Photography MOTION, MOVEMENT, AND EMOTION By Bryan Farley A s I was preparing my first article for this first digital version of the Adviser Update, I wondered why marketers continue promising that each technological transition will make photography easy. It seems that each new technological advancement only makes it easier to take bad photos. Is this why some of us miss black and white photos and the smell of our old magazines when the rest of the world has moved on? Do we miss the medium or do we really miss we miss the old messengers, like Henri Cartier-Bresson? Hoping to reconcile the latest transition, I asked Advanced Photography student Annika Braucher from Albany High School to help me. I also returned to Cartier-Bresson’s principle. “To take a photograph is to align the head, the eye and the heart. It’s a way of life.” In other words, to take a photograph, a photographer must understand Motion, Movement and Emotion. MOT I O N Annika photographed the hammerhead shark at The Monterey Aquarium with a shutter speed of 1/8. I loved this photo the moment I saw it. Annika was unfamiliar with her environment. Since she was using a slower shutter speed, she had less control, so she experimented. You can also view Adobe’s Julieanne Kost’s motion blur examples. Kost, Principal Evangelist for Adobe, creates Lightroom and Photoshop tutorials too. Kost experiments with motion on her Instagram feed too. If you have Instagram, I recommend Kost’s “passenger seat” posts for more experimental motion examples.