William Klein

William Klein was born in New York Manhattan. He studied sociology at the city college of new York. He then later joined the us army and was stationed at various different locations some being Norfolk and Virginia. He was awarded the Prix Nadar in 1957 it was his first award for his Outstanding Contribution to Photography. He focused on various different medias like; street photography, fashion photography, abstract photography, filmmaking, and painting. He was known for his ground-breaking photography and filmmaking. He used techniques such as wide-angle lenses, high contrast, motion blur, and unconventional printing.

Visual

there’s a shop in the background of the photo with people walking past smiling. He uses greyscale to show contrast between lights and darks and add drama to the photo. the picture is also well framed with one big figure in the foreground, there’s a man in the background walking out the right third of the frame. there’s also a young girl in the left third of the screen with someone who is cut off people coming and going busy street, energetic.

Technical

there is natural lighting in the photograph. he uses a slightly long shutter speed to enhance motion blur. this was considered a technical flaw however he uses it to create highly expressive images.

contextual and conceptual

the photo was taken in Harlem, new York, in 1955 this was a time when Harlem was a vibrant cultural hub for African American communities however there were a lot of social and economical challenges to face. the image captures everyday street life, showing how the people interacted with each other in an urban setting. he titled the photo “Moves and Pepsi” the word Pepsi makes you look closer at the bottles in there hands. this adds a layer of commercial and cultural context, highlighting consumer culture in post war America. the photo is a raw candid image reflecting the energy and complexity of the city. the photograph is part of Klein’s exploration of social realities in the city, portraying Harlem not just as a backdrop but as a living, breathing environment full of movement and human stories.

Robert Capa

Capa’s first published photograph was of Leon Trotsky making a speech in Copenhagen on “The Meaning of the Russian Revolution” in 1932.

William Klein was born on April 19, 1926,New York, United States. He studied William Klein studied social sciences at City College of New York and art at the Sorbonne, Paris. He also later joined at the U.S. Army and was stationed in Germany and then France. It was here when he received the Prix Nadar in 1957 for his book “Life Is Good for You in New York”. He won his first camera from a poker game. He was known for his confrontational style of street photography. He used A wide angle lens which let him capture more a certain environment an was also known for having a high contrast in his images, to create a bit of drama.

Image Analysis

Technical

He has used natural lighting.

Klein also doesn’t care about the ISO setting on the camera and the haven’t took part in this image.

There is a slightly long shutter speed which will enhance motion blur.

Visual

The subjects in the image are slightly slanted. There is girl with her father figure that is cut off and this shows that her may not be important and the street may be busy. Also being cut off shows a chaotic nature. The subject in the centre frame has motion blur and it make shim feel more closer to the camera.

Very full image and there isn’t a lot of negative space. Which links to quite a compact image.

There is a slow shutter speed because its a blurred effect it makes people move in the image and it increase the sense of energy and movement in the image.

He takes black and white images to show detail in the image and also to increase drama and also makes the image clearer.

Contextual and Conceptual

In New York City, including Harlem, experienced a period of cultural and economic growth, with advancements in various fields. 

By 1950, many whites had left Harlem. Harlem was a cultural hub for African Americans, due to the time that the image was taken which was in 1955.

The shutter captures an everyday day life of New Yorkers in an urban setting.

The title of ‘Pepsi’ implies that you are more closer to the actual bottle in your hand which will add an layer of commercial and the cultural context which further highlights the consumer culture in post-war in the United States.

Klein’s style was raw and candid moments with dynamic composition which reflects the energy the a complex city life in New York.

William Klein

William Klein, living 1926 to 2022, was a French photographer born in America who is noted for his ironic approach to photography in the context of photojournalism and fashion. He was ranked 25th on Professional Photographer’s list of 100 most influential photographers and originally trained as a painter before finding fame being a fashion photographer for Vogue. During his career he was awarded the Prix Nadar in 1957, the Royal Photographic Society’s Centenary Medal in 1999 and the Outstanding Contribution to Photography Award at the Sony World Photography Awards.

Contrast and Differences

Henri Cartier-Bresson and William Klein represent two distinct and contrasting philosophies in the world of street photography. Their approaches, often described as observational and confrontational, highlight the broad range of the medium. While both focused on urban life and human behaviour, their photography is significantly different. Henri Cartier-Bresson adopted a quiet and unobtrusive approach to photography. He believed in capturing the decisive moment and focused on working discreetly. Cartier-Bresson held the opinion that the photographer’s role was that of a silent observer; someone who blends into the environment to capture authentic moments. His images are known for their clarity, compositional balance and subtle emotional resonance. In contrast, William Klein approached street photography with a raw and aggressive energy. Rejecting traditional expectations of composition, he embraced chaos and confrontation. Klein used wide lenses and shot at close range to amplify the intensity of urban life. He did not aim to be invisible and instead provoked and interacted with his subjects; capturing them in moments of direct engagement with the camera. His work is characterised by a rough aesthetic, producing blurry and grainy images that reflect the unpredictability of the streets. These differences not only define their individual styles but also symbolise broader artistic ideologies; one rooted in classical form and the other in bold experimentation.

Comparing Images

Henri Cartier-Bresson’s ‘Brussels, 1932’ and William Klein’s ‘Gun 1, New York’ are two photographs that approach street photography from different positions, both in terms of technique and in the intent behind the image. Cartier-Bresson used a 35mm Leica rangefinder camera with a fixed lens, likely shooting with a narrow aperture and a fast shutter speed to ensure clarity and depth. His image is clean and crisp with no obvious motion blur or grain which reflects his careful control of exposure and composition. On the other hand, Klein embraced a more experimental method; often shooting with fast film to produce images with raw texture and strong contrast. The depth of field is shallow in his photograph and the frame is tightly cropped. The subject is aggressively close which suggests a wide aperture in order to freeze the dramatic and confrontational gesture. Cartier-Bresson’s image is characterised by its restraint and geometry, showing two men standing against a blank wall with their backs turned to the viewer. The composition is balanced and minimal, relying on spatial arrangement and subtle body language to make viewers intrigued. The flatness of the wall and the symmetry of the figures creates a surreal visual. In contrast, ‘Gun 1, New York’ is chaotic and emotionally charged. Klein uses a confrontational composition which is filled with tension. This intensity is highlighted by the expressive young boy dominating the frame who is pointing a toy gun towards the lens of the camera. Contextually, these works emerge from extremely different artistic and cultural frameworks. Cartier-Bresson, a founding member of Magnum Photos, was shaped by surrealism and photojournalism. His work often reflects a European humanist tradition, seeking poetic resonance in ordinary life. In 1932, Belgium was between wars and so the photograph can be seen as a subtle commentary on self-reflection amongst Europeans. Klein, meanwhile, was reacting to the arrogance of post-war America. Trained in painting and influenced by abstract expressionism, he used photography to critique American values; particularly targeting the rise of consumerism and urban aggression in 1950s New York. ‘Brussels, 1932’ is ambiguous with the men facing a wall inviting a range of interpretations. It can be viewed as an act of contemplation, punishment or surreal humour depending on how an individual may read the photograph. The image questions what is worth photographing and encourages reflection on the absurdities of modern life. Klein’s photograph is direct and symbolic, however. The child’s aggressive gesture mirrors the violence fixed in American society even in its youth. The toy gun is both playful and threatening which blurs the lines between innocence and aggression. Klein’s concept is less about ambiguity and more about critique. His photograph confronts the viewer and challenges the idealised image of American childhood and identity.

Henri Cartier-Bresson’s Approach

He preferred composition, timing and intuition rather than free reign, staged or manipulated shots. Cartier-Bresson believed in spontaneity and he often compared photography to a form of visual storytelling, where the photographer will act as an observer, waiting for the right moment to unfold. He was influenced by surrealism, which shaped his ability to find extraordinary beauty in everyday life. His used the Leica camera which allowed him to move discreetly, capturing candid moments without disrupting the scene.

He was Formal with this photography because he used the rule of thirds, leading lines. He used Figure-to-Ground Composition which means there was contrast between subjects and the background to make the image clear. Another thing he used was repetition & patterns by doing this it helped strengthen his compositions. His use of shadows made sure depth was added to the photos and it would have gave people a visual interest. A third thing he used was natural light which made sure authenticity was maintained. Finally, He used lots of black and white photography this enhanced and increased the contrast, texture and the composition of his images.

He was a perfectionist. This means he wanted everything perfect in the image. This included composition, shutter speed and the wide angle of his lens. He had a philosophy which revolved around capturing the “decisive moment,” where all elements in a scene aligned perfectly in an instant.

William Klein’s Approach

William Klein’s approach to photography was very bold, unconventional, and chaotic. He was different to Henri Cartier-Bresson, who wanted perfect composition, Klein embraced imperfection, blur, grain, and distortion to create dynamic, energetic images. His style was influenced by his background in painting and his desire to break traditional photographic rules.

Key Aspects of Klein’s Approach:

Close-up, Wide-Angle Shots – He often used wide-angle lenses to exaggerate perspective and create distorted compositions. He was constantly in your face to get the perfect shot and he wasn’t bothered by personal space.

High Contrast & Grain – Klein embraced the rough textures and high contrast to enhance the raw, gritty feel of his images.

Blur & Motion – Instead of avoiding blur, he used it to convey movement, spontaneity and distortion.

Street Photography with Direct Engagement – Unlike Cartier-Bresson’s discreet approach, Klein interacted with his subjects, sometimes provoking reactions to capture raw emotion.

Experimental Fashion Photography – His work for Vogue transformed fashion photography by introducing dynamic, unconventional compositions.

Klein’s work was rebellious and expressive, challenging the norms of photography and influencing generations of photographers.

Comparison of Images

Image Analysis of Henri Cartier-Bresson

Technical

Used the Leica rangefinder, during Bresson’s time, it was a very good piece of equipment. These types of cameras were compact, reliable and the design was very discreet, rather than the big cameras at that time. Used a 15 mm lens, has sharpness and depth can capture precise images.

Small aperture for shaper focus and clarity and a quicker shutter speed for no motion blur.

Takes advantage of a strong bright light usually its a nemesis for photographers.

Visual

Cartier-Bresson uses the rule of thirds, this helps creates balance between the image and the negative space. The subject is in between the 2nd and third square on the second row and the right grid line. This makes this certain image appealing to the eye, since it takes up some of the image. Horizontal lines frame the centre of the image and where the action is happening, this is caused by the shadow and the background in the image.

Black and white will capture essence and also nostalgia, if you remove colour it enhances depth in the image and draws more attention to more detail in the image. High level of contrast in this image and there is strong tonal range shows a wider separation between the lightest and darkest areas.  

This only used natural light and the crisp shadows form geometric patterns.

If there was no puddle the image would be darker in the foreground of the image and the image wouldn’t be very clear.

Conceptual and Contextual

He influenced photography and literature. He found beauty in the mundane landscapes. He revolutionised street photography and this was one of his popular photos, this really captured the decisive image, since he had to be there at the right place and the right time. Shows everyday lives can be very beautiful.

Henri Cartier-Bresson Mood-board

William Klein Philosophy

William Klein’s philosophy on photography was deeply rooted into breaking the photography rules and to embrace chaos that was around him. He didn’t care about traditional notions of composition, sharpness, and technical perfection, instead he favoured spontaneity, movement, and raw energy.

His approach was influenced by his background in painting, particularly his time studying under Fernand Léger, which had led him to view photography as a dynamic and expressive medium rather than a rigid art.

Klein believed that photography should ‘capture life as it is messy, unpredictable, and full of imperfections‘. He often used wide-angle lenses, close-up framing, and blur to create immersive, almost confrontational images.

His philosophy extended beyond photography into filmmaking, where he applied the same rebellious spirit to documentary and fashion films as time evolved.

One of his famous remarks, “If you look carefully at life, you see blur. Shake your hand. Blur is a part of life,” shows his belief that imperfections are not flaws but are essential elements of reality.

His work challenged the polished aesthetics of traditional photography, making way for a more expressive and emotionally charged visual language.

Image Analysis of William Klein

Visual

This photo is very in your face, but Klein philosophy was’ Get close and personal’. This is how he interacted with his subjects.

Black an white will capture essence and also nostalgia, if you remove colour it enhances depth in the image and draws more attention to more detail in the image. High level of contrast in this image and there is strong tonal range shows a wider separation between the lightest and darkest areas.  

In this image there is a lack of composition there can be confusion and disorganisation. Composition is very important in images, composition will guide the viewer’s eye and it creates balance, and reinforcing the intended mood or message.

Technical

In all of Klein’s images he uses natural lighting.

He would have also used a wide angle lens so he could capture the whole image.

Klein later described it as a kind of “double self-portrait.

Klein also doesn’t care about the ISO setting on the camera and the haven’t took part in this image.

Klein’s uses blur, grain, and certain angles that can be challenged the idea that photographs had to be technically “perfect” to be powerful.

Contextual and Conceptual

William Klein’s ‘Kid with Gun‘ stunned the conventions of street photography by embracing chaos, confrontation, and subjectivity and qualities that were largely avoided in the genre at the time.

The idea of the camera as a weapon of expression echoes through decades of street and documentary photography.

William Klein Mood-board

William Klein (April 19, 1926 – September 10, 2022) was an American-born French photographer and filmmaker noted for his ironic approach to both media and his extensive use of unusual photographic techniques in the context of photojournalism and fashion photography. He was ranked 25th on Professional Photographer‘s list of 100 most influential photographers.

Klein trained as a painter, studying under Fernand Léger, and found early success with exhibitions of his work. He soon moved on to photography and achieved widespread fame as a fashion photographer for Vogue and for his photo essays on various cities. He directed feature-length fiction films, numerous short and feature-length documentaries and produced over 250 television commercials.

STYLE – 

His photos; often blurred or out of focus, his use of high-contrast prints, high-grain film + wide angles, shocked the established order of the photography world. His vision and technique, it was this raw approach that served Klein well to capture his subjects with an honesty that truly echoed the diversity of moods, people and situations so present in life.

analysis –

visual –

within this image you can see tow children, one facing towards the camera, which his facial expression is quite emotional. also he is holding a gun towards the camera lens. the other boy is facing the side and looking up towards the boy. this image is in black and white.

technical –

this image was taken quite quickly, you can tell this by that overall the photo is quite grainy. which is a slow shutter speed.

contextual –

it looks like within this image Klein has frightened the boy from taking photo suddenly, which you can see from the gun and his facial expression, which also his expression shows that he is quite angry at Klein.

 Henri Cartier-Bresson vs William Klein

Henri Cartier-Bresson and William Klein, though both influential figures in street photography, shared a common interest in capturing the essence of urban life and human interactions, but differed significantly in their approaches. Both were masters of capturing the “decisive moment,” where a scene’s potential for drama or meaning is most visible.

both of these artist are similar in some ways yet extremely different in others. Cartier-Bresson is self-proclaimed as someone who wishes to remain invisible to his subjects, a faceless camera in the crowds which takes candid pictures. Klein, on the other hand, is far more direct with his camera, choosing to be upfront and in the faces of his subjects. He enjoyed the reactions of his subjects, finding that these made his images far more successful, and also staged some images. From this you can see that in Bresson image the people within it have no awareness that he’s taking a photo, however in Klein’s image you can see that there is contact with the subjects eyes and the camera lens. Bresson images are mostly in Hight detail unless someone or something is moving, Klein is quite grainy and distorted. When Klein takes his images such as this one its been taken informally, which you can tell by the facial expression of the boy. on the other hand Bresson has taken his photos formally, which you can see in the image as the people are acting normally and have no awareness of a photo being taken. From Bresson’s image you can see that he has used a fast shutter speed, which is shown in that its in detail, which in Klein’s you can see that he has used a slow shutter speed, you can tell this from the graininess and blur within the whole image.

Observational – Henri Cartier Bresson. The approach of observationalism focuses on capturing moments as they naturally unfold – while actively avoiding interrupting this moment. Henri Cartier Bresson pioneered this style of street photography – capturing what he called the decisive moment; framing a perfect composition and waiting for the subjects to align perfectly with said composition.

Confrontational – William Klein. This method is about provoking with reactions and engaging with the subjects. Klein is a prime example using close up, dynamic raw images. This method takes strength to use because it can be awkward or scary to do – you have to be very outgoing and confident to just shove a camera in peoples faces.

William Klein

The mise-en-scene presents a young boy with an angry face pointing a gun at the photographer – this photo has a direct mode of address and almost feels threatening. Contrasting is a younger boy look innocently and curiously at the gun wielder.

As far as the technical aspects go, the image is black and white, and has really high levels of contrast – the boys skin is blown out with little detail and their clothes are a deep black. We cant really tell from which direction the light is coming from, but it is natural. The shutter speed is definitely high – at least above 1/250. I can tell this because it is definitely a snapshot of a fast moving scene – the boy wouldn’t have held this pose for too long. The aperture is probably f/5.6, the gun is out of focus but the boys and the background are all crisp. I think the ISO would be relatively high to to the high amounts of grain associated with both a high ISO and the process of shooting on a film camera.

Conceptually, after taking this photo he mentioned he felt he was photographing himself – the two young boys felt like different parts of himself – one side is angry and aggressive and the other is calm collected, naïve and curious. This could represent his street persona when he’s being all aggressive taking photos rapidly up close to people – confrontational, vs when he’s off the job and being with family.

Street Photography: The genre of street photography is the impulse to take candid pictures in the stream of everyday life. Street photography is a form of documentary but it is decidedly not reportage and rarely simply tells a story. Sometimes a street photographer captures something truly unusual – an extraordinary face, an accident, or a crime in the making. But more often a good street photograph is remarkable because it makes something very ordinary seem extraordinary.

Street photography is a style of photography that focuses on capturing candid, unposed moments of everyday life in public spaces. It’s often characterized by a focus on the human condition and the details of urban or rural environments. While often associated with bustling city streets, street photography can be practiced anywhere where public life and spontaneous moments exist. 

 This is my mood board of different types of street photography.

‘Be yourself. I much prefer seeing something, even it is clumsy, that doesn’t look like somebody else’s work.’ William Klein.

William Klein is an American photographer born on the 19th of April, 1928, he his ironic approach to both media and his extensive use of unusual photographic techniques in the context of photojournalism and fashion photography. Born in New York, he grew up as a Jewish boy in an area where anti-Semitism was common. He frequently visited the Museum of Modern Art, and he studied at the City College of New York before enlisting in the Army.  In 1948, he left the United States and travelled to France, where he studied painting with Fernand Léger and later enrolled at the Sorbonne. 

‘I was very consciously trying to do the opposite of what Cartier-Bresson was doing. He did pictures without intervening. He was like the invisible camera. I wanted to be visible in the biggest way possible.’ William Klein.

‘Sometimes, I’d take shots without aiming, just to see what happened. I’d rush into crowds—bang! bang! … It must be close to what a fighter feels after jabbing and circling and getting hit, when suddenly there’s an opening, and bang! Right on the button. It’s a fantastic feeling‘ William Klein.

Image analysis

“Nina + Simone, Piazza di Spagna, Rome (Vogue), 1960

Visual:

William Klein’s “Nina + Simone, Piazza di Spagna, Rome (Vogue), 1960” is a black and white photograph that captures the dynamic energy of urban life and fashion. In the images there are two models, Nina Devos and Simone Daillencourt walking across a crossing in Pizza di Spagna in Rome while people walk or drive move around them.

Conceptual: I think the idea behind it is to combine fashion and normal life, fashion is often seen as an expensive, unreachable area and to show two models wearing expensive and beautiful people in the middle of normal pedestrians brings a feeling of normality to fashion, but also the models sand out in the picture you can tell that they are the focus and what you should be looking at, which in a way makes the fashion industry come back to the idea of expensive, unreachable area

How is William Klein’s approach to street photography different than Henri Cartier-Bresson and his theory of the decisive moment?

the difference between the Henri Cartier-Bresson vs William Klein’s approach to street photography is that William Klein’s approach is very confrontational in peoples face and asking t take pictures of them and the subject of the image is aware that the image is being taken of them he is confrontational, whereas Henri Cartier-Bresson waits for the right moment and try’s to preserve the natural of the present, he doesn’t want to be seen he doesn’t want people to know that he’s taking images he is observational

William Klein

images by William Klein

William Klein is an American born French photographer. He originally trained as a painter and found a lot of success with his early exhibitions of his early paintings, quickly after this he moved on to photography and achieved widespread fame becoming a fashion photographer for vogue magazine and had produced more than 250 television advertisements, despite having no formal photography training.

Klein was born in New York to a Jewish family, after graduating from high school early and enrolled in the City College New York at the young age of 14 to study sociology. And joined the army during WW2 where he was stationed in Germany and then France where when he was discharged he later settled.

Klein published a book on New York which won the Prix Nadar award in 1957 which he took on a brief return to his hometown ,his work was considered revolutionary for its “ambivalent and ironic approach to the world of fashion”

Klein analysis

This is image is taken using a film camera and the genre of this photography is street photography.

The mise-en-scene presents a young boy possibly with his little brother on the streets of New York pulling a gun to the camera. The tone of this image is quite a mid tone overall, however there is quite a lot of dark areas on the image due to their black tracksuits that they are wearing. The use of light in this image is Harsh, because Klein always uses the flash when he is doing street photography. I would say that this image has a large depth of field as you can still see the depth in the image as the hand and the gun is bigger as they are closer to the camera, however only that is blurred because its too close tot he camera so I think it has a large depth of field. The leading lines of the images would be the contrast of the dark tracksuits against the lighter background.

I believe the ISO is 100 as everything is in as most of the image is in focus.

Conceptual

The image could be representing the stages of life. Because in the background you can see there is an adult man walking through the doorway. this could be construed as the future of the boy with the gun standing next to his little brother. As its a younger boy next to a teenage boy next to an adult man could be showing the stages of life.

As well as it could be showing the 2 sides of people ( good and evil / Ego and ID ) as the young boy is looking at what could be his brother with such innocence and purity compared to his older brother threatening someone with a gun.

How does Henri Cartier-Bresson view the act of photography?

That you need to be present in the moment, feel the pulse of the images. If you are not present you may see things that you wouldn’t normally see or walk past everyday. And that it an extension of the eye, as it could see things that your normal naked eye couldn’t see, or things that are too far away for you to normally see can be seen with help from the lens of the camera. During the video photography was also compared to hunting as its like “shooting” but not with a gun, with the camera.

Images by Henri Cartier-Bresson

Describe Cartier-Bresson’s theory of The Decisive Moment.

There are many different deciding factors that go into Henri Cartier-Bresson’s decisive moment, he says its all about seeing, feeling and understanding. Firstly Henri Cartier-Bresson would walk around possibly all day for many days to see when he would find and area that had good composition or a good building that he’d want to photograph he set up and wait (observe and notice) for something to happen such as people walking by rather than just a plain picture of a building. Henri Cartier-Bresson found the beauty of shapes and geometry, and called it intellectual pleasure this ties in with what I was saying before about the composition of the image so that it isn’t a boring image which really makes Henri Cartier-Bresson’s work a step up from many other photographer’s of the time. Henri Cartier-Bresson did not like posed images, the people in the image are able to be aware of that the image is being taken, but not posed as he was a purist, so he prefers natural more candid images.

Henri Cartier-Bresson

Henri Cartier-Bresson was a French photographer most known for his candid images, of which he is considered a master of. He pioneered the way for the genre street photography. In 1930 be came inspired by this photograph taken by a Hungarian photojournalist Martin Munkacsi of 3 African boys running into the surf at the lake Tanganyika. This image inspired him to spot painting and pursue photography full time.  “I suddenly understood that a photograph could fix eternity in an instant.” – quote from Henri Cartier-Bresson after seeing this image

This is the image I spoke about above by Martin Munkacsi

The first camera that Henri Cartier-Bresson used was a Leica camera 50mm lens, he used this camera due to the fact that it was small and easier to conceal in public so people wouldn’t know their image was being taken and change how they were behaving, to keep the camera even more inconspicuous he painted all the shiny parts black to they wouldn’t reflect the light, which gives him an intimate look in a crowd so that only natural behaviour was captured.

In 1952, Cartier-Bresson published his book “Images à la sauvette” which in English means the decisive moment, which is what it was titled in the English edition although it actually translates to in French is “photos taken on the sly” or “hastily taken images”

Cartier-Bresson analysis

This is image is taken using a film camera and the genre of this photography is street photography.

The mise-en-scene presents a young boy possibly with his little brother on the streets of New York pulling a gun to the camera. The tone of this image is quite a dark tone overall, however there is quite a lot of light areas on the image due to the building in the background of the image. The use of light in this image is soft and natural because they’re outside and it looks like its sort of a cloudy day which makes the light soft than if it were clear sky’s. I would say that this image has a large depth of field as everything is in focus. The focus distance is long as everything is in focus including all the background and foreground of the image. The leading lines of the images would be the contrast of the darker areas of the windows and archways of the building behind as the colour of the concrete or the bricks used to build the building is light.

I believe the ISO is 100 as everything is in as most of the image is in focus. And that the shutter speed is 1000 as nothing in the image is blurry.