1 Dusk Photography The Blue 15 minutes Presented to Charlottesville Camera Club June 29, 2011 Deb Snelson 2011
3 It s All about When Gorgeous Blue sky Only lasts about 15 minutes Cannot be seen by the naked eye only camera captures it Must be on site and ready for it take photos repetitively and check LCD to find the right time Note: Dawn is Dusk in reverse
4 How to Determine When from Select "Sun & Moon" tab and "Sun Calculator" from drop down list Select U.S.A. - Virginia - Richmond, click on button "See sunrise/sunset" In the "Modify Parameters" section choose month and year and make sure "Sun" is the body, then change the columns to "twilight/rise/set(sun)" and click "show".
5 Dusk: when Civil Twilight ends Three types of Twilight Astronomical : sun is 18 degrees below the horizon, does not contribute to sky illumination Nautical : sun is 12 degrees below the horizon, cannot see horizon Civil : sun is 6 degrees below the horizon. the limit at which twilight illumination is sufficient for terrestrial objects to be clearly distinguished. the horizon is clearly defined. artificial illumination is normally required to carry on ordinary outdoor activities. Generally ½ hour after sunset for shots facing east. June 29 Civil twilight ends at 9:06 pm
6 What creates the Blue Moment? Convergence of street lights coming on and ambient light diminishing - balance each other. At night it is easy to blow out bright details, especially street lights. Street lights need time to get to full brightness. When they reach full brightness they loose detail & blow out. Need the proper balance between the two so as not to blow out those details. The Dusk sky offers some illumination on buildings, reducing the contrast range between a dark sky, bright lights and the sides of the buildings. With enough street light, buildings will glow in the photo even though not seen with the naked eye.
7 Example of the balance Still early 8:17:53pm 12mm, f/9 for 5 seconds Just 10 minutes later 8:27:56pm, 11mm, f/9 for 13 seconds
8 Missed Opportunity How do you know when the blue moment is over? 1. The sky becomes black in photos rather than that intense blue color 2. Efforts to increase exposure only further blow out the lights
9 Requirements 1) Tripod working with slow shutter speeds 2) Remote shutter release or 2 second timer 3) Extra charged batteries long exposures eat up battery power very quickly.
10 Requirements, cont d Camera must be able to take long exposures You must be able to turn off the flash unit Lens: Suit the lens to the subject but generally wide angle is best. A wide angle lens or widest setting on your zoom lens will not only give you a better field of view, it will increase depth of field (DOF) and help make up for small errors in focusing. If you use a wide angle lens (recommended) shoot wider than your composition dictates so you can correct distortion in post processing.
11 Subjects Subject must have lights on it. Examples, if lighted: Cityscapes City streets Buildings with lights, internal or external, or both Bridges Factories with chimneys and smoke Monuments Fountains Ferris Wheels Car head and tail lights
12 Preparation ISO: Use the lowest available ISO to minimize noise and slow the shutter White balance: recommend Auto WB; can change it in post processing if shooting RAW If excessive yellow or orange can cancel this out by adding blue. Daylight is 5400 kelvin; moving slider in Adobe Camera RAW (ACR) or Lightroom to greater than 5400 adds blue; moving slider less than 5400 adds yellow.
13 Preparation, cont d Standard metering mode: Evaluative for Canon, Matrix for Nikon Focus focusing is tricky in near darkness: 1. All focus points active find contrast 2. Pre-focus while still light out and switch to manual focus, being careful not to bump focus ring. 3. Bring a flashlight to illuminate your subject to be able to focus on it, then switch to manual focus and maintain that setting. 4. Focus manually Image Stabilization: Off since you are on a tripod Mirror Lock Up to minimize vibrations. Reminder: If using a remote shutter release, push button twice once to lock up mirror, second to take the shot. Manual or Aperture Priority mode
14 Composition Tips Pick the right day ideal is clear, cloudless sky and no wind Clouds can appear orange near cities because they reflect street lights - may be distracting Clouds may move during a long exposure you decide if this is something you want Wind blurs objects such as tree branches and leaves The sky becomes blue in the east first, then in the west. Keep this in mind if you want to catch a photo in both directions shoot looking east first, then recompose to shoot looking west.
15 As the sun set the wind came up causing some blurring of tree leaves.
16 Composition Tips, cont d Arrive on site as much as an hour in advance Compose your best shot then wait for the blue 15 minutes Take a few shots and look at your LCD to be sure to find the right time - remember that you will not see the blue moment in the sky - our brains neutralize the blues. But the camera will see it and capture it. Be flexible - as the light changes you may want to tweak your composition. Something that seemed important when you first arrived may become less important as light fades.
17 Composition Tips, cont d Select the aperture that best suits the subject Sharp front to back = smallest apertures. Recommended f/16 AND to f/22. Also needed for star lights. Narrow DOF = largest apertures (rarely used for night photography) Subject and background all at same distance the sharpest apertures are f/8 to f/11 (rarely used) Achieves the shutter speed you want for special effects such blurring water, light trails, ghosting people, etc. Use the exposure meter in your camera to verify the selected values depending on the actual light level. The right value is usually between -1 EV and -2 EV.
18 Composition, cont d. Bright light sources Best to photograph straight on. If light enters your lens at a low angle you may see lens flares and decreased overall contrast. Selecting small apertures (f/16 or greater) can render bright lights as stars.
19 Composition Tips, cont d. Moon: You may or may not want the moon. If it is a tiny pinprick and compositionally not well sited, then skip it. Water: also appears blue. It can provide reflections. Or you may want to blur the water if shot over 6-8 seconds. Use small apertures and low ISO to slow shutter speed.
20 Composition Tips, cont d People and animals: At 1/15 second and slower shutter, moving people and animals will start to ghost. You can fire flash on rear curtain sync or 2nd curtain sync to get clearer figures if you are close enough and if they are your subject. If they are not your subject the blurring will not matter.
21 Composition Tips, cont d Light trails Plan your exposure time so that passing cars have enough time to pass completely through your frame. Usually need 8-15 seconds or greater, although this is largely dependent upon the speed at which the vehicle is travelling. White lights vehicle is moving towards you Red light trails vehicle is moving away Remove the UV filter from your lens to minimize blaze or haze that could ruin your photo. Longer exposures will allow for more trails but they'll look more faded
22 Time Sequence w/composition changes
23 Composition Tips, cont d When you are happy with the shot you have, MOVE! You have 15 minutes, but also if you are looking in a different direction you may find the blue moment is yet to occur in that direction! 24mm, f/22 for 8 sec 19:52
27 Summary Tripod secure, legs fully splayed, camera locked down tight Image stabilization off since you are on a tripod Manual or Aperture priory mode All focus points active Auto white balance Lowest ISO Standard metering (Evaluative or Matrix) Mirror lock up and remote shutter release or timer.
28 Summary, cont d After taking photo check camera histogram for over/under exposure check for overexposure warning indicators ( blinkies ) to make sure your highlights are not washed out, which can happen in high contrast scenes. If they are washed out, on Aperture Priority use your camera s exposure compensation (+/-) feature to fine-tune your exposures by reducing the exposure, or adjust speed if manual. Take additional photos at different shutter speeds to see how you can improve your photos.
29 As with everything related to improving your photography, experimentation and trial and error will eventually get you to a point where you are comfortable taking pictures in any situation.
33 Fireworks Presented to Charlottesville Camera Club June 29, 2011 Deb Snelson 2011
34 Requirements Tripod Remote shutter release or cord Digital SLR Camera with BULB function Wide angle lens, plus bring a zoom in case fireworks are too far away Lots of memory cards, charged spare battery Bug spray, chair, snacks, etc. for comfort
35 Preparation Arrive at show early so you can scout out a good spot with NO OBSTRUCTIONS (tree branches, wires, poles, etc.) in the direction you suspect the fireworks will be shot.. Set up early to maintain that spot Determine a rough composition: Try to include some ground elements to provide scale Water provides great reflections, if available Vertical format usually preferred but dependent on scene before you.
36 Disclaimer not my photos
37 Preparation, cont d Wide angle lens to start, at widest end Disable flash Disable vibration reduction (on tripod) Set MANUAL focus to infinity Lowest ISO to minimize noise Put camera on Manual exposure Select an aperture from f/8 to f/16 to help prevent light blooms and overexposure Select BULB for shutter speed Turn off noise reduction mode too slow
38 Getting the shot Be ready to go at the first burst while the sky may still be blue (dusk) and the smoke is at a minimum. Watch the sky without the viewfinder - follow the bursts Use your remote shutter release to open the shutter at sound of rocket launch and hold shutter open while light trails finish, or to capture multiple bursts. Release when you have a composition you like. 20mm, f/14, 13 seconds
39 Taking the Shot, cont d Check LCD after first few bursts, adjust zoom and re-compose to suit bursts. Keep it wide enough to capture all the bursts in the show. Remember you can crop later to avoid changing lenses. 20mm, f/10, 10 seconds
40 Taking the Shot, cont d The longer your exposure, the more fireworks you'll capture at once, and the longer your light trails will be. For really long exposures, try covering the lens with your hand or the lens cap between bursts to avoid overexposing the picture. 20mm, f/14, 16 seconds
41 Taking the shot, cont d. Above all, have fun. Some shots you may want only one burst, others you may want to stack the bursts The most satisfying exposures may be those with multiple bursts separated by space rather than stacked on top of each other 20mm, f/14, 11 seconds
42 Taking the Shot cont d. If you are stacking bursts, try to build a mental image in your head of where bursts have occurred, and release the shutter when you have both high bursts and low bursts, so the frame is filled. These three bursts were staggered in time, but here appear to be simultaneous. 20mm, f/10, 7 seconds
43 Taking the Shot cont d. 20mm, f/14, 15 seconds Periodically check your LCD and histogram. Make sure you are capturing the full bursts not cut off at the edges Make sure you are not blowing out too many highlights (centers may be blown out). Adjust exposure by reducing your aperture by 1/3 to ½ stop if too bright; if too dark open up by 1/3 to ½ stop.
44 20mm, f/10, 3 seconds 17mm, f/10, 7 seconds
45 The finale The finale shoot at the beginning to minimize smoke. Watch that you don t stack too many bursts or you may have only an overexposed bright spot.
46 Summary Tripod Remote shutter release or cord Arrive early, set up, rough composition Wide angle lens to start, at widest end Disable flash Disable vibration reduction (on tripod) Set MANUAL focus to infinity Lowest ISO to minimize noise Manual exposure - aperture from f/8 to f/16, Select BULB for shutter speed Turn off noise reduction mode
47 Summary, cont d. Check LCD after first few bursts, adjust zoom and re-compose to suit bursts. Periodically re-check your LCD and histogram. Make sure you are capturing the full bursts not cut off at the edges Make sure you are not blowing out too many highlights (centers may be blown out). Adjust exposure as needed. Check focus you may have accidently bumped the focus ring. Have fun with compositions!
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