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Wildlife photographer of the year peoples choice

rodcy
Posted 07/02/2017 - 19:13 Link
Now I'm glad I've posted. Knew about rear curtail sync but never thought about its use. Thanks to all who explained it all.

Now off to show my ignorance on another thread (it's a great way to learn)
Great photography is always on the edge of failure. - Garry Winogrand
Must stop myself falling over that edge all the time!

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Edited by rodcy: 07/02/2017 - 19:14
McGregNi
Posted 07/02/2017 - 20:27 Link
The question is really over whether the standard flash technique we're talking about, rear curtain sync with a fairly long exposure, could possibly have produced this image alone. In flash-speak the technique is known as 'dragging the shutter', with the long ambient exposure recording the blurred movement and the flash burst right at the end freezing the subject outline. The 2nd curtain sync mode ensures that this outline is positioned in front of the blurred elements, which therefore 'trail' the subject.

But of course the whole bird was moving, not just the tail, so I do not understand why the blurring is only seen on the tail, unless it is a blend of different frames.
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Edited by McGregNi: 07/02/2017 - 20:28
McBrian
Posted 07/02/2017 - 21:48 Link
It's a cracking image and second curtain sync would certainly produce a streak but I too have some queries.

If the scene was lit by a continuous light source and the freeze motion was captured by a dragging flash, would the flash not need to be brighter than the continuous light source? if so where are the shadows? especially on the stationary reeds.
Cheers
Brian.
LBA is good for you, a Lens a day helps you work, rest and play.
richandfleur
Posted 07/02/2017 - 23:09 Link
Post Processed for movement I suspect, given there are no streaks on the reflection bird.

Technically very well executed. More moved by the dedication and time required to capture this. That's impressive!
davidtrout
Posted 08/02/2017 - 00:23 Link
McGregNi wrote:
The question is really over whether the standard flash technique we're talking about, rear curtain sync with a fairly long exposure, could possibly have produced this image alone. In flash-speak the technique is known as 'dragging the shutter', with the long ambient exposure recording the blurred movement and the flash burst right at the end freezing the subject outline. The 2nd curtain sync mode ensures that this outline is positioned in front of the blurred elements, which therefore 'trail' the subject.

But of course the whole bird was moving, not just the tail, so I do not understand why the blurring is only seen on the tail, unless it is a blend of different frames.

I wondered if this is the answer to the mystery - a blend of two or more images. In other words using layers. If so it contravenes the accepted rules for natural history photography
David
McGregNi
Posted 08/02/2017 - 07:06 Link
Yes, and McBrian made a good point above about the flash exposure needing to be much higher than the continuous lighting in order to 'wipe out' the blurred effects on the bird ....and yet the exposure is quite even over the bird ....

The difficulty is to understand how it was possible to isolate the effects of the two different light sources, ie how can the continuous (ambient) light only affect the tail and the flash lighting only affect the body and head ? It is hard to understand in this (presumably) natural setting how such a separation could be created.

They could be switched on and off independently of course, and used selectively for different frames ....assuming that the bird is diving repeatedly at the exact same spot then multiple images could he shot with just the ambient light on and then again with just the flash lights on ..... But , this is just speculation based on a way that I can understand it . The photographer seems to imply it is a single frame. I suppose he is content to keep hold of the mystery.
My Guides to the Pentax Digital Camera Flash Lighting System : Download here from the PentaxForums Homepage Article .... link
Pentax K7 with BG-4 Grip / Samyang 14mm f2.8 ED AS IF UMC / DA18-55mm f3.5-5.6 AL WR / SMC A28mm f2.8 / D FA 28-105mm / SMC F35-70 f3.5-4.5 / SMC A50mm f1.7 / Tamron AF70-300mm f4-5.6 Di LD macro / SMC M75-150mm f4.0 / Tamron Adaptall (CT-135) 135mm f2.8 / Asahi Takumar-A 2X tele-converter / Pentax AF-540FGZ (I & II) Flashes / Cactus RF60/X Flashes & V6/V6II Transceiver
Edited by McGregNi: 08/02/2017 - 07:10
RobL
Posted 08/02/2017 - 08:32 Link
I am still of the view that this is one exposure practiced over hundreds or thousands of times to get everything to work as it should, and finally getting the timing spot on. Getting the balance of flood and flash right is the key, and I guess takes care of the variables from natural light. With the flash being brighter than the flood that would overlay any blurring, also if the flood was to one side and the flash was on camera the highly reflective feathers would come out much brighter on the flash. If you have seen a kingfisher you would know what that means, it wouldn't work so well on a sparrow for example.
richandfleur
Posted 08/02/2017 - 09:37 Link
If you can capture the blurred tail, then you'd also capture the movement of the wings to get to location they are in.

The more I look at this, the more I see a nicely time exposure with some post processing applied to create the light streaking effect of the tail.

I don't know what the rules of the competition would say about that, but presumably it's passed the required scrutineering.

IF the ambient/continuous light was bright enough to capture the blurred motion before a flash, then you'd have blurred motion at any bright point on the bird. Looking at the wings they have bright spots, as bright as the main body causing the streaks, and those areas don't have any tails. Nor does the reflection.

There is no real depth of field going on, so at least the focus isn't so much of a critical issue.

To recreate this I'd drop a dead/model bird in some water, with a burst or light trigger. Then add the light streaks in in post, only applying this effect to the bird above water...
McGregNi
Posted 08/02/2017 - 09:49 Link
Richard, check in on the Shanny 'new adopter' thread .... Your help is needed there.
My Guides to the Pentax Digital Camera Flash Lighting System : Download here from the PentaxForums Homepage Article .... link
Pentax K7 with BG-4 Grip / Samyang 14mm f2.8 ED AS IF UMC / DA18-55mm f3.5-5.6 AL WR / SMC A28mm f2.8 / D FA 28-105mm / SMC F35-70 f3.5-4.5 / SMC A50mm f1.7 / Tamron AF70-300mm f4-5.6 Di LD macro / SMC M75-150mm f4.0 / Tamron Adaptall (CT-135) 135mm f2.8 / Asahi Takumar-A 2X tele-converter / Pentax AF-540FGZ (I & II) Flashes / Cactus RF60/X Flashes & V6/V6II Transceiver
Edited by McGregNi: 08/02/2017 - 09:50
Blythman
Posted 08/02/2017 - 12:36 Link
Interesting comments on this photo. I think it's fantastic. And I think the photographer deserves an awful lot of praise for getting it. I do have a few doubts though.
I can see how something similar to this could be set up and taken with a single exposure. What I don't understand is how the blurring from the continuous lighting has only caught the body and not the wings. I've looked at dragged shutter shots in other scenarios and from those I believe the blurring should be attached (for want of a better word) to all the points to the rear of the bird. So the "whoosh" should also include blurred wings. Given the attention to detail I am also not convinced that there is not some kind of live baiting going on here. The photographer says not. He may not be using a fish tank or a tub like some of these hides do for their diving shots, but if not in a phyical enclosed container I think he's had some way to encourage fish to congregate to the point of focus. He has no doubt spent an awful long time to get this shot, and his dedication should be applauded.
What might happen now of course is that Joe Bloggs can go along. It's all set up for him. All he needs to do is hand over his £250 (or whatever). Then pre focus. Wait for the bird. And press the remote shutter button. And Joe gets his best ever kingfisher shot. And he doesn't see the point in sitting in a hide or on the river bank for hour after hour, ever again. Because he knows he can't get a better shot than the one he's paid for.
Alan


PPG
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Northgrain
Posted 08/02/2017 - 22:58 Link
Fascinating photograph, fascinating thread.

And very interesting to hear both Nigel and Alan's perspectives.

I really, really admire this image and the effort, it's technically superb, but it doesn't have soul. Others have pointed out the odd features in more articulate terms, but the best way I can express it is that it looks contrived.

I saw another kingfisher image today, completely different, nothing like the technical wizardry, not in any way an award winner but much more to my liking as it put the chappie into a completely natural context link. And like Nigel said, I can relate to this more as a photographer... if I ever get really really lucky maybe one day I'll get something a bit like it

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