Peter Cope. Night and Low-Light Techniques for Digital Photography.2006

Total Page:16

File Type:pdf, Size:1020Kb

Peter Cope. Night and Low-Light Techniques for Digital Photography.2006 NIGHT AND LOW-LIGHT TECHNIQUES FOR DIGITAL PHOTOGRAPHY Amherst Media® PETER COPE PUBLISHER OF PHOTOGRAPHY BOOKS Copyright © 2006 by Peter Cope. All photographs by the author unless otherwise noted. All rights reserved. Published by: Amherst Media, Inc. P.O. Box 586 Buffalo, N.Y. 14226 Fax: 716-874-4508 www.AmherstMedia.com Publisher: Craig Alesse Senior Editor/Production Manager: Michelle Perkins Assistant Editor: Barbara A. Lynch-Johnt Editorial Assistance: Carey Ann Maines ISBN: 1-58428-174-X Library of Congress Card Catalog Number: 2005926588 Printed in Korea. 10 9 8 7 6 5 4 3 2 1 No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, mechanical, photocopied, recorded or otherwise, without prior written consent from the publisher. Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions. The author and publisher will not be held liable for the use or misuse of the information in this book. Table of Contents PREFACE: INSIDE THE BLACK BOX . .5 A Perfect Moon . .36 Lightning: Nature’s Fireworks . .39 INTRODUCTION . .6 Safety First . .40 A Word About Hardware . .8 Grabbed Shots . .40 . And Software . .8 Time of Day . .42 Finding a Storm . .42 1. LIGHT AND COLOR . .12 Position . .44 The Nature of Color . .12 Taking Shots . .44 Color Balance and Color Temperature . .13 Summary . .46 White Balance . .15 Astrophotography . .46 Color in the Scene . .15 Shooting the Moon . .47 Metering and Exposure . .16 Star Trails . .48 Center-Weighted Average Metering . .16 The Cheat’s Guide to Multipattern and Matrix Metering . .16 Lightning and Astrophotography . .49 Spot Metering . .18 All that Glistens . .49 External Meters . .18 A New Sky . .51 Exposure Tables . .18 Anywhere Anytime Lightning . .51 2. SUNRISE, SUNSET . .21 3. THE 24/7 CITY . .52 The Color of a Sunset . .21 Exploring the Cityscape . .53 Sunrise or Sunset? . .23 The Highway . .54 Good Sunset Opportunities . .24 Neon Lights . .55 Photographing the Sunset . .26 Try This . .55 Arrive Early . .26 Enhancing Night Shots Using Blend Modes . .57 White Balance . .26 Normal . .57 Choose a Lens or Focal Length . .27 Multiply . .57 Aperture . .27 Screen and Lighten . .58 Be Careful . .27 Overlay, Soft Light, and Hard Light . .58 Exposure . .27 Stained Glass . .59 Sunset Dynamics . .28 Lighting . .59 Enhancing the Sunset . .28 Position . .59 Unsharp Coloration . .28 Setting . .60 Adjusting Levels . .30 Shooting the Glass . .60 Landscapes . .31 A Final Point . .63 Morning Mist . .33 Floodlighting and Spotlighting . .63 Digital Mist . .33 Bad Weather . .34 4. SPECIAL EVENTS . .65 Dark Locations . .35 Sports Photography . .67 TABLE OF CONTENTS 3 Freezing the Action . .67 Exposure Lock . .102 The Decisive Moment . .68 Histogram . .102 Indoor Arenas . .69 Autobracketing . .103 Enhancing Sports Shots . .69 Lenses . .103 Photographing Theater and Shows . .70 Fixed Lenses . .103 Copyright and Access . .71 Changeable Lenses . .103 Approaching an Event . .71 Electronic Flash . .105 Preparations . .71 Built-in Flash . .105 When to Shoot . .71 External Flash . .105 Theater Lighting . .72 Connections . .105 Composition . .72 Slave Flash . .106 Adding to the Drama . .73 Preflash: A Cautionary Tale . .107 Concerts and Live Acts . .74 More Power to Your Flash . .107 Gaining Access . .74 Batteries . .107 Your First Big Event . .77 Reflectors and Diffusers . .107 Travel Light . .77 Extenders . .108 Enhancing Stage Shots . .78 Supporting Your Camera . .108 Christmas . .79 Non-Tripod Supports . .108 Street Illuminations . .80 Tripods . .109 In the Marketplace . .81 Tripod Heads . .110 Christmas Trees . .81 Monopods . .110 Christmas Morning . .82 Tabletop Tripods . .110 Firework Displays . .83 Software . .110 Preparation . .83 Choice . .111 Exposure . .84 Specification . .111 Noise . .85 Ease of Use . .111 White Balance . .85 Results . .112 Capturing the Show . .85 Price . .112 Firework Montages . .85 Extending Your Repertoire . .112 Panoramic Software . .112 5. PEOPLE . .86 Plug-Ins . .113 Street Photography . .87 Movie and DVD Production Software . .113 Small is Beautiful . .87 Shooting from the Hip . ..
Recommended publications
  • Improve Your Night Photography
    IMPROVE YOUR NIGHT PHOTOGRAPHY By Jim Harmer SMASHWORDS EDITION * * * * * Improve Your Night Photography Copyright © 2010 Jim Harmer. All rights reserved THE SALES FROM THIS BOOK HELP TO SUPPORT THE AUTHOR AND HIS FAMILY. PLEASE CONSIDER GIVING THIS BOOK A 5-STAR REVIEW ON THE EBOOK STORE FROM WHICH IT WAS PURCHASED. * * * * * All rights reserved. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording, or otherwise) without the prior written permission of both the copyright owner and the above publisher of this book. This is a work of non-fiction, but all examples of persons contained herein are fictional. Persons, places, brands, media, and incidents are either the product of the author's imagination or are used fictitiously. The trademarked and/or copyrighted status and trademark and/or copyright owners of various products referenced in this work of fiction, which have been used without permission, is acknowledged. The publication/use of these trademarks and/or copyrights isn’t authorized, associated, or sponsored by the owners. The copyright notice and legal disclaimer at the end of this work is fully incorporated herein. Smashwords Edition License Notes This ebook is licensed for your personal enjoyment only. This ebook may not be re-sold or given away to other people. If you would like to share this book with another person, please purchase an additional copy for each person you share it with. If you're reading this book and did not purchase it, or it was not purchased for your use only, then you should return to Smashwords.com and purchase your own copy.
    [Show full text]
  • Color Theory for Painting Video: Color Perception
    Color Theory For Painting Video: Color Perception • http://www.ted.com/talks/lang/eng/beau_lotto_optical_illusions_show_how_we_see.html • Experiment • http://www.youtube.com/watch?v=y8U0YPHxiFQ Intro to color theory • http://www.youtube.com/watch?v=059-0wrJpAU&feature=relmfu Color Theory Principles • The Color Wheel • Color context • Color Schemes • Color Applications and Effects The Color Wheel The Color Wheel • A circular diagram displaying the spectrum of visible colors. The Color Wheel: Primary Colors • Primary Colors: Red, yellow and blue • In traditional color theory, primary colors can not be mixed or formed by any combination of other colors. • All other colors are derived from these 3 hues. The Color Wheel: Secondary Colors • Secondary Colors: Green, orange and purple • These are the colors formed by mixing the primary colors. The Color Wheel: Tertiary Colors • Tertiary Colors: Yellow- orange, red-orange, red-purple, blue-purple, blue-green & yellow-green • • These are the colors formed by mixing a primary and a secondary color. • Often have a two-word name, such as blue-green, red-violet, and yellow-orange. Color Context • How color behaves in relation to other colors and shapes is a complex area of color theory. Compare the contrast effects of different color backgrounds for the same red square. Color Context • Does your impression od the center square change based on the surround? Color Context Additive colors • Additive: Mixing colored Light Subtractive Colors • Subtractive Colors: Mixing colored pigments Color Schemes Color Schemes • Formulas for creating visual unity [often called color harmony] using colors on the color wheel Basic Schemes • Analogous • Complementary • Triadic • Split complement Analogous Color formula used to create color harmony through the selection of three related colors which are next to one another on the color wheel.
    [Show full text]
  • Photography and Photomontage in Landscape and Visual Impact Assessment
    Photography and Photomontage in Landscape and Visual Impact Assessment Landscape Institute Technical Guidance Note Public ConsuDRAFTltation Draft 2018-06-01 To the recipient of this draft guidance The Landscape Institute is keen to hear the views of LI members and non-members alike. We are happy to receive your comments in any form (eg annotated PDF, email with paragraph references ) via email to [email protected] which will be forwarded to the Chair of the working group. Alternatively, members may make comments on Talking Landscape: Topic “Photography and Photomontage Update”. You may provide any comments you consider would be useful, but may wish to use the following as a guide. 1) Do you expect to be able to use this guidance? If not, why not? 2) Please identify anything you consider to be unclear, or needing further explanation or justification. 3) Please identify anything you disagree with and state why. 4) Could the information be better-organised? If so, how? 5) Are there any important points that should be added? 6) Is there anything in the guidance which is not required? 7) Is there any unnecessary duplication? 8) Any other suggeDRAFTstions? Responses to be returned by 29 June 2018. Incidentally, the ##’s are to aid a final check of cross-references before publication. Contents 1 Introduction Appendices 2 Background Methodology App 01 Site equipment 3 Photography App 02 Camera settings - equipment and approaches needed to capture App 03 Dealing with panoramas suitable images App 04 Technical methodology template
    [Show full text]
  • Corel Paintshop Pro X8 Gebruikershandleiding Werken Met Miniaturen in Het Werkvlak Beheren
    Corel® PaintShop® Pro X8 Gebruikershandleiding Inhoud Welkom. 1 Nieuw in Corel PaintShop Pro X8. 1 Corel-programma's installeren en verwijderen . 6 Het programma starten en afsluiten . 7 Corel-producten registreren. 8 Updates en berichten . 9 Corel-ondersteuningsservices. 9 Over Corel. 10 De digitale werkstroom . 11 Leren werken met Corel PaintShop Pro . 19 Conventies in de documentatie . 19 Het Help-systeem gebruiken . 21 De gebruikershandleiding in PDF-indeling van Corel PaintShop Pro X7 . 22 Het palet Studiecentrum gebruiken . 22 Leren met videostudielessen . 24 Webbronnen gebruiken . 25 Rondleiding door de werkvlakken . 27 De werkvlakken verkennen . 28 Schakelen tussen werkvlakken . 33 Een werkvlakkleur kiezen. 33 Paletten gebruiken . 34 Werkbalken gebruiken . 37 Gereedschappen gebruiken . 38 Werkbalken en paletten aanpassen . 46 Dialoogvensters gebruiken . 48 Inhoud i Afbeeldingen bekijken. 53 Sneltoetsen gebruiken. 59 Snelmenu's gebruiken . 59 Linialen, rasters en hulplijnen gebruiken . 60 Aan de slag . 67 Foto's inlezen in Corel PaintShop Pro . 68 Scanners aansluiten . 69 Afbeeldingen openen en sluiten . 70 Afbeeldingen opslaan . 73 Afbeeldingen maken. 79 Afbeeldingen en afbeeldingsgegevens weergeven . 86 Afbeeldingen vastleggen vanaf het computerscherm . 89 Zoomen en pannen. 92 Knippen, kopiëren en plakken . 95 Afbeeldingen naar andere toepassingen kopiëren . 98 Acties Ongedaan maken en opnieuw uitvoeren . 100 Opdrachten herhalen . 106 Afbeeldingen verwijderen . 107 Ondersteunde bestanden in Corel PaintShop Pro . 107 Foto's bekijken, ordenen en zoeken. 113 Het werkvlak Beheren instellen . 113 Foto's in mappen zoeken. 117 Afbeeldingen zoeken op de computer. 120 Werken met opgeslagen zoekopdrachten . 122 Trefwoordlabels toevoegen aan afbeeldingen . 124 Foto's bekijken via labels . 125 De kalender gebruiken om afbeeldingen te zoeken . 126 Mensen zoeken in uw foto's .
    [Show full text]
  • Digital Refocusing with Incoherent Holography
    Digital Refocusing with Incoherent Holography Oliver Cossairt Nathan Matsuda Northwestern University Northwestern University Evanston, IL Evanston, IL [email protected] [email protected] Mohit Gupta Columbia University New York, NY [email protected] Abstract ‘adding’ and ‘subtracting’ blur to the point spread functions (PSF) of different scene points, depending on their depth. In Light field cameras allow us to digitally refocus a pho- a conventional 2D image, while it is possible to add blur to tograph after the time of capture. However, recording a a scene point’s PSF, it is not possible to subtract or remove light field requires either a significant loss in spatial res- blur without introducing artifacts in the image. This is be- olution [10, 20, 9] or a large number of images to be cap- cause 2D imaging is an inherently lossy process; the angular tured [11]. In this paper, we propose incoherent hologra- information in the 4D light field is lost in a 2D image. Thus, phy for digital refocusing without loss of spatial resolution typically, if digital refocusing is desired, 4D light fields are from only 3 captured images. The main idea is to cap- captured. Unfortunately, light field cameras sacrifice spa- ture 2D coherent holograms of the scene instead of the 4D tial resolution in order to capture the angular information. light fields. The key properties of coherent light propagation The loss in resolution can be significant, up to 1-2 orders are that the coherent spread function (hologram of a single of magnitude. While there have been attempts to improve point source) encodes scene depths and has a broadband resolution by using compressive sensing techniques [14], spatial frequency response.
    [Show full text]
  • Thanks for Downloading the Sample Chapters
    Thanks for Downloading the Sample Chapters Here are the chapters included. The Quick Start chapter, the first in the book, which identifies five quick ways to up the video and audio quality of your webinars and videoconferences. Chapter 5: Simple Lighting Techniques. The easiest way to significantly improve the quality of video produced by webcams and smartphones is to add lighting. You don’t have to spend a fortune; in fact, my go-to setup cost $30. You can read about this and more in this chapter. Chapter 9: Working With Audio on Android Devices. How to add and control a microphone on Android devices. Chapter 14: Working with Onstream Webinars. Audio and video adjustment controls available in Onstream Webinars. After the chapters, I’ve inserted the introduction to the book, and then the table of contents, so you can see what else is covered in the book. Thanks for having a look. Quick Start: Do This, Don’t Do That Figure a. Check your upload speed well in advance; don’t just pray for the best. This chapter contains highlights from various chapters in the book, both as a quick-start reference and as an introduction to the materials covered in the book. As you can see in Figure a, it’s better to check your outbound bandwidth with a tool called Speedtest than to simply pray that your bandwidth is sufficient. Chapter 1 has tables detailing the recommended bitrate for various conferencing and webinar applications, and other, related tips. Note that Speedtest is available as an app for both iOS and Android platforms, so you can check there as well.
    [Show full text]
  • Bracketing Manual Nikon D3100
    bracketing manual nikon d3100 File Name: bracketing manual nikon d3100.pdf Size: 3120 KB Type: PDF, ePub, eBook Category: Book Uploaded: 18 May 2019, 22:14 PM Rating: 4.6/5 from 708 votes. Status: AVAILABLE Last checked: 18 Minutes ago! In order to read or download bracketing manual nikon d3100 ebook, you need to create a FREE account. Download Now! eBook includes PDF, ePub and Kindle version ✔ Register a free 1 month Trial Account. ✔ Download as many books as you like (Personal use) ✔ Cancel the membership at any time if not satisfied. ✔ Join Over 80000 Happy Readers Book Descriptions: We have made it easy for you to find a PDF Ebooks without any digging. And by having access to our ebooks online or by storing it on your computer, you have convenient answers with bracketing manual nikon d3100 . To get started finding bracketing manual nikon d3100 , you are right to find our website which has a comprehensive collection of manuals listed. Our library is the biggest of these that have literally hundreds of thousands of different products represented. Home | Contact | DMCA Book Descriptions: bracketing manual nikon d3100 Or is there a better way. Im looking at the 3100 as a relatively light weight travel and family shoot camera, but Im spoiled by the auto bracketing on my D200.. I find bracketing a simple and viable way to ensure good exposures w.o. having to resort to UniWB. Of course, a firmware update for the 3100 would be the best solution.. As always, many thanks. Its very annoying the Nikon refuses to provide autobracketing on the D3100 or other such entry level cameras.The only other way I know of is to begins shooting in full manual mode and dial in shutter speed or aperture directly to accomplish your goal.
    [Show full text]
  • Milky Way Photography: the Definitive Guide (2021)
    Milky Way Photography: The Definitive Guide (2021) www.photopills.com Feel free to share this eBook © PhotoPills December 2020 2 Never Stop Learning The Definitive Guide to Shoo- ting Hypnotic Star Trails How To Shoot Truly Conta- gious Milky Way Pictures Understanding Golden Hour, Blue Hour and Twilights 7 Tips to Make the Next Su- permoon Shine in Your Pho- tos MORE TUTORIALS AT PHOTOPILLS.COM/ACADEMY Understanding How To Plan the Azimuth and Milky Way Using Elevation The Augmented Reality How to find moon- How To Plan The rises and moon- Next Full Moon sets PhotoPills Awards Get your photos featured and win $6,600 in cash prizes Learn more+ Join PhotoPillers from around the world for a 7 fun-filled days of learning and adventure in the island of light! Learn More What if I told you that you're more than capable of imagining, planning and shooting Milky Way pictures that will put people into what I call a sharing trance? Would you believe it? Nowadays, almost everyone can take photos of the night Sky, even very good ones. Night sky photography in general, and MIlky Way photography in particular, have become very popular. You see it every day, social networks are filled up with multiple great Milky Way photos, published by great photographers hoping that their work will be massively shared. Unfortunately, the truth is that just a few achieve to go viral. Why? One possible answer is: inner remarkability. Social transmission expert, Jonah Berger, in his New York Times Bestseller book 'Conta- gious: why things catch on', maintains that: "Remarkable things provide social currency because they make the people who talk about them seem, well, more remarkable [...] Sharing extraordinary, novel, 6 or entertaining stories or ads makes people seem more extraordinary, novel, and entertaining [...] Not surprisingly then, remarkable things get brought up more of- ten." Therefore, how can you make photos so that people will share and talk about? The same inner remarkability principle applies.
    [Show full text]
  • White Paper the Twilight Zone
    White paper The twilight zone …a journey through the magic realm of color spaces, gray shades, color temperatures, just noticeable differences and more Goran Stojmenovik Product Manager Barco Control Rooms division The whole story behind display specifications and human vision (2) Abstract Our world and the displays representing it are not black and white, as someone might think when seeing a display spec consisting only of luminance and contrast. There is much more, there is a whole world of gray shades, color spaces, color temperatures, contrast sensitivities, just noticeable differences. Knowing what “brightness” and “luminance” are and being able to distinguish them, knowing what influences on-screen contrast of a display, and knowing how the eye adapts to changes in luminance levels – these are factors you should have learned from the first part of this white paper. Here, we will go into deeper waters of human vision, to explain when we perceive a display as a good display, and what are the requirements posed by the human visual system to create a good display. Page 1 of 9 www.barco.com White paper The twilight zone Display requirements and human vision Gamma When we talk about brightness and contrast, we cannot THE GAMMA DETERMINES THE skip the famous “gamma.” For one specified contrast, BRIGHTNESS OF THE MID-GRAY we know it’s the brightest white and darkest black that SHADES matter. But, what about all the in-between? This is the region of the gray shades. They are produced by tilting the liquid crystal molecules with a voltage (in LCD displays), or by modulating the amount of time a certain DMD mirror is on during one frame (in DLP projection displays).
    [Show full text]
  • A Guide to Smartphone Astrophotography National Aeronautics and Space Administration
    National Aeronautics and Space Administration A Guide to Smartphone Astrophotography National Aeronautics and Space Administration A Guide to Smartphone Astrophotography A Guide to Smartphone Astrophotography Dr. Sten Odenwald NASA Space Science Education Consortium Goddard Space Flight Center Greenbelt, Maryland Cover designs and editing by Abbey Interrante Cover illustrations Front: Aurora (Elizabeth Macdonald), moon (Spencer Collins), star trails (Donald Noor), Orion nebula (Christian Harris), solar eclipse (Christopher Jones), Milky Way (Shun-Chia Yang), satellite streaks (Stanislav Kaniansky),sunspot (Michael Seeboerger-Weichselbaum),sun dogs (Billy Heather). Back: Milky Way (Gabriel Clark) Two front cover designs are provided with this book. To conserve toner, begin document printing with the second cover. This product is supported by NASA under cooperative agreement number NNH15ZDA004C. [1] Table of Contents Introduction.................................................................................................................................................... 5 How to use this book ..................................................................................................................................... 9 1.0 Light Pollution ....................................................................................................................................... 12 2.0 Cameras ................................................................................................................................................
    [Show full text]
  • Kelvin Color Temperature
    KELVIN COLOR TEMPERATURE William Thompson Kelvin was a 19th century physicist and mathematician who invented a temperature scale that had absolute zero as its low endpoint. In physics, absolute zero is a very cold temperature, the coldest possible, at which no heat exists and kinetic energy (movement) ceases. On the Celsius scale absolute zero is -273 degrees, and on the Fahrenheit scale it is -459 degrees. The Kelvin temperature scale is often used for scientific measurements. Kelvins, as the degrees are now called, are derived from the actual temperature of a black body radiator, which means a black material heated to that temperature. An incandescent filament is very dark, and approaches being a black body radiator, so the actual temperature of an incandescent filament is somewhat close to its color temperature in Kelvins. The color temperature of a lamp is very important in the television industry where the camera must be calibrated for white balance. This is often done by focusing the camera on a white card in the available lighting and tweaking it so that the card reads as true white. All other colors will automatically adjust so that they read properly. This is especially important to reproduce “normal” looking skin tones. In theatre applications, where it is only important for colors to read properly to the human eye, the exact color temperature of lamps is not so important. Incandescent lamps tend to have a color temperature around 3200 K, but this is true only if they are operating with full voltage. Remember that dimmers work by varying the voltage pressure supplied to the lamp.
    [Show full text]
  • Calculating Correlated Color Temperatures Across the Entire Gamut of Daylight and Skylight Chromaticities
    Calculating correlated color temperatures across the entire gamut of daylight and skylight chromaticities Javier Herna´ ndez-Andre´ s, Raymond L. Lee, Jr., and Javier Romero Natural outdoor illumination daily undergoes large changes in its correlated color temperature ͑CCT͒, yet existing equations for calculating CCT from chromaticity coordinates span only part of this range. To improve both the gamut and accuracy of these CCT calculations, we use chromaticities calculated from our measurements of nearly 7000 daylight and skylight spectra to test an equation that accurately maps CIE 1931 chromaticities x and y into CCT. We extend the work of McCamy ͓Color Res. Appl. 12, 285–287 ͑1992͔͒ by using a chromaticity epicenter for CCT and the inverse slope of the line that connects it to x and y. With two epicenters for different CCT ranges, our simple equation is accurate across wide chromaticity and CCT ranges ͑3000–106 K͒ spanned by daylight and skylight. © 1999 Optical Society of America OCIS codes: 010.1290, 330.1710, 330.1730. 1. Introduction term correlated color temperature ͑CCT͒ instead of A colorimetric landmark often included in the Com- color temperature to describe its appearance. Sup- mission Internationale de l’Eclairage ͑CIE͒ 1931 pose that x1, y1 is the chromaticity of such an off-locus chromaticity diagram is the locus of chromaticity co- light source. By definition, the CCT of x1, y1 is the ordinates defined by blackbody radiators ͑see Fig. 1, temperature of the Planckian radiator whose chro- inset͒. One can calculate this Planckian ͑or black- maticity is nearest to x1, y1. The colorimetric body͒ locus by colorimetrically integrating the Planck minimum-distance calculations that determine CCT function at many different temperatures, with each must be done within the color space of the CIE 1960 temperature specifying a unique pair of 1931 x, y uniformity chromaticity scale ͑UCS͒ diagram.
    [Show full text]