![]() Sure, you might be able to get the odd great shot, but chances are, you won’t capture a sequence of compelling and sharp action shots unless you’re shooting with a camera that can capture a high frame-rate. It’s important to note, while most cameras will allow you to capture fast-moving subjects, some cameras are better suited for the job. A wide-angle lens will come in handy to expand the space between each movement in the sequence (more on that later). Here’s what you’ll need: A camera, a tripod, and photo editing software, such as Adobe Photoshop. Sequence photos allow the viewer to see the progression of something in motion as it’s happening. The technique lends itself perfectly to dynamic action shots-think of an airborne snowboarder launching off a super pipe, a horse ascending over a fence on a showjumping course, or a tennis player bouncing a tennis ball before power-serving their way to victory.Īnd, there are countless ways to incorporate sequence photography into your portfolio-it’s just a question of knowing how. But, unlike video, the movements are frozen, frame by frame. The viewer is able to study the rapid progression of movement as it happens. Photographers have long wrestled with infusing an element of movement into static images, harnessing techniques such as motion blur, panning blur, and so on, but sequence photography offers a whole new perspective. A merged photo sequence offers a radically different perspective than what can be captured in a single image. Each photo is then stitched together to display the subject in various positions throughout the frame. The technique involves shooting a series of rapid-fire photos that capture a subject in successive motions. Sequence photography allows photographers to convey movement in a way that simply isn’t possible in a single shot. Robbert Flick, SV017/80, LAX, from Imperial Looking North from Sequential Views, 1980, gelatin silver print, Smithsonian American Art Museum, Transfer from the National Endowment for the Arts through the Photography Museum of Los Angeles, 1990.38.44, © 1980, Robbert Flick.With the right gear and know-how, sequence photography can be a fun and exciting tool to incorporate in your next project. 105 At Vasquez Rock #6, 1983-1985, gelatin silver photograph, 9 x 17 1/2 in., Mary Arrington Small Estate Acquisition Fund, 86.5.10, © Robbert Flick. ![]() Ģ Museum of Contemporary Photography, “Robbert Flick,”. – Elisabeth Smith, SAM Collections and Provenance Associateġ Lisa Hostetler, “Episode 3: Landscapes in Passing,” Smithsonian American Art Museum. ![]() The slight shifts between each frame-evident in the placement of a rock formation or cropped shadow-make clear just how many different ways there are to see and represent the world around us. 105 at Vasquez Rock #6, Flick’s gridded views appear to overlap and repeat at times, creating an episodic and almost cinematic rhythm. ![]() Vasquez Rocks is today a Natural Area and Nature Center located in the Sierra Pelona Mountains north of Los Angeles in Antelope Valley, known for its iconic rock formations’ sedimentary layering. 1īeginning with the urban cityscape, such as the 1980 work above-a view of LAX looking north from Imperial Highway-Flick eventually expanded the series to include parts of the Midwest and parks such as Red Rocks, Joshua Tree, and Vasquez Rocks (the latter two of which are examples in SAM’s collection). After developing the negatives, he would organize the images manually in a grid-an analog technique whose compositions further convey a more experiential understanding of time, space, and place. Part performance, Flick’s prescriptive approach to photography resulted in multiple images and a more complete understanding of the landscape around him. Unsatisfied with the information conveyed by a single image-common in American landscape photography-Flick would take multiple images of a chosen site at predetermined intervals. Like his fellow Los Angeles-based artists Ed Ruscha and Catherine Opie, Robbert Flick (born 1939, Amersfoort, Netherlands) is deeply inspired by the sprawling city and its changing landscape, both urban and natural.įrom the late 1970s through 1990, Flick worked diligently on a series titled Sequential Views. Constantly growing and in flux, the built and natural environments in which we live have proven to be enduring sources of artistic inspiration.
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