Photography News Issue 39

Photography News | Issue 39 | absolutephoto.com

Technique

anyone who will be doing long exposures on a regular basis, or anyone interested in star trails, an intervalometer, or shutter release with a built-in timer, is highly recommended. The great advantage to these timed releases is that they can be programmed to take single or multiple exposures of almost any length sequentially or at programmable intervals.” Other equipment basics “Flare from light sources just outside of the frame can be a major problem at night. For this reason, it’s essential to use a lens hood, hood, or another flare-preventing device. An alternative or complement to a lens hood is a hotshoe- or tripod-mounted arm with a clip that holds a dark card. With this the card can be placed in almost any position, and is more effective than a shade. On windy nights, simply hold the card to prevent camera shake. “A second or third camera battery assures enough power to last the night and a small torch (or head torch) that can be attached

to a lanyard and worn around your neck is an invaluable aid for finding things in your camera bag or controls on your camera.” Get dressed in the dark “Many people are surprised by how cold they get waiting for long exposures, so dress in layers, and bring a hat and gloves. Wearing dark colours serves a dual purpose. If you inadvertently walk in front of the camera, or intentionally walk into the shot to add light, wearing black will minimise the chances of showing up in the image as long as you don’t remain in the same place for too long. “Sensible shoes that offer a reasonable amount of protection when you’ll be putting your feet down in unfamiliar territory are also a good idea. Finally, keeping a few samples of your work with you may go a long way in explaining your motives should you be accosted by police or security guards – an occasion that is bound to happen at some point in urban areas.”

Right Shown here is an articulated hotshoe-mounted clamp for holding a gobo – essentially a piece of black cardboard for preventing lens flare that’s more effective than a lens hood alone. This one is made by Ebony, a Japanese view camera manufacturer. Other options have clamps on both ends, for attaching to a tripod.

#2 Be prepared

Shooting at night requires a different set of skills from photographing subjects in the daytime; it’s a challenge but, with practise, one that you can rise to. After sundown and into the deep night, locations take on a wholly different look, and you’ll find dull-looking areas transformed by deep shadow or artificial lights. “As the light at night is such a huge part of what makes nocturnal photography special,” Lance says, “Scouting locations during the daytime is often ineffective. Returning to a location at night to photograph a scene observed during the day can lead to disappointment, as the circumstances at night may make the photograph you envisioned impossible to take. This is especially true in urban situations with artificial light. “Natural landscapes are less likely to offer up as many surprises at night, and planning these kinds of images in advance can be a big factor in capturing a successful image. There are a number of photo planning apps for smartphones that can help you to be in the right place at the right time. Try PhotoPills (photopills.com) which even has a feature that lets you visualise where and when the MilkyWay will appear in the sky.” Moonlight methodology “Night photography is not a spontaneous act, and working in a methodical and deliberate fashion minimises user error. Simple things like always keeping each item in your bag in the same place means that you won’t have to fish around for it with a flashlight — you can just reach in and grab what you need. “Although some people prefer to use a head torch, they tend to be brighter than you really need, draw unwanted attention to yourself, and most importantly it can ruin your shot when you forget to turn it off and walk around inadvertently shining it all over the place. After 15 or 20 minutes, your eyes will have adapted to the lower light levels to the point where you may not need a light at all, and not using a torchwill preserve your night vision. “Another simple thing you can do to facilitate your fieldwork is to place a small piece of adhesive Velcro on the back of your cable release or timer and attach it to your tripod leg. Most releases have unnecessarily long cords, and Velcro will keep the device within easy reach rather than dangling from the camera. Simple things like this can have a surprising impact on your overall

shooting experience. Every step that you take to standardise your workflow in the field helps to minimise technical errors that can ruin a shot.” Getting familiar “In many years of teaching classes and workshops on night photography, the one thing I’ve seen most often that frustrates people new to it is the lack of basic familiarity with their cameras. “Being able to navigate the menu system, finding and enabling or disabling features, and knowing which buttons serve which functions may seem fairly basic until you find yourself in the middle of nowhere in total darkness on a moonless night without your camera manual. “At the very least, you should be able to adjust aperture, shutter and ISO in the dark, and be able to find the image review button and histogram functions easily, as well as to activate and use magnified live view for focusing without the aid of a torch. Learning how to program your intervalometer is key too. Ideally, you should only need to use a torch to illuminate your focus point or for light painting.”

Above Badwater Basin, Death Valley National Park; a 30secs at f/4, ISO 6400 with Canon EOS 6D and Rokinon 24mm f/1.4 lens. An LED glow stick was hung on the back of the sign. Right Apps like PhotoPills are invaluable in planning night shoots.