I also give some resources for shooting the Milky Way and star trails. I've only just started this, so I can't say much from personal experience.

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1 Night Photography Workshop Notes by Denise Coleman 11-April-2015 What is covered by this workshop: These instructions are for night photography with no flash. This is the approach that I almost always use. I learned it from Dana Foy. I am one that likes to learn a set of simple rules, practice with those rules, then break them at my whim. I've used this approach to success at night, about 1.5 hours after the sun has set to take photos in the dark of night. I've also used this approach durint the Blue Hour. That the time that starts about 15 minutes after the sun has set and goes for about an hour. Blue Hour also occurs in the morning about 1 hr and 15 minutes before sunrise and goes for an hour. The Blue Hour is especially good for cityscapes and for architecture that is lit from within, when the sky is also a part of the photo. The blue sky contrasts with the warm lights from the artificial lighting. Clouds make this time super. The recommended approach works nicely for the Blue Hour. I also give some resources for shooting the Milky Way and star trails. I've only just started this, so I can't say much from personal experience. Practice a lot in daylight. You can use your daytime practice for HDR collects. Then practice a lot in the dark in your own yard (so to speak) so that you can handle your controls without light. You want to maximize your time when you are in the dark. Feeling frustrated with your controls is not fun. I don't cover painting with light. I do include some titles of training videos in the Resources section below. Why am I drawn to Night Photography (skip if you want...it's about me!): The biggest reason for me is that you can go someplace that has been photographed times during the day and get something that looks different. I find it creative and it can produce photographs that are evocative, dramatic, and moody. Because I'm looking for the light and for interesting illuminated subjects, I've found that practicing at night has helped me to learn more about directional light, how it creates depth from shadows, and how directional light can provide a modeling light that shows the dimensionality of my subject.

2 I like the idea of trying to achieve a look of the light emerging from the dark, so that the subject emerges from the dark. Classic artists such as davinci, Caravaggio, and Rembrandt used the technique of putting light and dark in close juxtaposition for emphasis and to create moods. Da Vinci is given credit for starting it. There is a little reading on the internet under the search word chiaroscuro. Equipment: A camera that allows manual control of f/stop, shutter speed, and ISO A bulb setting is required for exposures longer than 30 seconds, though most of my images have been taken with less than 30 seconds. There are some effects that you can only achieve when you expose the photo for more than minutes. Sturdy tripod Cable release or remote (you can use your self-timer but it is cumbersome) Flash light, layers of clothing, maybe a watch that you can read in the dark that doesn't also create light. I count one-one-thousand, two-one-thousand (really). It becomes a mantra. Recommended Approach, the short story: Set the ISO ( recommended depending on how your camera handles noise). Set White balance to something other than Automatic. Work in manual exposure mode and shoot raw format. Take multiple exposures from very dark to very light. In Camera Noise Reduction is optional. Recommended Approach, the explanations: Set the ISO, do not use automatic ISO because it can bounce around between shots. I like to use between to keep control of the noise. My camera is generally good to 1600, but the time exposures can heat up the electronics, so I keep it lower. Set the White Balance to something other than Automatic because it can self-adjust in between shots. I user Daylight which gives a warm tone that I can cool down in photoshop as I want. This point is debatable, it's just the way that I do it. You can look at live view and bounce around through the WB settings to chose what you like. Just don't land on Automatic, even if it looks best for the current shot. By using raw exposures you can adjust the WB in post. Work in manual exposure mode. I chose an f/stop between f/8 and f/13. Point sources

3 of light will look softer at f/8. They will look more like star points or diamonds as the apeture gets smaller. You should get excellent twinkling star points at f/13. Taking the multiple exposures is like an HDR collect; and you can use these images for HDR. Photomatix is particularly nice because you can isolate a point source of light and chose the image that best represents that light (usually one of the underexposed images) by using the de-ghosting feature. Other HDR tools will do de-ghosting, but when I tried they would not let you chose the area of concern like Photomatix does. There is always an argument about shooting in high res JPG versus raw. Raw gives you all the data, so you can dig into the places that will most likely be blown out by point sources of light. Any man-made light is very bright relative to the dark background at night, and you cannot use your live view or even your in-camera histogram to judge the BEST exposure in the field. JPG conversion algorithms compress the data and throw out precious bits where you may need them. That's why they are smaller than raw images. If I am spending my time shooting at night, which is a bit more trouble and requires patience, and sometimes it's cold in a place that I may never visit again (spending boat-loads of money to travel), I chose raw capture. Lightroom makes dealing with raw captures a breeze. In Camera Noise Reduction can help. It's the only time in the capture or the postprocessing that you have a measure of the actual noise that was caused by the electronics heating up at the time of the capture. However, it doubles the time of the capture because the camera actually acquires an image that is exposed as long as your original capture. So, if you took a 2 minute exposure, expect to wait a total of 4 minutes before you can take control of your camera again. I'm patient, but not that patient. Bracketing for night and finding the first exposure: I recommend going from very dark to very light. I use this order consistently so I don't get confused about what I'm doing when I'm out in the dark. Getting a very underexposed photo is critical for HDR and for compositing. A bit of blown out lighting can be artistic, but you can largely control it with your dark image and add detail in a composition with the lighter images. To find the first exposure I can suggest three ideas. Method 1: Wing it using the feedback from your camera controls. If you have a lot of practice with your camera you know how to move the dials and look at the information through your viewfinder to get a starting exposure. Adjust the shutter speed so that you get a VERY underexposed image. If your histogram is almost all the way to the left, you can start there or decrease the time the shutter is open by one more EV to make sure you have a really dark image.

4 Method 2: If there is enough light, set your exposure method to use the whole scene or adjust the exposure evaluation to an area that has your subject. Put your camera on Aperture-preferred priority. Take a test shot or just take note of the exposure that your camera suggests. For your first exposure, manually set the same f/stop at the same setting and set a shutter speed that will give you 3-5 EV less light than the exposure of the test shot. Method 3: This is a little more complicated to explain. Set your f/stop and take a test shot at high ISO, then figure out the starting point that would be 3-5 EV less light than the light from an acceptable high ISO test shot. The math is super easy for this method if you have 6 stops of separation between your lowest ISO and your test shot ISO. Here is an example. Set your ISO at Take a shot and examine the histogram. If the histogram looks ok, you have a shutter speed for ISO 6400 and your chosen f/stop. If it doesn't look ok, adjust the shutter speed, faster or slower as needed. When you have an acceptable, but probably noisy, shot, note the shutter speed. You can get this same exposure by decreasing your ISO to a low-noise ISO and adjusting your shutter speed. Keep the same f/stop. So, if you have 6 stops of separation between your highest and lowest ISO, the math is 1 second at the higher ISO equals 1 minute at the lower ISO. Trust me. I did the math. So, using the same f/stop in each of the following situations you get the same exposure: ISO 6400 at 1 second and ISO 100 at 1 minute are equal. And so are ISO 6400 at 2 seconds and ISO 100 at 2 minutes ISO 6400 at 10 seconds and ISO 100 at 10 minutes ISO 6400 at 1 second and ISO 200 at ½ minutes ISO at 1 second and ISO 200 at 1 minute (six stops of separation) Be sure to set your ISO back to the low-noise setting that you have chosen. I've made the mistake of forgetting it, staying on my high ISO. That night I went home with lots of disappointing noise. So, once you get an acceptable exposure at a low-noise ISO and your desired f/stop, reduce the light by 3-5 EV by adjusting the shutter speed to get your starting, dark image. Then take the sequence of shots. What does a change in 3-5 EV mean? EV means Exposure Value. Think of EV as the total amount of light that reaches your sensor. We know EV is controlled with ISO, f/stop, and shutter speed. If you reduce the amount of light by half, then you have decreased the EV by one. People also say that you have decreased the light by one stop. So stop and EV are used interchangeably sometimes, though stop literally refers to aperture to me. You can also reduce the light

5 by one EV by decreasing the ISO by half or by changing the f/stop to be one stop smaller in aperture. For example, for a decrease in 3 EV, reduce by half the time that the shutter is open, doing it three times. If you want a shutter speed that is 3 EV less than 1 second, you use 1/8 second. A shutter speed that is 5 EV less than 1 second is 1/32. Here is a progression that illustrates: Example changing from 1/125 to 1/250 decreases the light by half, in other words, by one EV. Example: changing from 1/125 to 1/500 decreases the light to ¼, I.E. decreases by two EV. Example: changing from 1/125 to 1/1000 decreases the light to 1/8, I.E. decreases by three EV. The sequence of shots: Take the first shot and look at your histogram. It should be way over to the left (the dark side). This is especially important if you are going to do HDR or compositing. After you have a good first shot, increase the light by one EV for each shot in the sequence by only changing the shutter speed. An example of a sequence of shutter speeds would be 1/16, 1/8, ¼, ½, 1, 2, 4, 8, 16, 32 seconds. Some thoughts about focus: Focus is the hardest part for me. Once you get the focus that you want, change to manual focus so that your camera doesn't adjust the focus in the middle of your sequence. If you have nothing in the foreground and you are using an f/stop of 11 or so, or smaller, try a focus at infinity. You can take a high ISO test shot and look at your focus in the live view. Be careful about not accidentally going past the infinity mark in the dark. Try to set your focus control so that you split that infinity mark in the middle when you look at the control marks. This is one process where I do use my flashlight to look at the focus control. Also if you have taken a high ISO test shot, be sure to set your ISO back to your lower-noise ISO. You can look up hyperfocus, which isn't hard to learn if you watch a video. It basically takes advantage of the depth of field using a small aperture. It works best with fixed, wide angle lenses but the principles of depth of field work for any lens. I don't explain further, but there are lots of Youtube's out there that will explain it in pictures, better than I can in words.

6 You can get there early, focus, enjoy the sunset and blue hour and wait a while longer. If it's already dark, you can take a powerful light source and shine it on the main subject. Another idea is to take a light out to the subject and point if back toward the camera. Walk back to the camera and focus on the light. Retrieve the light. What if a car drives by and ruins my photo? What are other effects? It's possible that you will get a nice light trail from a passing car. You can also block the light by covering your lens with your lens cap, a hat, a scarf, or such, and remove the block when the car has passed. This is especially useful when you are going more than 30 seconds and you are using bulb. If you are taking a really long exposure, you or another person can walk through the shot and not appear in the photo, because the reflection of the light from your body is averaged out with the darkness. This can be used to creative advantage. Some ideas: HDR and/or manual compositing of images Moon-lit landscapes Shots with the moon: take one exposure for the moon and one for the rest of the image and composite. Candlelight: very bright...start with the candle lit, cover the lens, blow the candle out, uncover the lens and continue your exposure. Paint with light I find the results to be difficult to control and somewhat random...but fun. Capture movement: light trails, jiggle the camera, zoom the lens, have people walk through slowly to look like ghosts Sea shores, piers, reflections of light in water, moving water River of lights look for what is illuminated as opposed to the lights themselves. Fake candles can give warm light, use them for small lights, perhaps hidden from view. References, Websites, Books, Youtubes, Online classes: Dana Foy has a website at His photography is beautiful and he shares tips for night shooting. He is a master of B&W and grain at night. The BlueHourSite find the best time for Blue Hour at any location. There is an app and a link to a Flickr Group. The Nocturnes community of night photographers

7 Night Photography: Finding Your Way In the Dark by Lance Keimig. He also has a website at Creative Night: Digital Photography Tips and Techniques by Harold Davis Dave Black is an instructor at Kelby Training. He has videos there covering light painting. His classes are: Painting With Light: A Unique Approach Light Painting: Illuminating Models Lighting the Grand Landscapes Youtubes by Dave Morrow show you how to find dark skies and plan a Milky Way shot as well as moon-lit landscapes and star trails. He demonstrates how to use tools such as StarDate, Google Earth, The Photographers Ephemeris, Stellarium (free app). It sounds like a lot but he makes it easy. He demonstrates how to find a location and line up a shot; and how to know the right time. See for a map of dark skies all over the world. You can zoom in nicely. Youtubes by Kenneth Brandon are good for editing Milky Way shots in Photoshop. I used his approach in Photoshop CC, though he used CS5 for the video.

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