Elemental Metamorphosis
Long exposure for me, is one of the most creative and aesthetically pleasing of the techniques that can be used to produce images photographically. Now depending on the subject and desired effect, I tend to like exposures of anything between one second and twelve minutes, but as I said and would wish to stress, the choice of timing really depends on what I’ve visualised for the end result.
Now I’m really not too keen on classifying myself as ‘just’ a long exposure landscape photographer, as it does seem a little narrow a classification. But when looking back at my work it becomes evident that movement and the ability to exploit it photographically, is of fundamental importance to why I love photography. But why?
First, I think it has something to do with the fact that I’m a trained animator and the use of movement is a key element in the production off animation, (well the illusion of movement is, as animation is only a series of still images that trick the brain into seeing movement). This suggestive, (as opposed genuine movement that animation and live action has), is rather powerful in photography as it enables the viewer to reflect deeper into what’s before and what is to be after the moment in time on display. For me this slower more reflective nature of photography (not unlike painting) has a special quality to initiate depth of engagement in our faster quick fire instant gratification culture. Please don’t misconceive me here, I still love animation, but photography offers me something uniquely different to add to my creative experiences.
I also love using long exposure in dynamic environments, as it eliminates detail and simplifies the moving elements. This is a powerful compositional tool, as it enables the photographer to condense the detailed information to key elements providing less resistance in the guiding of the viewer eye around the image. Furthermore if you junkstapose hard subjects with soft ones, you are able to highlight detail very effectively and create a stronger viewer engagement.
I’ve always been fascinated by the way long exposures distort the light falling on the film or sensor and merges the tones and colours together. This process Introduces element of uncertainty and creates something that cannot be seen with our own eye, which subsequently from a viewing perspective injects elements of the surreal. Ironically this surreal, but photographically ‘real’ image is a paradox when it comes to reality, as it seems to fall in to both opposing camps of the fine art and realists images makers. Personally I’ve never been an advocate of looking for the reality in something and I’m a big fan of producing images that distort my own perceptions, and offer an alternative views. I’m a strong believer that we each have subtly different realities anyway and trying to force our own views on others is futile. It has always irritated me when people have asked of an images ‘reality’ credentials, as I feel there has been an absence of thought to what ‘reality’ actually is. Anyway let me try to get back on topic. Part of why I love experimenting with different length exposures, and different degrees of this mixture of tone and colour, is that it challenges my own way of seeing the world, which develops subtle evolutionary changes to my perceptions. For me life gets too boring if we only see one way and I’m not sure if it’s just me, but I have a strong desire to keep changing the way I look so that I can see with more depth and texture.
This shot in particular is an experiment that I made to try and find alternative views on the amazing conditions I was presented with at Sandsend a few months ago. I used a one minute exposure to try and distort the moving elements and this is the result. I particularly like the way this image draws out my conceptual nature, namely that there are no solid elements present, (well apart from the horizon and considering that is water, even that’s debatable) and that everything is changing within the shot. For me this speaks of the ever changing fragile world we live in and ironically I find security in continual metamorphosis of the differing natural elements
Note: This is the other side of the rainbow.