Leading into Turn One

Nice photo! :)

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There seem to be two basic choices for this kind of action scene:  1) a fast shutter and narrow DOF, or 2) a relatively slow shutter with panning, and the DOF becomes less important.  Cliff has chosen the first option.  To my eye, it really highlights the first rider well, but it doesn't give a strong sense of motion (even the spokes are frozen).  I assume / hope that was Cliff's intention.

Adding to Stephen's remark, I think this is the type of picture that needs to be viewed "large"; Very large, in order for its positive attributes to be accentuated. 

The progressive blurring of the chain all the way back to the trailing bikers where DoF blur substitutes motion blur accentuates the leader and his determined facial expression. The photo would be a real winner by association if the leading biker was Lance Armstrong or someone equally recognizable. 

The posture of the cyclists, supplemented by the expression of the leading cyclist,  is enough to suggest energetic motion. The diagonal incline of the cyclists almost at 45 degree, adds to the dynamism. I think the image would have been better if there were only two cyclists and in equal focus. But that is wishing, so difficult to get and capture candidly.

I just don't think a shallow DOF is an adequate substitute for true motion blur.

They looked trapped inside this tight crop. Or perhaps this is everything that was in the original frame. Perhaps more room would have helped the impression of movement, especially on the left.

Stephen, if you consider this shot's composition and camera angle relative to the bikers, I think we can pretty much imagine what motion blur would look like - the two leading racers will likely be pretty much in focus in similar ways while the 3rd and 4th will be more blurred, followed by the trailing racers fully blurred as they are travelling opposite the panning direction. 

We'll never know whether that will produce a more pleasant picture to look at than what we have here, but there are many similar images in Cliff's folder where both techniques are employed. 

Actually I find the overexposed left shoe/sock of the leading racer to be more objectionable. This type of thing happens to me all the time - auto exposure gets the average scene correctly but often hot spots in the wrong places will ruin the shot.  

Thanks everyone for your thoughtful comments.

It may help the shutter speed discussion to know that this was shot at 1/125 sec.  Personally, I prefer 1/30 to 1/60 for side shots of passing bikers, for a heavy blur.  For quarter riders, like this shot, I like 1/125 to keep a bit of blur in the tires, while getting good detail on the lead rider.  Remember that the more the rider is coming toward the camera, the less blur will be seen in the spokes, unless the shutter is so slow as to make the rider, who is largely moving toward the camera, unlikely to be sharp.  For riders coming straight at me, I like 1/250.

Though many of us like the look of blurred wheels, I have often noticed that shots in magazines and ads rarely have even the slightest blur.  I have discussed this with several pros, who shoot for magazines and advertisers, who have told me that their clients care nothiing about blur and would rather have sharp details and, most critically, balanced light.  These shooters have told me that, to them, well balanced lighting is the most important thing.  I was happy with the amount of fill that I used on this shot.

As we all know, amount of blur is a matter of taste.  Though I have used 1/30 on quarting riders, for me, 1/125 gives a comfort zone of balance between some tire blur and sharp lead rider.

I rather like the shallow DOF. The lead rider's sock & sneaker don't bother me at all. I like the feeling of motion in the wheels while the lead rider is sharp. I would agree with Alberta. I'd like a bit more room for the cyclists to ride into

Thanks for the feedback, Cliff. Indeed it's a matter of taste, and overall I like this picture. 

The discussion above on technical issues is very informative. Cliff, thank you for sharing your inputs and that of other professionals. The ‘end user’ of a photograph is the viewer, whether it is in a magazine, ad, photo album or on  the net. All that the viewer cares for is the feeling that the photograph evokes (or its information content). If the content of the photograph and its context effectively does the job well, suggesting motion, then what is the relevance of props like blur etc. on the wheels, tires, spokes or elsewhere? Should a photographer use them just because they are there in the theory books?

Yes I too agree with Alberta and Ken, that a little looser crop and some space ahead of the front runner would have enhanced the context and thus the feel of the image.

Cliff, thanks for your input -- it's much appreciated.  You obviously have a lot of experience and have tried various ways to photograph these scenes, and any viewer has to respect that.  Most of the shots in your Criterium folder seem to be photographed in a similar manner, although some are obviously shot with a slower shutter.  You've tried a variety of techniques, and you know what works for you.  You're ahead of me in that regard, and I can learn something from your photographs.  I think the composition is fine -- personally, I don't need space for them to be riding into; I think that would just be empty space and take some emphasis away from the lead rider.