NightLowLightPhotography PDF

Night & Low
Light Photography
DAVID TAYLOR
THE EXPANDED GUIDE > TECHNIQUES

LOW LIGHT PHOTOGRAPHY CH1 1-27.indd 2 17/4/12 16:05:47
Night & Low Light
Photography
THE EXPANDED GUIDE
David Taylor

First published 2012 by
Ammonite Press
an imprint of AE Publications Ltd
166 High Street, Lewes, East Sussex, BN7 1XU, United Kingdom
Text © AE Publications Ltd, 2012

Photography © David Taylor, 2012
Copyright © in the work AE Publications Ltd, 2012
All rights reserved
The right of David Taylor to be identified as the author of this work

has been asserted in accordance with the Copyright, Designs and
Patents Act 1988, sections 77 and 78.
No part of this publication may be reproduced, stored in a retrieval

system or transmitted in any form or by any means without the
prior permission of the publisher and copyright owner.
This book is sold subject to the condition that all designs are
copyright and are not for commercial reproduction without the
permission of the designer and copyright owner.
The publishers and author can accept no legal responsibility for any
consequences arising from the application of information, advice or
instructions given in this publication.
A catalog record for this book is available from the British Library.
Editor: Chris Gatcum

Series Editor: Richard Wiles
Design: Richard Dewing Associates
Typeset in Frutiger
Color reproduction by GMC Reprographics
(Page 2)
Sunrise over the “Wherry,”
northeast England.
CONTENTS
Chapter 1 Light 6
Chapter 2 Exposure 28
Chapter 3 Equipment 54
Chapter 4 Flash 86
Chapter 5 Landscapes 106
Chapter 6 The Urban Environment 126
Chapter 7 Special Subjects 154
Glossary 186
Useful web sites 189
Index 190

CHAPTER 1 LIGHT

Light
Photography is the art of capturing light. However, this doesn’t mean
that photography should only be about sunny days. Working in low
light is arguably a more interesting way of recording the world
around you.
In the modern world there is always light. Even light, starting with a look at light itself, and how
on the darkest night, light pollution can add a its various qualities will affect the way in which
subtle glow to the sky, and where there is light, your subjects are recorded. We’ll also look at
there can be photography. Working in low light the seasons and how your location affects when
is arguably easier now than it has ever been: and where you’ll encounter low light.
sensor technology is improving all the time and Low light photography is a subject that I find
techniques that were once impossible are now endlessly fascinating. The world is changed when
achievable with relative ease. light levels drop, becoming more magical and
Over the next seven chapters we’ll be mysterious. Hopefully, by the time you reach the
exploring how to work and photograph in low end of this book, you’ll share my enthusiasm.
CAT
Canon EOS 7D, This image was shot handheld in low light
70–200mm lens using ISO 6400 and an image-stabilized
(at 135mm), 1/20 lens. It’s not a great shot, but it’s sharp
sec. at f/4, and would have been impossible to record
ISO 6400 without a modern digital camera system.
DAY OR NIGHT? (Opposite)

Superficially, this looks like a typical daytime
scene, but it was actually shot at night: the
light bursting from behind the trees is the
moon. With the right exposure, photography
can turn night into day.
Canon EOS 7D, 17–40mm lens

(at 35mm), 2 min. at f/4, ISO 100
8 Night & Low Light Photography

Lighting direction
Light is needed to make a photograph. However, the success or
otherwise of an image often depends on the direction of the light.
Frontal lighting Side lighting

Frontal lighting will illuminate your subject As the name suggests, side lighting is light
when the light source is directly behind your that falls across the image space. Unlike frontal
camera (or on top of your camera, as it is with lighting, side lighting reveals texture and form,
flash). This type of lighting will evenly illuminate which is why landscape photographers often
your subject, and it is easy to obtain a good work at the ends of the day: when the sun is
exposure. However, frontal light tends to flatten low, shadows can reveal dips and mounds in
texture and reduce a subject’s sense of form. terrain that might otherwise seem perfectly flat.
Also, if you’re shooting with the sun (or other Side lighting does have its drawbacks,
light source) behind you, keeping your own though. Three-dimensional subjects can be
shadow out of the picture can be problematic, brightly lit on one side, and in deep shadow on
particularly when you are shooting with a wide- the other, resulting in high contrast that can
angle lens. make it difficult to obtain the correct exposure.
As you will see in chapter 3, using filters and
reflectors are two ways of combating this.
FRONT LIGHTING
The sun was behind me when
this image was created. For me,
it’s not successful because the
interesting texture of the rocks
has been lost. I should have
waited until later in the day,
so that the sun was in a more
favorable position.

(at 15mm), 1/25 sec. at f/11,
ISO 320

Backlighting Flare
Unsurprisingly, backlighting is the direct Lens flare is non-image forming light that occurs
opposite of front lighting. The light in this when rays of light from a strong point light
instance will be behind your subject, pointing source enter a lens and are reflected around
directly toward the camera. This means that inside the lens before reaching the sensor. This
contrast will be very high and it’s likely that causes streaks and colored blobs as well as a
your subject will be in silhouette. Backlit scenes reduction in contrast across an image, and is
can look very dramatic, and the shadows will most likely to occur when shooting using side
be projected toward the camera, as seen in the and backlighting.
image at the start of this chapter. A lens hood can help reduce flare caused by
If you don’t want your chosen subject to side lighting, but these are difficult to use with
be in silhouette, a backlit scene will require filters so my personal preference is not to use
the use of either a reflector or additional them. Instead, if flare from side lighting might
lighting such as flash. Backlighting with a fill-in be a problem, and my camera is on a tripod, I
light is particularly effective when shooting shield the lens with my body so that a shadow
portraits, as your subject’s hair will be lit from is cast across the front of the lens—the trick
behind (producing a halo effect). Perhaps more is not ending up in the image too! Flare from
importantly, your subject will not be squinting backlighting is more difficult to deal with, but
in the light, so should be able to hold a more keeping the glass elements of your lenses clean
natural facial expression. will help, as will keeping the light source hidden
behind your subject.
FLARE
Although flare is technically a
blemish, in this instance I think
it suits the subject.

(at 13mm), 1/1600 sec. at f/5.6,
ISO 200
The Expanded Guide 11

The qualities of light
Light can be soft or hard, and while some subjects will benefit from
one, the other will not help them.
Hardness Hard light is generally unflattering for

Hard light is strongly directional and usually portraiture, although it can create a moody
emanates from a point light source. Point light feel to photographs of men. In low light
sources are those that are relatively small in photography you will probably encounter hard
comparison to the subject being lit: naked lighting more frequently in urban environments
household bulbs and the sun when it is high than you will in the natural landscape.
in a cloudless sky, for example.
Hard lighting creates levels of high contrast
with bright highlights and deep shadows. The
HARD
edges of shadows are sharply defined with little This stone carving was lit from below with a
or no shading from light to dark, and the closer point light source. As a result, the light is hard
and contrast is high. However, this has helped
a point light source is to your subject, the harder
to emphasize the texture of the stone.
the shadows will be. One way to soften a point
light source is to move your subject away from
it, although this will also reduce the intensity Canon EOS 5D, 50mm lens, 1/50 sec. at f/3.2,
and so requires longer exposures. ISO 800

Soft light
A light that is relatively larger than the subject
SOFT being lit will be soft. Soft lighting reduces
This image was created on a wet, overcast day. contrast, as the light wraps around a subject,
This produced soft light that suits the subject.
and shadows (if there are any) will be diffuse,
with soft edges. Bright specular highlights are
generally eliminated.
Canon EOS 7D, 70–200mm lens (at 200mm),
In the natural world, light from the sun
1/200 sec. at f/4, ISO 320 is soft when it is scattered by cloud or mist.
Shade is also an example of natural
soft lighting—the light in shade
comes from ambient light from the
sky above.
Artificial light is generally hard,
but fluorescent strip lighting is softer
than domestic bulbs because the light
emanates from a larger area. Shining
a light source through a translucent
white panel will soften it, as will
reflecting the light. Lampshades are
used in domestic interiors to make
lighting more subtle and pleasant,
even though the intensity of the light
is reduced.
Soft light does not emphasize
texture, and subjects can therefore
look flat. Landscapes don’t usually
benefit from soft lighting, but it’s
an ideal light for portraiture and for
subjects such as flowers.

BACKLIGHTING
Camera: Canon EOS 7D Translucent subjects (those that diffuse light as it passes through them)
Lens: 10–22mm lens (at 22mm) respond well to backlighting. Backlighting helps to define the shape and
Exposure: 1/125 sec. at f/9 form of a translucent subject.
ISO: 100

SIDE LIGHTING
Camera: Pentax 67II In the landscape, side lighting is most often seen early
Lens: 200mm lens in the morning or late in the afternoon when the sun
Exposure: Unrecorded is low in the sky. Side lighting at these times of day
ISO: 50 (Fuji Velvia) helps to define the textural quality of the landscape.

Color temperature
What we perceive as white light can be anything but that, as light
often has a color bias that we don’t notice. Cameras, being objective
recording devices, are much more responsive to shifts in color.
Color bias the blue ambient light found in deep shade is
Visible light is a mix of different wavelengths, approximately 7000K. Light that is neutral (with
ranging from long wavelengths that correspond no color bias) is approximately 5500K, which is
to red, across the spectrum of colors, to the the color temperature of electronic flash and the
shorter blue-violet wavelengths. Light that has light from the sun at midday.
a greater proportion of red wavelengths will be
“warmer” in color; light with a preponderance White balance
of blue wavelengths will be “cooler.” This It is possible to set your camera to neutralize
variation in the color of light is known as color the color bias of a particular light source by
temperature which is measured in degrees using the white balance facility. There are
Kelvin (K). usually several ways to do this, with the simplest
Somewhat counter-intuitively, the lower being to set your camera to Auto white balance
the color temperature of a light source, the (AWB). Set to AWB your camera will process
warmer the light is. Candlelight has a color an image so that it looks as though it was shot
temperature of 1800K, for example, whereas under a neutral light source.
Color temperature
1800–2000K Candlelight
2500K Torchlight
2800K Domestic lighting
3000K Sunrise sunset
3400K Tungsten lighting
3500K Morning/afternoon sunlight
5000K–5500K Midday sunlight
5500K Electronic flash
6000–6500K Overcast conditions
7000–8000K Shade
10,000K Clear blue sky

For slightly more control, most cameras to the camera’s memory card it can be selected
offer a series of presets represented by different as the custom white balance target from the
symbols. Although they vary subtly between relevant menu. The custom white balance preset
cameras, the symbols for the various presets should now be selected.
are shown below. Some cameras also let you
set a Kelvin value, often in steps of 100–200K.
The greatest amount of control over color
Notes
Setting the correct white balance is important
temperatures is achieved by setting a custom
when shooting JPEG. Raw users can adjust
white balance. The mechanics of how to set
white balance more easily in post-production.
a custom white balance vary from camera to
camera, but it usually involves shooting an A custom white balance is only relevant for
image of a white (or neutral gray) surface in the one particular lighting situation. If you move
same light as your subject. The image should out of that situation it is likely that the custom
be entirely filled with this surface. Any other white balance will no longer be relevant.
elements in the image could affect the accuracy
of the result. Once this image has been written
AWB Automatic White Balance
Daylight: Normal sunny conditions
Shade: When shooting in shadow
Cloudy: Adds warmth to an image on overcast days
Tungsten: Incandescent domestic lighting
White fluorescent lighting
Flash
Custom white balance

Low light white balance Before digital there was film. Color film
Some subjects benefit from corrected white was available as either daylight or tungsten
balance, but there is no right or wrong answer balanced, with any further color correction
to the subject. Some images plainly look wrong achieved through the use of filters. I regularly
if corrected and this applies most strongly to used daylight-balanced film such as Fuji
those shot in low light. A good example is the Velvia, but I would not filter the film at all
warm light of sunrise; it could be neutralized, when shooting low light scenes and simply
but this would reduce the atmosphere of the accept the resulting color cast. This habit is
image. White balance is also very subjective. still ingrained and my digital camera is usually
There is nothing inherently wrong with an image set to a daylight preset (unless I’m shooting
that is warmer or cooler than is strictly accurate, under a strongly-colored light source, such as
and color can be used to convey mood very domestic lighting). Because I shoot Raw I can
effectively. Blues are associated with calmness, alter the color temperature in post-production,
emotional detachment, and melancholy, for but I often find that little adjustment is needed.
example, while reds are dangerous and exciting, This is my way of shooting, but there’s nothing
but also romantic and lively. wrong with finding your own solution.
MIXED
Canon EOS 7D, The color temperature of artificial lighting
70–200mm lens (at can vary enormously. The streetlamps in the
160mm), 10 sec. at f/6.3, background are far warmer than the lighting
ISO 200 in the foreground.
WHITE BALANCE
(Opposite)
These four images have been
converted using different
white balance presets in
Adobe Lightroom:
Top left: Tungsten (2850K)
Top right: Fluorescent
(3800K) Bottom left:
Daylight (5500K) Bottom
right: Shade (7500K).
The Daylight preset is the
closest match to the lighting
conditions that the image was
created in.
Canon EOS 7D, 50mm lens,

1/40 sec. at f/8, ISO 200

The seasons
Outdoors, the opportunity for low light shooting will vary throughout
the year. Understanding how the seasons affect the length of night
and day will help you prepare for low light photography sessions.
Looking in the right direction equinoxes when day and night hours are equal
The earth is tilted relative to its orbit around the in both hemispheres. At the equator the change
sun. At the summer solstice (June 20–22) the of seasons has little effect on the length of day
North Pole is tilted toward the sun. The length of or night; the hours of both are roughly equal
a day is at maximum in the northern hemisphere throughout the year.
and is shortest in the southern hemisphere. The earth’s axial tilt also affects the direction
Above the Arctic Circle the sun does not set and the sun rises and sets throughout the year. At
there is twenty-four hours of daylight; below the
Antarctic Circle the sun does not rise and there
Tip
is twenty-four hours of night. This is reversed at
http://suncalc.net is an excellent online tool
the winter solstice (December 20–22) when the
for calculating the time and direction of
South Pole points toward the sun.
sunrise and sunset.
Between these two extremes are the spring
(March 20–22) and fall (September 20–22)
SUMMER
This image was recorded
at 54° N, at the summer
solstice. The length of day
is at its longest and the sun
sets at its most northerly.
Canon EOS 1Ds MkII,

17–40mm lens (at 30mm),
1/6 sec. at f/16, ISO 100

the December solstice 50° North and South close to the summer solstice. At the winter
(roughly the latitude of London and Rio Gallegos solstice, the sun will rise behind the subject
respectively) the sun rises in the southeast and and it will be in shadow (this could be a good
sets in the southwest. At the two equinoxes it opportunity to create a silhouette). A map and
rises almost directly due east and sets due west. compass are invaluable tools to plan low light
And then at the June solstice, the sun rises in photography trips. Maps with contour lines that
the northeast and sets in the northwest. show the elevation of terrain are most useful:
Regardless of the time of year, the sun is there is no point being at a location at sunrise
always due south midway between sunrise if the sun doesn’t appear for another hour
and sunset (which may or may not be precisely because there’s a hill in the way!
12.00pm, depending on your longitude and
whether daylight saving is in operation).
Note
Knowing the direction the sun rises and sets
The closer to the Arctic and Antarctic Circles
will help to make your low light photography
you are, the further south and north the
trips more successful. This is particularly true for
sun rises and sets at the winter and summer
landscape photography, as landscape locations
solstices respectively. The closer to the equator
may work better in one season than another.
you are, the less far south and north.
If your subject is north facing and you want it
to be directly lit at sunrise you need to be there
Sunrise/sunset direction East/West
Latitude Nearest city (Northern/

Southern hemisphere) Summer solstice Winter solstice
70° Tromsø/– – – – –
60° Oslo/– 35° 325° 140° 220°
50° London/Rio Gallegos 49° 311° 128° 228°
40° New York/Valdivia 58° 302° 120° 240°
30° Austin/Porto Alegre 62° 298° 117° 243°
20° Querétaro/Iquique 65° 295° 115° 244°
10° Limon/Palmas 66° 293° 114° 246°
0° Singapore/Quito 67° 293° 113° 247°

Sun height of 63° at the summer solstice, and the arc the
The final factor affected by the time of year is sun takes across the sky from sunrise to sunset
the height that the sun rises in the sky during is far greater. At the two equinoxes the sun rises
the day (with maximum elevation above the to a maximum elevation of 40°, or roughly half
horizon occurring at midday). At the winter way between the maximum heights of winter
solstice, 50° N, the sun rises to a maximum and summer. At 50° S the situation is reversed
elevation of no more than 16°, traveling in at the winter and summer solstices. The sun’s
a very shallow arc from sunrise to sunset. In maximum elevation does not vary at the equator
contrast, the sun rises to a maximum elevation and remains approximately 67° all year round.
Maximum sun elevation Northern/Southern hemisphere

Latitude Nearest city (Northern/
Southern hemisphere) Summer solstice Winter solstice
70° Tromsø/– 43° – – 43°
60° Oslo/– 53° 7° 7° 53°
50° London/Rio Gallegos 63° 16° 16° 63°
40° New York/Valdivia 73° 27° 27° 73°
30° Austin/Porto Alegre 83° 37° 36° 83°
20° Querétaro/Iquique 86° 47° 47° 86°
10° Limon/Palmas 77° 57° 57° 77°
0° Singapore/Quito 67° 67° 67° 67°
WINTER
This image was created at 54° N, at
the winter solstice. The length of day
is at its shortest and the sun sets at its
most southerly.
Canon EOS 5D, 24mm lens, 1/4 sec.

at f/16, ISO 100

EQUATOR
Camera: Canon EOS 5D As the equatorial regions vary so little over
Lens: 50mm lens the year, it is easier to plan for your low light
Exposure: 1 sec. at f/16 photography sessions.
ISO: 100

The golden hour diminishes the higher the sun is in the sky, and
As previously mentioned, visible light is made up by midday the sun’s light is at its coolest in
of different wavelengths, with red being longer terms of color.
and blue shorter. At sunrise and sunset, the However, the golden hour isn’t necessarily
sun’s light travels more obliquely through the an exact hour. In winter, because the sun doesn’t
earth’s atmosphere. All the visible wavelengths rise high in the sky all day, the sun’s light is
of light are scattered to some degree by relatively warm in color from sunrise to sunset.
atmospheric dust, reducing contrast and the The reverse is true in summer and the golden
overall intensity of light in comparison to hour is shorter as the sun rises and sets at a
midday. Blue wavelengths of light are scattered steeper angle. At the equator, the golden hour
most, with the result that the sun’s light looks can be incredibly brief, so careful planning is
redder the closer it is to the horizon. The period required to make the most of the warm light
just after sunrise and before sunset is known as before it’s lost and, rather ironically, before the
the “golden hour” for this reason. This warmth heat is too high to work in comfortably.
DAWN
Canon EOS 7D, 17–40mm lens Pre-sunrise colors in a wintery northern England.
(at 40mm), 3 sec. at f/11,
ISO 100

The reverse is true of the twilight hours. In Color
summer the sun doesn’t stray too far below The color of a sunrise or sunset depends on
the horizon, so twilight lasts for a relatively certain variables. The least interesting sunrises
long period of time. In winter, twilight is far or sunsets occur when there is little or no
briefer and the period from absolute darkness to cloud and no atmospheric haze. On these
sunrise is shorter. One of the choices with urban occasions the sun rises or falls with very little
twilight photography is whether to shoot in drama. Another bad time for sunrises or sunsets
winter, at a respectable hour of the day but for is when the sky is completely covered with
less time, or to shoot in summer, for longer but cloud. However, sometimes all is not lost and
late at night. occasionally when there’s a break in the cloud,
often just out of sight below the horizon,
the results can be spectacular. The rule is
not to give up until it’s definitely too late.
It’s heartbreaking to have packed up your
camera just before nature decides to put on
a show.
When there is cloud in the sky—not too
much, and not too little—the color of the
sunset will reach its peak intensity once the
sun is below the horizon. Sunsets are often
more intensely colored and warmer than
sunrises, as dust and pollution builds up
during the day and these affect the color.
REFLECTIONS
Wet sand and still water readily reflect the
colors of sunrise and sunset.
Canon EOS 5D, 24mm lens, 5 sec. at f/16,

ISO 100

Keeping it cool
Color temperature can be used creatively. I have deliberately kept this image slightly blue
(4800K) in overall color as that very effectively conveys a sense of a cold winter’s morning.
To me, the “correct” color temperature of 5800K used for the inset picture is “warmer”
and far less atmospheric.
Camera: Canon EOS 7D

Lens: 70–200mm lens
(at 170mm)
Exposure: 1/250 sec. at f/4
ISO: 400

Raising the temperature
There are some subjects that appear far more attractive when a “warmer” approach
is taken. Portraiture is one such subject, food is another. This cake, shot under tungsten
lighting, looks distinctly less appealing in the “cooler” image (inset).
Camera: Canon
EOS 7D
Lens: 50mm lens
Exposure: 1/100 sec.
at f/1.4
ISO: 800

CHAPTER 2 EXPOSURE

Exposure
To make an exposure is to allow light to fall in a controlled way onto
a light-sensitive surface to form an image.
Controlling light seconds. In addition to this range of shutter

There are two ways in photography that you speeds, some cameras also have a Bulb mode
can control how much light reaches the sensor that locks the shutter open for as long as the
in your camera: the first is to vary the length of shutter-release button is held down.
time that a light-tight shutter covering the sensor The shutter speed on a camera is varied by
is open, and the second is to adjust the size of a set amounts, such as 1/500 sec., 1/250 sec.,
variable aperture mounted within the lens. 1/125 sec., 1/60 sec., and so on. The difference
Your camera has a range of shutter speeds, between these values is referred to as 1 “stop.”
which are a measure of the length of time that When you increase the shutter speed by 1 stop
the shutter is opened to make an exposure. The (from 1/250 sec. to 1/500 sec., for example)
range available varies between camera models, you halve the amount of light that reaches the
but is typically between 1/4000 sec. to 30 shutter. If you decrease the shutter speed by 1
stop (from 1/250 sec. to 1/125 sec.) you double
the amount of light reaching the sensor.
SHUTTER SPEED
Very bright light sources require the use of fast
shutter speeds or small apertures.
Note
Some cameras allow you to vary the
Canon EOS 7D, 10–22mm lens (at 16mm), 1/640 shutter speed and aperture in ½ - or ¹⁄₃-
sec. at f/14, ISO 100
stop increments: 1/160 sec. and 1/200 sec.
are ¹⁄₃-stop increments between shutter
speeds of 1/160 sec. and 1/250 sec.,
while f/9 and f/10 come between aperture
settings of f/8 and f/11.
EXPOSURE (Opposite)
A well-exposed image is arguably one that appears “natural.”
Canon EOS 1Ds, 70–200mm lens (at 70mm), 1/6 sec. at f/16,
ISO 100

Within every camera lens is a variable iris known light to reach the sensor. If the shutter speed
as the aperture. Like the iris in your eye it can be is increased (less light), then the aperture must
increased or decreased in size to take account of be opened further (more light) to compensate.
lower or higher light levels respectively. The size If the correct exposure for a scene is 1/500 sec.
of a lens aperture is measured in f-stops, shown at f/8, for example, and you change the shutter
as f/ and a suffix number. A typical range of speed to 1/1000 sec., the aperture must be set
f-stops on a lens is f/2.8, f/4, f/5.6, f/8, f/11, and to f/5.6 to maintain the same exposure overall.
f/16. Counter-intuitively, the higher the number, The following pages will explain why you
the smaller the aperture: f/16 is a far smaller would want to do that and illustrate the visual
aperture than f/2.8, for example. The design of difference that altering the shutter speed and
a lens will determine the maximum (largest) and aperture makes.
minimum (smallest) apertures available.
When you decrease the size of the aperture Shutter speed
by 1 stop (from f/5.6 to f/8, for example) you If your subject is static, the shutter speed
halve the amount of light that reaches the doesn’t matter at all—as long as the camera
shutter. If you increase the aperture by 1 stop is stable during longer exposures. However,
(from f/5.6 to f/4) you double the amount of shutter speed does make a difference once
light reaching the sensor. there is movement in a scene. If your subject is
particularly fast—a low jet screeching over your
Shutter speed/aperture relationship head, for example—you will need to use a fast
The shutter speed and aperture are inextricably shutter speed otherwise it will not be sharp in
linked. If you alter one, the other must also the final image. The slower your subject, the
be changed if you want the same amount of slower the shutter speed you can use to be
HANDHELD
In low light, larger apertures
are often required to achieve
a fast enough shutter speed
to handhold the camera.

1/13 sec. at f/1.4, ISO 250

sure of a sharp result (see the table below for The problem for low light photographers is
suggested shutter speeds for various subjects). that there is often not enough light to enable the
Ironically, a moving subject frozen by the use of use of fast shutter speeds (particularly if a small
a fast shutter speed can look oddly static, and aperture is needed to increase depth of field).
a small amount of blur can actually convey a When the shutter speed is measured in seconds,
sense of speed far more effectively than a pin- minutes, or even hours, a moving subject will be
sharp image can. blurred and potentially disappear entirely.
Suggested shutter speeds to freeze movement

Subject speed Subject filling frame Subject half filling frame
Person walking slowly 1/125 sec. 1/60 sec.
Person walking quickly 1/250 sec. 1/125 sec.
Waves 1/250 sec. 1/125 sec.
Person running 1/500 sec. 1/250 sec.
Person cycling 1/500 sec. 1/250 sec.
Galloping horse 1/1000 sec. 1/500 sec.
Car (on urban road) 1/500 sec. 1/250 sec.
Car (on freeway/motorway) 1/1000 sec. 1/500 sec.
Train 1/2000 sec. 1/1000 sec.
Fast jet plane 1/4000 sec. 1/2000 sec.
LANDING
Because this helicopter was
hovering, the speed of forward
movement wasn’t that high. A
shutter speed of 1/320 sec. was
fast enough to guarantee it was
sharp, although there is enough
blur in the rotor blades to show
that they were moving.
Canon EOS 1Ds MkII, 50mm lens,

1/320 sec. at f/11, ISO 100

Suggested shutter speeds to blur movement
Note
Waterfall 1/4 sec.
The size of your subject in the frame, and
Waves (retaining detail) 1 sec.
its direction of travel, will also affect the
Moving clouds 8 sec.
shutter speed you need to use. The larger
the subject is in the frame, the faster the Waves (smoothed out) 15 sec.
shutter speed needed. Subjects traveling Fireworks 30 sec.

across the frame also require a faster Wind-blown foliage 30 sec.
shutter speed than those coming toward Traffic trails 30–60 sec.
or going away from the camera. Waves (misty quality) 1–2 min.
Star trails 10+ min.
Slowly does it
When light levels are low, there are a few
techniques that can be used to freeze action:
increasing the ISO setting, using flash, and
panning, are described elsewhere in this
book. The other approach is to embrace low
shutter speeds and the creative opportunities
they offer. In fact, so interesting are the
effects created by slow shutter speeds that
some photographers (myself included)
often used ND filters to deliberately extend
exposure times. Techniques that use slow
shutter speeds include blurring water, traffic,
and star trails, as covered in later chapters.
WIND
Using a slow shutter speed captured a sense
of the breeze blowing through this wood
far more effectively than a faster one would
have done.

ISO 100

Aperture depth of field, even with small apertures, is
The image from a lens is only truly pin-sharp virtually non-existent.
at the point of focus. However, we can extend
sharpness forward and backward from this point Hyperfocal distance
by using the aperture in the lens. The aperture You’d be forgiven for thinking that shooting with
also focuses light. The smaller the aperture, the the smallest aperture on your lens would be the
greater the effect, and the further the zone of way to achieve the sharpest image. It’s certainly
sharpness is extended. So, overall sharpness in true that depth of field is at its greatest at the
an image will be greater at f/16 than it will be minimum aperture setting, but a lens is at its
at f/2.8. The extent of this zone of sharpness is best optically when the aperture is roughly in the
known as the “depth of field,” which extends middle of the available range (usually f/8 or f/11).
roughly twice as far back from the focus point At smaller apertures lenses suffer from an optical
than in front of it. effect known as “diffraction.”
Depth of field is not just affected by the
aperture—wide-angle lenses have a greater
inherent depth of field at any given aperture Note
than longer focal length lenses. The distance Because compact cameras have such small
from the lens to the focus point also affects focal length lenses, depth of field is always
depth of field; the closer the focus point is to greater than an equivalent angle of view
the lens, the less depth of field there is. This can lens on a larger camera system.
be a particular problem when shooting macro,
as very short focusing distances can mean that
SOFT
With close focus and the
use of a very large aperture,
depth of field is reduced
considerably.

1/25 sec. at f/1.6, ISO 800

CHOICE
How much or how little depth
of field to apply is one of the
creative decisions you need to
make in photography. We don’t
like to look at out-of-focus
areas in an image, so a shallow
depth of field can help direct
the eye to a (sharp) subject.
Conversely, front-to-back
sharpness can unite elements
in a scene, even if they are
spatially far apart.
Top: Canon EOS 7D, 50mm

lens, 1/320 sec. at f/2.5,
ISO 200
Bottom: Canon EOS 7D,

1/8 sec. at f/10, ISO 200

Diffraction is caused by light being which is the focus point at which a particular
scattered when it strikes the edges of the aperture’s depth of field is maximized. When
aperture blades, softening the resulting the hyperfocal distance is set, the image will
image. Diffraction happens at all apertures, be sharp from half that distance in front of
but is most visible when smaller apertures the focus point to infinity behind it. When
are used. It is also more of a problem with shooting in low light, careful use of larger
smaller sensors, and is one of the reasons apertures and setting the hyperfocal distance
why compact digital cameras have relatively will keep shutter speeds lower.
large maximum apertures compared to
digital SLRs.
To minimize diffraction, the largest
Note
Diffraction is often visible at apertures
aperture that creates the right amount
smaller than f/11 on APS-C sensor
of depth of field should be used. This is
cameras, but not until f/16 on full-frame
achieved by setting the hyperfocal distance,
cameras. However, the pixel density of
a camera can also make a difference,
so experimentation is recommended to
determine the limits of your own camera.
Working smarter…
Apple iOS: DOFMaster
Android: DOFMaster
These apps by Don Fleming will help you
calculate the hyperfocal distance for your
lens and camera combination.
HYPERFOCAL DISTANCE
The hyperfocal distance for this scene was 2.8ft
(0.85m) with an aperture of f/14. This gave me a depth
of field that extended from 1.4ft (0.42m) to infinity.
Canon EOS 7D, 10–22mm (at 15mm), 1/4 sec. at f/14,

ISO 100

Exposure and metering
“Metering” is the act of measuring how much light is required to create
a photographic image. Your camera has an integral light meter, and
understanding how it works will increase your photographic success rate.
Exposure meters infallible. A reflective meter assesses the world as a
There are two types of light meter, incident series of shades of gray. It assumes that the scene
and reflective. Incident light meters are small, being metered reflects roughly 18% of the light
handheld devices that measure the amount of that falls onto it. This 18% reflectivity equates to a
light falling onto a scene. The meter in your matte mid-gray surface. In the cover of this book is
camera is a reflective meter and this type of an 18% gray card. It’s not the most exciting color
meter measures light that has been reflected you’ll ever see, but it’s how an ordinary, every-day
from the scene in front of it. scene would look if all the tones in the scene were
Modern camera meters are generally very desaturated and then averaged out.
reliable. Fuzzy logic systems enable them to Ordinary, everyday scenes are all very well,
second-guess particular lighting situations to arrive but they aren’t very inspiring and they are rarely
at the required exposure. However, they are not encountered when shooting in low light. If there
is a prevalence of dark or light tones in a scene,
a reflective meter can be fooled into over- or
AVERAGE
This is the type of scene that reflective meters underexposing respectively. In a predominantly
excel at. Dull isn’t it? light-toned scene—a snowman on a blanket of
snow for instance—the camera meter would
Canon EOS 7D, 17–40mm lens (at 20mm), tend to underexpose, as the light tones would
1/30 sec. at f/13, ISO 100 be pushed closer to the 18% gray ideal. Using
the histogram on your camera is a very objective
way to check exposure either before capture
(in Live View), or afterward in image review.
If the exposure needs correcting, exposure
compensation can be used.
COMPENSATED (Opposite)
This image required “overexposure” because of the large
areas of pale tone.
Canon EOS 7D, 17–40mm lens (at 22mm), 5 sec. at f/14,

ISO 100

Camera meters scene is metered, but the exposure is biased
Cameras often have different metering modes, toward the center of the image. The size of
with the main difference between them being the bias varies between camera models, but
the proportion of the scene that is metered. is generally 60%. Center-weighted metering
Evaluative, Matrix, or Multipattern works well when your subject fills the center of
metering are the terms used by different camera the frame, but it is less accurate when the tonal
manufacturers to describe the general-purpose range varies across the scene.
exposure metering mode that is usually the Spot metering measures a very small section
default setting on a digital camera. It works of a scene, typically 1–5% of the image area. It
by dividing the image frame into a series of is very useful to set the exposure for a particular
cells or zones, with the exposure for each zone area of an image, ignoring other elements such
measured separately. The final exposure is as bright light sources that may otherwise skew
calculated by combining the results from the the exposure. When using your camera’s spot
different zones, based on the camera “guessing” meter, measure from parts of the scene that are
what sort of scene is being measured (a lighter a midtone, such as stone, grass, or blue sky.
top half would indicate that the scene was a
landscape, for example). Evaluative metering is Working smarter…
generally very accurate, but it can still be fooled, Apple iOS: Light Meter Free
particularly when graduated ND filters are used. Android: Light Meter Tools
Center-weighted metering has largely been Turn your smartphone into a handheld
superseded by evaluative metering, but it is still reflective exposure meter.
usually an option on most cameras. The entire
METERING
I was able to determine the correct
exposure in this scene by taking a
spot-meter reading from the midtone
areas (circled).
Canon EOS 1Ds MkII, 17–40mm

lens (at 40mm), 6 sec. at f/13,
ISO 100

Exposure modes Shutter Priority (S or Tv) is a semi-
Cameras often have specific automatic scene automatic mode that allows you to set the
modes that make photography hassle free. shutter speed, with the camera setting the
However, using the modes below will give you relevant aperture. This mode is particularly useful
more control over your image creation. for action photography where specific shutter
Programmed Auto (or P) is an automatic speeds are necessary to freeze movement.
mode in which the camera chooses the aperture Aperture Priority (A or Av) is also a
and shutter speed combination necessary for semi-automatic mode, enabling you to set the
the correct exposure. Some models allow you aperture, while the camera sets the appropriate
to override these settings either by altering the shutter speed. This mode is particularly useful
aperture and shutter speed combination or by when control over depth of field is important,
applying exposure compensation. Programmed such as in landscape photography.
Auto is a perfectly valid mode to use when Manual (M) is the mode that will give
you want to “point and shoot.” However, the you the greatest control over the exposure, as
camera does not know anything about esthetics, you set both the shutter speed and aperture.
so Programmed Auto may get in the way of your Your camera will indicate whether the chosen
creative intentions for a shot. combination is correct, but ultimately it is up to
you to decide whether to take this advice.
Tip MODE DIAL

Use exposure lock with spot metering Exposure modes are often chosen by turning
to set the exposure and then a mode dial on the camera body.
recompose to make the image. Image © Canon

Exposure compensation Bracketing
Although exposure meters on modern cameras If you’re unsure that the exposure you’ve set is
are extremely sophisticated, there are occasions correct, your camera’s bracketing function will
when you will need to step in to adjust the give you a safety net. Bracketing is the name
suggested exposure. The most direct way to given to shooting a sequence of shots, one at
do this is to shoot in Manual mode and set the correct exposure, one “underexposed,” and
the shutter speed and aperture yourself. When one “overexposed.” The order of the sequence
shooting in semi-automatic modes, exposure can often be altered via a settings menu.
is adjusted by using exposure compensation. Bracketing can be achieved manually, but
The usual range of exposure compensation is most cameras have an automatic bracketing
±3 stops (usually in ½- or ¹/₃-stop increments). (AEB) function. As with exposure compensation,
Exposure compensation is often necessary when bracketing is usually adjustable by ±3 stops in
shooting in low light because low light scenes ½- or ¹/₃-stop increments. If you plan to create
are by their very nature not composed of an HDR imagery, AEB is the option to choose,
“average” range of tones. Most cameras have as this will minimize contact with the camera
an exposure compensation button that, when during the shooting process.
used in conjunction with a control wheel, allows
you to add + (positive/more light) or – (negative/ Note
less light) compensation. Shooting in Manual mode will disable
exposure compensation.
DIALLING IT IN
Some cameras, such as the Nikon P7100, use a
dial (seen at the right of the camera’s top plate)
to set exposure compensation. BRACKETING (Opposite)
Image © Nikon The first three images were bracketed with the
intention of creating an HDR blend in post-production.
Top left: The exposure suggested by the camera.
Top right: -1.5 stops. Bottom left: +1.5 stops.
Bottom right: The blended result.


Dynamic range very high levels of contrast: the image on the
A camera can only record a restricted range of page opposite is a good example. Exposing to
luminance (brightness) levels, and it certainly retain detail in the tree would have resulted in a
cannot match the astonishing ability of our grossly overexposed sky, that would have been
own eyes. The range of luminance levels that white. With practise it gets easier to assess a
a camera can record is known as its “dynamic scene and decide whether a compromise needs
range,”and different models of camera have to be made in terms of where in the tonal
different levels of dynamic range. As a general range detail is lost. In high-contrast scenes it’s
rule, the larger the sensor in a camera, the generally more appealing to expose an image
greater the dynamic range, so you would so that detail is retained in the highlights.
expect a full-frame digital SLR to have a greater There are several methods that can be
dynamic range than a compact digital camera, used to overcome the problem of dynamic
for example. range. Filters, particularly graduated NDs, are
Not all scenes have high levels of contrast. commonly used by landscape photographers
Mist reduces contrast so that shadows and to overcome the difference between a bright
bright highlights are virtually non-existent. sky and an unlit foreground. Another method is
Misty scenes are one subject that cameras to shoot a sequence of images using different
can cope well with. However, other low-light exposures and to blend them, either as a
scenes, such as pre-sunrise or post-sunset have succession of layers or as an HDR merge.
DETAILS
Low contrast suits delicate
subjects such as flowers. I
prefer working with these
subjects when they’re in
shade or on overcast days.
Canon EOS 7D, 70–200mm

lens (at 200mm), 1/2 sec.
at f/5.6, ISO 100

Histograms Some cameras show histograms in Live View.
The histogram is a very useful tool for assessing Live View histograms are particularly useful
the exposure of an image. A histogram is a when assessing the effect of adding filters such
graph showing (left to right) the range of tones as graduated NDs.
in an image from black (shadows) to white
(highlights). Vertically, the histogram shows how
many pixels of a particular tone are in an image.
Note
One option when shooting JPEGs is
Halfway across the histogram are tones that
to use a tool that controls an image’s
correspond to mid-gray. Subjects such as grass
dynamic range (called Adaptive
or stone roughly equate to mid-gray, so the
D-Lighting by Nikon and Auto
histogram of a correctly exposed image of
Lighting Optimizer by Canon). These
a rock face would peak in the middle.
work by suppressing highlights and
There is no ideal shape for a histogram,
boosting shadows. It’s a useful tool to
although it is better to avoid clipping either
have in high-contrast scenes, but it can
edge if possible: once a pixel is either pure
cause visible noise in shadow areas.
black or pure white there is effectively no image
information there.
However, there is often little
choice but to clip the histogram
when shooting in low light. If you
were to try to set the exposure
so that something like the glow
from a streetlamp didn’t clip
the histogram, the rest of the
image would probably be grossly
underexposed. In this instance it
pays to worry less about the light
and concentrate on exposing the
rest of the scene correctly.
ASSESSING
With practise it becomes easier to
see how the histogram corresponds
to tones in an image.

Exposing to the right production by increasing contrast and adjusting
Digital sensors capture more usable data in the the exposure to suit.
lighter areas of an image than in the shadows. Before exposing to the right, you need to
When shooting Raw files, a technique known as set the picture style settings on your camera to
“exposing to the right” will help you maximize “neutral,” or similar. The histogram on the LCD
the amount of usable image data available for is not generated directly from the Raw file but
post-production, while reducing problems such from a JPEG created using the currently selected
as noise. Exposing to the right requires you picture style. This can affect the histogram and
to expose your image so that the histogram give you a false idea of the exposure.
is skewed to the right (without clipping). This
often means ignoring the “correct” exposure EXPOSE TO THE RIGHT
suggested by the camera and applying positive The image on the left was “exposed to the right”
exposure compensation. and lacks contrast, but the shadow areas are noise
free. The image to the right has been corrected by
The results will look decidedly odd on your applying greater contrast.
camera’s LCD; an image exposed to the right
will appear washed out and lacking in contrast. Canon EOS 7D, 50mm lens, 1/400 sec. at f/1.6,
However, the image is easily normalized in post- ISO 200

ISO
The range of usable shutter and aperture combinations can
be controlled by altering the ISO settings on your camera.
ISO range However, there is a cost to using a high

The term ISO was originally used to describe ISO setting. Sensors are designed to provide
the sensitivity of film to light: the greater the optimum quality at their base ISO, so as the
sensitivity of a film, the higher the ISO value. ISO is increased, image quality decreases due
Digital cameras also use ISO measurements and, to the intrusion of noise. Film users face a
as with film, the higher the value, the less light similar dilemma, as high ISO film is always far
the sensor needs to create an image. In practical grainier than low ISO film. In photography there
terms this means that shorter shutter speeds or is often a compromise that needs to be made
smaller apertures are more readily usable. between the usability of the camera and image
As with aperture and shutter speed, ISO is quality: a slightly noisy, but sharp image, is often
measured in stops, and can frequently be set in better than a cleaner image with camera shake
½- or ¹/₃-stop increments. The lowest ISO on a because the shutter speed was too low.
camera (also known as the base ISO) is usually
ISO 100, although some cameras start as high
Note
as ISO 200. The highest ISO a camera is capable
If your camera has an AUTO ISO
of also varies, and some cameras have the ability
setting it will change the ISO to suit
to almost see in the dark with ISO values in the
the lighting conditions. This is useful
hundreds of thousands.
if you’re handholding your camera,
but if it is on a tripod using the base
ISO will maximize image quality.
SETTINGS
The available ISO settings on a Canon
EOS 1100D.

Noise older cameras, and it’s also generally true that
Digital noise is seen as random spots of color the larger the sensor in a camera, the better-
or variations in brightness in an image. Noise controlled noise will be.
is caused by arbitrary signal fluctuations in a The noise characteristics of your own camera
camera’s electronics affecting the purity of the are something that will take experimentation to
data used to create an image. Noise reduces fine discover. This is done by making exposures at
detail images, making them look coarser. There different ISO settings and viewing the resulting
are two types of digital noise; luminance and images at 100% on your computer’s monitor.
chroma. Esthetically, luminance noise is usually Once you have done that, you should have an
less objectionable than chroma, as luminance idea of which ISO settings seriously compromise
noise has a gritty look to it, rather like film grain image quality and which are acceptable to you.
(although less random). Chroma noise, however,
results in color blotching that is particularly
Note
unwelcome in areas of even tone such as sky or
Lightening an underexposed image
on facial features: it is also the more difficult of
will increase the noise in the image,
the two to remove successfully.
particularly in the shadow areas.
Different cameras have different noise
characteristics. More modern cameras typically
have better noise suppression technology than
NOISE
This image was accidentally
underexposed. In trying to
lighten it in post-production
I’ve increased the visible noise.

(at 10mm), 1/13 sec. at f/5.6,
ISO 100

Long exposure noise post-production. Most good Raw conversion
Long exposures also increase the presence of software has a noise reduction facility, and
noise in an image, even at the base ISO. The software such as Adobe Photoshop allows the
longer a sensor is active, the hotter it gets and addition of third-party plug-ins such as Noise
the greater the corruption of the image data. Ninja (which is also available as a standalone
The very nature of a long exposure requires the package). Noise reduction should be used
sensor to be running continuously. To combat sparingly though, as too much can obliterate
long exposure noise most cameras have a Long detail and leave your images with an overly
Exposure Noise Reduction facility. This function smooth, “plastic” appearance. This will be
typically requires the same length of time as the particularly noticeable on subjects that have
original exposure, effectively doubling the time a delicate texture, such as skin or stone.
needed to shoot an image. If you need to shoot
continuously using long exposures, it’s better to
Note
switch Long Exposure Noise Reduction off.
Long exposures can result in “hot
pixels.” These are random pixels in an
Noise reduction
image that are far brighter than they
When a JPEG is processed in-camera, noise is
would normally be. They do not mean
usually reduced automatically, but Raw shooters
that your sensor is defective and are
will need to use noise reduction techniques in
easily cloned out. Because they are so
small you will probably need to be at
BEFORE AND AFTER 100% magnification to see them.
The image below on the left has had no noise
reduction applied, the image on the right has.

Exposure values shutter speed will have the same value as the ISO
Imagine trying to make successful images setting when you use an aperture of f/16. So, if
without access to a working light meter—it the ISO were increased to 200, the shutter speed
sounds like a nightmarish situation. However, would jump to 1/200 sec. as well, and so on.
in a particular lighting situation, the light that’s From this basic rule it’s possible to work out the
available to make an exposure will generally other shutter speed and aperture combinations
always be the same. For example, on a sunny that would also work on a sunny day.
day, with the aperture at f/16, the correct Although you may think that the Sunny
shutter speed at ISO 100 will be 1/100 sec. 16 rule has no place in a book on low light
(or 1/125 sec. if this was the closest available photography, the same underlying principal—
shutter speed). This is known as the “Sunny 16” that particular lighting situations will require
rule, which is basically saying that on a sunny the same basic exposure—still holds true. The
day, with the subject in direct sunlight, the grid on the page opposite shows a range of
situations from very intense artificial lighting
to ambient light from dim artificial lighting.
SUNNY
This image was shot with a polarizing filter. Without For each situation there is a range of shutter
it, the exposure would have been 1/125 sec. at f/16. speed and aperture combinations. In a particular
With the polarizing filter the exposure needed to be
situation, try setting the exposure manually
adjusted to 1/30 sec. at f/16.
using the relevant values from the table and
Canon EOS 7D, 17–40mm lens (at 30mm), then making your image. You may well find it
1/30 sec. at f/16, ISO 100 more accurate than your camera’s light meter.
Note
If you’re using filters, these must
be taken into account when setting
the exposure using this table. As
an example, a polarizing filter at
maximum strength will absorb 2
stops of light. So, with a polarizing
filter fitted (and used at maximum
strength), you would need to look at
the EV value for the relevant lighting
situation and then deduct 2 from
that value.

Exposure settings at ISO 100
EV f/2.8 f/4 f/5.6 f/8 f/11 f/16
-1 15 sec. 30 sec. 1 min. 2 min. 4 min. 8 min. Ambient light from dim artificial lighting
0 8 sec. 15 sec. 30 sec. 1 min. 2 min. 4 min. Ambient light from artificial lighting
1 4 sec. 8 sec. 15 sec. 30 sec. 1 min. 2 min. Cityscapes at night
2 2 sec. 4 sec. 8 sec. 15 sec. 30 sec. 1 min. Eclipsed moon. Lightning
3 1 sec. 2 sec. 4 sec. 8 sec. 15 sec. 30 sec. Fireworks. Traffic trails
4 1/2 sec. 1 sec. 2 sec. 4 sec. 8 sec. 15 sec. Candle light. Floodlit buildings.
Fairgrounds at night
5 1/4 sec. 1/2 sec. 1 sec. 2 sec. 4 sec. 8 sec. Home interiors with average lighting
6 1/8 sec. 1/4 sec. 1/2 sec. 1 sec. 2 sec. 4 sec. Home interiors with bright lighting
7 1/15 sec. 1/8 sec. 1/4 sec. 1/2 sec. 1 sec. 2 sec. Deep woodland cover. Indoor sports events
8 1/30 sec. 1/15 sec. 1/8 sec. 1/4 sec. 1/2 sec. 1 sec. Bright neon-lit urban areas. Bonfires
9 1/60 sec. 1/30 sec. 1/15 sec.1/8 sec. 1/4 sec. 1/2 sec. Ten minutes before sunrise or after sunset
10 1/125 1/60 1/30 1/15 1/8 sec. 1/4 sec. Immediately before sunrise or after sunset
sec. sec. sec. sec.
11 1/250 1/125 1/60 1/30 1/15 1/8 sec. Sunsets. Deep shade
sec. sec. sec. sec. sec.
12 1/500 1/250 1/125 1/60 1/30 1/15 Heavily overcast daylight (no shadows).
sec. sec. sec. sec. sec. sec. Open shade
13 1/1000 1/500 1/250 1/125 1/60 1/30 Bright overcast daylight
sec. sec. sec. sec. sec. sec. (shadows just visible)
14 1/2000 1/1000 1/500 1/250 1/125 1/60 Weak sunlight. Full moon
sec. sec. sec. sec. sec. sec. (very soft shadows)
15 1/4000 1/2000 1/1000 1/500 1/250 1/125 Bright or hazy sunny conditions
sec. sec. sec. sec. sec. sec. (distinct shadows)
16 1/8000 1/4000 1/2000 1/1000 1/500 1/250 Brightly lit sand or snow
sec. sec. sec. sec. sec. sec. (dark, hard-edged shadows)
17 1/16000 1/8000 1/4000 1/2000 1/1000 1/500 Very intense artificial lighting
sec. sec. sec. sec. sec. sec. (very dark, hard-edged shadows)

High dynamic range
One method to overcome the limitations of a camera’s dynamic range
is to shoot HDR images. This technique requires some forethought
when shooting, but it is a useful “get out of jail free” card.
Shooting for HDR noticeable differences between shots, and
In the first instance, HDR requires you to shoot in low light, this is likely if you need to use a
a sequence of exposures of the same scene. slow shutter speed. You can minimize the time
The typical number of images needed is three; between shots by switching off Long Exposure
one “correctly” exposed, another exposed Noise Reduction, and if wind is a problem, try
for the shadow areas, and a third exposure to and wait until there is a calm period before
record detail in the highlights. The greater the shooting your sequence.
contrast between the shadows and highlights, Handholding your camera during the
the greater the difference between the exposure bracketing process introduces another potential
settings of the images will need to be. source of movement. However, this doesn’t
For low light photography, the big drawback mean that it is impossible to create an HDR
with HDR is that ideally there should be no image from handheld shots. Good HDR software
movement in the scene during the bracketing will have a function to align a sequence of
process. Outdoors this can be tricky, as wind- images, although this requires additional
blown foliage or water movement will produce processing time.
KEEPING STILL
This HDR image was created
from three handheld exposures.
To minimize movement between
the shots I braced myself against
a sturdy barrier.

three shots at f/4, ISO 200

fairer to say that it’s more of a pseudo-HDR
Notes
effect). Alternatively, the Photomatix suite is a
It is possible to use one Raw image
well-regarded standalone HDR package that has
processed to produce different
many adherents.
“exposures,” but this is usually less
HDR imagery has a distinctive style that some
successful than making three separate
like and others loathe. It’s an intriguing new
exposures at the time of capture.
avenue in image-making that is fun to explore.
Although it is not a true HDR package, Ultimately it’s a personal choice as to whether
the Enfuse plug-in for Adobe it’s a technique that will add to your pleasure of
Lightroom is useful for blending photography. Fortunately, most of the software
bracketed images. mentioned above is available on a 30-day trial
basis, so it won’t cost anything to give it a go.
HDR Software
There is a thriving market for HDR software, ESTHETICS
HDR imagery can appear “hyper-real” (or, less kindly,
with commercial packages fighting it out with gaudy), so my personal preference is to use HDR for
open-source and freeware offerings. The latest black-and-white images only.
versions of Adobe Photoshop and Photoshop
Elements both have a facility to generate HDR Canon EOS 7D, 10–22mm lens (at 17mm), three
images (though in the latter case, it’s probably shots at f/4, ISO 200

CHAPTER 3 EQUIPMENT

Introduction
Shooting in low light doesn’t require especially exotic equipment.
However, how you use your equipment will make the difference
between success and failure.
This chapter is a short guide to equipment that I take the bare minimum necessary for a
is either necessary or helpful to you as a low photography trip. This is because acquiring
light photographer. Some of this equipment will newer and shinier photographic equipment
involve a reasonable financial investment, while can become an end in itself, and I would rather
some will cost you pennies. Which items you make the best of what I’ve got than find myself
decide are essential is a personal choice. "upgrading" unnecessarily.
My camera bag is not stuffed with equipment: Each time the specifications of a new camera
are announced, they are analyzed and either
praised or damned on Internet photography
CREATIVITY
The art of photography really begins once your forums. Digital photography generates more
equipment has been mastered and using it has than its fair share of partisan opinions, but all
become second nature.
of these debates mask a painful truth: basic
camera specifications are all well and good, but
Canon EOS 5D, 28mm lens, 1/2 sec. at f/16, to get the best out of a camera involves using it
ISO 50 and becoming familiar with it. And this requires
a commitment in terms of both
time and patience.
PRE-VISUALIZATION
(Opposite)
Practice allows you to develop the
skill of pre-visualization, so you can
plan how your images will look.

8 sec. at f/14, ISO 250

Cameras
Almost every camera can be persuaded to shoot in low light. However,
you’ll ultimately be more successful if you are using a system camera,
such as a digital SLR.
System cameras offer higher ISO settings without compromising
Low light photography can stretch a camera to image quality to the same extent.
the limits of its capabilities. System cameras, System cameras also tend to allow you to
which are those that allow you to swap lenses use a greater range of apertures and shutter
and add additional equipment such as flashes, speed settings, as well as supporting Raw files.
are far more capable than compact and phone A Raw file is image data taken directly from the
cameras. This is mainly because the sensor in camera sensor without processing. This means
a system camera is far larger than the sensor you can tweak factors such as white balance in
found in a compact or phone camera, which post-processing, without a loss of image quality.
means it will have a wider dynamic range and Shooting Raw involves a commitment in time,
both in learning how to get the best out of Raw
and in processing your files, but for
the optimum image quality it is the
best way to work.
The most familiar type of system
camera is the Digital Single Lens
Reflex (or DSLR) camera, which
uses a reflex mirror and pentaprism
to direct light from the lens to an
optical viewfinder. Manufacturers
such as Canon, Nikon, Olympus,
Pentax, and Sony all produce digital
SLR camera systems.
SYSTEM
Canon’s EOS-1D X digital SLR camera.
Image © Canon

Now, however, mirrorless camera systems can alter a JPEG in post-production, when
are gaining market share. These camera systems compared to a Raw file, this can only be
use LCDs or electronic viewfinders to display the done in a very limited way if you are to avoid
image direct from the sensor. Mirrorless system a serious reduction in image quality. There
cameras tend to be smaller and lighter than a are a few high-end compact cameras that
traditional digital SLR, but without sacrificing shoot Raw and allow a greater control over
image quality. Olympus and Panasonic were settings such as aperture and shutter speed,
the first to market with the Micro Four Thirds but these are generally few and far between.
system, but are now competing with Sony’s NEX One way in which a compact camera is very
system and Fuji’s new X-Pro1 rangefinder. useful is as a “walkabout” camera. The size and
weight of a compact means it is easy to keep in
Compact cameras a jacket pocket or bag. This is ideal for a more
There is no reason why you cannot use a spontaneous approach to photography, and
compact camera for low light shooting. ultimately, the best camera is the one you have
Indeed, many compact cameras have with you when it’s needed.
shooting modes designed specifically to
help you in a variety of low light situations.
The main drawback is that it is usually only
possible to shoot using JPEG files. A JPEG
is a processed file, so factors such as white COMPACT
balance and noise reduction are “baked” Fuji X10 compact digital camera.
Image © Fuji
into the file by the camera. Although you

Lenses
In many respects the lens is the most important part of your camera
system. No matter how sophisticated your camera is, the quality of the
images you shoot will be determined primarily by the lens you use.
Focal length wide-angle lens). Telephoto lenses with longer
The description of a lens will usually include focal lengths have a narrower angle of view,
its focal length (or if the lens is a zoom, the but with a greater magnification, making your
range of focal lengths covered). Focal length subject larger in the image.
is a measurement of the distance from the The size of the sensor in a camera also
optical center of the lens to the focal plane affects the angle of view of the image recorded
when a subject at infinity is in focus. The sensor by the camera. On full-frame cameras, a 28mm
is located at the focal plane, and this is often wide-angle focal length has an angle of view of
indicated by a symbol on the body of the 75° whereas on an APS-C (or cropped-frame)
camera (see opposite). camera, the angle of view is only 54° (making
The focal length of a lens affects its angle of it far less wide). To achieve roughly the same
view, which is the angular extent of an image angle of view on an APS-C camera, an 18mm
projected by the lens onto the sensor. A lens focal length must be used instead.
with a short focal length has a wide angle of The sensors in compact cameras are smaller
view (and so, unsurprisingly, is referred to as a still, which means an even wider focal length
lens—sometimes 8mm or
less—must be used to achieve
an angle of view of 75°. To avoid
ULTRA–WIDE LENS
This star trail image was shot with
a 10mm lens on an APS-C camera.
This would be equivalent to using
a 16mm focal length on a full-
frame camera.

(at 10mm), 10 min. at f/4, ISO 200

FOCAL LENGTH standard kit lenses, and also more expensive.
The symbol used on a A compromise is to keep a prime lens or two
camera body to show the
in your camera bag.
position of the sensor or
film plane. A prime lens is a fixed focal length lens. They
are generally relatively inexpensive and have
confusion, manufacturers often give the “35mm the advantage of large maximum apertures. If
equivalent” focal length in a compact camera’s you choose to buy a prime lens, think about the
specifications as a familiar reference point. focal length you use most often on your zoom
lens and look for an equivalent. I have 24mm
and 50mm primes for landscape work, for
Note
example, but if I was a portrait photographer I’d
Full-frame cameras are so-called
probably consider an 80mm prime instead of a
because the sensor size is equal to
wide-angle lens. If I was a wildlife photographer,
the dimensions of an image created
then a 200mm or 400mm prime lens would be
on 35mm film.
in my bag.
Prime lenses versus zoom lenses SIZE

Although digital SLR cameras can be bought An advantage of prime lenses is their weight.
Some, such as Panasonic’s 18mm “pancake” lens,
"body only," most are sold as part of a bundle
weigh almost nothing compared to a zoom lens.
with a zoom lens or two. These zooms are
Image © Panasonic
usually good value, but are not the best that
a manufacturer produces. One problem with
them is the relatively small maximum aperture
available (often f/4–f/5.6). For general use this is
usually not too much of a drawback, but it can
prove a problem when shooting in low light.
Camera autofocus systems also need a
certain amount of light to maintain accuracy and
responsiveness, so a lens with a small maximum
aperture is at an immediate disadvantage in
comparison to a lens with a large maximum
aperture. Also, the larger the maximum aperture
of your lens, the easier it will be for you to see
details in the camera’s viewfinder.
Unfortunately, zoom lenses with large
maximum apertures are far heavier than

Lens problems of an image to be subtly darker than the center.
All lenses, no matter how expensive, will suffer Wide-angle lenses are usually more prone to
from flaws as it’s impossible to design the vignetting than telephotos. Although this is
perfect lens. Certain techniques when shooting a defect of a lens, it can be used creatively to
in low light can bring out the worst in a lens. emphasize your subject if the subject is kept
Fortunately, many of these problems can be to the center of the image. Vignetting usually
solved in-camera when shooting JPEG or in decreases rapidly as smaller apertures are used.
post-production when converting Raw files.
Chromatic aberration
Vignetting Visible light is composed of a spectrum of
Shooting at maximum aperture can cause wavelengths of electromagnetic radiation. The
vignetting, an effect that causes the outer edges longest wavelength corresponds to the color
we see as red, the shortest to blue/violet. A lens
AXIAL CA that cannot focus these different wavelengths
Red and green fringing caused by axial CA. to the same point will suffer from chromatic
aberration (often shortened to CA). Chromatic
Canon EOS 7D, 50mm lens, 1/320 sec. at f/1.4, aberration is seen as color fringing around the
ISO 100 boundaries of light and dark areas of an image.
There are two types of chromatic aberration:
axial and transverse. Axial CA is seen across the
whole image when a lens is set to maximum
aperture. Transverse CA is seen in the corners of
images and is visible at all apertures. Transverse
CA can be corrected relatively easily in post-
production. Axial CA is more difficult to correct
and can only be reduced by stopping the lens
down to a smaller aperture setting.
Note
Some of the techniques featured later
in this book require setting the lens
focus to infinity. This is shown as ∞
on the lens focus ring.

Avoiding the shakes apart. Tuck your elbows lightly against your
Handholding your camera when the light levels body for support. Grip the camera firmly with
are low and shutter speeds are long introduces one hand, and use your other hand to support
the risk of camera shake. This results in unsharp the lens from below. Breathe in and then slowly
images characterized by directionality to the out. Before breathing in again gently squeeze
softness. The longer the lens, the more acute down on the camera’s shutter-release button to
the problem becomes. take the shot. When shooting from a kneeling
Posture is very important in reducing the position, steady your upper body by resting your
risk of camera shake. Stand as upright as elbow on one knee.
possible, keeping your feet shoulder-width Bracing your camera against makeshift
supports, such as fence posts or streetlamps,
can make a big difference to the stability of your
MOVEMENT
Camera shake has directionality—essentially the camera. Walls also make useful supports. Use
path taken by the camera during the exposure. The a cloth, or better still a beanbag, to rest your
arrow shows the direction of the camera shake in camera on and to protect its base from scratches.
this image.
A very cheap way to increase your camera’s
stability is to use a length of string. It needs to
Canon EOS 7D, 50mm lens, 1/30 sec. at f/8, be roughly a foot longer than your height. Tie
ISO 200 a loop at both ends. When you come to make
your photo, put one loop around your foot, the
other around the camera lens. Now pull the
string taut. The tension in the string will keep
your camera more steady than if you'd simply
handheld it.
TIP
A good way to avoid camera shake is
to use a shutter speed greater than the
focal length of the lens. So, if you’re
using a 50mm lens, use a shutter speed
of 1/50 sec. or faster; with a 200mm
lens use 1/200 sec., and so on. Your
camera's Auto or Program modes will
try to achieve this automatically.
Untitled-12 63 16/5/12 16:53:00

Image stabilization Image Stabilization) and VR (Nikon’s Vibration
Another way to avoid camera shake is to use a Reduction). The main advantage with this
lens or camera with image stabilization. Image stabilization option is that it is possible to see
stabilization systems work by compensating for the stabilized image when looking through the
slight movements of a camera during an exposure. viewfinder. A disadvantage is that image-stabilized
In practical terms, this enables you to handhold lenses are expensive compared to equivalent non-
a camera at slower shutter speeds than normal stabilized versions.
without camera shake. The results vary from The second approach to combating camera
system to system, and from person to person, shake is to move the sensor inside the camera.
but 2–4 stops difference is usually possible. Unsurprisingly, this is known as sensor-shift
There are currently two approaches to image stabilization. The main adherents of this
stabilization. The first is lens-based (known as technology are Olympus, Pentax, and Sony. The
Optical Image Stabilization or OIS). Inside an OIS big advantage of sensor-based stabilization is
lens tiny gyroscopic sensors detect movement, that it works with any lens that is attached to the
which is cancelled out by the shifting of a floating camera. The main drawback is that the effect
lens element. The two main adherents to this isn’t visible when looking through a viewfinder
approach are Canon and Nikon, with image (although it is visible when using Live View).
stabilized lenses bearing the code IS (Canon’s
Notes
SONY A55
Image stabilization should always
The Sony A55, equipped with Sony’s
sensor-based SteadyShot stabilization system. be switched off when your camera
Image © Sony is mounted on a tripod.
Image stabilization isn’t instant and it

can take a second or more before full
stabilization is achieved.
STEADY ON (Opposite)
Image stabilization is particularly useful on longer lenses.
With a 180mm focal length and a 1/40 sec. shutter
speed the image is very unsharp (top). However, with
stabilization activated (in this case Canon’s IS system),
the result is far more acceptable (bottom), even though
the same shutter speed is being used.
Canon EOS 7D, 70–200mm lens (at 180mm), 1/40 sec.

at f/9, ISO 800


Tripods
When light levels are low and shutter speeds are long, handholding
a camera will result in unsharp images. This is when a tripod is an
invaluable tool.
Choosing a tripod
A tripod has one job in life and that is to keep Tip
your camera steady during an exposure. There Metal tripods can be agony to hold
is an element of compromise to be made when temperatures drop. To protect
when choosing a tripod: you want one that your hands, wrap foam insulation
will not be a burden to carry, but that is robust designed for pipes around one of
enough so that it is able to support your camera the legs and use that to hold onto.
successfully. A good rule of thumb is that the
heavier your camera equipment, the weightier

your tripod will need to be.
The least expensive tripods tend to be made
of cheaper materials such as plastic, which
makes them light to carry, but less robust, and
more liable to be blown over. Metal tripods are
a little more expensive, but also stronger, and
aluminum tripods generally offer a reasonable
compromise between weight and cost.
However, the best weight-to-strength material
currently used to make tripods is carbon fiber,
INVALUABLE
A tripod is vital for the low light photographer, and
there are numerous techniques, such as painting
with light, which would be impossible without one.
Canon EOS 1Ds MkII, 17–40mm lens (at 20mm),

5 sec. at f/9, ISO 200
Untitled-12 66 16/5/12 16:53:00

which is an astonishingly rigid material given Tripod heads
its weight. There is a catch however: carbon Tripods either have a head already attached,
fiber tripods are often two to three times more or come without a head, requiring you to buy
expensive than an equivalent metal model. one separately. Although the latter type will
Choosing a tripod therefore involves weighing ultimately prove more expensive, it does mean
up your photographic needs with the amount that you can mix and match the tripod and head
you’re prepared to pay. to suit your own needs.
There are three main tripod head types, and
each has strengths and weaknesses. The first,
COMBINATION
Benro A-169 tripod and B-0 ball-head. and most common, is the three-way head. This
Image © Benro type of head can be moved and locked in any
of the three axes. The second type of tripod
head is the ball-head. As the name suggests,
the head pivots on a ball that can be unlocked
to move freely. Ball-heads have an excellent
weight-to-strength ratio, so even a small
ball-head can generally hold a heavy camera
reasonably steadily. However, ball-heads can
be fiddly to use and it’s difficult to make fine
adjustments. The third type of tripod head is the
geared variety. These heads allow very precise
adjustments in three axes. Unlike a three-way
head, a geared head does not have to be locked
into position, but the penalty that’s exacted for
this ease of use is weight: geared heads are
typically far heavier than the other two types.
Regardless of the head design, a very useful
feature to look for is a quick-release system.
This will allow you to quickly attach and remove
your camera from the tripod head, which saves
considerable time and effort when setting up
your camera system.

Good tripod technique in the camera-tripod combination every time
Even if you use a tripod, it is still possible to you touch it. Use a cable release or the self-
create unsharp images if your tripod technique timer on your camera to reduce the risk of this
is sloppy. For example, a tripod can wobble happening. Don’t move around during long
slightly if the legs are not extended evenly, so exposures either, particularly if the ground is
try to make sure that it isn’t leaning before soft: this may cause the tripod to move or, in
you attach your camera. Another cause of very low light, you could accidentally walk into
unsteadiness is use of the center column, which or trip over the tripod.
raises the center of gravity of your tripod, The final potential cause of image softness
making it top heavy. To avoid this, make sure when using a digital SLR is the camera itself. The
that you have extended the tripod legs to their reflex mirror swings upward when the shutter
maximum height before you consider using the is fired, and this can result in slight vibration,
center column. even though the movement is damped. Most
The next problem area is you. No matter cameras have a mirror-lock facility, which allows
how careful you are you will cause a vibration you to lock the mirror up before making an
exposure, which will reduce “mirror
slap.” Needless to say, mirrorless cameras
and digital SLRs in Live View mode
(when the mirror is already raised) will
not suffer from this problem.
Long lenses can also cause a tripod
to become slightly unstable. If you own
a long lens that has a lens collar, always
use that when attaching the camera to
the tripod, rather than attaching the
camera body itself.
STAYING STILL
Once my tripod is set up I try to minimize my
movements: nothing’s worse than knocking the
tripod and ruining a carefully composed shot.

Remote releases
The humble remote release is an often- Notes
overlooked item of equipment. The simplest A number of Nikon’s digital SLRs have
variety is the cable-release that screws directly built-in intervalometers.
into the shutter button. There is no electronic
Some cameras have a Time function in
signal and it’s the mechanical act of pushing
addition to Bulb. When the camera is
down the plunger on the cable release that fires
set to Time, pressing the shutter-release
the shutter. Most modern camera manufacturers
button once locks the shutter open.
no longer support the cable-release, with the
Pressing it again closes the shutter.
exceptions of Fuji and Leica.
Most cameras today use proprietary remote
releases, incompatible with rival systems.
These remote releases are electronic devices
that control the shutter by wire connection or
infrared. Using a remote release means you can
avoid touching your camera when it’s mounted
on a tripod. This all helps to reduce the risk
of camera shake and knocking the camera. A
vital feature to look out for when choosing a
remote release is a shutter lock facility. This is
used when employing Bulb mode and avoids
the necessity of keeping a finger on the shutter
button during the exposure.
The most sophisticated remote releases
are those with programmable functions such
as timer, timed Bulb, and an intervalometer.
Intervalometers allow the shooting of multiple
images over a regular period. This facility is
particularly useful when shooting images for
time-lapse movies or for star trail stacking.
THIRD–PARTY REMOTES
There is a number of third-party alternatives to
an official camera manufacturer’s remote control,
offering varying levels of control.

Filters
Despite the fact that imaging software is so advanced, there is still
a place in the equipment bag for filters.
Filter types
A filter is a piece of glass, gelatin, or optical Notes
resin that affects the light passing through it Filters degrade image quality
in some way. This can be subtle, or, like the slightly, so while it is possible to stack
starburst filter described below, change the light multiple filters in front of a lens, it is
in a way that is far from understated. not advisable.
Filters are available either in a screw-in form
You can keep your filters clean using
that attaches to the filter thread on the front of
a dedicated soft cloth.
a lens, or as part of a holder system. Screw-in
filters are usually relatively inexpensive, but as
there is no standard filter thread size you may
find that you need to buy multiple filters of the or rectangular, and there are currently three
same type if you have a collection of lenses with different sized systems on the market: 67mm
different filter thread diameters. A more elegant (Cokin A); the 84/85mm (Cokin P); and 100mm
solution is to buy a filter for the largest thread (produced by a number of manufacturers
size and then buy step-up rings so you can use including Cokin, Lee Filters, and Hitech). If you
the same filter on your smaller lenses. own a number of lenses you can use the same
The alternative is a filter holder, which is a filters on each of them—all you need to buy is
slotted plastic device that clips to an adapter an appropriate (and inexpensive) adapter ring
ring screwed to the front of a lens. The filters for each lens. Be careful to get the right size
that fit into a holder are usually either square filter holder to start with though—the smaller
systems are the least expensive, but they
are also less compatible with wide-angle
lenses as they can cause noticeable cut-off
in the corners of the frame.
FILTERS
100mm square filter and 77mm
screw-in filter.

Starburst (cross-screen) filters Skylight and UV filters
Starburst filters are covered in a grid of finely Both of these filters absorb UV light, helping to
etched lines that refract the light from point reduce the effects of atmospheric haze and the
light sources. This produces distinctive colored coolness caused by UV light. Skylight filters have
lines radiating out from the light source: the a slightly pink tint and so also subtly “warm” an
number of lines is determined by the filter’s grid image (they are available in two strengths, 1A
pattern. There was a vogue for using starburst and 1B, with 1B being warmer). UV and skylight
filters during the 1980s, but they are now seen filters do not affect exposure, and for this reason
as a touch passé. However, fashions come and some photographers leave one attached to each
go, and their day may yet come again. of their lenses to protect the front element from
damage. UV and skylight filters are
particularly useful at high altitude
where there is a greater concentration
of UV light.
Tip
Using a smaller aperture
will cause point light
sources to appear star-
shaped, although the
effect is not as dramatic
as using a starburst filter.
STARBURST
The effect of a six-point starburst filter.

(at 40mm), 25 sec. at f/6.3,
ISO 200
Untitled-12 71 16/5/12 16:53:01

Polarizing filters The effectiveness of a polarizing filter is
Light reflected from a non-metallic surface is altered by turning it around the lens axis.
scattered in all directions, causing glare and Screw-in polarizers usually have a rotating front
a reduction in color saturation. This scattered element, while polarizers designed for filter
light has been polarized. A polarizing filter holders are rotated within the holder itself.
cuts out polarized light perpendicular to the
axis of the filter. The most commonly seen use
for polarizers is to deepen the color of blue
Notes
Polarizers are sold as either circular
skies. However, this effect only works when the
or linear. Linear polarizers are only
polarizer is used at 90° to the sun (referred to
suitable for manual focus cameras as
as “Brewster’s Angle”). The effect diminishes
they adversely affect both the TTL
rapidly away from this angle, which can cause
metering and autofocus systems of AF
an unnatural banding effect across the sky
cameras. For that reason, you should
when ultra wide-angle lenses are used with a
buy a circular polarizer.
polarizing filter.
Polarizing filters aren’t just for sunny days: When using semi-automatic modes
they also cut out reflections from wet surfaces your camera will compensate for any
and help to increase color saturation. This is light loss caused by filters fitted over
particularly useful with woodland scenes and the lens. When shooting manually, use
wet foliage. the grid below to calculate how much
In this situation, polarizing filters work exposure should be adjusted.
best when used at approximately 35° to the
reflective surface, and not at all at 90°.
Filter exposure compensation table

Filter type Filter factor Exposure increase
Starburst 1x 0
Skylight/UV 1x 0
Polarizing filter 1x–4x 0–2 stops
0.3 ND filter 2x 1 stop
0.6 ND filter 4x 2 stops
0.9 ND filter 8x 3 stops

Neutral density (ND) filters ND filters are also very useful if your camera
Low light photography doesn’t necessarily mean is able to shoot video. Video often appears more
waiting until light levels drop. You can artificially pleasing when a relatively slow shutter speed
reduce the amount of light reaching the film or is used—too fast a shutter speed and moving
sensor by using a neutral density (ND) filter on objects appear to move in a staccato fashion
the front of the lens. rather than smoothly.
Many digital cameras have a relatively high
base ISO: often it is ISO 100, but sometimes it
Tips
can be as high as ISO 200. This can prove very
ND filters are often sold using an
restrictive if you want to use a large aperture
optical density figure. A 1-stop ND
with a slow shutter speed. ND filters are
filter has an optical density of 0.3,
available in a variety of strengths: the stronger
a 2-stop filter is 0.6, and a 3-stop
the filter, the more opaque it is. A 1-stop
filter is 0.9.
ND filter has the same effect on the required
exposure as changing from ISO 100 to ISO 50. A polarizer cuts out up to 2 stops
A 2-stop is equivalent to changing the ISO from of light, so it can also be used in
100 to 25 and so on. the same way as an ND filter.
TIDAL
A 3-stop ND filter was used
to slow the shutter speed
from 1/15 sec. to 1/2 sec.,
allowing me to enhance the
waves washing over the
foreground rocks.
Canon EOS 5D, 50mm

lens, 1/2 sec. at f/13,
ISO 100
Untitled-12 73 16/5/12 16:53:02

Extreme ND filters
Working smarter…
A recent development is the general availability
Apple iOS: Longtime Exposure
of very dense ND filters that reduce light by a
Android: Exposure Calculator
greater factor than a few stops. These filters
Both of these apps allow you to quickly
are so dense that to the naked eye they appear
calculate the difference in shutter speed
opaque, and shutter speeds can be increased
needed for ND filters of varying strengths.
from fractions of a second to several seconds
or minutes, even in very bright light. Because
shutter speeds lengthen so dramatically, extreme One problem common to all extreme ND
ND filters invariably require the camera to be filters is that they are never entirely neutral.
mounted on a tripod. They either display a warm, almost sepia,
As with standard ND filters, extreme ND cast or a noticeable coolness. This varies
filters are available in different strengths in from manufacturer to manufacturer and the
either circular form, to fit directly onto a lens, or information about individual filters can usually
square for use in a filter holder. A good quality be found very quickly in online reviews and
square filter should have a baffle around the forums. If you are shooting with the intention
circumference to stop light leakage around the of converting your images to black and white,
edges during use. the color cast won’t be an issue. To counteract
the color cast when shooting
color you should either create
a custom white balance for the
filter and the current shooting
situation, or be prepared to
adjust the color later in post-
processing.
BLUE
I use a Hitech 10-stop filter, which
has a cool color cast. However,
this is easily corrected in post-
production.

(at 16mm), 5 min. at f/4,
ISO 400

Because extreme ND filters are so opaque you to shoot landscapes, moving clouds will lose
will need to compose, determine exposure definition and become more ethereal. Water,
and set the focus before fitting the filter. The particularly tidal seawater washing back and
exposure should be based on the settings taken forth, will cease to look like water, and take on
without the filter attached and then altered a misty appearance. In many ways it is a look that
depending on the strength of the filter. Use the suits black-and-white imagery better than color,
grid below as guidance. As an example, if the as black and white offers an inherently less literal
shutter speed with no filter attached is 1/15 representation of the world.
sec., you would need to change it to 2 seconds Because shutter speeds are potentially so
if a 5-stop ND filter is used, or 1 minute with a long when using an extreme ND filter it is
10-stop ND filter. Using manual exposure will recommended that fresh batteries are used in
allow you to make the necessary changes more your camera whenever possible. If shooting
easily, as exposure compensation usually covers digitally, Long Exposure Noise Reduction should
a 3–5 stop range. be activated, while film users should apply
The effect of using an extreme ND filter is exposure compensation to combat reciprocity
very pronounced if there is any movement in law failure if necessary.
the scene you are photographing. When used
Extreme ND filter exposure compensation
Shutter 5-stop 8-stop 10-stop Shutter 5-stop 8-stop 10-stop

speed filter filter filter speed filter filter filter
1/8000 sec. 1/250 sec. 1/30 sec. 1/8 sec. 1/8 sec. 4 sec. 30 sec. 2 min.
1/4000 sec. 1/125 sec. 1/15 sec. 1/4 sec. 1/4 sec. 8 sec. 1 min. 4 min.
1/2000 sec. 1/60 sec. 1/8 sec. 1/2 sec. 1/2 sec. 15 sec. 2 min. 8 min.
1/1000 sec. 1/30 sec. 1/4 sec. 1 sec. 1 sec. 30 sec. 4 min. 16 min.
1/500 sec. 1/15 sec. 1/2 sec. 2 sec. 2 sec. 1 min. 8 min. 32 min.
1/250 sec. 1/8 sec. 1 sec. 4 sec. 4 sec. 2 min. 16 min. 64 min.
1/30 sec. 1 sec. 8 sec. 30 sec. 30 sec. 16 min. 128 min. 512 min.
1/15 sec. 2 sec. 15 sec. 1 min. 1 min. 32 min. 256 min. 1024 min.

The effect of using an extreme ND filter is
Tip veryTip
pronounced if there is any movement in
When focusing, you could still use AF the Extreme
scene youND arefiphotographing.
lters aren’t just When
useful used
if you wish, but be sure to switch your to shoot landscapes,
for landscape moving
work. clouds will
Anything thatloseis
lens to manual focus before fitting defimoving
nition and become more
relatively quicklyethereal. Water,
will vanish
the filter (and without disturbing the particularly
from a tidal
photoseawater washingspeed
if the shutter back and
focus as you do so). If the light levels forth, will ceaselong.
is minutes to look likeiswater,
This usefulandfortake on
are reasonably high, Live View may a misty appearance.
architectural In manythat
subjects wayshave
it is apeople
look that
still work with a filter attached, and suitsmilling
black-and-white
around them imageryandbetter
where thanthe color,
even allow you to focus. Experiment as black
idealandis awhite offerspeople-free
relatively an inherentlyshot.less literal
to determine if this is the case. representation
Only someone of thewhoworld.stops moving for a
Because
reasonable shutter
periodspeeds are potentially
of time will register so
longinwhen
the fiusing an extreme
nal image. WhetherND filter
youittry is to
recommended that fresh
keep that person batteries
moving are used
along is your in
WAVES
The use of a 1 minute exposure makes this coastal youresthetic
camera choice!
whenever possible. If shooting
scene appear very tranquil. In reality, the waves
were pounding against the rocks in the foreground.
Canon EOS 1Ds MkII, 70–200mm lens (at 70mm),

1 min. at f/16, ISO 50
Untitled-12 76 16/5/12 16:53:03

Graduated ND filters in their image. The greater the difference in
ND filters are used across the entire scene. brightness between the sky and the foreground,
However, the graduated ND filter is more the stronger the graduated ND filter would
specialized. The graduated ND is divided into need to be.
two. The bottom half of the filter is transparent; Graduated ND filters are available in screw-
the top half is semi-opaque like an ND filter. in form, but they work best in a filter holder.
The transition zone between the two halves This way they can be moved up and down (or
can be soft, hard, or very hard, and graduated rotated) so that they can be precisely positioned
ND filters are available in different strengths where needed.
(commonly 1-stop, 2-stops, and 3-stops).
Graduated ND filters are used to balance
the exposure of a scene when one half is far
brighter than the other half, and a ”straight“
LANDSCAPE
exposure is impossible. The most common users This scene required the use of a 2-stop graduated
of graduated ND filters are probably landscape ND filter (below right). Without the filter (below
left) the sky and background are washed out.
photographers who often need to balance the
different brightness levels of sky and foreground
Canon 7D, 17–40mm lens (at 22mm), 1/30 at f/8,

ISO 400

Metering with ND graduate filters Metering method #2
A very quick and crude method to assess 1) Switch your camera to manual exposure
whether a graduated ND is necessary is to and select spot metering.
squint at the scene in front of you. If the 2) Take readings from a midtone area, such
foreground and the sky appear equally bright as grass or rock. Note the suggested exposure.
then you probably don’t need a filter. If, 3) Take spot meter readings of the midtones
however, the foreground looks far darker than in the sky. These are typically areas of blue sky
the sky, you will need one. or the undersides of darker clouds. Again, note
the suggested exposure.
Metering method #1 4) Calculate the difference in stops between
1) Switch your camera to manual exposure your two readings and use a graduated ND
and select center-weighted metering. filter that is equivalent to the difference.
2) Meter from the foreground and set
the correct aperture and shutter speed
combination.
REFLECTIONS
3) Point the camera to the sky and meter Don’t use an overly strong ND graduate filter when
again. Note the difference in the exposure and shooting reflections. The subject should always be
darker than its reflection.
select a graduated ND filter that reduces the
difference to 1 stop.
4) Compose your shot and fit the filter,
leaving the exposure set for the foreground. Canon EOS 1Ds MkII, 70–200mm lens (at 70mm),
1/100 sec. at f/9, ISO 200

Other equipment
It’s not just camera equipment that is useful when shooting in low
light. There are gadgets and tools that will make your life easier both
practically and photographically.
Batteries spare battery or two and keeping these charged
The batteries used in modern digital cameras up ready for use. Batteries are depleted more
are extremely efficient for their size, but they quickly when conditions are cold. Store your
will inevitably deplete. This is particularly true if spare batteries inside your jacket to keep them
you are constantly using the camera’s Live View warm until you need them.
and image review functions, and when setting
lengthy shutter speeds with Long Exposure Spirit level
Noise Reduction activated. In low light, it’s often difficult to see whether
Film cameras are less battery dependant, your camera is level, but some tripods and
but those with electronic shutters still require a tripod heads come with a built-in spirit level.
healthy battery to function (film cameras with Alternatively it’s possible to buy a spirit level
mechanical shutters often only need a battery that clips into the hotshoe of your camera, or
for the lightmeter). that can be balanced on the top plate of the
To prevent your photography session coming camera if that is flat and parallel to the base of
to a premature end, it’s worth investing in a the camera.
Working smarter…
Apple iOS: iBubbleLevel
Android: Spirit Level Pro Free
These apps use your smartphone’s
tilt detection to provide an electronic
spirit level. However, you should only
use them if you’re happy to balance
your phone on top of your camera!
ON THE LEVEL
Hotshoe-mounted spirit level.

Reflectors your subject. Gold reflectors are often used in
A reflector is a surface—usually white—that is portraiture for this very reason; the warmer light
used to direct light into the shadow areas of adds a healthy glow to your subject.
your subject to reduce contrast. It’s possible to
buy reflectors in all sorts of shapes and sizes,
Notes
though often a piece of card or paper is more
Reflectors are most useful when you
than adequate, particularly when shooting
have one light source, such as the sun.
macro subjects. Commercial reflectors are
Position the reflector on the opposite
also available in metallic, either colored silver
side of your subject to the light source
or gold. Metallic reflectors bounce more light
and angle it so that the shadows
back toward the subject and increase contrast
lighten to the desired amount.
compared to a pure white reflector. If you use a
silver reflector outdoors this can have the effect Check that the reflector isn’t intruding
of making the reflected light cooler, particularly into the image before you press the
when ambient light from the (blue) sky above shutter-release button on your camera!
is reflected. A gold reflector counteracts this
and adds warmth to the light reflected back to
LASTOLITE
The name most
associated with
reflectors (and other
lighting control
systems) is Lastolite.
Image © Lastolite

SHADOWS
Camera: Canon EOS 7D The low, raking light of morning creates long, often dense
Lens: 50mm lens shadows. For this beach still life I shot without a reflector (top)
Exposure: 1/25 sec. and with a reflector just out of shot on the left (bottom). The
at f/10 reflector “bounced” sunlight into the shadow area, reducing
ISO: 100 contrast, as well as adding overall warmth to the image.

Flashlights Notebook
I have a variety of flashlights that all have a Images from a digital camera have one big
different purpose when I shoot in low light. advantage over those shot on film: shooting
The least powerful of my flashlights is an LED information such as the date, exposure details,
headlamp that frees up my hands to carry other and lens focal length is embedded into the
equipment such as maps and to operate the image file as metadata. This information can
camera once I’m ready to set up. LED flashlights be viewed after shooting using image-editing
are very power-efficient and last far longer software such as Adobe Photoshop, and
on one set of batteries than conventional reviewing the exposure details is a good way to
flashlights. However, they are not particularly learn and understand what you did well, and
bright and the light generated is very “cool” sometimes more importantly, what went wrong.
in color. If I want a flashlight to illuminate my Not all shooting information is stored in
photographic subject—known as “painting with metadata. Your camera certainly doesn’t know
light”—I use a large rechargeable flashlight with when filters were added or what your location
an incandescent bulb. Not only is the light more was (unless your camera is equipped with a
powerful, it also has a “warmth” that I find GPS facility). For this reason it’s still useful to
esthetically pleasing. keep a notebook of how you work for future
reference—tying your notes to the
relevant image file names.
Working smarter…
Apple iOS: Notebook
Android: Color Note
Both of these apps allow you to
make extensive notes using your
smartphone and then sync them with
your computer.
LED HEADLAMP
Useful when you need to keep your hands
free and your way illuminated.

Smartphone many of which are free or can be purchased
A smartphone is a hybrid of a cellphone and a for a very small fee.
pocket-sized computer. At the time of writing From a safety point of view, it’s useful to
there is a number of smartphone standards carry any kind of mobile phone when out and
competing for market share, with the two about—walking around in the dark has its
most popular being those based on Apple’s iOS hazards and it’s better to be safe than sorry.
system and Google’s Android standard. Also Calling out the emergency services should
available are smartphones from BlackBerry and always be a last resort though, rather than
Nokia that use their own proprietary operating the easy option if you’re just lost.
systems (the latter developed with Microsoft).
A good smartphone can run mini-programs
Notes
known as apps (short for application), and there
Devices such as Apple’s iPod Touch
are hundreds of thousands of apps available,
and iPad also fall into the smartphone
category, they just don't have the
phone element.
When shooting star trails, exposures

can be in excess of one hour, so having
music to listen to, or games to play on
your phone can help to pass the time!
Most smartphones have a built-in

camera, but the small sensor size
means they are far from ideal for
low light photography.
ANDROID
The Samsung i400, an Android-based
smartphone.
Image © Samsung

Movement
Extreme ND filters are particularly useful in bright conditions when it would be otherwise
impossible to achieve a slow shutter speed. I wanted to use a shutter speed of 4 seconds
to blur the wind-blown leaves and simplify the background behind this statue. Because
the statue was in bright sunshine this was only possible by using a 5-stop ND filter.
Camera: Canon
EOS 7D
(at 180mm)
Exposure: 4 sec. at f/11
ISO: 100

Combination
Filters can be combined to achieve different things in the same image. For this shot I used
a 2-stop graduated ND to balance the exposure of the brighter sky to the foreground. I
also used a plain 3-stop ND filter to slow the shutter speed and make the water appear
more ethereal.

(at 10mm)
ISO: 100

CHAPTER 4 FLASH

Flash
When light levels drop and extra illumination is needed, the humble
flash—whether built into the camera or attached via the hotshoe—
is a very useful tool.
Getting it to work flashes of cameras are firing away around you.
It’s night and you’re at the back of a stadium But flash is nowhere near powerful enough to
watching a concert. In the far distance the illuminate that distant figure, so there are going
performer struts his (or her) stuff, and the to be a lot of disappointed people when they
review their photos later.
In fact, it’s fairly common for people to be
FLASH ONLY
Flash is particularly useful when there are few disappointed with the results they get with flash:
other artificial light sources to illuminate subjects images are often underexposed or blown out,
at night.
and the times when flash actually benefits a
picture often seem more like a happy accident
Canon EOS 1Ds MkII, 100mm lens, 1 min.
at f/11, ISO 100
than anything else. Another problem is the
quality of the light. It’s not flattering at all, and
tends to flatten textures and can make subjects
appear like cardboard cutouts against a pitch-
black background.
Fortunately, you don’t have to accept these
problems, because techniques as simple as
bounce flash can help make the light from a flash
much more pleasing. This chapter covers some
of the flash basics, and explores how your flash
could become your new best friend with the
falling of dusk.
SLOW SYNC FLASH (Opposite)

Flash can be used very creatively: for this outdoor image
at dusk I used a flash off-camera.
Canon EOS 1Ds MkII, 24mm lens, 2 sec. at f/11, ISO 100

Flashes
There is a bewildering choice of flash units on the market today, with
an equally confusing range of functions and modes.
What’s in a name? it frequently, consider buying a more powerful

Manufacturers use a variety of different names model. The smaller unit could then be used as
for their flashes: Canon uses Speedlite to a slave flash in multi-flash set-ups.
describe its products, Nikon uses Speedlight,
and so on. To avoid confusion I’ll use the generic Built-in flash
“flash” or “flash unit” to cover all such devices. A built-in flash is the most common type of
flash that you will encounter. They are either
Flash types permanently available on the front of the
Before buying a flash it’s worth thinking about camera, or pop-up from the top-plate when
how often you’ll use it. It’s all very well buying they are needed.
the biggest and best, but not if it’s only used Although it’s useful to have a flash that is
once a year. It’s a better policy to buy a mid- always available to provide a fill-in light, built-
range flash and then, if you find yourself using in flashes are usually relatively low powered.
POP-UP FLASH
Panasonic DMC-GF3 with a built-
in pop-up flash.
Image © Panasonic

Manual flash Automatic flash
This type of flash fits onto your camera via the An automatic flash is slightly more sophisticated,
hotshoe or PC connector. This flash does not and offers a selection of “automatic aperture
communicate exposure information to your settings.” By setting your lens and flash to the
camera, so to obtain the correct exposure you same aperture setting, the correct exposure is
need to change the power output of the flash obtained within the possible flash-to-subject
and/or adjust the aperture or ISO setting on range for that particular aperture. A sensor on
your camera. the flash will automatically cut the flash output
to prevent overexposure.
Dedicated flash
These flash units communicate directly with a
camera to produce the correct exposure. The
various flash settings can usually be set on the
menu system of the attached camera, as well as
on the flash itself. A lot of dedicated flashes also
work in conjunction with a camera’s AF system,
either to provide light to allow autofocusing,
or to use the AF information to calculate the
correct exposure. As this sort of technology is
specific to a particular camera system, most
camera manufacturers only produce dedicated
flashes for their own cameras—Sigma is one
exception to this rule.
DEDICATED FLASH
Nikon Speedlight SB-910.
Image © Nikon

Anatomy of a flash
The flash shown on this page is the Canon Speedlite 430EX II, which is a mid-range model that
is compatible with Canon’s EOS range of cameras. Its features are found on comparable flashes
produced by other manufacturers.
10
2
11
6 12
3
7 13
8 14
Image © Canon
9 15
4
16
5
1 Wide-angle diffuser panel 5 Mounting foot

Increases the angle of coverage of the flash so 6 Flash mode button
that scenes are lit evenly when using a wide-
Selects the various metering modes the camera
angle lens.
and flash combination uses to determine the
2 Flash head correct exposure.
3 Battery access panel 7 LCD panel light/Custom function button
4 AF assist lamp 8 Flash charge light/Test fire button

If there is not enough ambient light for the Lights when the flash is fully charged. The
camera’s AF system to work normally, the AF fresher the batteries, the more quickly the
assist lamp pulses light to compensate. flash charges.

TTL FLASH
Canon EOS 7D, 10–22mm lens Using flash off-camera is simplified if both your camera and
(at 17mm), 1/10 sec. at f/4, flash are compatible and support TTL exposure.
ISO 100
9 Flash exposure confirmation light 13 Zoom setting

Illuminates when the flash has fired and Adjusts the coverage of the flash to suit the
correctly exposed the subject. focal length of the lens used.
10 Bounce angle index 14 Power switch

Shows the angle that the flash head is pointing
15 Option setting buttons
when using bounce flash.
16 Locking collar
11 LCD information panel
12 Hi-speed sync/Curtain sync button

Sets Hi-speed and 1st or 2nd curtain
synchronization.

Using your flash
Working with flash can be daunting, but the following pages will
explain some of the basic concepts that will help you get the best
from your flash.
Guide numbers
Working smarter…
All flash units have a maximum power output,
Apple iOS: Photocalc
which is represented by a numerical value
Android: Photo Tools
known as the guide number (often shortened
These apps take the sweat out of
to GN). The GN allows you to calculate the
calculating the values needed for the
flash’s effective range in either feet or meters:
correct flash exposure. However, if you
the higher the GN, the greater the power of
memorize the equations for determining
the flash. If you increase the ISO you effectively
distance and aperture using the guide
change the GN, so for this reason ISO 100
number, then an equally accurate result can
is the standard value that most (but not all)
be achieved using the standard calculator
manufacturers use when quoting the GN of
app on your smartphone!
a flash.
If you know the GN of a flash you can also
use it to either manually calculate the aperture
value needed to correctly expose a subject at a Sync speed
given distance, or calculate the effective range The fastest shutter speed available when shooting
of the flash at a chosen aperture. The formula flash is known as the sync speed. This varies
to calculate this is: between camera models, but is typically in the
GN/distance=aperture range of 1/125 sec. to 1/250 sec. Most modern
GN/aperture=distance camera systems will not let you set a shutter
As an example, the Canon 430EX II on the speed faster than the sync speed when using flash
previous page has a GN of 141 feet (43 meters) (although there is an exception to this—see p98).
at ISO 100, so if you set the aperture on the lens It is important to note that the shutter speed
to f/5.6, the effective range of the flash would you use does not affect the flash exposure.
be 25.2 feet (7.68 meters). Doubling the ISO If you were to shoot with your flash at full
increases the effective flash distance by 1.4, so power—with no automatic adjustments—you
at ISO 200 (and with the aperture still to f/5.6), could control the range of the flash by varying
the effective flash distance would increase to the lens aperture. The smaller the aperture, the
35.63ft (10.86m). less range the flash will have, but varying the

shutter speed will only affect the exposure for quickly that it’s almost impossible to distinguish
those areas in an image that are lit by ambient that more than one flash has occurred.
light, and not by the flash. This system is very reliable for general use,
If you are using your flash as a fill-in light, although most flashes still have a manual mode
a shutter speed close to the sync speed will be for those who want full control.
appropriate, but when ambient light levels are
low, longer shutter speeds can be used in a SYNC SPEED
technique known as slow sync flash. This image was shot at the maximum sync
Modern flash systems use a metering system speed of my camera and its lowest ISO setting.
This was done to underexpose the background
that is known as TTL, or through-the-lens and therefore emphasize the subject.
metering. This works by firing a series of smaller
pre-flashes before the camera shutter opens,
with the power of the main flash based on the Canon EOS 1Ds MkII, 70–200mm lens (at 70mm),
metering of these pre-flashes. This happens so 1/250 sec. at f/10, ISO 50

1st curtain and 2nd curtain sync Slow sync flash
The most common mechanical shutter used in Because a flash has a limited range, it often
modern cameras is the focal-plane shutter (the won’t be able to illuminate the background
other main type of shutter is the leaf shutter, at the same time as it illuminates the main
which is found in the lenses of medium- and subject. You could increase the ISO to extend
large-format camera systems). A focal-plane the range of the flash, but this runs the risk of
shutter has two light-tight “curtains,” one overexposing the subject.
in front of the other. When you press the Slow sync flash is a technique that can
shutter-release button on your camera, the 1st be used to circumvent this limitation by
(or front) curtain rises, exposing the sensor to setting a shutter speed that is long enough
light. After a period of time the 2nd (or rear) for the background to be exposed correctly.
curtain follows, stopping light from reaching It is particularly effective at dusk when there
the sensor and ending the exposure. The period is still enough ambient light to illuminate the
of time between the 1st and 2nd curtain rising background; once it is completely dark there will
is the shutter speed you’ve chosen (so, at a be insufficient ambient light to illuminate the
shutter speed of 1/30 sec., the difference in scene. Different cameras and flashes use different
time between the rising of the two curtains is methods to allow the use of slow sync flash, so
1/30 sec.). you will need to consult your camera and flash
Flash can either be fired at the start of the manuals for specific details.
exposure (when the 1st curtain begins to rise) or Once the ambient light levels drop, the
at the end of the exposure (as the 2nd curtain shutter speed needed will inevitably lengthen,
rises). If your subject is not moving (or is moving so to avoid the risk of camera shake, you will
toward or away from the camera) the setting need to support your camera on a tripod.
you decide to use will make little difference to However, this isn’t particularly creative, and
the image. However, if your subject is moving deliberately moving your camera during
across the frame, the flash will freeze the exposure can result in some interesting visual
motion of the subject at the moment of firing. effects. Anything lit by the flash will be pin
Any movement recorded after the flash sharp, but everything else will be recorded as a
has fired (with the shutter still open) will streaked blur—the longer the shutter speed, the
be recorded as a trail. With 1st curtain more surreal the effect.
synchronization this movement is recorded as a
trail in front of the subject, but with 2nd curtain
MOVEMENT (Opposite)
synchronization the movement is recorded as This image was shot using slow sync flash, but during
a blur behind the subject. Of the two settings, the exposure I deliberately moved the camera to leave
2nd curtain synchronization generally looks a suitably “science fiction” series of trails and blurs.
more natural. Canon EOS 7D, 50mm lens, 2.5 sec. at f/6.3, ISO 100

Hi-speed sync flash
The normal sync speed of a flash can HI-SPEED FLASH
As I was using hi-speed flash for this image, the
occasionally be limiting, and there are times
flash had to be close to the subject. In fact, it was
when you may need (or want) to use a shutter just out of shot to the left of the camera.
speed that exceeds the flash sync speed. This
is particularly true on bright days, when flash
is useful as a fill-in light. Fortunately, a lot of
Canon EOS 7D, 24–70mm lens (at 24mm),
digital SLR systems will allow you to use hi- 1/320 sec. at f/8, ISO 100
speed sync flash, providing you have a suitable,
dedicated flash unit.
When a fast shutter speed is used (one that
is higher than the sync speed), the distance
between the 1st and the 2nd shutter curtain
following on behind is smaller than the height
of the sensor. Therefore the flash would
illuminate only the section of the sensor that is
revealed by the shutter when it fires—the area
hidden behind the shutter would be literally left
in the dark.
Hi-speed sync flash gets around this problem
by pulsing the flash to simulate a continuous
light source. The one drawback is that the
power of each flash is reduced to ensure that
the flash is able to recycle quickly between
flashes. This means that the effective distance of
the flash is reduced when hi-speed sync mode
is used, and the higher the shutter speed, the
lower the distance becomes. However, hi-speed
sync is a useful tool when it’s needed—even
low light photographers venture out into bright
daylight occasionally!

Red-eye correction Fill-in flash
Red-eye can be gruesome, transforming friends Flash is a useful technique to control contrast
and family members into strange-looking if your subject is backlit. However, it’s easy to
supernatural creatures. It is caused by the use make your subject look like a card cutout if the
of direct flash, when the light from the flash flash output is too strong. To control this, you
bounces off the back of the subject’s eye, can either adjust the aperture used—making it
picking up the color of the blood vessels as it smaller and reducing the effective distance of
does so. The problem is made worse by the the flash—or alter the power of the flash. Most
fact that flash is most often used in low light flashes should allow you to do this using either
conditions, when your subject’s pupils will a camera menu or a control on the flash unit
naturally be at their widest. itself. The amount of adjustment you need to
Red-eye correction pulses a series of pre- make will vary depending on the ambient light,
flashes that cause pupils to contract, reducing but typically ½- to 1½-stops is a good starting
the risk of the flash being reflected back out point. TTL-controlled flashes generally cope with
from the eye. The use of techniques such as fill-in flash very effectively, and often require
bounce flash will also cure red-eye. very little adjustment.
FILL-IN FLASH
Canon 7D, 24–70mm lens This mannequin was on a window ledge and was backlit
(at 50mm), 1/250 sec. at by strong sun. I used off-camera TTL flash to lighten the
f/4, ISO 100 shadow side of its body and reduce contrast.

Bounce flash The more powerful your flash, the more
One of the biggest problems with the light from effective this technique is. This is because the
a built-in or on-camera flash is that it delivers surface you bounce the light from will absorb
hard, frontal lighting that isn’t particularly some of the flash and you are also increasing
sympathetic to your subject. If your flash has the distance the light has to travel before it
an adjustable head, a technique known as reaches your subject: the higher the ceiling,
“bounce flash” can be used to soften the light. the more light is needed to be effective.
By angling the flash head up or to the side,
the light can be reflected from another surface Flash diffusers
back toward your subject. This has the effect of A diffuser works in a similar way to bounce flash
spreading the light, making it far softer. Flash by spreading the light from a flash to soften it.
softboxes and diffusers work in a similar way. This helps to reduce hard shadows and creates
The easiest surface to bounce the light off a far more pleasing, natural effect, especially for
from a flash is a ceiling, but this will obviously
only work if you’re shooting inside! If you are
outside and your camera is mounted on a BOUNCE FLASH
With the flash pointing forward, the result is not
tripod, or you have an assistant, then a large great (below left), but by pointing the flash upward
sheet of card held above the flash is equally and bouncing the light off a sheet of white card it is
effective. What is important is that the surface far more acceptable (below right).
that the flash is bounced off must be neutral in
color, as the light will pick up any color and tint Canon EOS 7D, 50mm lens, 5 sec. at f/9,
your subject accordingly. ISO 100

portraits. Diffusers are available in a variety of will change the flash from a frontal light source
different sizes, from very simple and small push- to a side light for greater interest.
on devices to more elaborate and larger types The simplest way of getting your flash
that are taped to the flash head. The greater off-camera is to use an extension cord. These
the frontal area of the diffuser, the softer the are available in different lengths and connect
light will be. However, as with bouncing the either to the hotshoe of your camera or to a PC
light from your flash, a diffuser will absorb connection socket.
some of the light, so your flash will need to An alternative option is wireless flash. There
be proportionately more powerful in order to are two methods of shooting wirelessly, the
illuminate your subject. first of which uses the camera’s built-in flash to
Third-part manufacturers of flash diffusers trigger a compatible off-camera flash unit. The
include Sto-Fen and Lumiquest. A less effective drawback with this system is that there has to
(but undoubtedly cheaper), method of diffusing be line of sight between the two flashes for this
a flash is to tape thin, neutrally colored tissue to work correctly—if not, the off-camera flash
paper over the flash head. simply will not fire.
The second method uses a radio transmitter
Off-camera flash to connect the camera to the flash. This
A flash doesn’t necessarily need to be attached method allows a greater working distance
directly to the hotshoe of your camera. Moving between camera and flash, but it does require
your flash away from the camera is a good way the purchase of a much more expensive radio
of controlling how your subject is lit. For example, transmitter: third-party companies that make
moving a flash to the left or right of the camera these include PocketWizard and Cactus.
OFF-CAMERA
For this shot I used a 3-foot (1m)
long extension cord to move my
flash to the left of the camera.
This made the shadows behind
the subject far more interesting.
Canon EOS 1Ds MkII, 17–40mm

lens (at 22mm), 1/60 sec. at f/11,
ISO 100

Flash light from 5500K to 3200K). For a more theatrical
The light from an electronic flash has a nominal look it can also be fun to use brightly colored
color temperature of 5500K, which, like midday gels such as red or green.
sunlight, is very neutral in color. This makes
flash perfect as a fill-in light source during the
GELS
day, but the light can appear overly cool when Colored gels can be taped to the flash simply and
you are shooting at dusk. Skin tones can also quickly to change the color of the light.
benefit from being photographed under a
slightly warm light. You could alter the white
balance setting of course, but this can prove
tricky when shooting in mixed lighting such as
street lighting.
Fortunately the light from a flash can be
modified very easily and cheaply using colored
gels that tape over the flash head. It’s possible
to make your own using discarded candy
wrappers, or to use professional gels made
by accessory manufacturers such as Rosco or
Lee Filters. The DIY approach is arguably more
fun (you get to eat the candy first), but the
manufactured route is more consistent.
Gels are readily available that will convert
the color temperature of your flash so that it
matches the output from other light sources
such as tungsten lighting (requiring an 85 gel
to change the color temperature of the flash
Notes
All gels will absorb some light from
the flash, and the more intense the
gel’s color, the greater the light loss. FLYING (Opposite)
This mannequin was photographed in a darkened room.
Bouncing flash from a brightly colored A red-filtered flash was fired from one side, and a green-
surface will have a similar effect on filtered flash from the other.
the color of flash to using a gel. Canon EOS 7D, 17–40mm lens (at 30mm), 30 sec.
at f/11, ISO 100

Illumination
Flash was used as a fill-in light for this image, softening some of the shadows cast across
the sculpture by the streetlighting.
Camera: Canon EOS

1Ds MkII
Lens: 17–40mm lens (at 21mm)
ISO: 200

Zoomed
This image was shot using slow sync flash. During the exposure the zoom ring on the lens
was turned to create a “zoom burst” effect. The sharpness in the image is entirely due to
the flash freezing any movement at the point of firing.
Camera: Canon
EOS 7D
(focal length adjusted
during exposure)
ISO: 100

CHAPTER 5 LANDSCAPES

Landscapes
Landscape photography isn’t just about blue skies and good weather:
low light landscape photography often involves being out in all
weathers and at either end of the day.
Caring for yourself Once you’ve decided on your location, let
There’s no photograph that’s worth sustaining someone else know where you’re going. If
injury for. Low light photography introduces a possible, also let that person know an approximate
few more potential hazards than photographing time of return. In mid-summer it’s possible to be
during the hours of daylight, but these can be out until very late in the evening, far later than
minimized with careful planning. most non-photographers would expect.
Take a headlamp: low light photography
invariably means being out when it’s dark, and
RAIN
Bad weather can often hit unexpectedly when out wearing a headlamp will free up your hands
in the hills. This is why preparing for this eventuality to hold a map or to keep your balance when
is so important when it comes to remaining safe.
walking over rocks. Modern LED headlamps are
extremely power-efficient, but it doesn’t hurt to
Canon 1Ds MkII, 100mm lens, 1/100 sec. keep spare batteries in your equipment bag.
at f/11, ISO 100
A cell phone is useful for all sorts of reasons,
but make sure it is fully charged—particularly if
you plan to use photography-related apps. Only
use your phone to call the emergency services in
an emergency; being lost doesn’t count. If your
phone has a built-in GPS (Global Positioning
System), make sure you know how to use it so
that you can pinpoint your location on a map,
but don’t rely solely on your GPS to navigate—
always carry an up-to-date map and compass as
a backup.
WATERFALL (Opposite)
Although this composition looks precarious, I didn’t take
any risks when setting up the shot.
Canon EOS 5D, 24mm lens, 1/10 sec. at f/13, ISO 100

In the wild
Out in the countryside you will be away from artificial lighting
(unless you take your own). This means learning to work with the
different lighting conditions that nature can throw at you.
Preparation always practical. If you intend to drive to
Landscape photography often succeeds (or fails) a location on the morning itself, it pays to
based on the amount of preparation that you have everything ready the night before so
do beforehand. This involves looking at maps that it’s just a case of waking up and setting
to work out a route to a particular location, as off. Allow yourself plenty of time, and aim
well as determining whether the sun will be in to be at the location at least 45 minutes
a favorable position for your chosen subject. before sunrise so you can get set up without
The biggest problem is often timing: panicking. It helps if you scout out a location
it’s comparatively easy to be at a particular beforehand and have a composition already
spot for sunset, as you have all day to get planned. You’ll also need to factor in the
there, but sunrise is a different matter. time it takes to walk from your car to your
The simplest approach is to wild camp (if chosen spot—there’s nothing worse than
permissible) at the location so that you’re realizing you’ve misjudged the distance from
on the spot immediately. However, this isn’t your car to your shooting position and that
you’ll not make it in time.
LEISURELY
Although this looks like a
desperately wild place, it was
only a five minute walk from
the car—and only a 10 minute
drive to the lodging house. So it
was comparatively easy to be on
location at the right time.
Pentax 67, 105mm lens,

exposure details unrecorded,
ISO 50 (Fuji Velvia)

ON THE SCENE
Camera: Pentax 67 This image required me to spend a night in the refuge hut just
Lens: 150mm lens visible at the end of the path. Sometimes this is the only way
Exposure: Unrecorded to be at a location in time for sunrise.
ISO: 50 (Fuji Velvia)

Woodland The most colorful season is fall, when the
In sunny weather, woodland can be a confusing leaves of deciduous trees begin to turn yellow
mess of bright highlights and deep shadow. and red. There are several factors that affect
In using it as a subject, it’s often better to the color of fall leaves, but the conditions
wait until the sun is low in the sky or when earlier in the year are important. A good
it’s overcast or even raining. Foliage on trees indication of the strength of fall color is when
often benefits from the use of a polarizing filter, a warm and wet spring is followed by good
which helps to reduce any glare and saturates summer weather. When fall arrives, the most
the colors of the leaves. colorful displays are likeliest to occur when
there is a run of warm days with sunshine,
followed by cooler nights.
LEAVES
When the sun is shining I prefer to look for details, Fall also heralds the arrival of fungi, which
such as these backlit leaves. often grows in damp, dark conditions. Again,
shooting on an overcast day will help to control
contrast, but be aware that fungi create their
Canon EOS 1Ds MkII, 200mm lens, 1/3 sec. own shade as well, so there’s often a big
at f/9, ISO 100
difference in contrast between the top of the
cap and the underside. Using a reflector will
help to push light underneath. You may also
find that if your tripod has a removable center
column, you can take it out and reinsert it
upside down to get your camera closer to the
ground (albeit upside down). Live View is useful
when composing in this situation.
Tip
On overcast days use the Cloudy or
Shade white balance preset to warm
up woodland color.

TOADSTOOLS
Camera: Canon EOS 7D To get down to the level of these toadstools I mounted
Lens: 70–200mm lens my camera upside down on the tripod.
(at 70mm)
ISO: 100

Water Water is also reflective and will pick up the
The correct shutter speed to use when shooting prevailing color of ambient light. This is most
watery subjects such as rivers or the sea is a notable at either end of the day. Mornings are
contentious subject for photographers, but a good time to shoot lakes, as the air tends to
there is no right or wrong answer. Some prefer be more still first thing in the morning, so lakes
to see the individual drops of water, which can often act like perfect mirrors. A still lake
involves a fast shutter speed, while others prefer surface is also good for creating symmetrical
water that looks as smooth as glass. In low light, compositions, but consider breaking the
unless you’re prepared to use a large aperture symmetry, and adding a note of tension, by
or high ISO, you’ll often have little choice but to looking for something such as a rock or branch
use a slow shutter speed, and a shutter speed of poking out of the water’s surface.
even 1/2 sec. will be enough to add some blur
to water. The key is to experiment and see which
look you prefer. For the ultimate blurring effect,
Tip
It’s easier to see how seawater flows after
use an extreme ND filter to extend shutter speeds
it has washed up onto the beach. Fire the
to whole minutes. This approach works best
shutter just before it begins to flow back.
with tidal water, especially when you include
something solid in the image as a contrast to
the moving water.
REFLECTIONS
There was no direct light on
this lake, just the colors of the
sky above.

5 sec. at f/16, ISO 100

RIVER RUNNING
Camera: Canon EOS 7D This sequence shows how the shutter speed can affect the
Lens: 70–200mm lens look of moderately fast running water. Which do you prefer?
(at 110mm) Top left: 1/200 sec. Top right: 1/60 sec.
Exposure: Various Bottom left: 1/6 sec. Bottom right: 6 sec.
ISO: 100

Seasons
Each season has its charm, but my personal favorite is fall. The golds, yellows, and reds of
foliage are the main reason for the appeal of this season, and these colors are particularly
striking in the soft light of an overcast day, such as this one in the Scottish Highlands.
Camera: Pentax 67II

Lens: 105mm lens
ISO: 50 (Fuji Velvia)

The end of the day
Sunset is almost the easy option for a landscape photographer: there is no waking up
early to face potential disappointment, and a good sunset is often the climax to a good
day’s photography.

(at 22mm)
at f/10
ISO: 100

The weather
When the weather is bad, light levels can drop dramatically. However,
there are still plenty of photo opportunities to be found when the sun
isn’t shining.
Changeability begin to form, and if the air continues to
Some parts of the world are blessed (or cool, rain begins to fall. The opposite is true
sometimes cursed) with weather that changes during periods of high pressure. Air begins
little over the seasons. The further north or to fall, becomes more dense, and warms up.
south you are though, the more the weather Warm air is efficient at retaining moisture so
can change, not just over the course of a year, rain is less likely and there is a greater chance
but sometimes in the space of a few minutes. of fine weather and clear skies.
The cause of weather is air pressure. Ironically, fair weather is often the least
When there is low air pressure air begins interesting time to be out creating landscape
to rise. As it does it begins to expand and photographs. There is little drama to a clear
cool. As cold air can’t retain moisture, clouds blue sky and, as previously mentioned,
sunrises and sunsets are often disappointing.
The only times that crisp, clear skies are
welcome (for this photographer) is when
shooting astronomical subjects at night and
on frosty days in winter. Long periods of high
pressure can also cause smog and dust to
build up and this reduces visibility. Summer is
the season most prone to the build up of this
kind of haze.
HAZY
This image was shot after a few days of high
pressure. The hazy conditions gave the sunrise a suitably
misty feel, but the reduction in visibility meant the rest
of the day was a photographic washout.
Pentax 67, 180mm lens, exposure details

unrecorded, ISO 50 (Fuji Velvia)

Predicting the weather will have more confidence to set your alarm
The ability to predict what the weather will for a sunrise excursion (or to abandon a trip
do over the course of a few hours is a useful as a total loss).
skill to learn. Although professional weather
forecasting is generally accurate, it can’t
Working smarter…
always be right about localized weather
Apple iOS: Accuweather
conditions. Plus, when you’re in the middle
Android: iMap weather
of nowhere it’s not always possible to receive
If you can get a signal, both of these apps
up-to-the-minute weather reports. If you
will keep you up to date with the local
know what the weather will be doing, you
weather forecast.
Condition Result
Red sky at night… Suggests that the following day will be clear.
Red sky in the morning… Means that rain is possible later in the day.
Mackerel skies Rain is likely within 24 hours.
Halo around the sun Seen in summer this means rain is possible.
Heavy dew in the morning Indicates a period of fair weather.
Flowers smell stronger Scent is strongest in moist air, indicating potential rain.
Strong winds Means air pressure is changing, bringing wet weather.
High flying birds Fair weather probable.
Cloud cover builds up slowly Indicates a warm front bringing prolonged rain with it.
MACKEREL
Altocumulus (or mackerel) clouds
make pleasing images, but also
warn of rainy weather to come.
Canon EOS 1Ds MkII,

1/160 sec. at f/11, ISO 100

Mist Another approach to shooting mist is to
Mist is most likely to form mid- to late-evening find a location that is higher than the mist level
and often lasts through the night to the so that you shoot from above. The effect is
following morning. It is caused when air cools to more pronounced when there is a temperature
the point that it cannot hold all of its moisture: inversion and the mist is trapped below a certain
water droplets condense out of the air, forming level. Temperature inversions are also the cause
what is essentially a ground-level cloud. River of smog build-up in busy urban areas. Although
valleys, lakes, and coastal areas are more prone less natural than mist, it will still have the same
to mist than upland areas. visual properties in an image—the big difference
When mist forms it transforms the being the slightly yellow color cast of smog.
landscape, softening detail and reducing
contrast and color saturation. The more distant
your subject is, the more it will be affected.
Note
Although I’ve used the word mist,
When shooting in mist, find a subject that is
“fog” and “mist” are largely
relatively close to your camera—your subject
interchangeable, although fog is
will still have normal color and contrast, but the
generally considered to be thicker
background will be far more diffuse. This will
and more opaque.
help to give your image a sense of depth and
increase the range of tones for visual interest.
WATER
Mist tends to form in calm
conditions. This makes the surface
of water less likely to be disturbed
and more mirror-like. This has been
emphasized in this image with the
use of a long shutter speed.
Canon EOS 1Ds MkII,

4 sec. at f/20, ISO 100

Mist diffuses point light sources (such as the Remember that mist is water, and you and
sun) so they appear to emanate from a wider your camera will get wet when you’re out in it.
area—this is partly what causes the reduction in Water droplets will condense on your camera if
contrast. Mist also reduces the intensity of the it is cooler than the surrounding air, so take a
light, so longer exposures will be required. soft cloth with you so you can wipe the water
At the same time, mist is very reflective off your camera and lens. If the location you’re
and this can fool your meter, causing it to shooting is likely to be warm and humid, place
underexpose. There is no hard and fast rule as your equipment in a plastic bag and seal the bag
to how much exposure compensation to apply, so that it’s airtight before you head outdoors.
but increasing the exposure by +1 stop is usually Only take your camera out of the bag once it
a good starting point. The thicker the mist, the has reached the same temperature as the air
greater the compensation needed. around it: this can take up to 30 minutes, so
As the sun rises in the morning, the air make sure you get to your location early.
heats up and any mist will begin to dissipate.
Although it’s almost a visual cliché, sun streaks
Note
breaking through mist-shrouded trees still make
As mist moves and swirls, longer
a powerful image. When metering for this sort
shutter speeds will make it appear
of scene, use your camera’s spot meter to meter
more ethereal.
from the beams, rather than the surrounding
forest or the sun itself, and bracket if necessary.
EVENING
Cool summer evenings after days
of warm rain are a good time to
look for mist forming.
Canon EOS 1Ds MkII, 100mm

lens, 30 sec. at f/13, ISO 100

Rain wonderful contrast between the sunlit areas of
Rain brings practical challenges to photography the landscape and those under the shadow of
as it is of course wet and this can be potentially rain. This is also the time when “Jacob’s Ladders”
damaging to equipment. Some high-end cameras are often seen.
are weather sealed (although not to the point of These are the dramatic shafts of sunlight
being completely waterproof), but regardless of that burst through breaks in cloud, but they are
your camera, with care it’s still possible to shoot often fleeting and so leave little time to set up
in rain without damaging your equipment. your camera on a tripod. However, because you
Umbrellas are very useful, and small, fold- are photographing reasonably bright light, it’s
up umbrellas generally fit into the pockets of more than possible to handhold your camera and
equipment bags. Held above a tripod-mounted shoot. If you don’t include much foreground you
camera they can help to keep the rain at bay, also won’t need a large aperture—f/5.6 or f/8 is
but if you need to wait for a period of time,
a plastic bag fitted loosely over the camera is
SUNBURST
also an effective way of keeping it dry. For the I anticipated that the sun would break through
ultimate in protection, some companies such as the gap in the clouds, which gave me time to
Optech and Storm Jacket sell fully waterproof set up my camera and tripod.
covers to fit most cameras.

The most rewarding time to photograph
Canon EOS 1Ds MkII, 17–40mm lens
rain is when storm clouds roll in. There’s often a (at 40mm), 1/2 sec. at f/16, ISO 100

usually enough—and this will help to keep the sky, the smaller the visible arc and the lower the
shutter speed relatively high. rainbow. Rainbows cannot form when the sun
To freeze raindrops falling, you will need to is higher than 42° from the horizon, as the circle
use a shutter speed of at least 1/250 sec. This of the rainbow is effectively below ground level.
is often difficult when it’s raining, as the light Experiment with different focal lengths when
levels are low, but using flash is an effective way shooting rainbows. Wide-angle lenses will help
to freeze raindrops—and add sparkle to a scene. you capture the full span of the rainbow, while
However, your flash will need protecting from telephotos are useful when it comes to filling
the rain more than your camera, so it’s a good the frame with the bands of color. Rainbows
idea to cover it in a transparent plastic bag. form natural lead-in lines, so try to find a position
where they will point toward an interesting
Rainbows feature in the landscape.
Rainbows are caused by sunlight refracting
through droplets of rain, and are another rain-
RAINBOW
related phenomenon that is often fleeting. They The combination of showers and sunshine is
form a circle with the sun perpendicular to the a good time to see rainbows. It’s often possible
center of the circle, but because the ground is in to see showers approaching and so be prepared.
the way, part of the circle is cut off. If the sun is

on the horizon, almost half the potential circle
will be visible: the higher the sun rises in the (at 135mm), 1/3 sec. at f/16, ISO 100

Drama
The landscape is often at its most dramatic when the weather is changeable. On
photography trips this means preparing for all eventualities to keep both you and
your equipment safe.

ISO: 100

Movement
Low light and the need to use a long shutter speed can help to simplify an image. Wind
was whipping across this open moor, disturbing the surface of this pool, but a shutter
speed of 6 seconds softened the ripples away. Ironically, the image looks calm and tranquil
even though in making it I had to lean against my tripod to keep it steady!
Camera: Canon EOS

1Ds MkII
Lens: 24mm lens
ISO: 50

CHAPTER 6 THE URBAN ENVIRONMENT

The urban environment
Cities and towns are exciting places to photograph in the evening.
When the lights are turned on even the humblest urban space can
be transformed.
Timing and once the sky is black you’ll lose the shape of
With rural landscape photography, a location the roofline. The optimum time to shoot is when
will either be most suitable in the morning or there is still color in the sky, which happens
evening, but cities and towns are often more earlier in winter than it does in summer, but is
interesting with the onset of night. For a start, roughly 25–40 minutes after sunset. If you have
there will be more people around than there a number of different subjects to shoot during
will be first thing in the morning, particularly in this period, start with those that face west as
winter when night falls earlier, and shops will be the sky will darken sooner looking east. Once
open and window displays illuminated. Buildings you’ve finished photographing all of the west-
are also more likely to be floodlit; this varies, of facing subjects you can move on to those that
course, but floodlighting is often switched off face east.
at midnight for reasons of economy. The urban If you’re in an unfamiliar city it pays to walk
environment just seems more alive later at night around during the day to learn how to get
than it does in the morning. about. This will also allow you to pre-visualize the
Ironically, the wrong time to be photographing shots you want to take so you can set up in the
a city is when night has fallen completely and the evening with the minimum of fuss: you want to
sky is black. The tops of buildings are rarely lit optimize the time you have.
PREPARED
These two very different buildings are within
10 minutes of each other. By scouting the
location during the day I was able to walk
from one to the other on the same evening.

(at 17mm), 20 sec. at f/11, ISO 100
(Opposite) Canon EOS 1Ds MkII, 70–200mm

lens (at 160mm), 6 sec. at f/10, ISO 100

Lenses
A good selection of lenses will help you get the most out of your low
light city photography.
Focal length an urban space is captured. Even so, it’s often

City streets are often just not wide enough necessary to tilt a lens upward to fit everything
for the photographer, so a wide-angle lens is in, which can cause a visual phenomenon
often needed to make sure that the whole of known as “converging verticals,” where a
building appears to be falling backward. So,
LONG wide-angle lenses—though often necessary—
By stepping back I was able to use a reasonably should be used carefully. Use a hotshoe-
long lens for this image. This enabled me to keep
the buildings looking parallel to each other.
mounted spirit level to make sure that your
camera is straight, both forward and backward,
Canon EOS 5D, 100mm lens, 1 sec. at f/16, as well as from side to side.
ISO 100 Another approach is to embrace the
limitations of wide-angle lenses and deliberately
use your camera at odd angles. As a visual
style it can be very effective, although there’s
a definite “sweet point” to be found: too little
looks like a mistake, and too much can produce
feelings of vertigo in anyone who looks at the
resulting image.
The most useful type of lens to have when
shooting architecture is a tilt-and-shift. A tilt-
and-shift lens allows you to keep the back of
your camera parallel to a building, but move the
lens up or down to bring the top or bottom of
the building into the shot without introducing
distortion. Unfortunately these lenses tend to be
very expensive, so where space allows I prefer
to use longer focal length lenses instead. These
lenses have a flatter perspective than wide-
angle focal lengths and produce a more natural
looking image.

WIDE
Camera: Canon 1Ds MkII I took a different approach to this image. By looking up with
Lens: 17–40mm lens a wide-angle lens the perspective is far more dramatic.
(at 20mm)
Exposure: 5 sec. at f/11,
ISO: 100

What to photograph
There is an infinite number of stories to tell in the urban environment,
but your personal interests are what will guide you when it comes to
the story you choose to tell.
The bigger picture Another approach I often take to overcome this
There is no single approach to urban is to try and find a viewpoint over a city from
photography; you must decide what “story” either a bridge, hill, or tall building. City parks
you want to tell. This is often easier when you’re are also a good place to find interesting views,
in a familiar location as you will know what and there is a natural contrast between the
aspects of a place will be appealing and areas rigidly straight buildings that surround parks and
you’ll want to avoid. the more organic shapes of trees and bushes.
My personal preference is for cities with a
river: I’m fascinated by rivers and the reflections RIVER REFLECTIONS
you see in them at night. Rivers are also good Rivers are a great spot to see a city or town from.
To make the most of this viewpoint I shot a series
because they allow you to get an unimpeded
of images from left to right to create a panoramic
view across to the buildings on the other stitch in post-production.
side. The one big problem with the urban
environment is that it can be cluttered, making Canon EOS 1Ds MkII, 100mm lens, 10 sec. at f/11,
it difficult to set up a satisfactory composition. ISO 100

Details
The urban environment isn’t just about
architecture on a grand scale—interesting
smaller details can be found wherever you
look. One of my favorite times for shooting
COLOR
in a city is after rain, when the pavements are The golden light on these wet cobbles is from a
wet and highly reflective. Any light that falls streetlamp, while the blue is ambient light from
the sky above. It was this color contrast that I
on them—and this includes ambient blue light
found most appealing about this scene.
from the sky—will glow on the wet surface. If
a recognizable object is being reflected, focus
Canon EOS 1Ds MkII, 50mm lens, 15 sec. at f/16,
on the reflection if you want that to be sharp, ISO 100
rather than the wet surface itself. If you want
both to be sharp you will need to use a small
aperture to increase the depth of field.
Another subject to look out for in the urban
environment is illuminated neon signs. These
make great subjects, whether you include them
as part of the wider urban scene or you crop in
tightly so they fill the entire frame. Use a longer
focal length for the latter, and remember that
as they are a relatively flat surface the depth of
field you’ll require will be minimal, so you won’t
need a particularly small aperture if you shoot
from straight on.
Statues and art pieces are common in the
urban environment, but these are rarely lit
intentionally. If the statue is relatively small,
and you can get close enough to it, use flash
as illumination. If you can take your flash off-
camera, move it to the side of your subject to
make the texture of the piece more prominent.
If the statue is large enough, or you can get low
enough so that it’s framed against the sky, shoot
it as a silhouette. It will help if you can find a
position so that the shape isn’t too complex and
the subject is easily recognizable.

Traffic trails
Moving traffic at night, combined with long exposures, adds zip to
urban scenes. Because the cars are moving, only the trails of their
lights are recorded.
Shooting light trails is easiest when the
busiest time on the roads coincides with dusk. SERENDIPITY
Depending on your latitude this will usually be The appealing aspect of shooting traffic trails
is the unexpected, but interesting, results. A bus
in the spring and fall months, when dusk is passed during this exposure, and the lights from
around 5.00pm. the upper deck neatly framed the buildings in
There are several approaches to shooting the background.
traffic trails. The first is to find an elevated spot,

such as a footbridge, so that you look down on
the traffic. This will help to convey a powerful Canon EOS 1Ds MkII, 17–40mm lens (at 40mm),
sense of perspective with the trails following the 6 sec. at f/16, ISO 100

line of the road. The more lanes on the road, 6) Release the shutter and review the results.
the greater the number of trails, and the more Traffic trail images can be hit and miss, so it’s
complex the potential composition will be as worth continuing shooting until the street is
cars change from lane to lane. completely dark.
The second approach is to shoot from street
level (without actually standing in the road
COMPOSITION
itself). This will allow you to include buildings in The line of the road will give you an idea of how
the composition, but try to avoid locations near the traffic trails will flow, so use that as a guide
when composing your shot.
traffic lights or bus stops where the traffic is
likely to come to a regular standstill.
Shooting traffic trails Canon EOS 7D, 70–200 lens (at 200mm), 30 sec.
What you’ll need: Tripod, fully charged batteries, at f/16, ISO 100
remote release, black card (optional).
1) Arrive at your chosen location before dusk
and set your camera up on its tripod.
2) Choose your composition. A wide-angle
lens will exaggerate the width of the road; a
telephoto lens will give a “‘flatter” look.
3) Switch your camera to manual focus and
focus a ∞ (infinity).
4) Plug in your remote release and turn your
camera to Bulb. Set the aperture to f/16. Wait
until the light levels have dropped to the point
where your shutter speed is roughly in the range
of 30 seconds–1 minute.
5) Fire the shutter when the traffic is flowing
reasonably quickly. If long gaps appear between
vehicles hold the black card in front of the lens.
Note
If there are illuminated buildings in your
shot, base your exposure on these by using
your camera’s spot meter.

Warm and cool
Frosty winter mornings are a great time to be out and about with your camera. The low
winter sunlight is warm in tone and brings out the color of materials such as sandstone.
For this image I was in shade, and it was the contrast of the cool blue shadow and the
warm light on the building that appealed.
Camera:
Camera: Canon
CanonEOS
1Ds
EOSMkII
7D
Lens:
Lens: 100mm lens lens (at
70–200mm
Exposure:
180mm) 6 sec. at f/11
ISO: 100 4 sec. at f/11
Exposure:
ISO: 100

Ambience
Not every building is floodlit, but nature sometimes provides a helping hand. The warm
pink glow on this decommissioned lighthouse was from vividly colored pre-dawn clouds
behind the camera. Sometimes you don’t need to be pointing your camera at the most
dramatic part of a sky for a good picture.

(at 14mm)
ISO: 100

Christmas and other festivals
Mid-winter festivals, such as Christmas, are celebrations that involve
lights, and when the sky is at its darkest, interiors and urban spaces
are often at their most colorful.
‘Tis the season themselves. Other days will be quieter, but this
City streets at Christmas are usually jolly places, is no bad thing if your intention is to capture
combining a blaze of light with happy people the lights only.
milling around shopping or soaking up the Take a selection of lenses with you. Wide-
atmosphere. Dusk, half an hour after sunset, angle lenses are ideal for street scenes, while
is the best time to be out shooting, although longer focal lengths will allow you to crop more
some days will be busier than others. Saturdays tightly on individual lighting displays. Because
are generally a good day for photography the light levels will be low, a tripod is a necessity,
if you want to capture people out enjoying but take care when setting up so that you don’t
block busy through-routes. Christmas is also
the time when filters such as starburst filters
DETAILS
A long lens was used for this shot. As I also used come into their own—their effect is perhaps
a large aperture the lights behind have been left too obvious at other times of the year, but
pleasingly out of focus.
Christmas seems to suit the slightly unreal look
these filters create.
Canon EOS 1Ds MkII, Shop window displays also make interesting
200mm lens, 1/8 sec. at f/2.8,
subjects. Bigger department stores often have
ISO 100
animated displays showing festive scenes, but
the lighting tends to be relatively subdued so to
avoid blurring set the maximum aperture and a
high ISO. The windows will pick up reflections
from lights around you, so try to keep your lens
as close to the glass as you can. If you have a
willing assistant get them to hold a coat over
you and your camera to block out the light.
Don’t forget the people watching the displays
as well—their reaction to the display will often
be unguarded and even an adult’s face can
break out into expressions of childlike wonder.

WIDE
Camera: Canon EOS 5D Keep yourself wrapped up warm when you are out shooting in
Lens: 24mm lens midwinter. There is often a lot of standing around, so it’s easy
Exposure: 3 sec. at f/16 to become chilled.
ISO: 100

People
An urban area is as much about the people who live there, as it is
about the buildings they live in.
The approach
KEEPING IT SIMPLE
A documentary photographer is the fearless
I prefer to keep my portrait shots very simple;
type who goes out into the world and shoots usually just head and shoulders.
images regardless of the feelings of the subjects.
A few bruised egos are a small price to pay in
the quest to reveal an underlying truth about
the world. Canon EOS 5D, 50mm lens, 1/200 sec. at f/4,
ISO 400
There probably isn’t any photographer who’s
that blinkered to people’s feelings, but it’s
certainly more comfortable to shoot candidly
when out on the city streets. It doesn’t have to
be that way though. People are often amenable
to being photographed, and with practise it
gets easier to spot those who are not. The
most important qualities you’ll need are being
friendly and honest with people—and not
being too upset when they refuse to take part.
If this happens, be polite and move on. Don’t
wait until they’re not watching and then shoot
them candidly. If your subject agrees to be
photographed, be prepared to show them the
results on your camera’s LCD.
In low light, a prime lens with a fast aperture
is going to see a lot of use—shoot at maximum
aperture to maintain the fastest shutter speed
you can. You’ll have very little depth of field, so
if you’re shooting close-up portraits, be sure to
focus on your subject’s eyes. It’s uncomfortable
to look at a portrait image when the subject’s
eyes are noticeably unsharp.

Interiors
The inside of a building often has more character than the outside.
The interior is shaped over time by the people who live and work there.
Equipment want to use for every image you shoot, but they
The one big problem often encountered do provide a unique look that’s impossible to
with interiors is size. The cavernous space replicate otherwise.
of a cathedral is easy to work in; a cramped
domestic interior is less so. The obvious solution
VERTICAL
is to use a wide-angle lens, but wide focal This was the interior of an ice hotel. With the
lengths need to be used with caution to avoid camera mounted on a tripod I tried to keep it
converging verticals. Wide-angle lenses also as level as I could to avoid converging verticals.
Keeping the camera vertical emphasized the shape
introduce another problem in the form of of the interior too.
distortion—what should be perfectly straight
lines end up with a distinct curve.
Distortion can either be “barrel” or ISO 100
“pincushion,” but barrel distortion is the one
that will be encountered with wide-angle focal
lengths. Barrel distortion causes straight lines
to bow out from the center toward the edge of
the image, while pincushion distortion causes
straight lines to bow inward toward the center.
An increasing number of cameras have
options that will endeavor to fix lens distortion
in-camera at the time of capture when you’re
shooting JPEGs. If you’re shooting Raw files,
lens distortion correction will need to be done
at the post-production stage—software such
as Lightroom 3 (and above) offers this facility.
One type of lens that you wouldn’t correct
is a fisheye lens. These lenses usually have 180°
angle of view, so are very wide angle indeed,
but while the distortion is extreme, this is part of
their charm. Fisheye lenses are not lenses you’d

Lighting simply a case of using the correct white balance
How an interior is lit will often depend on the preset or creating a custom white balance.
age of a building. Modern buildings often use However, when you have mixed lighting the
fluorescent striplighting, while older buildings results can be ghastly, and while a custom white
are more likely to use tungsten lighting. The balance will help to a certain degree, it will
other source of lighting is of course daylight, not solve the problem entirely. I prefer to avoid
although older buildings tend to have smaller mixing lighting whenever possible, which often
windows than newer buildings. means switching off the artificial lighting and
Each of these different types of lighting has relying on the ambient light from outside, or
a different color temperature. If a room is lit using artificial lighting and waiting until dusk
by one source only, this is not a problem—it’s so that the ambient light outside is low and
becomes less of a problem.
If contrast is a problem in an interior
MIXED
The solution to shooting with mixed lighting (artificial lighting doesn’t always completely
(daylight and artificial) in this hotel room was to illuminate an interior space) be prepared to use
close the curtains—sometimes the simplest answers
flash to “paint” with light, as outlined in the
are the best.
following chapter. Flash is very different in color
temperature to most forms of artificial lighting,
Canon EOS 5D, 17–40mm lens (at 30mm), but you can use color correction gels to modify
18 sec. at f/14, ISO 100 the color temperature of your flash.

THEATER
Camera: Canon G10 This image was shot with a compact camera—all I had to
Lens: 6.1–30.5mm (at 7mm) hand at the time. To avoid camera shake I rested the camera
Exposure: 3 sec. at f/4.5 on a balcony ledge.
ISO: 80

Public spaces
Photographing in a public space is often tricky, as you are sharing that
space with other members of the public and ultimately you shouldn’t
inconvenience anyone.
Museums and art galleries handhold your camera only. A tripod may prove
One of the first problems you will encounter is a nuisance to other visitors to the venue, so
establishing whether photography is permitted lenses with a large aperture or image stabilization
in your chosen venue. A lot of museums and will be most useful.
art galleries don’t allow photography either for Wide-angle lenses will allow you to cover the
security reasons or the fear that the use of flash broad sweep of the venue’s interior, which is
may damage the exhibits—it’s worth contacting useful to create context for your chosen
the venue before a visit to see what is and isn’t subjects, while a fast prime lens, such as a
allowed. If photography isn’t allowed don’t 50mm “standard” lens, is ideal for homing in
try and sneak pictures when you think no one on details.
is looking, as being evicted is embarrassing Once you’re at the venue, what do you
and will not endear the venue to the idea of shoot? The most obvious approach is to produce
photography in the future. record shots, similar to those you’d find in a
If the museum or art gallery does allow brochure promoting the venue. This is fine, but
photography, you need to be prepared to isn’t very imaginative.
LOOKING UP
Despite the need to use a large
aperture, there is just enough
depth of field to see that the
two subjects are both looking
at something outside the frame.
They weren’t really, but that’s
the way I saw it at the time.
Canon EOS 5D, 50mm lens, 1/40

sec. at f/2.8, ISO 500

SUBDUED
Camera: Canon EOS 5D For a more timeless look I’ll often process images from
Lens: 50mm lens museums with less color saturation.
Exposure: 1/100 sec. at f/2.8
ISO: 500

My personal way of working is to look for
unusual juxtapositions between the exhibits and Tip
visitors. This approach can either be humorous Don’t forget to look at the architecture
or thought provoking, but hopefully never dull. of the building you are photographing in,
as many older galleries are works of art
Reflections in themselves. It often pays to look up, as
Exhibits in museums or art galleries are often ceiling decoration can be highly decorative.
behind glass, and glass creates reflections and
reduces contrast. Place your lens against, or as avoid straining the AF motor in the lens. Glass is
near to, the glass as possible, but don’t press often covered in dust or fingerprints so you may
against the glass too hard. This is partly because want to clean it with a soft cloth beforehand.
you don’t want to damage the glass, but also to The most obvious solution to cutting out
reflections is to use a polarizing filter. However,
polarizers are most effective when they are
SELECTION
This display was protected by glass, but by holding used at an angle to a non-metallic surface such
the camera against the glass, I was able to avoid as glass: they will not cut out reflections when
reflections and, as a bonus, this also helped me keep
you’re looking straight at the glass, which will
the camera steady during the long shutter speed
that was required. result in a self-portrait. Museums and galleries
are often dimly lit so a polarizer will require a
Canon EOS 7D, 10–22mm lens (at 10mm), high ISO or restrict the range of usable aperture
1/2 sec. at f/5.6, ISO 200 and shutter speed combinations.

QUIRKY
Camera: Canon EOS 7D I like to look for quirky details that bring a smile to the face.
(at 70mm)
ISO: 100

Stained glass windows Correctly exposing a stained glass window
One of the most esthetically pleasing aspects along with a building’s interior can be more
of churches—and other older municipal problematic, as the contrast between the
buildings—is their stained glass windows. relatively bright window and darker interior is
Capturing the color is best achieved on overcast usually greater than a camera’s dynamic range.
days when the light outside is softer. Longer If you’re allowed to use a tripod, shooting a
lenses are useful to home in on small, distant sequence of bracketed shots and then using
details. Generally, if maximum aperture is used, HDR or exposure blending in post-production
it’s also possible to handhold the camera. is a perfectly valid solution. Another solution is
to use an off-camera flash to “paint
with light,” although this will require
a tripod and also permission from the
owners of the building.
Another very photographic aspect
of stained glass windows is the way
that they transmit light. This light will
change throughout the day as the
sun moves across the sky, throwing
color onto the various elements in the
building. Metallic surfaces will pick up
and reflect the colors most readily, but
stonework and wood can be just as
beautiful bathed in colored light.
REFLECTIONS
The colors on this metal cross come
purely from a stained glass window
behind the camera.
Canon EOS 1Ds MkII,

three blended exposures at f/18,
ISO 100

AMBIGUITY
Camera: Canon EOS 7D I enjoy creating images of stained glass windows that don’t
Lens: 50mm lens tell the whole story, leaving the viewer of the image to work
Exposure: 1/80 sec. at f/2 out what is happening.
ISO: 800

Music and sporting events At pop-music events lighting is often part
As with museums and art galleries, there are of the show, and the intensity, direction, and
often restrictions on using cameras at music and color of the light can vary rapidly. This makes
sporting events. The first task is therefore to for an exciting evening for the audience, but
make sure that you can actually use you camera. will make your life as a photographer more
The larger the venue, the less likely it is that difficult. The first practical problem to overcome
photography will be allowed. For this reason it’s is determining the correct exposure. The
often easier to shoot at smaller events, when most accurate way is to use the spot meter
amateurs or semi-professionals are performing. facility on your camera and meter from one
Another benefit of a smaller event is that it’s of the performers. Fire a test shot and check
easier to get close to the performers, reducing the histogram. If the performer was under a
the need to use longer lenses. spotlight the background will be dark and the
shadow details will probably be clipped, but this
is relatively unimportant; the key is assessing
the histogram to see if the performer is well
exposed. Adjust the exposure if necessary and
use your new exposure as the base from which
to work for the rest of the event.
Tip
Flash isn’t usually very useful for music
and sporting events, as it has such a
limited range. Even if it is viable, its use
can destroy the atmosphere of the vibrant
stage lighting.
SPOTLIT
This musician was under a spotlight. The dark
background would have fooled the camera’s evaluative
metering pattern into overexposing, but spot metering
from the musician gave me a more accurate exposure.
Canon EOS 5D, 100mm lens, 1/100 sec. at f/2.8,

ISO 1600

Although spotlights or floodlights can appear
BLACK & WHITE
bright, you may still find that maximum aperture Shooting in Raw makes it easier to control white
and/or a slow shutter speed is required for a balance and apply processing effects, such as
correct exposure. If the performers or athletes converting your images to black and white.
are moving about, a slow shutter speed will
result in motion blur, meaning there is often little
Canon EOS 5D, 200mm lens, 1/250 sec. at f/2.8,
choice but to increase the ISO setting. To shoot
ISO 3200
the image on the opposite page I set the ISO to
1600, partially to avoid camera shake, but mainly
to make sure that the boisterous performer was
captured as sharply as possible.
Noise can be a problem at higher ISO
settings, but fortunately this will often work in
your favor: a gritty image suits some performers
and can actually add to the atmosphere of
the piece. Converting to black and white in
post-production is another effective approach
to this kind of photography, with high levels of
contrast and grain in an image arguably suiting
black-and-white imagery more than color.
The color temperature of the lights will also
vary from venue to venue: metal halide lamps
used in floodlighting are relatively cool and
using a daylight white balance will often give
perfectly acceptable results. Lighting at music
events can be a variety of colors, but a good
start point is to use your camera’s tungsten
white balance setting initially, and refine this in
post-production.
Tip
A prime lens with a large maximum
aperture is very useful for music and
sports photography.

Details
Look for interesting, and often overlooked details when you are photographing in
museums and art galleries. This sculpture was only about 12 inches (30cm) high, so I had
to move in close to fill the frame and exclude a distracting background. Because I was
so close and using a large aperture, I focused precisely on the face of the figure in front
as I knew depth of field would be minimal.

Lens: 50mm lens
Exposure: 1/60 sec.
at f/1.4
ISO: 200

Light
I prefer to shoot interiors when the light outside is soft, so that any windows in the shot
aren’t overexposed. However, when time is limited this isn’t always possible. For this shot
I bracketed the exposure so that highlight detail was retained in one shot and shadow
detail in another, with the correct exposure in the middle. The images were then merged
using Lightroom and the Enfuse exposure blending plug-in.

Exposure: Three exposures (1/10
sec., 1/5 sec., and 1/2 sec.) at f/11
ISO: 400

CHAPTER 7 SPECIAL SUBJECTS

Introduction
There always seems to be an odd sock in the drawer that matches
no other: this chapter covers the “odd socks” of low light subjects.
Experimentation for individual creativity than there is with more

The one big benefit of digital photography conventional photography.
is that it is free once the equipment’s been This chapter is a guide to some of the
paid for. This makes it easier to justify techniques that I’ve used to make images in
experimentation. Low light photography, by low light. However, it’s not a definitive guide
its very nature, can be hit and miss at times, as there are still techniques that I’ve yet to try
but there is almost no limit as to what can be myself. That’s the most exciting aspect of low
achieved with low light photography. All it takes light photography—there’s always something
is imagination and a willingness to try new new to try.
things. In fact, there is probably more scope
The story of a duck
Inspiration for low light photography can
WET WEATHER OPTIONS come from anywhere. Bad weather can disrupt
It is a good idea to have a “reserve list” of ideas
for photographs that can be taken indoors when photography plans, and in these situations
the weather is less clement. I often prowl around the house looking for
little projects to set up and experiment with.
Canon EOS 1Ds MkII, 100mm lens, 1/3 sec. at f/4, It’s amazing what can be done with ordinary
ISO 100 household objects to create striking images.
The handsome duck on this page was
shot in a semi-darkened room, illuminated
by torchlight. White balance was set to
tungsten, turning what daylight there was
a very cool blue.
FIREWORKS (Opposite)
Fireworks are a naturally photogenic subject, and
I never miss an opportunity to shoot them.
Canon EOS 1Ds MkII, 50mm lens, 8 sec. at f/11,

ISO 800

The night sky
The hours of darkness are when low light photography is at its most
extreme. However, even on moonless nights, there is still enough light
to create images.
Stars than 6000. This is because using a long shutter
There are approximately 6000 stars visible to speed will allow light from fainter stars to
the unaided eye, but it’s impossible to see all build up to a point where an image is formed.
of them in one go, as only a limited portion of Unfortunately this creates another problem—the
the sky is viewable at any particular point in earth rotates and, as it does so, the stars appear
time. There are also stars that are seen only in to move across the sky. This means that when
the northern or southern hemispheres, and the a long shutter speed is used, stars won’t be
number of stars visible also depends on ambient recorded as points of light, but as a trail.
lighting conditions: light pollution drastically Astronomers avoid this by using telescopes
reduces the number of stars that can be seen in that are fitted with tracking mounts that move to
urban areas. Far more stars can be seen in the match the rotation of the earth, keeping the stars
countryside, away from sources of light. in the same position within the telescope’s field
However, the number of stars that can be of view so that they can be recorded as sharp
recorded by a camera is potentially far greater points of light.
Working smarter…
Apple iOS: Planets 3.1
Android: Google Sky Map
These apps allow you to explore the
night sky, including moon phases.
STREAKS
The longer the focal length you use, the
shorter the time it takes stars to appear
as trails in your image.
Canon EOS 7D, 70–200mm lens (at 200mm,

image cropped), 30 sec. at f/4, ISO 400

Shooting stars noise. Experiment with your camera to find the
What you need: Tripod, fully charged batteries, optimum ISO value.
remote release. 6) Switch the camera to Manual and set the
1) Choose a night with settled weather and widest aperture. The shutter speed will depend
clear skies. A moonless night away from urban on the aperture, the ISO, and the focal length of
lighting will make the sky appear blacker in the the lens. Try a series of shots in the range 1/4–4
final image. sec. to see what works best for your camera and
2) Arrive at your chosen location before lens combination.
total darkness so you can see what you’re doing 7) Make an exposure using the remote
when setting up. release to fire the trigger.
3) Choose your composition. If you’re using
a wide-angle lens, pick something recognizable
in the landscape that would make a good
Note
No matter how long a lens, or how
silhouette—this will help to give your image
powerful a telescope you use, stars will
a sense of scale.
only ever be seen (or recorded) as points
4) Switch your camera to manual focus and
of light. If a star in an image is recorded
focus at ∞ (infinity).
as a disk, this is most likely the result of
5) The ISO of your camera will need to be
a focusing error—or it is one of the planets
set high to capture as much light as possible
in the solar system.
in as short a time as possible. But don’t set the
ISO so high that stars are lost in any resulting
SHARP
By increasing the ISO I was able to reduce the
length of the shutter speed to record the stars
as sharp points of light.
Canon EOS 7D, 70–200mm lens (at 200mm,

image cropped), 3.2 sec. at f/4, ISO 6400

Star trails reciprocity law failure). Digital cameras, on
Stars rotate around an imaginary point in the the other hand, are heavily reliant on their
sky known as the celestial pole. In the northern batteries, and noise can become a problem with
hemisphere, the Pole Star (or Polaris) is close to, exposures of 60 seconds or more. Blending (or
but not exactly at, the northern celestial pole. stacking) a series of shorter exposures is one
Sigma Octantis is the equivalent in the Southern solution to these problems, as outlined on p162.
hemisphere, but as it is not a particularly bright
star, it is often difficult to locate.
Tip
Creating star trails involves exposing an
If your camera has a viewfinder curtain
image for a lengthy period of time so that as
close it to prevent light leakage back
the stars move across the sky they are recorded
into the camera.
as arcs of light—the longer the shutter speed,
the longer the arc. If you were able to expose The direction that you point your
the image for a full twenty-four hours, the arcs camera in will determine how the star
would eventually form a perfect circle as the trails arc across your image. Facing
stars returned to their start point. your local celestial pole will produce
Film is ideally suited to the creation of star circular arcs that spin around that
trails, simply because film cameras tend to be point. Facing east or west will create
less battery dependant and film itself is not a more subtle effect.
affected by lengthy exposures (other than by
LIGHT POLLUTION
The closer you are to urban
areas, the more color and light
will be added to the sky by
street lighting.
Canon EOS 1Ds MkII,

17 min. at f/4, ISO 200

Shooting star trails 12 hours would result in a semi-circular set
What you need: Tripod, fully charged batteries, of star trails.
remote release, stopwatch. 5) Release the shutter after the desired
1) Follow Shooting stars steps 1–4, as length of time.
outlined on page 159.
2) Choose your lens. I usually use a wide-
angle lens as they create more dramatically
Note
circular star trail arcs in the final image.
If you’re shooting digitally, your camera
3) Set the camera to Bulb mode and,
might apply Long Exposure Noise
depending on the base ISO of your camera (or
Reduction after the first exposure (if this
the film speed), set the aperture to f/2.8 (ISO
option is set). This will take the same
100) or f/4 (ISO 200). If you use a higher ISO
length of time as the original exposure.
you will record fainter stars during the exposure,
Some cameras will not allow you to shoot
but also increase the amount of noise or grain
during this process, so if you wish to carry
in the picture.
on shooting immediately after creating
4) Lock the shutter open using the remote
your star trail image, switch Long Exposure
release and start your stopwatch. The longer
Noise Reduction off before you begin.
you lock the shutter open the longer the star
trails will be. Remember that one hour equals
1/24 of a circle (or 15 degrees of rotation), so
POLE STAR
For this image I pointed the
camera north, toward the Pole
Star. The tree in the foreground
was lit using the “painting
with light” technique.

lens (at 12mm), 110 stacked
images, 30 sec. at f/4, ISO 200

Stacking images 200) and the shutter speed to 30 sec. If you use
Shooting a number of images of the night sky a higher ISO you will record fainter stars during
and then blending them in post-production each exposure, but increase the amount of noise
can also create star trails. This technique is in the final stacked image.
ideally suited to overcoming the limitations 4) Set the intervalometer on your remote
of digital cameras when it comes to long release to 31 seconds (this will give your camera
exposures. It is possible to stack images using one second to ready itself to fire the next shot
Adobe Photoshop’s layer functions, but a better after each exposure).
solution is to use software designed specifically
for the purpose, such as StarStaX.
Tips
Turn off Long Exposure Noise Reduction
What you’ll need: Tripod, fully charged batteries,
before you begin shooting.
remote release with intervalometer function.
1) Follow Shooting stars steps 1–4 as Experiment with longer exposures—if you
outlined on page 159. are confident that your camera is capable
2) Set your camera’s drive mode to of exposures longer than 30 seconds
Continuous, rather than Single Shot. without a detrimental increase in noise,
3) Set the camera to Manual exposure mode, adjust the shutter speed and intervalometer
and depending on the base ISO of your camera, on your remote release accordingly.
set the aperture to f/2.8 (ISO 100) or f/4 (ISO
POLE STAR
The first shot from the
sequence of 110 shots that
were “stacked” to create the
image on the previous page.

(at 12mm), 30 sec. at f/4,
ISO 200

5) Set the number of shots required on that need stacking into a separate folder as
your remote release. Two shots will equal one JPEGs (if the images you originally shot are Raw
minute’s worth of exposure, four shots would files you’ll need to convert them first). Once
be two minutes, and so on. you’ve launched the star stacking software,
6) Start exposing and wait until the sequence navigate to the folder you’ve just created and
has completed. select all the images. Click on the button that
Once you have your completed sequence starts the stacking process and wait until the
imported onto your computer, run your chosen stacked image is generated. When it’s ready,
stacking software to assemble the final image. select your output folder, save the image, and
exit the software.
Stacking software
There are currently two star trail stacking
programs available online: StarStaX and
Note
Startrails. StarStaX is available for Windows,
Startrails can be used to generate time-
Mac, and Linux operating systems (www.
lapse videos from a sequence of JPEGs.
markus-enzweiler.de/software/software.html),
while Startrails is Windows only (www.startrails.
de/html/software.html).
Both programs are freeware and work in STARSTAX
a similar way. Start by exporting all the images Creating a stacked star trail using StarStaX.

The moon depending on whether the moon is waxing or
The moon, as with the stars, moves across the waning) reduce the shutter speed to 1/250 sec.
night sky. The distance it moves is approximately When the moon is a thin crescent, the shutter
its own diameter every two minutes. This means speed should be slower still, and 1/60 sec.
that even an exposure of a second will result in would be a good starting point.
an unsharp moon, and as with stars, the longer However, these exposure settings are only
the focal length, the greater the potential for approximate and it’s a good idea to bracket.
lack of sharpness. Fortunately, the moon is These settings will also only be correct for the
relatively bright, and with a reasonably fast film moon, so any landscape details will only be
or medium ISO setting on your camera, it is exposed correctly if the ambient light is high
possible to set a sufficiently fast shutter speed enough to illuminate them sufficiently.
to avoid this problem.
There are many variables that affect the
Note
exposure settings you would use, including the
Metering the entire night sky will tend to
height of the moon in the sky and the phase of
cause your exposure meter to overexpose.
the moon. When the moon is full and the sky
If your camera has a spot meter function,
is black, for example, try setting the ISO to 400
use this to determine the exposure from
and the shutter speed and aperture to 1/1000
the moon, ignoring the sky around it.
sec. and f/8 respectively. When the moon is half
full (referred to as either the first or last quarter,
ECLIPSE
Lunar eclipses occur at least
twice a year and are caused by
the earth stopping light from the
sun reaching the moon—this
only occurs when the moon
is full. To find out when lunar
eclipses will occur visit eclipse.
gsfc.nasa.gov/lunar.html

1/4 sec. at f/5.6, ISO 1250

Moon phases night and day, as detailed in the grid below.
Over the course of 28 days, the moon changes Photographing the moon during the times
its appearance. At the start of the lunar cycle when it is visible during the day can be just as
the moon is full: the whole face of the moon effective as shooting it at night, but in the days
is lit and therefore visible. From full, the moon before the moon is full it rises as the sun is
wanes, and mid-way through the 28-day cycle setting. This means that there will be sufficient
the moon is “new”—the face of the moon is ambient light for landscape details if you wish
unlit and invisible in the night sky. From new, to include them in a composition with the
the moon waxes, until on day 28 the moon is moon. However, the moon is more interesting
full once more and the cycle starts over. visually when waxing or waning as craters
During the different phases of the cycle the and other surface details along the shadow
moon rises and sets at different times of the boundary are better defined.
Moon Phase Rises Sets

Full Sunset Sunrise
Waning gibbous Post-sunset Post-sunrise
Last quarter Midnight Midday
Waning crescent Pre-sunrise Late-afternoon
New moon Sunrise Sunset
Waxing crescent Post-sunrise Post-sunset
First quarter Midday Midnight
Waxing gibbous Late-afternoon Pre-sunrise

Candles
Candles have a very attractive warm light that will give an image
a romantic glow.
Warmth the candle in the image if it’s illuminating another

With most forms of illumination, the first task object, but there’s no reason you couldn’t have
is to adjust the white balance to produce a other candles out of the image area to provide
natural-looking image. Candles are different extra illumination.
though, as it’s the very warmth of the light that Candlelight is a point light source, so contrast
is appealing. Some experimentation is required, will be high, but in many ways this is no bad
but I often leave the camera set to Daylight thing—the light is good for creating mood and
white balance to avoid cooling the warmth of atmosphere, and deep shadows only add to
the candlelight down (shooting Raw means this the effect. When metering, use your camera’s
can be adjusted later if necessary). spot meter to meter from the illuminated areas
Candlelight is a very weak light in comparison of your subject, or from the stem of the candle
to even the lowest wattage household light. If itself, just below the flame. The flame will
you are using candlelight to illuminate another probably cause clipping in the image’s histogram,
object in your image, the other object will but some clipping will be unavoidable, especially
need to be reasonably close to the candle to be if you want other areas of the image to be
illuminated adequately. It’s a good idea to show exposed adequately.
ALONE
Candles make attractive subjects
in their own right. Fill the image
space for maximum impact.

1/60 sec. at f/3.2, ISO 800

ILLUMINATING
Camera: Canon EOS 7D Churches are a great place to photograph candles. Votive
Lens: 70–200mm lens candles are often placed in front of painted panels, which
(at 100mm) can create an attractive image.
ISO: 100

Bonfires and fireworks
Bonfires and fireworks are very photogenic subjects, and if there’s
a public holiday or anniversary there’s bound to be one or the other—
often both.
Flame the contrast range, the people will be silhouetted
There’s something pleasingly primitive about against the flames, and this combination of
a roaring fire, particularly one outdoors on a people and fire is a good way to show the scale
frosty evening. There are several approaches to of the fire itself. Focus on the person, rather than
take when photographing bonfires. The first is the fire behind; it won’t matter too much if the
close ups of the flames and later, the embers. fire is out of focus as this will make for quite a
Use a longer lens to fill the image frame without striking image.
getting dangerously close. If you’re handholding Your camera’s light meter will probably be
your camera, an image-stabilized lens is ideal, fooled by the differences in light levels between
although if the fire is particularly large and the fire and the background, so apply positive
bright it’s often possible to use a relatively fast exposure compensation of 1.5–2 stops if
shutter speed. To capture the shape of the necessary. If you’re unsure, bracket and check
flames use a shutter speed between 1/250 sec. the histogram on your camera. Finally, be
and 1/1000 sec., but if your camera is on a aware that bonfires have a very warm color
tripod, experiment with slower shutter speeds temperature. You could adjust the white balance,
to create a more ethereal effect. but personally I prefer to use a Daylight preset to
Another way to shoot bonfires is when there preserve the warmth and then adjust the white
are people between you and the fire. Because of balance afterward if necessary.
EMBERS
Once the fire (and the heat) has
died down, getting in close to
the embers can produce striking
abstract images.

13 sec. at f/16, ISO 100

FLAMES
Camera: Canon EOS 7D Fast shutter speeds are needed to freeze the flames and
Lens: 17–40mm lens individual sparks.
(at 40mm)
ISO: 800

Fireworks area will also lessen the chances of you or your
Firework displays are a popular photographic camera being knocked over by other spectators.
subject, although to get the best out of the On the evening of the display, you will need
opportunity it pays to prepare in advance. If to mount your camera on a tripod. A remote
you know the location of the display try to visit release is useful so that the shutter can be fired
when it’s light, to allow you time to look around without the camera being touched, and it will
for the best vantage point. This is often not the
place where the fireworks will be set off, but
the top of a hill or high building some distance Tip
from the display area. By gaining height you will Switch to manual focus and focus at ∞.
be looking across at the fireworks rather than
up at them. Keeping back from the main event
ECLIPSE
Canon EOS 1Ds MkII, 17–40mm I broke my own rules with this shot and set my camera and tripod
lens (at 20mm), 1/2 sec. at f/13, up within the crowd of spectators. Fortunately I had an assistant
ISO 800 who helped make sure that no one tripped over my tripod.

also allow you to watch the display without Smaller displays are often more difficult
looking through the camera’s viewfinder. to photograph as there are often longer gaps
Choosing the right lens can be tricky. If there between individual fireworks. One solution is
is any wind this can affect the way that the to set your camera to Bulb and lock the shutter
fireworks drift, so I usually start with a wide- open. After a firework has exploded carefully
angle lens to make sure that I’m capturing the cover the front of the lens with a piece of black
entire display and then gradually zoom in over card and remove it when you hear the next
the course of the display for a tighter, more one being fired. Using this method will also
abstract view of the fireworks. allow you to build up the number of fireworks
If the display is a large, organized event there recorded within the same image. After a minute
will usually be a regular stream of fireworks, so or so, you can release the shutter and review
after a while it’s often possible to anticipate your image.
when to fire the shutter. The shutter speed you
use will depend on the ISO setting, but generally
fireworks are more effectively recorded with
Note
shutter speeds of 1 sec. or longer. So that you
Many compact cameras, and some digital
don’t miss anything, switch off Long Exposure
SLRs, have a “firework” mode. This sets
Noise Reduction—it’s frustrating if you have to
the camera so that longer shutter speeds
wait for your camera to process an image before
are used. The downside is that these
you can shoot again! Displays often end in a
modes typically force you to use JPEG
noisy and colorful climax, so if you know the
rather than Raw.
approximate length of the display, keep an eye
on the time and be ready for the final moments.
CLOSER
Once I’m confident that I know
where fireworks will appear
in the sky I often switch to
a telephoto lens and record
firework close-ups.
Canon EOS 1Ds MkII, 100mm

lens, 1/50 sec. at f/11,
ISO 800

MOONRISE
Camera: Canon EOS 1Ds MkII This scene was shot at mid-summer on the day before the moon was full.
Lens: 200mm lens This meant that there was still enough ambient light to record the scene
Exposure: 1/15 sec. at f/7.1 with a reasonably fast shutter speed and for the castle to stand out
ISO: 100 against the dusk sky.

HEAT
Camera: Canon EOS 1Ds MkII Flames are hot, so the further you are from them the safer you and your
Lens: 100mm lens camera will be. For this image I used a telephoto lens so that I could fill
Exposure: 15 sec. at f/6.3 the frame without getting too close to the flames.
ISO: 100

Silhouettes
When your subject is between your camera and the main light source,
the result—if the exposure is set for the background—will be that
your subject recorded as a silhouette.
Ideally, the subject for a silhouette should be a as silhouettes are generally close to black. If
bold, easily-recognizable shape. Anything with the histogram is clipped on the right, use your
a complex or ambiguous shape will require too camera’s exposure compensation controls and
much thought from anyone who looks at the apply negative compensation.
resulting image later. Try to make sure there is
empty space around your subject and that other
elements of the scene don’t intrude or overlap.
Tips
If you’re creating a silhouette of a person, a
If your camera doesn’t have a spot meter,
profile is easier to recognize than a person
you can use your zoom lens to effectively
facing toward (or away from) the camera.
“spot meter” from a particular area. Zoom
The focus should be set for the subject, but
in, excluding the part of the image that you
the exposure you use should be correct for the
want silhouetted, take a meter reading,
background. Use your camera’s spot meter to
and set that as the exposure. Zoom back
measure from an area of the background that
out to frame your composition.
roughly corresponds to a midtone (in the image
on the opposite page this was the blue area in Use your subject to hide the light source if
the top right quarter of the sky). Compose your possible. If the light source is the sun, don’t
shot, fire a test shot, and review the histogram. look at it directly through your camera lens.
A “standard” exposure for a silhouette would
show clipping on the left, which is to be expected
SKEWED
The histogram for the
image on the opposite
page. Note how the left
edge is clipped.

SHAPE
Camera: Canon EOS 7D Silhouettes are most effective when your subject is easily
Lens: 17–40mm lens recognizable, despite being stripped of its detail.
(at 17mm)
ISO: 100

Painting with light
Not every photographic subject is conveniently floodlit, so sometimes
you will have to provide your own light source. This can be in the form
of a flash or even a handheld flashlight.
Painting with light is the technique of lighting Painting with light: flash
a subject during a long exposure. This can be What you need: Tripod, flash unit (preferably
achieved either by using a handheld flash or two), fully charged batteries for your camera
with a suitably powerful flashlight. and flash, remote release.
It is worth noting that a camera flash and 1) Arrive at your chosen location before
a flashlight have different color temperatures, dusk and select your composition. Your subject
with a flashlight being the warmer of the two. should be sufficiently close so that you can find
Which you use is partly down to esthetics, and your way between your camera and the subject
partly down to practicality: flash works well quickly, but safely, once the shutter on your
when you are photographing larger subjects, camera has been fired.
as it’s difficult to direct the light, whereas a 2) Attach the remote release to your camera
flashlight is great for photographing more and focus on the subject. If you use AF to do
intimate subjects as you can light areas of a this, switch the lens to MF once focus has been
subject very specifically. achieved so that it doesn’t shift.
SMALL BRUSH
STROKES
A flashlight can be used
to pick out small details
in your subject.
Canon EOS 1Ds MkII,

50mm, 1 min. at f/16,
ISO 100

LARGE BRUSH STROKES
Camera: Canon EOS 7D A flashlight can be used to “paint” large areas of your image,
Lens: 10–22mm lens as well as smaller sections.
(at 14mm)
Exposure: 30 sec. at f/7.1
ISO: 100

3) Set your camera to Bulb and the aperture you. Fire the flash using the test button, aiming
to f/11. The ISO doesn’t need to be high—the it toward the subject. However, don’t fire the
base ISO of your camera should be sufficient. flash when you are between it and the camera,
4) Wait until the ambient light levels are as you’ll be recorded as a silhouette!
sufficiently low that the required shutter speed 6) Move around your subject, trying to
is roughly 2 minutes. Depending on whether “paint” evenly with your flash. If you have two
you are facing east or west this is usually 30–40 flashes, alternate between them as this will give
minutes after sunset. one time to recharge while you fire the other,
5) Lock the shutter open and walk quickly allowing you to work more quickly.
over to your subject, taking your flash(es) with 7) Once you feel that 2–3 minutes is up,
return to your camera and end the
exposure. Review the image and check
the histogram to see if the exposure
looks good.
Note
The number of flashes that will
be required will depend on the
size of your subject. 30–60 flashes
wouldn’t be an excessive number
for an average-sized building, so
be prepared!
FLASHDANCE
This decorative bridge was completely
unlit, so flash was used off-camera
to illuminate it. Because the wall and
lion were close to the camera it only
required 20 flashes to light it evenly.

1 min. at f/16, ISO 100

Painting with light: flashlight camera’s spot metering facility to meter from
What you need: Tripod, flashlight, fully charged the lit area.
batteries for both your camera and flashlight, 3) Set the exposure, fire the shutter, and
remote release. begin to move the light from your flashlight
1) Follow steps 1–2 for Painting with light: smoothly around your subject. You can stand
flash, as described on page 176. next to the camera to do this, but this will
2) Once the ambient light levels are low, light your subject from the front. For a more
but there is still color in the sky, switch on your interesting lighting effect try moving away to
flashlight and shine the light on your subject. either side of your camera and “painting” your
To determine the correct exposure, use your subject at an angle relative to the camera.
4) Once the exposure is complete,
review the image and check the histogram
to see if the exposure looks good.
Note
When using a flashlight to paint
with light, I usually set my camera
to Manual so the camera won’t
alter the exposure as the ambient
light levels change. I generally shoot
a number of frames so that I can
choose later which image has the
most pleasing balance between the
ambient light and the flashlight.
CLOSE TO
The closer you are to your subject, the less
powerful your flashlight needs to be. This
exposure was achieved with a small
flashlight, as both it and the camera were
only a few feet from the subject.

(at 20mm), 1.5 min. at f/16, ISO 100

Panning
Panning is a technique that involves recording action shots in low light
at slow shutter speeds, while keeping the subject relatively sharp.
When light levels are low, it’s more difficult to backgrounds will often work better than busy,
achieve the shutter speed you need to freeze colorful ones.
action. You could increase the ISO, but that 2) Switch the lens to Manual focus and
would risk a corresponding increase in image focus where you think your subject will be.
noise. Panning describes the act of moving
your camera, timing its movement to follow a
subject, so the subject will remain sharp and the
Note
Panning requires practise and
background will be blurred. This often creates
experimentation, so don’t despair if you
a greater sense of speed than a “straight” shot
don’t immediately perfect the technique.
with a fast shutter speed.
Shooting a panning shot

What you need: Lens (focal length dependant WIDE-ANGLE LENS
on how close you are to your subject). As long as it’s safe to get close to your chosen
subject, wide-angle lenses will allow you to pan
1) Position yourself so that there is further during the exposure.
nothing between you and the point at which
your subject will pass by. Think about the Hasselblad Xpan, 45mm lens, exposure details
background—although it will be blurred, plain unrecorded, ISO 50 (Fuji Velvia)

Alternatively if your camera has predictive
focusing, keep the AF switched on and select Tip
the central focus point. Panning can be used in conjunction with
3) There is no correct shutter speed to use slow sync flash. This will make the subject
for a panning shot: use a higher shutter speed if even sharper as the flash will freeze the
possible for faster subjects, but it should still be movement at the point of firing. However,
slower than the shutter speed you would use to don’t use flash if it might prove a
freeze movement. dangerous distraction for your subject.
4) As your subject approaches, follow the Panning works best when the subject is
movement with your camera. If you’re using moving parallel to you.
predictive autofocus, press the shutter-release
button down halfway to activate the AF system.
5) Press the shutter-release button down BLURRED
smoothly as your subject approaches the closest The slower the shutter speed you use, the more
impressionistic the image will be.
point to you, and then smoothly release it once
the subject has passed. Continue to follow the
movement of the subject with your camera as
Nikon D70, 100mm lens, 1/20 sec. at f/11,
you do so. ISO 200

The abstract approach
You don’t need to think literally when shooting in low light.
Manipulating your camera or lens during an exposure can produce
striking abstract images.
Zoom burst Shooting a zoom burst
Generally, once a composition has been chosen What you need: Tripod, remote release, zoom
with a zoom lens the focal length is left well lens with wide focal length range.
alone. However, turning the zoom ring during 1) Mount your camera on a tripod and
an exposure creates what is known as a “zoom compose your shot with the zoom at the widest
burst.” This has the visual effect of making your
subject appear as though it is streaking toward
the camera; the more the lens is zoomed during Tip
the exposure, the more exaggerated the effect. A related effect involves de-focusing your
Low light is ideal for this technique, as longer camera. Start with your camera in focus
shutter speeds give you more time to turn the and then, during the exposure, smoothly
zoom ring. Streetlamps can make great subjects, turn the focus ring to minimum focus.
particularly if you can look down from a high
building or hill at the scene.
ZOOM
I prefer using longer zoom lenses
to create a zoom burst, as the
perspective is more compressed.

lens (zoomed from 70mm to
200mm), 5 sec. at f/5, ISO 100

end of its focal length range. Switch your lens Street lighting or any other point light source
to manual focus and focus at ∞. is ideal as a subject.
2) Set the camera to Manual exposure and
set the aperture and ISO to give you a shutter Shooting a panning abstract
speed of 2–8 sec. What you need: Lens.
3) Trigger the shutter using the remote 1) For this effect you need to handhold your
release. As you do, smoothly turn the zoom ring camera. Switch your lens to manual focus and
so you zoom into the scene. Try to time the turn focus at ∞.
from minimum to maximum zoom to match 2) Switch the camera to Manual exposure
the length of the shutter speed (you may need and set the aperture and ISO to achieve a
to practise beforehand). Try not to knock the shutter speed in the region of 2–8 sec.
camera as you do this, as any movement in the 3) Fire the shutter. As the camera exposes,
camera will be recorded as a slight kink in the smoothly pan your camera. Try to time the
light trails. extent of the panning to match the length of
4) Review the image on screen and reshoot the shutter speed (it’s worth practising this
if necessary. before you shoot).
4) Review the image on screen and reshoot
Movement if necessary.
A different, if equally abstract, effect can be
achieved with any lens (prime or zoom) by
moving the camera during a long exposure.
PANNING
Jiggling your camera around
during the panning process
produces an even wilder result.

lens (200mm), 6 sec. at f/4,
ISO 100

Reeds
This image was shot approximately half an hour after sunset, so there was still color in
the sky. The white balance was set to Daylight so that the blueness of the ambient light
was maintained, and so that the flashlight used to illuminate the reeds in the foreground
would appear warmer, creating an appealing color contrast.

(at 20mm)
ISO: 100

Color
A colorful pre-sunrise or post-sunset sky makes an interesting backdrop for a silhouetted
subject. Because the sky will still be relatively bright, it’s often possible to use relatively fast
shutter speeds and handhold the camera as I did here.
Camera: Canon
EOS 7D
(at 100mm)
at f/6.3
ISO: 100

Glossary
Aberration An imperfection in a photograph, Compression The process by which digital files

usually caused by the optics of a lens. are reduced in size.
AE (automatic exposure lock) A camera control Contrast The range between the highlight
that locks in the exposure value, allowing a and shadow areas of a photo, or a marked
scene to be recomposed. difference in illumination between colors or
adjacent areas.
Angle of view The area of a scene that a lens
takes in, measured in degrees. Depth of field (DoF) The amount of a
photograph that appears acceptably sharp.
Aperture The opening in a camera lens
This is controlled primarily by the aperture:
through which light passes to expose the
the smaller the aperture, the greater the
sensor. The relative size of the aperture is
depth of field.
denoted by f-stops.
DPOF Digital Print Order Format.
Autofocus (AF) A reliable through-the-lens
focusing system allowing accurate focus Diopter Unit expressing the power of a lens.
without the user manually turning the lens.
dpi (dots per inch) Measure of the resolution
Bracketing Taking a series of identical pictures, of a printer or scanner. The more dots per inch,
changing only the exposure, usually in ½- or the higher the resolution.
¹⁄₃-stop increments.
Dynamic range The ability of the camera’s
Buffer In-camera memory of a digital camera. sensor to capture a full range of shadows
and highlights.
Center-weighted metering A metering pattern
that determines the exposure of a photograph Evaluative metering A metering system
by placing importance on the light-meter whereby light reflected from several subject
reading at the center of the frame. areas is calculated based on algorithms. Also
known as Matrix or Multi-segment metering.
Chromatic aberration The inability of a lens to
bring spectrum colors into focus at one point. Exposure The amount of light allowed to
hit the digital sensor, controlled by aperture,
Codec A piece of software that is able to
shutter speed, and ISO. Also, the act of taking a
interpret and decode a digital file such as Raw.
photograph, as in “making an exposure.”
Color temperature The color of a light source
Exposure compensation A control that allows
expressed in degrees Kelvin (K).
intentional over- or underexposure.
LOW LIGHT PHOTOGRAPHY pp186-189.indd 186 17/4/12 16:32:25

Extension tubes Hollow spacers that fit Hotshoe A light area with a loss of detail in
between the camera body and lens, typically the highlights. This is a common problem with
used for close-up work. The tubes increase the flash photography.
focal length of the lens, magnifying the subject.
Hotspot A light area with a loss of detail.
Fill-in flash Flash combined with daylight in an A common problem in flash photography.
exposure. Used with naturally backlit or harshly
Incident-light reading Meter reading based
side-lit or top-lit subjects to prevent silhouettes
on the light falling onto the subject.
forming, or to add extra light to the shadow
areas of a well-lit scene. Interpolation A method of increasing the file
size of a digital photograph by adding pixels,
Filter A piece of colored or coated glass or
thereby increasing its resolution.
plastic placed in front of the lens.
ISO (International Organization for
Focal length The distance, usually in millimeters,
Standardization) The sensitivity of the digital
from the optical center point of a lens to its
sensor measured in terms equivalent to the ISO
focal point.
rating of a film.
fps (frames per second) A measure of the time
JPEG (Joint Photographic Experts Group)
needed for a digital camera to process one
JPEG compression can reduce file sizes to
photograph and be ready to shoot the next.
about 5% of their original size, but uses
f-stop Number assigned to a particular lens a lossy compression system that degrades
aperture. Wide apertures are denoted by small image quality.
numbers (such as f/1.8 and f/2.8), while small
LCD (Liquid Crystal Display) The flat screen on
apertures are denoted by large numbers (such
a digital camera that allows the user to preview
as f/16 and f/22).
digital photographs.
HDR (High Dynamic Range) A technique that
Macro A term used to describe close focusing
increases the dynamic range of a photograph
and the close-focusing ability of a lens.
by merging several shots taken with different
exposure settings. Megapixel One million pixels is equal to
one megapixel.
Histogram A graph representing the
distribution of tones in a photograph. Memory card A removable storage device
for digital cameras.

Mirror lock-up A function that allows the Shutter The mechanism that controls the
reflex mirror of an SLR to be raised and held amount of light reaching the sensor, by
in the “up” position prior to the exposure opening and closing.
being made.
SLR (Single Lens Reflex) A type of camera that
Noise Non image-forming interference visible allows the user to view the scene through the
in a digital image caused by stray electrical lens, using a reflex mirror.
signals during exposure.
Soft proofing Using software to mimic on
Opensource Software created by unpaid screen how an image will look once output
volunteers, which is often free to use. to another imaging device, such as a printer.
PictBridge The industry standard for sending Spot metering A metering pattern that places
information directly from a camera to a printer, importance on the intensity of light reflected
without having to connect to a computer. by a very small portion of the scene.
Pixel Short for “picture element”—the smallest Teleconverter A lens that is inserted between
bits of information in a digital photo. the camera body and the main lens, increasing
the effective focal length.
RAW The file format in which the raw data
from the sensor is stored without permanent Telephoto A lens with a large focal length and
alteration being made. a narrow angle of view.
Red-eye reduction The file format in which TTL (Through The Lens) A metering system that
the raw data from the sensor is stored without measures light passing through the camera’s
permanent alteration being made. lens at the time of shooting.
Resolution The number of pixels used to USB (Universal Serial Bus) A data transfer
capture or display a photo. standard, used by most cameras when
connecting to a computer.
RGB (Red, Green, Blue) Computers and other
digital devices understand color information White balance A function that allows the
as combinations of red, green, and blue. correct color balance to be recorded for any
given lighting situation.
Rule of thirds A rule of composition that
places the key elements of a picture at points Wide-angle lens A lens with a short focal
along imagined lines that divide the frame into length and consequently a wide angle of view.
thirds, both vertically and horizontally.

Useful web sites
GENERAL
Digital Photography Review Olympus

Camera and lens review web site www.olympus-global.com
www.dpreview.com
Panasonic
Flickr www.panasonic.com
Photo sharing web site with a large user base
www.flickr.com Pentax
www.pentax.com
David Taylor
Landscape and travel photography Sigma
www.davidtaylorphotography.co.uk www.sigmaphoto.com
Luminous Landscape Sony

Comprehensive online guide to photography, www.sony.com
including HDR
www.luminous-landscape.com
PHOTOGRAPHY PUBLICATIONS
EQUIPMENT Photography books &

Expanded Camera Guides
Adobe www.ammonitepress.com
Photoshop, Photoshop Elements, and
Lightroom editing software Black & White Photography magazine
www.adobe.com Outdoor Photography magazine
www.thegmcgroup.com
Apple
www.apple.com
Canon
www.canon.com
Nikon
www.nikon.com

Index
A mirrorless system system 58 and metering 38–46

abstract approach 182–183 candlight 16, 166 compensation 42
Adobe caring for yourself 108 lock 41
Lightroom 53 Christmas and other meters 38
Photoshop 49 festivals 138 modes 41
Elements 53 chromatic aberration 62 settings 51
aperture 30, 32, 35 clipping 45 values 50
Aperture Priority (A/Av) color 25
mode 41 bias 16 F
apps 83 temperature 16–19, 102 filters 70–78
architectural details, color film 18 extreme ND 74–76
photographing 133 daylight balanced 18 graduated ND 40, 44, 77
Arctic Circle 20 tungsten balanced 18 neutral density (ND) 73
compass 21 polarizing 50, 72
B contrast 12 skylight and UV 71
backlighting 11, 14 converging verticals 130 startburst (cross screen)
batteries 79 effect 71
beanbag 63 D fireworks 170, 171
bonfires and fireworks, shooting dawn 24 flare 11
168–171 depth of field 35 flash 86–105, 34
bracketing 42 diffraction 35, 37 1st curtain and 2nd curtain
automatic (AEB) function 42 distortion sync 96
Brewster’s Angle 72 barrel 141 anatomy of a 92
Bulb mode 30, 69 pincushion 141 automatic 91
dynamic range 44 bounce 100
C built-in 90
camera E dedicated 91
Digital Single Lens Reflex earth diffusers 100
(DSLR) 58 axial tilt 20 fill-in 99
meters 40 orbit 20 gels 102
sensor 30 Enfuse plug-in 53 guide numbers (GN) 94
shake 63 equinox 22 hi-speed sync 98
cameras 58–59 equipment 54–85 light 102
compact 59 experimentation 156 manual 91
cropped-frame (APS-C) 60 exposing to the right 46 off-camera 101
full-frame 61 exposure 28–53 slow sync 96
20281 Low Light Photography 190-192.indd 190 3/5/12 15:48:54

sync speed 94 range 47 frontal 10
TTL (through-the-lens) setting 34 side 10, 15
93, 95 back 11, 14
flashlights 82 J low light white balance 18
focal length 60 JPEG files 59
freezing movement 33 M
f-stop 32 K Manual (M) mode 41
Fuji Velvia 18 Kelvin 16 map 21
meter
G L reflective 38
gels 102 landscape photography, metering 38
golden hour, the 24 preparation 110 center-weighted 40
gray card 38 landscapes 106–125 evaluative 40
guide numbers (GN) 94 lenses 60–62 spot 40
for low light city photography with ND graduate filters 78
H 130 meters
handholding 63 pancake 61 camera 40
headlamp 108 prime 61 exposure 38
high dynamic range (HDR) 52 telephoto 60 mist 120, 121
merge 44 tilt-and-shift 130 mode
shooting for 52 zoom 60, 61 Aperture Priority (A/Av) 41
software 53 lens Manual (M) 41
highlights 12 hood 11 Programmed Auto (P) 41
histogram 38, 45 problems 62 Shutter Priority (S/Tv) 41
assessing a 45 light 6, 27 moon, the
skewed 174 artificial 13 phases 165
hyperfocal distance 35, 37 controlling 30 shooting 164–165
fluorescent 13 music and sporting events,
I hard 12 shooting 150
image stabilization 64 painting with 176
interiors, shooting 141 pollution 8 N
intervalometer 69 qualities of 12–15 night sky, shooting 158–165
in the wild 110 soft 13 metering 164
iris 32 wavelengths 24 noise
ISO 47¬–51 lighting chroma 48
AUTO 47 direction 10 digital 48

long exposure 49 S heads 67
luminance 48 seasons, the 20–27, 112, 116 technique 68
reduction 49 sensor tripods 66–69
Noise Ninja 49 camera 30 twilight 25
North Pole 20 size 60
notebook 82 shadows 12 U
Shutter Priorty (S/Tv) mode 41 underexposing 38
O shutter urban environment, the
overexposure 38 -release button 30 126–153
speed 30, 32 lenses for shooting 130
P shutter speed/aperture timing a shoot 128
painting with light relationship 32
176–179 shutter speeds V
panning 34, 180–181 slow 34 vignetting 62
abstract 183 side lighting 10, 15
people, shooting 140 silhouette 21, 174, 175 W
Photomatix 53 South Pole 20 water, shooting 114
previsualization 56 smartphone 83 weather 118–125
Programmed Auto (P) special subjects 154–185 changeability 118
mode 41 spirit level 79 predicting 119
public spaces, shooting 144 stacking wavelengths
images 162 blue 24
R software 163 red 24
rain 122 star trails, shooting 160–161 visible 24
protecting camera against stop 30 white balance 16
122 subjects, choosing 132–133 Auto (AWB) 16
rainbows 123 summer solstice 20, 22 low light 18
Raw 46 sunburst 122 wide-angle lenses 35
conversion software 49 sun height/elevation 22 woodland 112
shooting 58 Sunny 16 rule 50
red-eye correction 99 sunrise/sunset 21, 117 Z
reflectors 80 color 25 zoom burst 182
remote release 69
rivers, shooting 132 T
stained glass windows, traffic trails 134–135
shooting 148 tripod

NightLowLightPhotography PDF

Uploaded by

Copyright:

Available Formats

NightLowLightPhotography PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

NightLowLightPhotography PDF

Uploaded by

Copyright:

Available Formats

What is the book about?

What is the book about?

What chapters are covered in the book?

What chapters are covered in the book?

Night & Low

THE EXPANDED GUIDE > TECHNIQUES

LOW LIGHT PHOTOGRAPHY CH1 1-27.indd 3 3/5/12 15:38:06

Text © AE Publications Ltd, 2012

All rights reserved

The right of David Taylor to be identified as the author of this work

No part of this publication may be reproduced, stored in a retrieval

Editor: Chris Gatcum

Chapter 5 Landscapes 106

Chapter 6 The Urban Environment 126

Chapter 7 Special Subjects 154

Useful web sites 189

LOW LIGHT PHOTOGRAPHY CH1 1-27.indd 5 17/4/12 16:05:49

LOW LIGHT PHOTOGRAPHY CH1 1-27.indd 7 17/4/12 16:05:51

DAY OR NIGHT? (Opposite)

Canon EOS 7D, 17–40mm lens

8 Night & Low Light Photography

LOW LIGHT PHOTOGRAPHY CH1 1-27.indd 8 17/4/12 16:05:53

Frontal lighting Side lighting

Canon EOS 7D, 10–22mm lens

10 Night & Low Light Photography

LOW LIGHT PHOTOGRAPHY CH1 1-27.indd 10 17/4/12 16:05:56

Canon EOS 7D, 10–22mm lens

The Expanded Guide 11

LOW LIGHT PHOTOGRAPHY CH1 1-27.indd 11 17/4/12 16:05:56

Hardness Hard light is generally unflattering for

12 Night & Low Light Photography

LOW LIGHT PHOTOGRAPHY CH1 1-27.indd 12 3/5/12 15:38:07

The Expanded Guide 13

LOW LIGHT PHOTOGRAPHY CH1 1-27.indd 13 17/4/12 16:05:57

14 Night & Low Light Photography

LOW LIGHT PHOTOGRAPHY CH1 1-27.indd 14 3/5/12 15:38:08

The Expanded Guide 15

LOW LIGHT PHOTOGRAPHY CH1 1-27.indd 15 3/5/12 15:38:09

16 Night & Low Light Photography

LOW LIGHT PHOTOGRAPHY CH1 1-27.indd 16 17/4/12 16:05:58

AWB Automatic White Balance

Daylight: Normal sunny conditions

Shade: When shooting in shadow

Cloudy: Adds warmth to an image on overcast days

Tungsten: Incandescent domestic lighting

White fluorescent lighting

Custom white balance

The Expanded Guide 17

LOW LIGHT PHOTOGRAPHY CH1 1-27.indd 17 17/5/12 16:49:18

Canon EOS 7D, 50mm lens,

18 Night & Low Light Photography

LOW LIGHT PHOTOGRAPHY CH1 1-27.indd 18 17/4/12 16:05:59

Canon EOS 1Ds MkII,

20 Night & Low Light Photography

LOW LIGHT PHOTOGRAPHY CH1 1-27.indd 20 16/5/12 16:50:19

Sunrise/sunset direction East/West

Latitude Nearest city (Northern/

60° Oslo/– 35° 325° 140° 220°

50° London/Rio Gallegos 49° 311° 128° 228°