Photography
MOTION, MOVEMENT, AND EMOTION
By Bryan Farley
A
s I was preparing my first article for this
first digital version of the Adviser Update,
I wondered why marketers continue
promising that each technological
transition will make photography easy. It seems
that each new technological advancement only
makes it easier to take bad photos. Is this why
some of us miss black and white photos and the
smell of our old magazines when the rest of the
world has moved on? Do we miss the medium
or do we really miss we miss the old messengers,
like Henri Cartier-Bresson?
Hoping to reconcile the latest transition, I asked
Advanced Photography student Annika Braucher
from Albany High School to help me. I also
returned to Cartier-Bresson’s principle. “To take a
photograph is to align the head, the eye and the
heart. It’s a way of life.”
In other words, to take a photograph, a
photographer must understand Motion,
Movement and Emotion.
MOT I O N
Annika photographed the hammerhead shark at
The Monterey Aquarium with a shutter speed of
1/8. I loved this photo the moment I saw it.
Annika was unfamiliar with her environment.
Since she was using a slower shutter speed, she
had less control, so she experimented. You can
also view Adobe’s Julieanne Kost’s motion
blur examples. Kost, Principal Evangelist for
Adobe, creates Lightroom and Photoshop
tutorials too. Kost experiments with motion on
her Instagram feed too. If you have Instagram,
I recommend Kost’s “passenger seat” posts for
more experimental motion examples.