{"id":145131,"date":"2021-01-21T12:11:51","date_gmt":"2021-01-21T12:11:51","guid":{"rendered":"https:\/\/other.kelsey.host\/amateurphotographer\/?p=145131"},"modified":"2021-01-21T14:11:52","modified_gmt":"2021-01-21T14:11:52","slug":"low-light-photography-tips","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/camera_skills\/low-light-photography-tips\/","title":{"rendered":"Low light photography tips"},"content":{"rendered":"\"\"\n

Your guide: Guy Edwardes<\/strong>
\nBased in Dorset, Guy has been a professional landscape and nature photographer for over 25 years. His work has been widely published and he runs photographic workshops worldwide. See his website<\/a> and @guyedwardes<\/em><\/p>\n

Starlight<\/strong><\/h2>\n

For the past three years I\u2019ve been refining my technique for wide-field astro-landscape photography, mainly working close to home along Dorset\u2019s Jurassic Coast. Looking south from this coastline, there is very little light pollution, making it ideal for capturing the night sky. This area can get very busy with tourists during the day, but at night I often have these beautiful locations to myself. Anywhere with minimal light pollution can work well on a clear night, so head into the countryside away from towns and villages.<\/p>\n

I always look for a strong landscape composition \u2013 something that might work equally well during the day. I keep my processing quite subtle as the camera already reveals more detail in the night sky than we typically see with our eyes, so it\u2019s easy to overdo it and end up with an image that looks a bit too sci-fi!<\/p>\n\"\"\n

Gear and technique<\/strong>
\nThe basic requirements for good astro-landscape photography are a camera capable of delivering good results at high ISO and a high-quality wideangle lens with a maximum aperture of at least f\/2.8. A sturdy tripod is also a must.<\/p>\n

With a set-up like this, in optimal dark sky conditions, you\u2019ll typically be shooting at around ISO 6400 at f\/2.8 to achieve an exposure time of 15 seconds \u2013 any longer and the stars will begin to distort. Image noise will be an issue when using such a high ISO, but it can be reduced by either stacking exposures or by using noise reduction software such as Topaz DeNoise AI, which is my preferred method.<\/p>\n\"\"\n

Use a Sky Tracker<\/strong>
\nTo maximise the quality of your night sky images, a sky tracker is the way to go. Once aligned with Polaris (in the northern hemisphere) it will move your camera at exactly the right speed to compensate for the Earth\u2019s movement, permitting the use of much longer exposure times and therefore lower ISOs and smaller apertures.<\/p>\n

My typical settings when using my iOptron SkyTracker Pro are ISO 400 at f\/5.6 with an exposure time of around 2 minutes. The resulting images are virtually noise-free and the stars pin-sharp across the frame. Due to the movement of the tracker, it is necessary to shoot two images (one for the night sky taken with the tracker turned on and one for the foreground with it turned off) and blend them in Photoshop.<\/p>\n\"\"\n

Shoot the Northern Lights<\/strong>
\nThe aurora borealis can often be seen from northern parts of the UK (and further south occasionally). Register for live updates on aurora forecasting apps to be notified when conditions are promising. Search in advance and in daylight for foreground interest, as it can be hard to find in the dark.<\/p>\n

Subjects that make interesting silhouettes, like lone trees and rock formations, work best. If the aurora is strong enough to reflect, then lakes and puddles can also work well. Equipment requirements and camera settings will be similar to those for normal astro-landscapes, but when the aurora is strong and active you\u2019ll want to use a shorter exposure time to freeze its movement.<\/p>\n

Five more ways to improve your shots<\/h2>\n

Check weather and moon cycle<\/strong>
\nAstrophotography relies upon dark, clear skies, so check as many weather forecasts as you can and use an app to ensure the moon won\u2019t be up, as it\u2019s guaranteed to spoil the show. Don\u2019t be deterred if there\u2019s a little cloud, as great night sky images can be taken through a brief break in the clouds.<\/p>\n

Useful apps<\/strong>
\nThere are plenty of apps that allow you to work out the position of the Milky Way such as PhotoPills, The Photographer\u2019s Ephemeris and Planit Pro. My Aurora Forecast is a great free app for predicting the Northern Lights and Lumos is another useful app for following the phases of the moon, as well as moonrise and set times.<\/p>\n

Get to know your camera<\/strong>
\nFamiliarise yourself with your camera\u2019s layout so that you canfind and operate all the buttons you need easily in the dark without having to switch on a head torch,
\nas this will spoil your night vision and possibly annoy your fellow photographers as they try to capture their shot!<\/p>\n

Prevent fogging<\/strong>
\nWhen working at night, it is important to keep an eye on the front element of your lens, as it can easily mist or freeze over as the temperature drops, ruining your images. The solution is to use a CooWoo Lens Heater (\u00a319.99; charged via a USB cable, it wraps around your lens to keep it warm) or to tape some hand warmers around your lens.<\/p>\n

Light up the foreground<\/strong>
\nSometimes a little artificial illumination can help to reveal detail in foreground elements, but keep it subtle or the effect will quickly become unnatural and unpleasant looking. I use a small LED light panel that allows me to fine-tune the strength and colour temperature of the light.<\/p>\n

Lamplight<\/h2>\n\"\"\n

Your guide: Kingsley Singleton<\/strong>
\nKingsley is an experienced photographer, tutor, and writer with decades of experience in shooting technique and image editing. Specialising in landscapes, nature and travel subjects, he lives in Lincolnshire but likes to travel to hillier places. @kingsley.photo<\/em><\/p>\n

Whether it\u2019s your first low-light shoot, or your hundredth, there\u2019s a particular thrill to photographing after dark that never really goes away. All the well-worn maxims are actually true: yes, it can make dull daylight scenes into something spectacular; yes, it\u2019s a great way to improve your exposure skills; and yes, non-photographers genuinely do wonder how you do it.<\/p>\n

But once you\u2019ve got a few low-light excursions under your belt, it\u2019s natural to wonder how you can make your pictures more creative and impactful. I find that these lamp-lit scenes benefit from the same ideas that can improve regular landscapes, so once you\u2019re comfortable with the basics of long exposures, try to find new angles, for instance, by getting up high above your town, using creative framing, or mixing things up by shooting with telephoto instead of wideangle lenses. You\u2019ll soon find new ways of enjoying shooting in the dark.<\/p>\n\"\"\n\n

Follow the light<\/strong>
\nThere can often be too much going on in a low-light shot \u2013 too many lights, too many colours, and too many focal points \u2013 and that can lead to a confusing mess. It\u2019s a bit like all the instruments in an orchestra playing at once.<\/p>\n

Less is often more, so if you can find a strong subject that dominates the scene, then try to frame up with that as the focal point, and minimise distractions around it. Preferably when shooting in low light, your focal point will be the strongest light source in the scene \u2013\u00a0or even the only light there is, as with this shot of the famous Burgh Island Hotel, near the Avon Estuary in Devon.<\/p>\n

Just make sure you expose correctly. As it was so small compared to the dominant shadows which the camera\u2019s meter wanted to brighten, in this four-second exposure I underexposed by two stops in order to keep the hotel from burning out.<\/p>\n\"\"\n

Beat the traffic<\/strong>
\nTraffic trails are one of the most accessible and eye-catching things you can create in low-light conditions, but once you\u2019ve got past the basics, there are a few things you can do to improve your efforts. Just as you might use a river, or a shoreline in a landscape shot, I always try to make the trails an important part of the composition, and use them as a lead into a low-light scene, rather than them being the purpose of the shot itself.<\/p>\n

Timing is also important, because you want vehicles to be moving throughout the exposure and not stopping, if possible; a 10sec exposure could look great, but at 20secs some cars might have bunched up, messing up the lines too much. Avoid junctions entirely if you can, and if the scene allows, get a friend to drive up and down the road in question, so you\u2019re in total control.<\/p>\n\"\"\n

Reflected glory<\/strong>
\nLow-light photography is a winter favourite, often because blue hour can be that bit more accessible than other times in the year. What also comes with winter is rain, and lots of it. Fortunately, wet streets and puddles are the low-light photographer\u2019s friend.<\/p>\n

After all, it\u2019s not uncommon for pro photographers and filmmakers to hose down a set to improve the look. Why? Wet surfaces are smoother and therefore more likely to reflect light in a specular way, while also deepening colour. Dry surfaces on the other hand diffuse light when it hits them, so you don\u2019t get the same glimmer.<\/p>\n

Angles are very important in finding reflections, so change your shooting height until you get the look you want, especially if you\u2019re trying to catch the light skipping off a puddle, but watch out for splashes. And as great as wet tramlines are, like in this pic from Brussels, remember they also have trams on them.<\/p>\n

Five more ways to improve your shots<\/h2>\n

Don\u2019t believe your eyes<\/strong>
\nWhen you\u2019re shooting in the dark, your eyes naturally become accustomed to the gloom, and therefore an exposure on screen can look a lot brighter than it
\nreally is. Try using the exposure histogram to make sure you\u2019re not underexposing.<\/p>\n

Limit your locations<\/strong>
\nIt depends on your outlook for low-light shooting, but remember if you want natural light in the scene or sky, you need to work fast. The light may only be right for 20-30 minutes, so get there early and try to limit your expectations in terms of moving to other locations.<\/p>\n

The right white<\/strong>
\nRather than leaving your camera set to auto, try picking a white balance that matches the dominant illumination in your low-light scene. Setting tungsten, for instance, will give bulbs a natural look, but turn what\u2019s left of the daylight much bluer for a nice contrast.<\/p>\n

Mind your legs<\/strong>
\nSetting up a tripod in urban areas can be tricky. You don\u2019t want it to be knocked during an exposure, have vibrations affect image sharpness, or realise you\u2019re blocking someone\u2019s path and have to reframe, so be sure to choose your spots carefully.<\/p>\n

Get more twinkle<\/strong>
\nStop your aperture right down and points of light in the scene will flare into sunstars. Depending on their optics and the number of aperture blades they have, different lenses will give different looks, so try testing yours to see what looks best.<\/p>\n

Spotlight<\/h2>\n

\"\"
\nYour guide: Matt Higgs
\n<\/strong>Matt Higgs is an internationally published photographer and videographer. Based in London, he specialises in live music, portrait and travel images, and you can see more of his work at his website <\/a><\/span>or via @matthiggs.<\/em><\/p>\n

Whether it\u2019s bands playing live, events work or atmospheric night shoots under available light, in many ways what I do has more in common with sports, wildlife and documentary work than regular portrait photography.<\/p>\n

Even if the conditions seem bright to your eyes, there\u2019s never as much light as you think at a gig or from the LEDs at a video shoot, and backlighting in particular can make it seem like there\u2019s more than there really is when it comes to exposing your main subject.<\/p>\n

What you\u2019re left with is the need to freeze a fast-moving subject sharply, and most of the time you\u2019ve only got the three sides of the exposure triangle to back you up. Just to ramp up the problems, tripods, monopods, and long shutter speeds are pointless, and it\u2019s three songs and you\u2019re out. But handle your camera the right way, and there are amazing opportunities, too.<\/p>\n

\"\"
\nGet some exposure<\/strong>
\nFor my low-light gig shots, I shoot in manual. Lighting will mix up the levels a lot, so it could be bright one second and awful the next, and using something like wide area metering and aperture priority won\u2019t always cut it, and I\u2019d rather blame myself, not my camera if I miss a shot.<\/p>\n

The best approach I\u2019ve found is to set the shutter speed at a minimum of 1\/200sec to make sure I\u2019m stopping the subject movement, then open up the aperture to f\/2.8 or f\/3.2. After that, it\u2019s all about riding the ISO in response to changes, and pushing the shutter speed up, and then the aperture, if I can.<\/p>\n

The artist\u2019s face should nearly always be the basis of your exposure, like portraits in general, and if the rest of the scene is way darker or lighter than you\u2019d like, it\u2019s not the end of the world! With scenes that have such dramatic differences in light, you have to accept it may not all be perfect.<\/p>\n\"\"\n

Feel the noise
\nIn low light, where moving subjects have to be frozen, using high ISOs is vital. I wasn\u2019t always confident in really jacking up my ISO level, because I was concerned about how noisy images would be, and I didn\u2019t like to push it beyond 800 or 1200.<\/p>\n

These days I\u2019ll almost triple that. ISO 1600 is my baseline for these kinds of shoots, and I\u2019ll happily jack it up to 3200 and still get great results from my Nikon D750. It\u2019s easy to get hung up on the technical side, but with events and live music, the cost of capturing the atmosphere is often going to be a little bit of grain, and honestly bands and fans don\u2019t care about it if you get a killer shot.<\/p>\n

That confidence could mean you getting the image rather than a blurry mess. With new cameras handling noise so well, there\u2019s even a trend for people applying grain to clean shots, just for the aesthetic, so it\u2019s really nothing to worry about.<\/p>\n\"\"\n

Ambient hits
\nArena shows don\u2019t let you use flash, but smaller gigs sometimes do, and if you\u2019re shooting a regular low-light portrait, this tip also holds true: don\u2019t let your flash overwhelm the lighting that\u2019s already there.<\/p>\n

Any light you use should add to the scene, not detract from it, maybe with a little kick to expose the subject better, but not kill the atmosphere and bleach out the ambience. I normally drag the shutter, keeping as much of the ambient light in as possible, and get the exposure right in camera before I add the flash rather than using the flash to get it right. Then I\u2019ll have the flash set right down, maybe a couple of stops under the TTL reading, so it\u2019s subtle.<\/p>\n

Five more ways to improve your shots<\/h2>\n

Fast zooms<\/strong>
\nWhether it\u2019s gigs or other live events in venues, it\u2019s about making the most of whatever little light is there, so I\u2019ll always have at least one lens with a constant aperture of at least f\/2.8. If I\u2019ve got primes such as an f\/1.4 or f\/1.8, that\u2019s a bonus, but my go-to glass is the f\/2.8 zooms.<\/p>\n

Raw gives you more<\/strong>
\nIn any environment where the light is changing constantly, it\u2019s sensible to shoot in raw mode. Knowing that you\u2019ve got the option to push shadows or crush highlights is incredibly valuable, and there can be so much variation in light colour and strength that it\u2019s a real lifesaver.<\/p>\n

Play it by eye<\/strong>
\nIf you\u2019re using live view on a mirrorless camera, you should be able to adapt exposure easily on the fly just by looking at the display, but it\u2019s by no means vital. Don\u2019t be afraid to do a bit of chimping to see if it\u2019s working, and bring up a histogram for some security, too.<\/p>\n

Shutter speed beats image stabilisation<\/strong>
\nRemember that image stabilisation has nothing to do with stopping subject movement. IS will do a great job of increasing sharpness if your shutter speed is on point, and it can really help if you\u2019re shooting wideangle, but if it\u2019s too slow all you\u2019ll get is a sharp background and your subject will just be a blur of motion.<\/p>\n

Shoot more than you need<\/strong>
\nI often shoot repeat images; you just stand a better chance that way in a fast-moving environment. You might catch a moment when the subject isn\u2019t moving as much and will be sharper, or be able to pick the best expression. Get them in the can, because there aren\u2019t any second chances at a live event.<\/p>\n

Further reading<\/strong>
\nGet great shots of wildlife in low light<\/a>
\nLow light photography: how low can you go<\/a><\/p>\n\n\n\n","protected":false},"excerpt":{"rendered":"

Three top photographers reveal the techniques they use to get great shots in low light – including performance photography, when it can start up again<\/p>\n","protected":false},"author":7,"featured_media":145132,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[371,375,39],"tags":[],"product-category":[],"class_list":["post-145131","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-camera_skills","category-expert_advice","category-photo-news"],"yoast_head":"\nLow light photography tips - Amateur Photographer<\/title>\n<meta name=\"description\" content=\"Three top photographers reveal the techniques they use to get great shots in low light - including performance photography, when it can start up again\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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