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Alan Brown's picture

Capturing the flow

I challenged myself on an ocean visit to try and use a longer exposure to capture the flow and beauty of the incoming waves.

As the action happens so quickly the intrinsic beauty of the moving water is not only missed by the naked eye but proceed to be difficult to capture in a meaningful way.

All images are shot in the 1/5s - 1/10s range

I would love to hear your personal feedback on these, love/hate/indifferent, any favorite (and why?), suggestions for improvement etc.

As always all opinions are respected, none are wrong.

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11 Comments

Chris Jablonski's picture

Good work as usual from you, Alan. I am struck by the third for its strong sense of movement.

You may like the work of David Baker, notably his monograph "Sea Fever", and Rachael Talibart, especially her second book, "Tides And Tempests", which even features - shock, horrror - ICM! Both portfolios feature good long exposure work. Rachael's first book, "Sirens", mostly short-exposure images of massive storm waves, almost monochrome, is also very powerful.

I've bought all three, and love them. Both photographers are Poms (Limeys?), FWIW.

Alan Brown's picture

Thanks Chris, you are certainly a wealth of knowledge and a great resource to the group. I'll have to check out your suggestions (hopefully online..).

BTW - can I still be called a Pom if I emigrated from the UK to the US? :-)

Chris Jablonski's picture

I think you can, Alan, and that's a compliment. I hope to be able to share it, having emigrated from the UK to Australia. We deem to share a preference for understatement that I think is very British-Isles, compared with the boldness and vividness that tend to dominate in the USA. The discreetly chrome-accented muted green Jag or Bentley, compared with the red, white and dollar-grin chrome Corvette or Caddie.

Alan Brown's picture

How true Chris - Jag over Corvette any day!

What are your origins in the UK (I'm a Geordie....)

Chris Jablonski's picture

Brummie, Alan. Actually from Solihull more specifically. I know that if you turned right coming out of our house, that was the way to Coventry. I only recollect walking that way to take delight in stamping in puddles. I was three years old when we left, but still remember a lot. I do think it left me an Anglophile!

Alan Brown's picture

Ha, my sister actually lived in Bedworth (recently moved to Hinckley), her husband worked in the Jag factory in Cov for years.

Matthew Lacy's picture

I'm a particular fan of #4 and #5. I've never played with the water in ICM, but after seeing your work here and the work of Bill Ward in the latest edition of ICM Magazine, I may have to try it out myself.

Alan Brown's picture

Thanks Matthew, I had forgotten about Bill’s work and will have to revisit the magazine.
Did you know Bill is a very famous actor in the UK?

Matthew Lacy's picture

I had no idea of that. What an interesting tidbit of information.

Marcus Crisp's picture

I like the B&W image the best. To me, the color distracts the viewer from the movement of the wave. The B&W image really focuses attention on the movement which I think is really attractive...

Alan Brown's picture

Thanks Marcus. I think that is one of the major benefits of B&W in general