![]() ![]() Preventing the whole image from blurring is especially important when you come to use long focal length telephoto lenses. If you decide to handhold the camera, make sure you use a fast shutter to prevent the whole image from blurring through camera shake. This can, in principle, be done with the camera on a tripod, but handholding gives you much greater flexibility and freedom to move quickly, which is an essential feature of this method. The background will become blurred, partially due to being out of focus, but mainly due to the lens's panning movement. You always keep the subject firmly in the frame and the camera's focus locked onto it. It involves panning the camera as the subject moves past in front of you, from left to right or vice versa. This technique is commonly used in sport and, to a lesser extent, wildlife photography, generally when photographing fast-moving action with a telephoto lens. Unsurprisingly, this type is, therefore, best suited to dull, overcast conditions, in deep shade (such as in a woodland), at dusk, dawn, and at night. Generally, however, without the use of ND filters, blurred motion photography in which you're blurring the moving subject works best in relatively low light conditions. The use of neutral density (or ND filters) is covered below. You also need to mimic low-light conditions – this is particularly useful for landscape photography. So, blurring movement in bright sunlight of anything other than a fast-moving subject often requires adding a neutral density filter to the front of the lens and a filter that cuts down the amount of light getting into the lens. Once you've reached those limits, any attempt to make the exposure time longer will just allow too much light in and result in over-exposure. Of course, there’s a limit to how narrow the lens aperture can be and how low the ISO can go. Similarly, the lower the ISO, the lower the sensor's sensitivity and the more light it needs to be correctly exposed. The narrower you have the aperture (i.e., the higher the f-number), the less light that is allowed through to the sensor, and hence the longer the shutter needs to be open in order to compensate. Of course, this blur can only be achieved within the limits of how far the lens aperture can be stopped down and how low the camera's ISO (the sensor's sensitivity) can be set. Here are some common scenarios in which you might need this: Generally, however, tripod-mounting the camera with a shutter speed of 1/10 second or slower (up to many seconds) is needed. If your subject’s moving really fast, then it may be possible to handhold the camera, with a shutter speed of 1/30 or 1/60 second slow enough to blur the movement. For a subject moving at a slow or moderate speed, just put the camera on a tripod and use a long exposure, thus ensuring that anything moving in the frame will be blurred. Instead, you’re instilling a sense of movement, energy and dynamism, a fundamental part of conveying mood and excitement in photographs that capture moving action, from a waterfall to a Formula One race. ![]() The aim of allowing blur into your moving-subject photos is to prevent them from becoming static. This is frequently used in the photography of flying birds, fast-running mammals, a running athlete, or a fast car or train. Specifically, that of blurring the background, not through it being out of focus, but through panning the camera to keep up with a fast-moving subject. These ideas largely reflect the blurring of the moving subject, but there’s another blurring technique you can use. ![]() So, the beating wings of a bird, the movements of a working person, and the colourful lines of traffic tail-lights are all great examples of commonly blurred moving subjects. However, blurred motion photography is used not just for landscapes but also for sport, wildlife, people, and street life (particularly traffic after dark), whereby all kinds of activities can be blurred to give the sense of movement. ![]() For instance, the sea, with waves rolling into shore, or a fast-flowing river running over and around rocks. The technique is particularly associated with landscape photography, especially in blurring the movement of water. This blog gives you the full lowdown on motion blur in photography and explains how you can achieve it. Occasionally, you could perhaps even enable both to blur. There is a relatively simple solution to this issue – allow some of the 'right' kind of movement into the image, allowing either the moving subject or (if possible) its background to blur. All the excitement and energy created by that movement is lost, and the resulting image looks static and rather disappointing. As a result, your image may appear flat and lifeless. When photographing a moving subject with a fast shutter speed, all that motion will likely be frozen in the final image. ![]()
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