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Algonquin Park
Campfires aren’t just a good place for telling ghost stories, sometimes a little magic occurs there as well. What? Are my children disappearing before my eyes? As the old saying goes… the camera never lies. Or does it?
The slow sync flash is a good way to photo people at night or in dim environments. The flash illuminates the foreground subject for a fraction of a second, then the shutter stays open for as long as necessary to capture the darker more distant background. The subject must stay still until the flash has gone off, otherwise they create a blurred image of themselves. My D5000 has a Night Portrait mode for this technique.
My kids had some fun with this by moving their arms as fast as possible to ‘appear to disappear’! Parlour tricks with your camera.
This next photo was taken without any flash. It’s dark and lacking in detail.
The photo below was taken with the Night Portrait Mode on, or using the slow sync flash. My husband moved his hands so there is some blurred movement but his face is in focus and shows a lot more detail.
It was also a fun way to capture the sparks from the campfire. Maybe there really was a little magic in the air!
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I decided to desaturate the colours on a few of the shots of my kids doing typical campsite stuff…whittling sticks they had found and building fires. I reduced the colour saturation to –80 to give the photos an old fashioned timeless appearance. Of course the modern camping equipment and clothing are a give-away, but the almost monochromatic colours create a soft, quiet feel to the photos which I think fits in with each child’s focused concentration on the task at hand. It was going to be a late dinner as the sun was setting over the lake and the shadows were soft.
I cropped the photos quite close in on the kids to create a feeling of intimacy…yet no one is looking into the camera. There is a sense that the photographer is an outsider to all the action around the campfire.
The soft faded colours and lack of eye contact with the photographer create distance between the viewer and subject.
Desaturating the colours also allows the viewer to concentrate on the big shapes and large areas of light and dark, much like how an artist will squint to see the dominant forms and patterns of light and dark.
Sometimes colour is just a distraction.
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