Exercise 2.02 – Capturing the moment

Finding opportunities as seen on Nick Turpin’s documentary isn’t so easy round here – as we saw in the previous exercise, life is very slow here for the most part. So I’m working on this exercise in several parts.
The first part is taken on the beach and harbour:

Nikon D200, Sigma 170 – 500 mm 1: 5 – 6.3 lens
ISO 100, 270 mm (405 mm equivalent 35 mm), f/ 7.1, 1/350 sec.
I used the D200 with the long lens on a tripod (This lens stays on the D200 for my own convenience – it saves changing bulky lenses in the field), to get close-up images from the esplanade. I used high speed continuous shooting mode to capture the best image from a selection of 8 shots while he swung the bat. I felt this one was ‘the moment’ as it shows the ball just after it’s been struck while the batsman follows it’s travel with some trepidation - and the high ball was an easy catch for his grandson! – Sorry Grandad.

Nikon D200, Sigma 170 – 500 mm 1: 5 – 6.3 lens
ISO 100, 500 mm (750 mm equivalent 35 mm), f/ 7.1, 1/500 sec.
This image should be viewed with the following one – they were taken with high speed continuous shooting mode and shows the capture of ‘the moment’ when the larger child leaves the ground. I think it’s funny to see that the younger one is pulling up her trouser leg to try and keep it dry!

Nikon D200, Sigma 170 – 500 mm 1: 5 – 6.3 lens
ISO 100, 500 mm (750 mm equivalent 35 mm), f/ 7.1, 1/400 sec.
A fraction of a second after the previous image catches him airborne and her catching the wave. This so catches the moment. The girl is laughing, the water is splashing and although we can’t see the boy’s face you can feel the joy – this is what the beach is all about for me.
The rest of this set uses the Nikon D300s in Aperture priority and continuous high speed shooting, with the Nikkor 18 – 200 mm VR lens (set in ‘active VR’ mode).

ISO 200, 200 mm (300 mm equivalent 35 mm), f/7.1, 1/640 sec.
I took this image in an attempt to show the action with both feet clear of the ground as he ran. His shadow and the reflection of his front foot add to the illusion of this moment of flight. The moment captured here is the instant when he has no contact with the ground.

ISO 200, 55 mm (82 mm equivalent 35 mm), f/8, 1/250 sec.
Back in the harbour and here’s the moment when the brave man of the family transfers a huge (not very) dog crab into the bucket. The children seem to emotions ranging from mild interest to horror of touching the beast – whatever the emotion it’s only brave father who could handle it!

ISO 200, 170 mm (255 mm equivalent 35 mm), f/8, 1/250 sec.
At the railway station we see the moment of arrival as this lady steps onto the platform. Looking further into the image, her partner is watching her carefully; so is the station porter; another passenger is opening his door while one passenger looks on from the carriage. What seems at first to be a simple record of her arrival has more going on than is initially seen – so the picture tells a story.

ISO 200, 42 mm (63 mm equivalent 35 mm), f/8, 1/60 sec.
There are two moments captured here:
· The one when the child leaves the platform for a surprise visit to the footplate.
· The care and help given by Grandad to help him up the steps.
Also notice big sister looking on in the background – is that a look of jealousy? Even the engine’s number has a place in this record – this could be researched for more details about this special event.
So there’s lots going on in this image too – A story and a possible promise of things to come.

ISO 200, 18 mm (27 mm equivalent 35 mm), f/3.5, 1/80 sec.
The next step in the story sees the fireman stoking the boiler in the cabin. Obviously the moment is that of the coal leaving the shovel in the furnace. The limited space in the cabin dictated the use of a wide angle on the lens – it’s caused some distortion of the fireman’s physique, but not enough to detract from the moment.

ISO 200, 80 mm (120 mm equivalent 35 mm), f/8, 1/160 sec.
The driver signals to the guard that he’s ready to leave. We can’t see anyone’s face in this image, but the story is still being told. It catches the moment of the signal that the train will soon be moving. There are small details to be seen too: The passenger watching the guard and the fireman cleaning his specs.

ISO 200, 200 mm (300 mm equivalent 35 mm), f/7.1, 1/320 sec.
Again, there’s no face to be seen, but the moment of the farewell wave is caught. The child waves from the door window of the Pullman coach, with its identifying number for further research, distinctive wood and livery. The moment is caught with lots to find in the story.

ISO 200, 135 mm (202 mm equivalent 35 mm), f/5.6, 1/1000 sec.
Back on the Staith, the pyrotechnic pensioner entertains as part of the folk festival programme. Catching the moment when the cloud of kerosene ignites has also caught the expression of concentration on his face. The heat distortion and droplets of fluid help to tell the story of this image.

ISO 200, 105 mm (157 mm equivalent 35 mm), f/11, 1/50 sec.
The directness of the gaze on this Morris dancer’s face is caught in a moment of discourse before a dance commences. The blacking of his face is washing off with his sweat, due to his exertion during the dances on a very hot afternoon. The highlights in his eyes stand out from the blackened face. His headdress is so much a part of his persona. He’s surrounded by other folk dancers, giving the image of this very personal moment a sense of place. I think this is the best image of the set.

ISO 200, 150 mm (225 mm equivalent 35 mm), f/5.6, 1/400 sec.
The blacking of the face of this molly dancer makes her smile seem so large on her face. The image shows a moment of total enjoyment as she is embraced in the dance. This is the kind of moment which I really like – not so much the freezing of a part of the action, but more one of catching a feeling of what the festival is all about.

ISO 200, 50 mm (75 mm equivalent 35 mm), f/4.8, 1/2500 sec.
A part of the dance by Martha Rhodens Tuppenny Dish is caught when this team of morris dancers is all airborne. The lightness of step and enjoyment on their faces is also shown here. Couple this with the inclusion of the players behind and there’s a sense of time and place for this moment of entertainment.
I’ve really enjoyed this exercise. I think the catching of the moment is so important to this kind of photography and my invisibility has helped me get right into the action to capture the images.