EYV 3 Exercise 3.2

The brief

Using slow shutter speeds, the multiple exposure function, or another technique inspired by the examples above, try to record the trace of movement within the frame. Add a selection of shots together with relevant shooting data and a description of your process to your learning log.

My shots

f/22.0 1/13 ISO 100 focal length 50 mm

f/22.0 6.0 ISO 200 focal length 50 mm

f/22.0 20.0 ISO 100 focal length 50 mm

f/22.0 20.0 ISO 100 focal length 50 mm


The shot of a red car and green motorbike approaching each other from opposite directions was a handheld shot, and the only one of several attempts in which the background was sharp. I should have used a tripod but didn’t have one with me that day, as I had gone out mainly to shoot frozen moments and it only occurred to me on the spur of the moment to try out some longer shutter times for the subsequent exercise.

The shot of two-way traffic on an overpass was again taken without a tripod when I was walking home at dusk yesterday and realised this was a good spot to get a longer shot of moving traffic and a good time of day to do it too. The top of the parapet was higher on the far side than the near side, so I couldn’t rest my camera flat on it as the parapet itself filled most of the viewfinder if I did, so I put my handbag onto the parapet, pressed the camera down firmly on top of that and held my breath. Of a dozen or so six-second shots, this is the only one where the background was in reasonable focus, and it was also the best one in terms of the light traces so I decided to include it even though it’s not in perfect focus. The four parallel red lines were made by the upper and lower tail lights of a bus.

When I got home I decided to try some longer shots, so set my camera to bulb with a shutter speed of 20 seconds. After pressing the button I sat down and flapped my arms up and down through an angle of approximately 60 degrees for the duration of the shot. When I looked at the image I was surprised to find that my arms had disappeared. I tried flapping my arms at various speeds and through various arc sizes, but the result was pretty much the same with them all except the smallest arc, around 15 degrees, which left me with tapered stumps.

I remembered a light painting technique I was taught by my tutor on a photography course I took locally last year and decided to try that, with the same 20-second exposure as the arm flapping images. My remote control didn’t seem to be working so a little extra light crept into the image as I used the torch I was painting with to get myself into position after pressing the shutter, and it took a few attempts before I worked out the area I could “paint” in.


I had so much to say about this exercise that I wrote a separate post about it on my learning log, which can be read here.