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Posts Tagged ‘Long’

1000-year long exposure due to reveal effects of climate change for exhibition in 3018

26 Oct
The view from Eagle Rock – a digital pinhole image by Ryland West, showing the view from one of Keat’s camera sites

A series of pinhole cameras have been positioned around Lake Tahoe to record in a single exposure the effects of climate change over the course of the next 1000 years. Conceptual artist Jonathon Keats has booked space at the nearby Sierra Nevada College to hold an exhibition of the results in the year 3018.

The idea of the project is to show the long-term effects of climate change on the environment, by recording how the scenes the four cameras are pointed at alter over the course of a 1000-year exposure. Though technical details are scant regarding the size of the aperture, the basic premise of the cameras is a pinhole construction with a rose-colored pigment to record the image. The pinholes have been made in 24-karat gold sheets (though the reason isn’t clear why gold was used) and the pigment records the image by fading in areas where it is exposed to most light. As it is the areas that are exposed to light that fade the final image will be positive.

According to an interview on the Vice’s Motherboard website Keats has ‘borrowed a technique from Renaissance painters who worked with copper. This involved rubbing the copper with pumice stone, then rubbing it with garlic and finally applying a layer of pigment. After studying different pigments, Keats chose rose madder, a red pigment that is derived from the root of a madder plant.’

The tiny cameras have a copper body and measure 2.75in long by 2.25in in diameter, and have been placed in strategic positions to monitor the condition of the lake and its shoreline. Whether the cameras can remain still for 1000 years, and whether the exposure will be right in 3018, remains to be seen – but not by any of us. Keats himself says in the Motherboard interview “The [environmental] changes that happen may wipe out the camera or wipe out the institution that’s in charge of it. I just signed a contract with Sierra Nevada College that is for an exhibition of these four photographs in the year 3018. We’re certainly taking chances with this, but that’s also part of the picture in a way.”
I’ll wait closer; to the time before buying a ticket for the opening night.

Press release

TAHOE TIMESCAPE VISUALIZE LAKE TAHOE IN 3018

Experimental Philosopher Jonathon Keats Explores 1,000 Years of Environmental Change in the Lake Tahoe Basin

TAHOE PUBLIC ART INSTALLATION | 2018 – 3018
ART EXHIBITION | OCT 18 – NOV 16, 2018
TAHOE GALLERY, SNC, Incline Village, NV

Tahoe Timescape is a public art project conceptualized by experimental philosopher and artist Jonathon Keats that photographically documents the next thousand years of environmental change in the Lake Tahoe Basin. The project enlists a new approach to photography based on the traditional pinhole camera. Pierced through a plate of 24-karat gold, a minuscule pinhole focuses light onto a rose colored pigment, such that the color fades most where the light is brightest, very slowly imprinting a unique positive image. The Millennium Camera’s thousand-year-long photographic exposure, taken between 2018 – 3018, not only shows the view in front of the camera, but also records how it develops over time, revealing dynamics ranging from urban development to climate change.

Digital Pinhole Photograph from Eagle Rock | Site Photography by Ryland West
While one goal of Tahoe Timescape is to provide documentation of human and environmental dynamics for study by future generations, the Millennium Camera, custom made from copper for durability, is equally intended as a mechanism for people today to envision their long-term impact on the environment – and potentially to change the picture by altering their behavior.

Tahoe Timescape features four Millennium Cameras that will be deployed around all four shores of Lake Tahoe, with fixed vantage points positioned to provide an expansive view of the Lake Tahoe Basin, presenting multiple opportunities for the public to engage in deep-time thinking as they explore the region. The copper brackets that secure each camera in their location, as well as informative plaques mounted next to the cameras, are fabricated locally by Mountain Forge. The four locations, pinpointed on a topographic map and identified by geographic coordinates, are as follows:

  • South Shore: Heavenly Mountain Resort, South Lake Tahoe, NV / CA
  • West Shore: Eagle Rock, Homewood, CA
  • North Shore: Lake Tahoe Dam, Tahoe City, CA
  • East Shore: Sand Harbor, NV

Jonathon Keats and Tahoe Public Art’s Executive Director, Mia Hanak, conducted site surveys to identify the vantage points and Millennium Camera locations. Local landscape photographer Ryland West explored each site to shoot a set of landscape photographs paired with digital pinhole photographs focused on the actual vantage point from the Millennium Cameras to help us imagine the photographic composition that will be recorded by each between now and 3018.

“Tahoe Public Art is truly excited to be presenting the conceptual art of Jonathon Keats to the Lake Tahoe Basin. With the ongoing stewardship of Sierra Nevada College, we hope this encourages tourists and residents alike to contemplate the future of the basin and how they can become active in its preservation.” – Steve Miller, Chairman, Tahoe Public Art.

Further outreach will be facilitated by an exhibition about deep time photography at Sierra Nevada College’s Tahoe Gallery. Opening on October 18th and running through November 16 in 2018, the exhibition will feature four sets of landscape photographs, digital medium format pinhole photographs, and photo documentation of the cameras secured at each location. Samplings of pinhole cameras, and a topographic map showing the camera sites and geographic coordinates will also be showcased. On September 5th, Keats led a pinhole camera workshop for SNC students. The exhibition will also showcase original artwork by SNC students — including 2-D, 3-D, digital arts, and interdisciplinary art — encapsulating how they envision Lake Tahoe in one thousand years.

Articles: Digital Photography Review (dpreview.com)

 
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Chroma Chrono is a programmable RGB camera flash for colorful long exposures

18 Sep

A new Kickstarter campaign seeks funding for Chroma Chrono, a programmable RGB camera flash that emits multiple colors during long exposures. Users can program the flash using a web interface accessible on any device with a web browser and WiFi; the system enables users to choose the flash colors and the on/off duration for each color.

Sample image via Chroma Chrono

Chroma Chrono features a high-intensity RGB LED, a WiFi-enabled microcontroller, and three AA batteries. Users can connect the flash to a standard hot shoe or trigger it remotely via a Prontor-Compur adapter. The camera flash currently exists as a final production prototype with anticipated manufacturing if the Kickstarter is successful.

Backers are offered an early bird Chroma Chrono flash for pledges of at least £120 / $ 164.

Via: Kickstarter

Articles: Digital Photography Review (dpreview.com)

 
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Long Acre Farms in New York celebrates Kodak with giant camera corn maze design

23 Aug

Long Acre Farms in Macedon, New York, has unveiled the autumn 2018 pattern for its Amazing Maize Maze: a giant Kodak camera. The design was created for Kodak’s 130th anniversary and Long Acre Farms’ 25th anniversary; it features a vintage camera, large flash, a finger capturing an image, and a strip of film.

One of Long Acre Farms’ owners, Joan Allen, explained the reason for the design to WXXI News, saying the farm has provided guests with an opportunity to create memories and capture images of them for decades:

You know we all think of, maybe, I’m pretty sure it’s worldwide, to think of capturing a memory with a Kodak camera and given that that’s our neighbor right her[e] in Rochester this seems like an appropriate theme.

Long Acre Farms shares images on Instagram and provides information on tickets and more on Facebook.

Via: WXXI News

Articles: Digital Photography Review (dpreview.com)

 
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A Guide to Shooting Long Exposure Landscape Photos

11 Aug

Here’s a 21-minute photography guide from Gordon Laing that looks at the long exposure technique. This is where you increase the shutter speed of your camera, letting in light to the sensor over a longer duration to create unique effects.

Long exposure photography

Long exposures are often used for smoothing out moving water, or smudging clouds as they drift past in the wind. Whatever the reason, long exposures can produce dreamy and magical results, and they are a key weapon in any landscape photographer’s arsenal.

“It’s also very forgiving in bad weather,” says Laing. “It allows you to grab moody-looking images on overcast days, or even in the pouring rain.”

Laing also points out that all of the normal compositional rules of landscape photography apply to your long exposure images. A long exposure is most-often used to enhance a particular scene, rather than create something that varies so drastically that the composition is different.

There is no set duration, either. You could shoot anything from a couple of seconds to multiple minutes (such as by using the LEE Filters 15-stop Super Stopper).

A longer duration will bring out more movement in the image, but you may find that the effect is too strong or that camera shake is introduced by something as simple as the wind buffeting your tripod.

Check out the full video above for a great guide to long exposure landscape photography from Laing. If you want more check out these dPS articles on the topic:

  • How to Avoid Blurry Long Exposure Images with Proper Tripod Setup
  • Long Exposure Photography 101 – How to Create the Shot
  • Long Exposure Photography 201 – How to Edit a Long Exposure Seascape
  • How to Choose the Correct ND Filter for Your Desired Long Exposure Photography Effects
  • Recommended Gear for Doing Long Exposure Photography at Twilight and Dusk
  • How to Select a Subject for Long Exposure Photography

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Weekly Photography Challenge – Long Exposures

11 Aug

This week, for your dPS photography challenge, you will need to get out your tripod and remote trigger because you’ll be doing some long exposure photography.

Shooting star trails is the ultimate long exposure photography.

There are many ways to incorporate a long exposure into your images. Here are a few ideas:

  • How to Create Dynamic Photos of Car Light Trails
  • 7 Tips for Shooting and Processing Star Trails
  • How to Create a Dynamic Zoom Burst Photograph
  • Intentional Blur- How to Create it and Why it’s Awesome
  • Tips for Light Painting and Some Common Pitfalls to Avoid
  • Beginner’s Guide to Light Painting
  • 8 Reasons to Love Long Exposure Photography
  • How to Avoid Blurry Long Exposure Images with Proper Tripod Setup

Car light trails – this image is a combination of several frames shot to capture more lights.

Light painting is another idea for long exposures.

Try an intention motion blur, in this case, the lens was zoomed during a long exposure.

Weekly Photography Challenge – Long Exposures

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

Long exposures on moving subjects like this carousel can turn out great.

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Fujifilm goes long with Fujinon XF 200mm F2 lens and teleconverter kit

20 Jul

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Fujifilm has announced its Fujinon XF 200mm F2 R LM OIS WR telephoto lens, which will be bundled with a matching 1.4x teleconverter. The lens has a ‘matte silver’ magnesium alloy body with an eye-catching green hood and is sealed against dust and moisture. The 200mm F2 has a total of 19 elements, including one Super ED and two ED elements, and the front glass has a fluorine coating to keep away fingerprints and water. Linear motors keep focus quick and quiet and the image stabilizer reduces shake by up to five stops, according to Fujifilm.

The XF 1.4X TC F2 WR teleconverter boosts the focal length of the lens to 280mm, with the maximum aperture rising a stop to F2.8. As with the lens, the teleconverter is weather-sealed.

The lens and teleconverter kit will be available in late October for just under $ 6000.

Press Release:

FUJIFILM ANNOUNCES NEW FUJINON XF 8-16MM F2.8 R LM WR LENS; FUJINON XF 200MM F2 R LM OIS WR TELEPHOTO LENS AND XF 1.4X TC F2 WR TELECONVERTER KIT

Ultra-wide angle zoom lens and super-fast telephoto lens with accompanying teleconverter for the X Series line of mirrorless interchangeable lens digital cameras; Latest development of the X Mount Lens Roadmap unveiled

Valhalla, N.Y., July 20, 2018 FUJIFILM North America Corporation today announced the new FUJINON XF8-16mmF2.8 R LM WR Lens, an ultra-wide angle zoom lens with a constant maximum aperture of F2.8 and focal length equivalent to 12-24mm (35mm format). Capable of providing outstanding edge to edge image-resolving performance, this lens is perfect for landscape and architecture photography such as interior and nightscape, and astrophotography.

Also announced today is the new FUJINON XF200mmF2 R LM OIS WR Telephoto Lens, the first super-fast telephoto lens in the XF lens lineup, offering a fast maximum aperture of F2.0 and a focal length equivalent to 305mm (35mm format). This lens boasts exceptional image clarity with the ability to produce beautiful bokeh, making it an ideal lens for shooting sports and wildlife.

The XF200mmF2 R LM OIS WR lens will only be available as a kit, paired with the high performance XF1.4X TC F2 WR Teleconverter to extend the focal length by 1.4 times to cover a focal length equivalent to 427mm at F2.8 (35mm format).

FUJINON XF200mmF2 R LM OIS WR Telephoto Lens and XF1.4X TC F2 WR Teleconverter Kit

The XF200mmF2 R LM OIS WR Telephoto Lens is made of 19 elements in 14 groups, including one large-diameter super ED lens element and two large-diameter ED lens elements to minimize chromatic aberration. High-precision polishing technology, developed for broadcast lenses, was applied to the large-diameter lens to achieve outstanding image-resolving performance and beautiful bokeh. The lens also features a new Focus Preset function that instantaneously changes the focus to a preset position, enabling photographers to capture the main subject with ease, and without having to make focal readjustments.

Utilizing linear motors, the XF200mmF2 R LM OIS WR achieves fast, silent and high-precision AF performance, and also features a new mechanism that fixes the motor group when the camera is not in use to reduce movement of the focusing group. In addition, the lens offers 5-stop image stabilization performance that recognizes shooting conditions and automatically applies optimum image stabilization control. With magnesium alloy construction, the lens is lightweight yet robust, and is sealed at 17 points and designed to be weather and dust-resistant, and operates in temperatures as low as 14°F/-10°C.

FUJINON XF200mmF2 R LM OIS WR Key Features:

  • FUJIFILM X Mount is compatible with all FUJIFILM X Series interchangeable system cameras
  • Weather-sealed at 17 points for weather and dust-resistance; operates in temperatures as low as 14°F/-10°C
  • 19 elements in 14 groups including 2 ED elements, and 1 super ED element
  • Uses linear motors for quiet and ultra-fast AF
  • Focus Preset Function instantly changes focus to a preset position to capture main subject without readjustments
  • Optical Image Stabilization system achieves 5-stop image stabilization
  • Fluorine coating applied to front lens element for improved durability
  • Matte silver color for reduced risk of overheating

FUJINON XF1.4X TC F2 WR Key Features:

  • 7 elements in 4 groups including 1 aspherical element

Fujifilm XF200mm F2 R LM OIS WR specifications

Principal specifications
Lens type Prime lens
Max Format size APS-C / DX
Focal length 200 mm
Image stabilization Yes
CIPA Image stabilization rating 5 stop(s)
Lens mount Fujifilm X
Aperture
Maximum aperture F2
Minimum aperture F22
Aperture ring Yes
Number of diaphragm blades 9
Optics
Elements 19
Groups 14
Special elements / coatings 1 Super ED + 2 ED elements, fluorine coating
Focus
Minimum focus 1.80 m (70.87)
Maximum magnification 0.12×
Autofocus Yes
Motor type Linear Motor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Focus distance limiter Yes
Physical
Weight 2265 g (4.99 lb)
Diameter 122 mm (4.8)
Length 206 mm (8.11)
Materials Magnesium alloy
Sealing Yes
Colour White
Filter thread 105 mm
Hood supplied Yes
Tripod collar Yes

Articles: Digital Photography Review (dpreview.com)

 
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Avoid Blurry Long Exposure Images with Proper Tripod Setup

05 Apr

A tripod is an important piece of gear for all photographers, but even more so for those who are hooked on shooting long exposure photography at the blue hour like myself (I primarily shoot waterfront cityscapes). Those photos require exposures lasting for minutes with a use of neutral density (ND) filter. Therefore, a sturdy tripod is absolutely essential to keep photos sharp.

Avoid Long Exposure Photographers’ Worst Nightmare by Setting Your Tripod Low

A sturdy tripod is a must for long exposure photography, as there is no chance at all of shooting sharp photos by hand-holding a camera for minutes.

Get a Best Tripod Within Your Budget

This article is not your ultimate tripod buying guide (dPS already has an excellent article on that here), but let me mention a few brief pointers first.

First of all, unlike your camera body, a tripod isn’t something you will upgrade very often. In fact, a good one could last a lifetime, so it’s advisable to get the best possible tripod within your budget. Here are a few other things to look out for when choosing your tripod.

Load Capacity:

The maximum load capacity of your tripod should be at least twice or preferably three times the maximum weight of your camera body and biggest lens combined. For example, my trusty Manfrotto MT190CXPRO3 Carbon Fiber Tripod supports up to 7kg, which is more than sufficient for my Nikon D610 (850g) and Nikon 18-35mm (f/3.5-4.5) (385g) combined (1.25kg).

Tripod Head:

Your tripod head also has a maximum load capacity, and it should at least match that of your tripod. If your tripod supports up to 7kg, but the head only supports up to 5kg, then the load capacity of the entire tripod system is to be 5kg, as the maximum load comes from the weaker component. For your information, I own the SIRUI K-20X Ballhead, which supports a whopping 25kg.

Tripod Weight:

Decent tripods are commonly made of aluminum or carbon fiber. Both are equally good, but carbon fiber tripods are lighter yet more resistant to vibration (hence they are also pricier, too). My Manfrotto Carbon Fiber Tripod weighs 1.6kg (3.5 lbs.) while its aluminum counterpart the Manfrotto MT190XPRO3 weighs 2kg (4.5 lbs.), with all the other specs being pretty much identical).

Tripod Leg Sections:

While 3-section legs provide a more stable platform, tripods with 4-section legs have a shorter closed (folded up for transportation) length and make it easier to pack into a suitcase when traveling. For example, closed length for my 3-section leg Manfrotto MT190CXPRO3 Carbon Fiber Tripod is 61 cm (24 inches), but its 4-section counterpart the Manfrotto MT190CXPRO4 is only 52 cm (20.5 inches).

If you ask me, I recommend choosing nothing but 3-section tripod legs. I personally won’t compromise stability for convenience. That said, my tripod still fits into my check-in luggage (after taking out the center column). Before purchasing, I even tested it by bringing my luggage to the camera shop!

Tall Isn’t Always Cool

Having a good tripod is one thing, but using it correct way is another. I see way too many photographers fully extending tripod legs even when it’s not necessary. The rule of thumb is that the higher the tripod legs are extended, the less stable it gets, leaving more prone to high winds and undermining your chance of taking sharp photos. The photo below (at Victoria Peak in Hong Kong, with an altitude of 552m) is a good example.

Victoria peak - Avoid Long Exposure Photographers’ Worst Nightmare by Setting Your Tripod Low

To take blur-free shots here, I kept the tripod low and put the lens through the bars, rather than fully extending the tripod legs and center column to shoot from above the railing.

Instead of fully extending the tripod legs (and even the center column, which is a big NO-NO) to position the camera above the railing, I put the lens through the bars and kept the tripod as low as needed to minimize the risk of vibration.

Actually, I learned this from a previous mistake. I shot at this exact location the previous year but screwed up the opportunity by setting up the tripod too tall (over the railing by extending the center column) in high winds, and none of the photos came out sharp.

Center column - Avoid Long Exposure Photographers’ Worst Nightmare by Setting Your Tripod Low

Extending the center column in high winds or when shooting long exposure photography is a recipe for a disaster. It’s very unlikely that you’ll be able to capture sharp photos this way.

Long Exposure Photographers’ Worst Nightmare

Let’s say you’re shooting waterfront cityscapes at blue hour with a few minutes of long exposure at a tourist-centric area (places like Victoria Harbour in Hong Kong, The Bund in Shanghai, etc.) on your holiday. It may be your once-in-a-lifetime trip, and the weather is clear and perfect.

Such places are always crowded especially at sunset and dusk times with herds of tourists flocking to take snaps, selfies, and groupies. Extending all the tripod legs inevitably takes more space on the ground, which has a huge risk of someone accidentally kicking it during long exposure and ruining your potentially epic shot. This is long exposure photographers’ worst nightmare (and happened to me once).

Crowded spot - Avoid Long Exposure Photographers’ Worst Nightmare by Setting Your Tripod Low

At a crowded photography location like this (Merlion Park in Singapore), keep your tripod setup as low as possible so that it takes less space on the ground and reduces the risk of someone accidentally kicking your tripod legs.

Tripod Alternatives

To avoid such a nightmare, I’m also using a sort of a tripod alternative that helps stabilize my camera setup. A clamp tripod like the Manfrotto 035 Super Clamp without Stud comes in handy at places with high winds or at crowded city shooting locations where you feel worried about someone accidentally kicking your tripod legs.

It’s not that you can use a clamp tripod anywhere you want, as it needs a railing or something that it can be clamped onto. But where possible, this setup can be rock solid (with a load capacity of 15kg) and the resulting long exposure photos are appreciably sharper than those shot using a regular tripod.

Super clamp in use - Avoid Long Exposure Photographers’ Worst Nightmare by Setting Your Tripod Low

A Super Clamp is like a game changer, it’s small and strong.

Set up clamp - Avoid Long Exposure Photographers’ Worst Nightmare by Setting Your Tripod Low

To mount a DSLR on a Super Clamp, first, plug a separately-sold Manfrotto 208HEX 3/8-Inch Camera Mounting Platform Adapter (or a cheaper alternative Manfrotto 037 Reversible Short Stud) into a Super Clamp socket and secure it with the double lock system. Then mount a tripod head with DSLR on the mounting platform adapter, just like you do with your regular tripod.

Conclusion

I hope these tips help you avoid making the same mistakes I did. Don’t blindly follow the mantra that says, “Extend your tripod and place the viewfinder at your eye level” (you’ve probably heard about that before!).

There’s nothing wrong with setting up your tripod low and bending down. This increases your chance of capturing sharp long exposure photos in high winds and also prevents your tripod legs from getting accidentally kicked.

If you have any other tips or experiences to share, please do so in the comments below.

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Long Exposure Photography 201 – How to Edit a Long Exposure Seascape

10 Mar

In case you missed it, in an earlier article I introduced you to the 101’s of Long Exposure Photography, provided a checklist of the essential equipment, and detailed the exact steps to follow so you can capture a long exposure photograph.

In this article, I will share a precise workflow that you can use to process your long exposure photographs.

01 Long Exposure Photography 201 How to edit a Long Exposure Seascape

Long exposure seascape after editing.

Straight out of the camera (SOOC)

Long exposure photographs, when imported straight out of the camera are, in many ways, a lot like rough diamonds. Sadly, in most cases, the price tag usually isn’t one of them.

Straight out of the camera, it’s inevitable that your long exposure photograph will have a color cast and a degree of undesirable noise. Particularly if you miscalculate the exposure time and underexpose your image by accident (nobody’s perfect right?).

02 Long Exposure Photography 201 How to edit a Long Exposure Seascape

Underexposed, blue, and noisy RAW image straight out of the camera.

After taking one look at an image like this, it would be easy to feel a little disheartened. You’d probably reject the image, write your time off, and hope for better luck next time.

Noise, color casts, and the occasional exposure miscalculations happen – it comes with the territory. Fortunately, with a little sprinkle of post-processing magic, you can correct these mishaps.

Now, to be clear, I’m not suggesting you adopt a “fix it in post-production” approach. Like any genre of photography, you want to capture your subject as best as you possibly can in-camera. But, unlike more sensitive photography genres (portraiture, commercial, beauty, etc.), the atmospheric and surreal nature of long exposure photographs provides you with greater tolerance for post-processing corrections.

The chances are there’s a diamond hidden among all those imperfections. Here’s precisely how you can uncover it.

Processing Steps for Long Exposure Images

Step One – Basic Edits

01 Long Exposure Photography 201 How to edit a Long Exposure Seascape

Step one: Dust it down.

After importing your RAW image into Lightroom, it’s likely it will look a little flat and may have a handful of imperfections. The most common being color noise and color casts.

03 Long Exposure Photography 201 How to edit a Long Exposure Seascape

This image has a significant amount of Color and Luminance Noise.

Before you can tackle the corrections, polish your image off, and proudly display it for the world to see, you need to be able to see what you’re doing.

Regardless of whether your image is underexposed or overexposed, it’s a good idea to use the Lens Corrections and Basic Tone Panel in Lightroom to strengthen the basics of your image. Doing so will make correcting those imperfections much easier in the next step.

Here’s an example

Load your image into Lightroom’s Develop Module and navigate to the Lens Corrections tab.

Enable the “Remove Chromatic Aberration” and “Profile Corrections” checkboxes. These features will detect the lens you used to capture your image and load a profile to correct any distortion. This is particularly efficient at removing the vignette caused by any ND filters.

04 Long Exposure Photography 201 How to edit a Long Exposure Seascape

Before and after comparison of the Lens Corrections.

With the Lens Corrections in place, navigate up to the Basic panel. The general aim here is to refine your image as a whole using global adjustments. A good rule of thumb is to correct your exposure, restore detail in your highlights and shadows, and retain a good degree of overall contrast.

The specific values will vary for each image. Here you can see that increasing the exposure slider helps to correct the underexposed image. Further adjustments to the Shadows and Highlights were applied to restore detail. Finally, the Contrast, White, and Black sliders were fine-tuned to boost the overall contrast.

05 Long Exposure Photography 201 How to edit a Long Exposure Seascape

Before and after basic global adjustments.

Step Two: Correcting Color Casts

Long exposure images are prone to blue or magenta color casts, often caused by using ND filters. Provided you captured your image in RAW, correcting the color cast couldn’t be simpler. Simply adjust the White Balance sliders to counter your color cast.

In this case, the blue color cast is easily removed by adjusting the White Balance to almost 10,000 K.

06 Long Exposure Photography 201 How to edit a Long Exposure Seascape

The White Balance tool can be used to remove the color cast caused by your ND filters.

Step Three: Correct Noise

Noise can be problematic in long exposure photography. It’s caused by a variety of factors – ISO setting, the length of your exposure, and the heat of your camera sensor – none of which are terribly exciting to talk about.

In short, there are two variations of noise. Luminosity noise and color noise.

Luminosity noise creeps its way into your long exposure photographs through a combination of your ISO and the heat of your camera’s sensor. Essentially, the longer your exposure, or the higher your ISO, the more luminosity noise it will generate. Luminosity noise is colorless and typically shows up as small bright pixels.

07 Long Exposure Photography 201 How to edit a Long Exposure Seascape

The small bright pixels are known as Luminosity Noise.

Color Noise is luminosity noise’s irritating ugly brother. It typically looks like unsightly splotchy green and red pixels. It’s often found in the darker and lighter areas of your image.

08 Long Exposure Photography 201 How to edit a Long Exposure Seascape

Unsightly Color Noise.

In long exposure photography (LEP), it’s inevitable that you will encounter noise in your images. Sure, there are techniques to minimize it in camera. Like taking a bunch of shorter exposures, then aligning and blending them all together.

But if you read part one of this tutorial, you’ll know that sitting back and letting your camera do all the work while you enjoy a cup of tea is all part of the fun of long exposure photography. If the price you pay is a little bit of noise then I say, “Boil that kettle!”. Besides, it’s really easy to reduce or completely remove noise from your images. Take a look.

Navigate to your Detail tab in the Develop module and zoom into your image at 100%.

09 Long Exposure Photography 201 How to edit a Long Exposure Seascape

The Detail tab allows you to reduce Luminosity and Color Noise.

Start by adjusting the Color Noise reduction slider upwards until the bulk of your color noise disappears.

10 Long Exposure Photography 201 How to edit a Long Exposure Seascape

The Color Noise has been significantly reduced.

It’s likely you will still have some residual color noise. In that case, tweak the Detail and Smoothness sliders until you find a balance that removes the color noise and still retains detail in your image.

11 Long Exposure Photography 201 How to edit a Long Exposure Seascape

Tweaking the Detail and Smoothness sliders has completely removed the Color Noise.

Now you can turn your focus to the Luminosity Noise. Adjust the Luminosity slider upwards until the bulk of your luminosity noise has vanished. To fine-tune the adjustment, you can tweak the Detail and Contrast sliders.

12 Long Exposure Photography 201 How to edit a Long Exposure Seascape

The Luminance Noise is almost completely removed.

Be careful not to overdo the Luminosity slider. Retaining detail is more important than complete noise reduction. It’s no good having a perfect noise-free image if your subject now looks like it’s carved out of wax.

13 Long Exposure Photography 201 How to edit a Long Exposure Seascape

Before and after noise reduction.

Step Four: Restore Presence

By now, your image should either be noise free or have a degree of acceptable noise. If you’ve had to be a little heavy-handed with your noise reduction, the chances are your subject might have lost a little texture and overall presence.

To restore this, navigate to the Basic panel and adjust the Clarity slider upwards. This will bring a little texture and presence back into your subject.

14 Long Exposure Photography 201 How to edit a Long Exposure Seascape

Before and after increasing the Clarity slider to enhance the rock formation.

The overall color strength of your image also plays a big role in how your subject appears. In the example, you can see that reducing the overall saturation helps to mute the vibrant colors and lets the rock formation do all the talking.

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Decreasing the Saturation helps to mute the ocean and make the rock formation stand out.

Step Five: Creative Vision

By now your image will have progressed significantly. Let’s take a second to compare the results in just four steps.

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Original RAW versus current image with global adjustments.

You’ve probably invested a considerable amount of time preparing the shot, capturing the image, and processing it in Lightroom. Therefore, you might be tempted to call it a day, settle for the current progress, and share your not-so-rough diamond with us in the comments section below.

Alternatively, if you want to give your image a little extra sparkle before proudly unveiling it for the world to admire, then I welcome you to join me. Let me hold your hand while we lightly step into the world of Photoshop.

To get there, right click on your image, scroll down to “Edit” and select “Edit in Adobe Photoshop…”

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Open your image in Adobe Photoshop.

Photoshop can be a little overwhelming. Therefore, it can help to create a plan and jot down your ideas before you get to work. This will help keep you focused and will serve as a reminder of what you are trying to achieve.

Create a new layer and rename “Notes”. Then use the brush and type tools to jot down your vision and ideas. If you’re stuck for ideas, these questions (and this article) will give you a good place to start.

  • Where do your eyes get drawn to first?
  • Where do your eyes go next?
  • What elements enhance the story?
  • Which elements weaken the story?

Here you can see the notes that were created for the example image. These set the goal for the final outcome.

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Creating notes will serve as a reminder of your goal when you are editing your image.

Step Six: Bring it to Life

Up until now, all the edits have been applied globally (meaning to the entire image). If, like in the example, your long exposure image is looking a little flat and is in desperate need of some sparkle and polish, applying local adjustments to target specific areas of interest is a very effective method.

How do you know which areas to target? When you look at an image, your eyes will tend to gravitate towards the sharper areas that contain the most brightness and contrast. Take a look at the example.

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Notice how your eyes want to gravitate up into the bright sky. And, if they haven’t already left the frame, they may descend to settle in the high contrast areas on the outer areas of the rock.

Controlling your viewer’s eye is both important and quite simple. An easy method you can adopt is to create a series of simple minor adjustments that:

  • a. Gradually decrease the contrast and highlights in the areas you don’t want your viewer to focus on.
  • b. Gradually build up contrast and highlights in the areas that you do want your viewer’s eyes to settle on.
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Referring to our notes, you can see that the aim is to draw the viewer towards the rock formation.

How to do you create those minor adjustments?

Here’s a simple Curves Masking System that allows you to lighten or darken selective areas of your image to control contrast, shadows, and highlights in a natural and subtle way.

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1. Create a Curves Adjustment Layer.

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2. Decide what areas of your image you want to target and lighten or darken the curve accordingly.

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3. Click on the layer mask thumbnail and use the keyboard shortcut Command + I (Mac) or Control + I (PC) to fill the layer mask with black to hide the effect.

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4. Select either the Gradient Tool or a soft Brush with the settings at Hardness 0%, Flow 10%.

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5. Press D to set your foreground color to white.

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6. Apply your Gradient or paint with white over your Layer Mask to reveal the effect of the Curves Adjustment Layer.

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This is what your Layer Mask will look like after applying the Gradient tool. The white areas of the Layer Mask will reveal the effect of the Curves Adjustment Layer.

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7. Create a Hue/Saturation Adjustment Layer, clip it to your Curves Adjustment Layer and reduce the Saturation slider to desaturate your adjustment. Note: Only do this step if you Darken the curve in step 2.

Using your notes to guide you, work your way around your image. Apply several versions of the Curves Masking System to lighten or darken particular areas and control the viewer’s eye, each time varying the intensity of the Curve to create a subtle and natural result.

Here you can see how the Curves Masking System allows you to:

  • Selectively darken the sky to push the viewer’s attention down towards the rock formation.
  • Lighten the foreground to draw attention to the bottom half of the image.
  • Create contrast, presence, and depth in the rock formation to capture and hold the viewer’s focus.

Using the Curves Masking System to Darken the Sky

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Two applications of the Curves Masking System were used here to gradually darken the sky.

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The darkened sky helps to push your focus back into the middle of the frame.

While darkening the sky helps to keep your eyes inside the frame, you’ll notice the image is still looking a little flat and not very interesting. To inject a little more life into the image, you can use the Curves Masking System to create contrast, presence, and depth in your subject as well. Here’s an example.

Creating contrast, depth, and presence in the rock formation

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Several applications of the Curves Masking System were used here, alternating between lightening and darkening the Curve to gradually build up presence in the rock formation.

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Selectively enhancing the contrast and highlights in the rock formation helps to draw your focus in and creates a point of interest for your eyes to settle in and get comfortable.

With your subject now sparkling and ready to flaunt its new-found presence, you want to make sure it gets seen.

We know eyes love to settle on bright sparkly things. Therefore, you can use the Curves Masking System to strategically lighten areas of your image to practically escort your viewer’s eyes directly to your subject. Here’s an example.

Selectively Lighten the Foreground

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Several applications of the Curves Masking System were used to lighten the foreground to draw your attention to the lower half of the image.

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Increasing the brightness of the water immediately captures your attention. Care was taken to ensure the rock formation still contained the brightest pixels in the image.

Let’s take a quick look at the example image before and after, applying the Curves Masking System:

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Before

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After

After several applications of the Curves Masking System, you’ll notice that your eyes no longer gravitate up into the sky and exit the frame. Instead, your eyes now descend toward the rock formation and go for a little swim in the silky water. Much more refreshing!

All that’s left for you to do now is to give your image a good clean and polish, then share it with us in the comments. Here’s how to do it.

Step Seven: Clean and Polish

Long exposure photograph is not only great for capturing surreal images, it’s excellent for letting you know if your camera gear needs a clean. Upon close inspection of your image, you may notice random dull spots. If so, the chances are there’s a bit of dust on your lens, ND filters, or your camera’s sensor.

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Random dull spot – often caused by dust on your lens, filters or camera sensor.

Removing these spots is incredibly simple.

On a new layer, select the Spot Healing Brush and simply paint over the spots. Photoshop will work its magic and voila! Your once (very) rough diamond is now ready for unveiling to the world for all to enjoy.

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You can use the Spot Healing Brush to remove dust spots and hot pixels from your image.

Recap

Let’s take a second to recap the long exposure processing workflow before taking a peek at the before and after.

  1. Dust it down – start off in Lightroom to apply Lens Corrections and basic tone adjustments.
  2. Correct color casts – adjust the White Balance to correct the color cast from your ND filters.
  3. Correct noise – use the Detail tab to remove Color and Luminosity Noise.
  4. Restore presence – navigate the Clarity, Vibrance and Saturation sliders to give your subject more presence.
  5. Creative vision – open your image in Photoshop and note down your vision for your final image.
  6. Bring it to life – use a series of Curves Adjustment Layers and Layer Masks to manipulate light and direct attention towards your subject.
  7. Clean and polish – Select Photoshop’s Spot Removal Brush and remove the dust spots from your image.

Before and After

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Original image before processing.

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Final image.

Well, that concludes this two-part guide for capturing and editing long exposure photographs. Hopefully, the workflow, tips, and bad jokes shared encourage you to reach for your camera, venture outside, and unearth something special.

Share it below, I’d love to see it.

In case you missed it, you can read part one here: Long Exposure Photography 101 – How to Create the Shot.

The post Long Exposure Photography 201 – How to Edit a Long Exposure Seascape by William Palfrey appeared first on Digital Photography School.


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Long Exposure Photography 101 – How to Create the Shot

01 Mar

It’s easy to get caught up in the fast nature of photography, technology, instant results, presets, etc. But what happens when you slow your photography right down?

This tutorial will introduce you to the 101s of daytime long exposure photography and share the exact steps you can follow to create your very own long exposure photographs.

01 Long Exposure Photography 101 How to create the shot

Long exposure seascape.

What is long exposure photography?

long exposure photography can be defined in two ways. A traditional description would class it as taking photographs with the intent to deliberately capture the effect of time and display moving objects in a different way to how our eyes are used to seeing them.

But for those of a more literal-mindset, long exposure photography is a brilliant way of photographing atmospheric landscapes, whilst being able to enjoy a cup of tea and a biscuit – all at the same time.

Now, if that sounds like your type of photography, I encourage you to settle in and read on.

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Slow down

The very nature of long exposure photography is pretty slow paced. It forces you to take your time, which is excellent practice for your framing and compositional skills. And because you literally can’t rush the shot, it makes you think about the light, your subject, and your compositional techniques before you invest several minutes of your time capturing the image.

It’s worth noting that there is no specific shutter speed that defines the crossover from “typical photography” to long exposure photography. It’s not the duration of your shutter speed that defines your image as a long exposure photograph. Instead, it’s your intention to capture moving objects using longer exposure times than necessary that makes it a long exposure photograph.

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Generally speaking, long exposure photographs will use shutter speeds that can be measured in seconds or minutes instead of fractions of seconds.

Embrace the blur – add a sense of motion

“So, why should I take a photo using a slow shutter speed? Won’t that make it blurry?”

Yes, precisely. Using a long exposure technique is typically reserved for times when you want to selectively blur objects in your images. Common examples would be to capture flowing water, like the ocean or a waterfall. It’s also used to capture the movement of clouds or stars in the night sky.

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Long exposures are great for capturing motion and stillness in a single frame.

A long exposure photograph reveals the passing of time and conveys motion in a way that your eyes are simply unable to see at the time. Long exposures turn clouds into whispers, water into silky-looking glass, and people into otherworldly ghost-like beings.

Long exposure photography allows you to capture stillness and a sense of motion in a single frame. The contrast between these elements creates a sense of mystery and adds a surreal atmosphere to your images. It’s precisely this playful mix of the fluid and the still that makes long exposure photography beautiful, strong, and mildly addictive – or maybe that’s just the cup of tea.

Anyway, here’s what you need to know to take a long exposure photograph.

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Blocking out light with Neutral Density (ND) Filters

To capture those ethereal tones and silky motions in your images, you need to use a slow shutter speed. The trouble with using a slow shutter speed during the day is that it lets in a lot of light. So much light in fact, that it will inevitably overexpose your image.

To counter this, you will need to use a Neutral Density (ND) filter to make long exposure photographs during the day.

ND filters essentially sit in front of your lens and block out the light. Think of them as a fashionable set of sunglasses for your lens. And because the ND filters reduce the amount of light that hits your camera sensor, you can use shutter speeds up to several minutes long without overexposing your images – even in bright conditions.

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Rectangular ND Filters – otherwise known as “rectangular dark glass to block out the light”.

Using an ND Filter

The exact length of your exposure will depend on the lighting conditions and the strength of the ND filter you use. ND filters are typically measured by the stops of light they are able to block out and are usually available in increments of 3, 6, 10, or 16-stops.

Nisi, Lee Filters, and Formatt-Hitech are among the popular brands of ND filters, although there are many others available for a variety of budgets. ND filters come in either a circular format (these screw onto the front your lens) or a rectangular format, which requires the use of an additional filter holder to mount them to your lens.

As a general rule, the more light your ND filter is able to block out, the longer your exposure will need to be to achieve a balanced exposure. And the longer your exposure, the more dramatic the effect will be in your final image.

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Rectangular ND Filters attached to camera lens using a filter holder.

Don’t Move

You may be aware that when you use slow shutter speeds, the smallest bit of camera movement can throw your image out of focus and cause it to look a little blurry. This is especially true in long exposure photography.

Given that your camera will be taking several seconds or several minutes (if you’re using a 10 or 16 stop ND filter) to complete a single shot, it’s crucial to ensure it doesn’t move a millimeter during the exposure.

It would be nearly impossible to achieve this by hand. Therefore, it’s a good idea to get your hands on a sturdy tripod. This not only ensures your camera will remain still throughout the entire exposure but more importantly, it frees up your hands, so you can have a sip of your tea whilst your camera is hard at work.

In addition to your ND filters and tripod, here’s a checklist of essential equipment you’ll need for long exposure photography.

Essential Long Exposure Photography Equipment Checklist

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Essential long exposure photography gear – particularly #10.

  1. Your ND filters.
  2. A sturdy tripod.
  3. Camera with bulb mode function – bulb mode allows you to take exposures longer than the camera’s default 30 seconds.
  4. Fully charged batteries – try to avoid the heart-breaking moment when your battery cuts out in the middle of an exposure.
  5. Lens – wide-angle lenses work very well with landscapes, seascapes, and architecture photography. If you’re just getting started, any lens that is compatible with your ND filters will work just fine.
  6. A shutter release cable with a locking functionality. Using a shutter release cable (remote trigger) allows you to lock the shutter open without having to touch the camera body. This reduces camera movement during your exposure.
  7. A viewfinder cover – during long exposures, light has a habit of finding its way into your camera through your viewfinder and ruining your images. You can prevent this from happening by using a viewfinder cover, some sticky-tac or even duct-tape.
  8. A dark cloth or hat – perhaps the most peculiar item on this list, however, it’s arguably one of the most important. Believe it or not, light doesn’t just find its way into your camera via the viewfinder. It also leaks in via the lens/body connection and also from the connection points on the side of your camera. Placing a dark cloth or hat over your camera works well to prevent light leaks.
  9. Smartphone – this will serve two purposes. First, it will help you to calculate your long exposure times via a handy long exposure calculator app that I’ll introduce you to shortly. Its second function will be to keep track of your exposure time using a simple timer.
  10. A flask of tea and a selection of biscuits – and you thought I was joking! By far my favorite item on the list. long exposure photography will typically have you sitting in a beautiful spot for several minutes, taking your time and soaking up your surroundings. It’s good for the soul and a creates the perfect opportunity to enjoy a well-deserved treat, particularly on cold mornings!
  11. Chargers, USB cables, and lens wipes. Ideal if you need to recharge your gear or remove your fingerprints from your ND filters when you’re out and about.

Every item on this list plays an important role in capturing a long exposure photograph. Now here’s precisely how you can capture one.

Step 1: Prepare at Home

Unlike a typical day of photography, long exposures don’t afford you the luxury of being able to rattle off 1,200 images in a few hours. Instead, you’re likely to return home with only a handful of good photographs after a day of long exposure photography.

So, before you grab your gear and set off in search of ethereal landscapes and mind-bending architecture, it’s well worth investing your time. Research the location and environment so you can make the most of your time in the field.

Weather Conditions

If you’re planning on shooting a landscape, cityscape, or architecture, take a look at your local weather forecast to see what the cloud cover will be like. Anything over 40% cloud cover should give you ideal conditions to capture a silky sky.

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The low clouds help to create a surreal atmosphere.

Creating a long exposure seascape, on the other hand, doesn’t necessarily need a lot of cloud coverage (although, cloudy conditions over water often produce great results). It’s worth researching the water conditions because – like the clouds – the greater the movement of the water, the greater the effect of your long exposure photographs.

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Cloudy and stormy conditions create dramatic long exposure photographs.

Location Scouting

Use Google Maps and street view to go for a “virtual walk” around your location. Doing so helps you to familiarize yourself with the area and scout out potential compositions for your images. Essentially, you should know precisely where you are going, how you will get there, where you will park, how much daylight you will have and in which direction you need to walk to ensure you take full advantage of your time and the conditions.

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Using Google Maps and Street View can help you with composition ideas before leaving your house.

Prepare Your Equipment

There is nothing more heart-breaking than spending the time to scout out the perfect location and setting up your camera only to realize that you have left your ND filters at home or your camera battery is at 27%. Be sure to charge up all of your batteries (including your smartphone) and pack your camera bag using the equipment checklist above.

Shoot RAW

Set your camera to shoot in RAW format. Long exposures tend to have a blue or magenta color cast caused by the ND filters. Shooting in RAW allows you to easily correct the white balance in post-processing.

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Ensure that your camera is set to record your images as RAW files.

Install Long Exposure Calculator Smartphone App

Spending your time trying to calculate what your exposure length should be with a 16-stop ND filter might not sound like much fun to you. Long exposure photography is all about taking time out to soak up your environment and enjoying the views – not solving algorithms.

Installing a “Long Exposure Calculator” app on your smartphone will save you time and make calculating your shutter speed much easier when you’re out in the field. Here are a couple of popular suggestions for IOS and Android users.

  • Exposure Calculator – Android
  • Long Exposure Calculator – IOS

It’s a good idea to install the app on your smartphone at home before heading out – just in case you later find yourself in an area with no mobile coverage to download the app.

Step 2: Work the Scene

By the time you’ve prepared your gear, researched the area, and arrived at your location, you’d be forgiven for wanting to unpack and get shooting straight away. Instead, you’ll find that holding off for just a few minutes and allowing yourself to explore the scene often produces more favorable results.

Pick up your camera (without the tripod) and work the shot. Take note of the weather, light, and direction of the water, clouds, lights, or traffic. What are the characteristics of the scene? How does the mood feel? What angle best captures all of this? What are you going to include in your frame?

Step 3: Compose the Shot

Once you have decided on the perfect angle, it’s time to set up your tripod and mount your camera (without the ND filter) to compose and frame the shot. Ensure your tripod is locked in place and your camera is tightly secured. Now is also a good time to attach your remote shutter release cable to your camera.

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Secure your camera to your tripod and attach the shutter release cable.

Step 4: Aperture, ISO, and Focus

Switch your camera into Aperture Priority mode and set your aperture to somewhere between f/7.1 and f/11. As a rule of thumb, this range will fall close to your lens’s sweet spot and provide you with a deep depth of field to ensure your image is sharp throughout.

As I’ve mentioned, noise and camera shake can be problematic in long exposure photography. Therefore, adjust your ISO to 100 to minimize the amount of noise and turn off Image Stabilization on your lens to reduce the amount of internal camera shake.

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Aperture Priority mode, ISO 100, f/8.0

Focus your lens, ensuring your subject is sharp from back to front. When you are happy with your focus point, switch your lens over to manual focus. This essentially safeguards your focus point and prevents accidental re-focusing when you trigger the shutter.

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Switch your lens over to manual focus when you’re happy with your focus point.

Step 5: Test Shot

Use your viewfinder cover (duct-tape or sticky-tac will work) to cover up your viewfinder. This will prevent light from leaking into your camera and ensure that your camera gives you an accurate metering.

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Use a Viewfinder cover, duct-tape, sticky-tac or even some cardboard block out light leaks.

With your viewfinder covered and your camera still in Aperture Priority mode, take a test shot to obtain the base shutter speed. It’s the shutter speed from this test shot that will form the basis of your long exposure calculations.

It’s a good idea to review the test shot to ensure the exposure looks good and everything is perfectly in focus. When you’re happy with your test shot, check the metadata and make a mental note of the shutter speed.

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Aperture Priority test shot – In this case, the camera’s light metering used a shutter speed of 1/60th. This shutter speed will form the basis of the long exposure calculations.

Step 6: Bulb Mode

Switch your camera mode from Aperture Priority to Bulb Mode and set your ISO and aperture to mirror the exact same settings as your test shot.

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Bulb Mode – Set the ISO and aperture to match your test shot.

Bulb Mode allows you to keep your shutter open as long as you hold down your camera’s shutter button. However, standing next to your camera and keeping the shutter button held down with your finger isn’t ideal. Not only would this cause lots of camera shake, it would also make it nearly impossible to enjoy a cup of tea on the job (it’s clear where my priorities lie).

This is precisely why you’ll need a shutter release cable with a locking function. The lock plays the role of your finger and keeps the shutter button held down until you decide to release the lock, thus minimizing the possibility of camera shake.

Step 7: Calculate Your Long Exposure

Enter the shutter speed from your test shot into the long exposure calculator app you installed on your smartphone in step 1.

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Enter the shutter speed from your test shot into your Long Exposure Calculator mobile phone app.

You will then need to set the filter density to match your ND filter. For example, if you’re planning to use a 16-stop filter, you would enter 16-stops into the app.

The app will then calculate the length of your long exposure. It’s worth noting here that this time is approximate. It doesn’t account for a change in weather conditions during the exposure or the quality of your ND filters. I use Lee Filters and from experience, I find adding approximately 25% to the app’s suggested exposure time works well.

Step 8: Set a Timer

Load your long exposure time into your smartphone’s timer. You will trigger this at the same time you commence the long exposure to keep track of timing.

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With a 16-stop ND filter and a base shutter speed of 1/60th, The Long Exposure Calculator suggested that I will need an exposure time of 18 minutes. I added approximately 25% to allow for the changing light conditions and created a timer on my phone.

Step 9: ND Filters

Mount your ND filters to your camera. Be careful not to adjust the focus or zoom rings of your lens in the process. It’s a good idea to double check your lens is still set to manual focus.

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Mount your ND filters to the camera.

Step 10: Mirror Lock-up

If you’re using a DSLR, enable Live View or the mirror lock-up function. These features lock your camera’s mirror in the up position, which reduces internal camera vibrations when you trigger the shutter.

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Live View or the mirror lockup function will prevent camera vibration when you trigger the shutter.

Step 11: Cover the Camera

Carefully cover your camera with a dark cloth or a hat, being careful not to adjust the zoom or focus rings on your lens. This will help to prevent light from leaking into your camera during the exposure.

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Perhaps the most crucial step – use a dark cloth, hat, or an old pair of trousers to wrap around your camera to prevent light leaks.

Step 12: Trigger the Shutter

Now it’s time to create your ethereal masterpiece. The aim here is to simultaneously trigger your smartphone’s timer with one hand (this will keep track of your exposure time) and with your other hand, lock the shutter release cable to hold open your camera’s shutter. If you’re like me, and the mere thought of doing two things at once confuses you, you can simply trigger them one at a time.

All that’s left for you to do at this point is make yourself comfortable and enjoy that cup of tea! Finally! And because you set a countdown timer on your smartphone, its delightful little chime will alert you when it’s time to get up to release the lock on your shutter release cable. Thereby closing the shutter and completing your long exposure photograph.

The Result

So, what do you get after spending a leisurely afternoon in front of a beautiful scene sipping from your thermos and nibbling on a cookie? Well, it’s likely you’ll return home with an image that looks something like this.

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23-minute long exposure – processed in Lightroom and Photoshop.

Recap

The very nature of creating long exposure photographs is to slow down. It encourages you to step away from the rapid-fire approach and have fun creating something that you wouldn’t ordinarily be able to see. That’s what long exposure photography is all about.

By now, I’m hoping this article has you reaching for your ND filters and checking the weather forecast – I’m sure you’ll love giving it a try. In case you need a short reminder whilst you’re out in the field, here’s a snapshot of everything we’ve covered.

  1. Research your location, charge your gear and install the long exposure calculator app on your smartphone.
  2. Work the scene to find the best angle.
  3. Set up your tripod and compose your shot without the ND filters.
  4. Switch your camera to Aperture Priority mode. Set your aperture between f/7.1 – f/11.0 and your ISO to 100. Focus in on your subject and set your lens to manual focus.
  5. Cover your viewfinder and take a test shot.
  6. Switch your camera into Bulb Mode and set your aperture and ISO to match your test shot.
  7. Use the long exposure calculator app to calculate your exposure time.
  8. Set a timer on your smartphone.
  9. Mount your ND filters.
  10. Enable live view or your camera’s mirror lock-up feature.
  11. Cover the camera with a dark cloth or hat.
  12. Lock open the camera shutter and trigger your smartphone timer.

If you have any questions, please ask. And it would be great to see your long exposure photographs, so please share them in the comments below.

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Nikon D850 firmware 1.01 fixes long exposure green cast and other minor bugs

18 Jan

Nikon has released the first firmware update for its 45.7 MP full-frame D850 DSLR. Firmware version 1.01 comes with fixes for the following issues:

  • Users exiting the Clean image sensor menu entry after adding it to and entering it via My Menu would be returned not to My Menu but to Setup Menu.
  • Photos taken with On selected for Long exposure noise reduction would sometimes have increased noise or shadows with a greenish cast.
  • Slight aperture reset lag would sometimes occur after shooting at shutter speeds under 1/10 s (type E and PC-E lenses excluded).

These all sound like minor issues, but it is reassuring to know Nikon is taking the continuous improvement of its products seriously. If you own a D850 and want to update to the new firmware, you can find all information and download links on the Nikon website. If you are considering the D850 as your next camera, check out our full review bellow:

Nikon D850 Full Review

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