Wildlife photographer of the year peoples choice
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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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.
Brian.
LBA is good for you, a Lens a day helps you work, rest and play.
Technically very well executed. More moved by the dedication and time required to capture this. That's impressive!
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
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.
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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...
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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.
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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41 posts
14 years
Now off to show my ignorance on another thread (it's a great way to learn)
Must stop myself falling over that edge all the time!
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