Traditionally news agency photography aims to capture an event in a single definitive image. At one end of the spectrum it can be a simple snapshot, at the other end it is a distilled blend of intelligence, dedication, experience, humanity, talent and the ability to apply a broad spectrum of visual references including cinema and TV.
We spend a great deal of time trying to capture the decisive moment by freezing moments in time but in this picture of the Royal Opera Company performing Swan Lake, Kieran Doherty slowed his shutter speed, stretching the moment to produce an image which captures the energy and sumptuous colour of the dance like a movie in a single frame.
Another way of introducing movement into a still image is by using zoom burst which draws the eye into or out of the frame. Using zoom burst Kim Kyung-Hoon makes a lovely picture of what is essentially just a rainy day in Tokyo.
While they are both entirely valid techniques, my view is that motion blur or zoom burst should be used only very, very sparingly and the results edited ruthlessly leaving only completely successful examples. If it doesnt work successfully first time, keep trying until it does and until it then, keep it to yourself.
Back again to down and dirty pictures shot under pressure on the pitches and pavements of the World. Dylan Martinezs image of British actor Nick Frost having his photo taken with a fan before the premier of his latest film uses the strong diagonal element running bottom left to top right to lead the viewers eye to the subject, face neatly framed by the reaching arms of fans.
Like looking down into the depths of a pool the eye travels back from the tip of gun to the figure of a U.N. peacekeeper standing guard on a street in Port-au-Prince, in this chillingly powerful abstract in muted tones by Eduardo Munoz.