amour tout Court’ that helped me to view this form of photography in a more investigative way. The quote from Henri above became my mantra as I hit the streets of Brixton.


Picture 1 – The Preacher

Brixton is one of the few places left in London where the term ‘Freedom of Speech’ is apparent, loud and clear every day. From Christianity, Islam, Socialism, Cultural freedom – the list goes on and on. I love the rhythm and noise and energy that all these passionate voices produce. I had already decided I wanted to try and capture part of this essence. My shots included and loud interaction between a man holding a large wooden cross and a passer-by questioning his faith, a quiet whisper between a speaker and an elderly woman as he held her hand and talked about Jesus, and the socialist worker news stand. My final choice was of this individual, raising his hand as he quoted passages from the Bible. I like the strength of his stance and his lack of self-consciousness as no one appears to hear his words or heed his presence.

Picture 2 – Running for the Bus

Sometimes Brixton appears very red. Particularly when the rain falls. The endless procession of buses on the main street reflects brightly in the puddles and wet pavements. It is a busy, colourful zone. I enjoyed the juxtaposition of the two moving elements in the shot – The boy heading in one direction – the bus in the other. There is also something in the lines of reflection of the bus colours that seem to help freeze the movement of the runner.

Picture 3 – David Bowie Mural

This has become quite a Mecca for Bowie fans from all over the world in the last twelve months. There is an ever-changing array of flowers and gifts at the foot of the image and the words of adoration scrawled on the wall around his image continues to grow. This shot was taken on Bowie’s birthday. The mural is on the side of a department store. The area is very busy and to locals is an area often walked through. The moment I attempted to capture was the excitement of the Bowie fans visiting their hero, in contrast with the locals wandering past on their daily route. I feel I have captured something in their faces, and I enjoy the irony of shooting people taking a selfie. I would have been happier with composition that showed more of the mural and street life around it.


Picture 4 – Electric Avenue

A month or two ago Eddy Grant visited Brixton to ‘unveil’ a new ‘Electric Avenue’ neon sign on the street that he made famous in song. Opposite this sign is another electric installation that I hadn’t actually noticed before my street wandering for this project. This is a wall with different phrases that appear not to link. Then at different times, groups of these sentences light up to create a tiny narrative. I watched the wall for a while. There was a man below the wall. He seemed to be preparing himself. Either to meet with a friend, or to head to work. He made a few calls and drank his coffee. I was really enjoying watching the stories unfold on the wall. I took a few shots. The text matches the picture well I think. But any story could be created here. I like its potential. I decided to use black and white to enhance the highlighted text. It also helps to define the geometry within the shot – the brick wall lines, the crates and rubbish trolley, the uniform lines of text.

Picture 5 – Sign of the Times

The public telephone boxes directly outside the Carphone Warehouse really do seem to be refusing to give in to progress. Even the graffiti seems half hearted compared to the rest of Brixton. But again the vibrant red shouts out to the street. I enjoy the symmetry of the shot and the dissection of the street by these archaic services. If only the two pedestrians had been on their phones at the time!

Picture 6 – Brixton Arches

The architecture in Brixton offers some diverse contexts in framing the human element. My final shot was just randomly taken because I like the way the light affects the structure of these arches. I took a few shots here, but this was the only one including people. I like the way the arches have framed the two adults and two children. The similarity between the two halves of the shots is also satisfying. There is a feeling of determination in the step of the two children and the two adults on the left of the image – this is only broken by the one adult turning to his child. This communication within the scene captures a single moment for me.

So in attempting to ‘be receptive and see what happens’ have I addressed and understood the philosophy behind The Decisive Moment?

I think it is worth examining the relevance of this philosophy with today’s photography. Zouhair Ghazzal suggests that despite the substance and endurance of the work of Cartier Bresson, the Decisive moment has become to some extent a cliché. Zouhair discusses the anecdotal element conveyed through Cartier Bresson’s wotk through the gestures and interplay of his subject matter.

‘An image does not narrate: it rather creates an unbridgeable abyss between itself-as-frame and the rest of the unframed world—comparable to Sartre’s “existential hole,” which is only conscious of the absurdity of its own existence, or, more commonly, to a one-night-stand, as something that is given, but with no connection to anything else—in time and space, which pushes a hapless and confused imagination for a narrative. In sum, in that endless time-space flux, the decisive moment operates an all too sudden cut that is the most meaningful of all.’ (2004 zouhair ghazzal)

For me there should be an element of anecdote communicated through the image. But the art in the image should leave many levels of interpretation to the viewer.

Project 3 – What Matters is to Look

Exercise 3.3

What do timeframes in a camera look like?

Without a film camera to explore this concept with I had to rely on my eyes to investigate this aspect of the project. Images online of a camera with the back open show a very small actual distance where the shutter is open to take in the expanse of the lenses view.


Using my eye as the viewfinder I experimented with changing the period of time that I kept my eyes open to take in a scene. The eye immediately absorbs the tiny focus object within the ‘frame’. It is the areas around this that take longer to digest. This is also affected by the position within the eye’s ‘frame’ ie in the foreground, background or to the side. The brain is also then making decisions as to which aspect of the ‘frame’ to absorb first etc.

Exploring a viewpoint

Using my eyes to explore a frame again – I chose the viewpoint from my bedroom window as it offers a high pov and a range of levels.

Going through the process of taking in each aspect of the window view, the closest object is the fencing and the bins at the bottom of the frame. Next my eye drifts to the rotting apples on the trees in the garden behind mine. This is followed by the sheds and walls of the houses backing on to mine. Finally the horizon takes in the rooftops and chimneys. Taking in the whole picture brings to light the different textures in the brickwork, fencing and trees. The similarity in tones is then apparent in contrast to the brightness of the sky. Another aspect that comes to light when inspecting the whole frame is the geometric qualities apparent.

I used the Canon 5D mkii with the 28mm fixed lens to capture the frame.



Part Three – Traces of Time

Project 2 – A Durational Space

Exercise 3.2

Using slow shutter speeds, the multiple exposure function, or another technique inspired the the suggested artists to research, try to record the trace of movement within the frame’

‘While some photographers try to resolve the problem of capturing movement within a still image by freezing it, others prefer to leave a trace of movement within the frame’

This is a process that I am fascinated by, but as yet have found difficult to execute with any pleasing aesthetic outcomes. Spending a lot of my photography time shooting gigs I have to shoot movement in low light and my objective is usually partly to achieve a sharp image. I would like to be able to use the effect of movement within the frame without taking away from the identity of the performer.

I began by looking at the work of Robert Frank. Frank was a photographer and film maker known for his ‘outsiders view’ of American life. This particular shot, taken in a Detroit assembly plant, uses the ‘blur’ within the frame particularly well to convey the sense of tireless, repetitive motions within a workplace.  The lowlight also works well in suggesting a repressive mood within the environment.

Robert Frank – Detroit assembly plant – 1955

The work that really appealed to me at the research stage was the ultra long exposure from Sugimoto and Wesely.

Hiroshi Sugimoto produced many long exposure seascapes that create an almost eerie, abstract result. Often using timings of two to three hours, the effect is a response to Sugimoto’s influence of the Sunrise and Sunset at Praiano by Sol LeWittHis most compelling work for me is his ‘Theatres’ series. Here he sets up his camera in an empty movie theatre, opens the shutter as the movie begins and keeps it open for the duration of the film. Again the use of the long exposure creates a dark, eerie atmosphere.

Hiroshi Sugimoto – ‘Theatres’

Of all the artists I looked at for this project I think it is the work of Michael Wesely that I was most drawn to. Using exposures as long as two to three years at times his experimentation created something very individual and surreal. Concentrating on architecture, his images show the ever changing nature of urban environment, with ‘ghosts’ of various buildings portrayed within each frame.

Michael Wesely – MOMA

I wanted to attempt to create the eerie atmosphere with some long duration night shots on my local common – focusing on the trees. My inspiration here was the work of Pierre Pellegrini. His long exposure tree landscapes have an ethereal vibe within an acutely minimalist frame.

Pierre Pellegrini

My Long Exposure Experiments

My first attempts did not create the desired effect. I was hoping to have a sharp image of the trees and blurs in the background from the traffic. Without access to a remote timer I was unable to keep the camera still enough for the shutter duration I required. The movement within the frame is caused partly by the camera movement in the foreground and the light trails from the cars in the background. I like the slight bokeh effect caused by the out of focus lights.

Canon 5D mkii = 85mm. F-stop 20 – iso 100 – shutter speed 207 seconds on Bulb

I went on to use a tried and tested approach with long exposure to create light trails from the traffic going at speed. This always takes a little trial and error, but I was pleased with the clarity of the static objects in contrast to the ‘invisible cars’ leaving there lights as they disappeared. I used the bulb setting with low iso and tried to incorporate as many different coloured lights within the frame.

Canon 5D mkii 85mm lens. Using the Bulb setting. F stop 10.00 – iso 100 – shutter speed 4 seconds.

Continuing with the light trails theme, my attempt to create an elongated bus within the frame worked well through the trial and error process again. A little disappointed that the silhouetted woman isn’t sharper, again I think this is down to camera shake and the setting being on manual focus as the trees are also slightly blurred.

Canon 5D mkii 85mm lens. Using the Bulb setting. F stop 14.00 – iso 100 – shutter speed 15 seconds.







I wanted my next experiment to be a little more abstract. Working in daylight the tricky part was to ensure there wasn’t too much light coming in to eradicate the figures in the image. I wanted to merge the moving crowds so that they would appear as one object, but still show the movement within the frame. This works better in black and white as there is less distinction between individuals. Although I do like the contrasting colours in the second shot. Again I would have liked a sharper background to contrast with the movement within the frame. This was taken without a tripod so camera shake was an issue.

Canon 5D mkii 85mm lens. Using the Bulb setting. F stop 22.00 – iso 100 – shutter speed 0.5 seconds.


Canon 5D mkii 85mm lens. Using the Bulb setting. F stop 22.00 – iso 100 – shutter speed 0.5 seconds.