15 Tips for Low Light Landscape Photography

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    15 Tips for Low Light Landscape Photography

    byNatalie Johnson

    Capturing scenes in low light remains one of the most

    challenging aspects of photography, yet the results when executed well can be truly captivating.

    Whether its an energetic cityscape or ethereal seascape the possibilities are endless. Here are a fewessentials points to consider before you begin.

    1. Its a good idea to formulate a plan of attack before the twilight hour so scout out a positionwhile there is another available light and grab a few set up shots to make sure your scene worksand will be free from distracting objects. Cityscapes are best viewed from a distance, whereas

    seascapes are more dramatic nearer to the shoreline. Consider compositional elements to add

    scale, interest and context. When twilight occurs youll only have around 20-30 minutes of

    optimum shooting time so be ready for all eventualities.2. The best time to shoot a low light scene starts just half an hour before the sunsets until an hour or

    so after wards as this will produce beautiful coloration in the sky; resonating in a display of

    pinks, purples, reds, oranges eventually fading into an enigmatic blue. This shade of sky is moreuseful than the night sky as exposure times can be reduced if and helps to define the subjects

    within the scene.

    http://digital-photography-school.com/15-tips-for-low-light-landscape-photography?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+DigitalPhotographySchool+%28Digital+Photography+School%29#authorhttp://digital-photography-school.com/15-tips-for-low-light-landscape-photography?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+DigitalPhotographySchool+%28Digital+Photography+School%29#authorhttp://digital-photography-school.com/15-tips-for-low-light-landscape-photography?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+DigitalPhotographySchool+%28Digital+Photography+School%29#authorhttp://digital-photography-school.com/15-tips-for-low-light-landscape-photography?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+DigitalPhotographySchool+%28Digital+Photography+School%29#author
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    3. The key to flawless low light shots is long exposure which means slow shutter speeds so a sturdytripod is unquestionably your most vital accessory. Manfrotto and Gitzo produce solid but lightproducts which are ideal for landscape shooters. However, the ever portable and incredibly

    flexible gorillapod can be a great boon when creative angles or positions are desired. By

    supporting your camera you will be able to lower the sensitivity and decrease noise but leave the

    shutter open for as long as necessary without the worry of blur.4. If you are without a tripod but cant resist a capture then look around for some other form ofsupport, be it the top of a wall, the top of a rubbish bin, a fence, the ground, your rucksack or

    even your shoethere are many ways to get around this problem. If there are literally no objectsto support your kit from underneath, try leaning against a building or strong structure instead and

    press the camera into it and support it as calmly as possible with your hand underneath.

    5. So start by setting your camera upon a solid tripod and switching the unit to manual or shutterpriority if you are wish. Lower the ISO to 100 (for some DSLRs you may need to access a sub

    menu to find this value) and dial in a shutter speed of 15 to 20 seconds (this will take some trial

    and error to find the optimum value). In terms of aperture you are going to want capture a longerdepth of field to ensure far off elements within your scene remain in focus so try varying from f9

    to f14.

    6. In relation to lenses the faster the better and a healthy wide angle will draw the whole scene in,something like a 12-24mm or a 10.5 fisheye can produce exciting results. However a zoom lens

    can be of benefit when shooting a city scene to pull in sections of the skyline or play with

    perspective.

    http://www.flickr.com/photos/veisto/303007050/
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    7. Using an auto white balance may result in lack lustre colours so set your white balance manuallyor dial in 5500k, as this is the average colour of daylight. It is advisable to shoot in RAWhowever as you can always alter the WB in processing if needed.

    Image by kern.justin

    1. Another key piece of kit is a remote control shutter release like Nikons ML-L3 wireless controlwhich works with Nikons enthusiast range of cameras; D40, D40x, D60, D80 and D90. There

    are many varieties of release out there for all makes and models; some wireless others tethered.The benefit of a remote shutter release is the photographer can ensure they do not accidental

    nudge the camera during its exposure as this would show on the capture as shake or blur,

    distorting the overall crispness and clarity. Another trick to employ if you are without a remote

    shutter is to use the self timer.2. If you do have a trigger release take this practice a step further by employing the cameras bulb

    setting and mirror lock up functionality. First press the trigger to lock the mirror out of the way

    and wait for any residual vibrations to subside then press the trigger again to start the exposurebut hold it down for as long as you want the capture to last.

    3. Camera manufacturers are stepping up their game all the time pushing DSLR technology to thelimits, most recently and perhaps notably isNikons D3Swhich is capable of shooting at ISO

    http://www.amazon.com/Nikon-Digital-Capability-Body-Only/dp/B002SQKVD0%3FSubscriptionId%3D0PZ7TM66EXQCXFVTMTR2%26tag%3Ddpsgeneral-20%26linkCode%3Dxm2%26camp%3D2025%26creative%3D165953%26creativeASIN%3DB002SQKVD0http://www.amazon.com/Nikon-Digital-Capability-Body-Only/dp/B002SQKVD0%3FSubscriptionId%3D0PZ7TM66EXQCXFVTMTR2%26tag%3Ddpsgeneral-20%26linkCode%3Dxm2%26camp%3D2025%26creative%3D165953%26creativeASIN%3DB002SQKVD0http://www.amazon.com/Nikon-Digital-Capability-Body-Only/dp/B002SQKVD0%3FSubscriptionId%3D0PZ7TM66EXQCXFVTMTR2%26tag%3Ddpsgeneral-20%26linkCode%3Dxm2%26camp%3D2025%26creative%3D165953%26creativeASIN%3DB002SQKVD0http://www.flickr.com/photos/24894289@N08/3859379708/http://www.amazon.com/Nikon-Digital-Capability-Body-Only/dp/B002SQKVD0%3FSubscriptionId%3D0PZ7TM66EXQCXFVTMTR2%26tag%3Ddpsgeneral-20%26linkCode%3Dxm2%26camp%3D2025%26creative%3D165953%26creativeASIN%3DB002SQKVD0
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    200 to an impressive 12,800. Further still this ISO can be expanded to an unprecedented

    102,400. By utilizing higher ISOs such as this photographers can sample low light photographyhand held as the shutter speeds can be sufficiently increased.

    4. Although powerhouses such as the D3S cope admirably with noise, the same cannot be said ofall cameras. Therefore if you do opt for a High ISO instead or supporting the unit with a tripod

    noise is inevitably. However there are ways to reduce the effect. First your device may offer aNoise Reduction system, activate this and the camera will automatically search for the incorrect

    colored pixels within your scene and map the correct the values instead. This isnt the best idea

    by any means but is an option if handheld shooting is the only option available. There are manyNoise reduction software products available on the market that can resolve this issue post capture

    as well and if processing in Photoshop opt to process as a 16-bit file rather than an 8-bit one as

    youll retain more image information which will extend the opportunity to recover shadows from

    burnt highlights and retrieve details from the shadows both a hazard of low light shooting.

    Image by Paco CT

    5. Incorporate a foreground element to add interest, scale and to help contextualize the piece. Forexample the combination of natural and artificial light can be very dramatic in cityscapes, high

    levels of light pollution color the night sky and the vast quantity of glowing orbs scatter lightacross the scene but including a bridge, highway or structure will help to lead the viewer into the

    frame. If its a twilight landscape you desire consider a diagonal row of trees, a fence, a hedge or

    farm house. Likewise with a sea scene incorporate a lighthouse, Cliffside or groin.

    http://www.flickr.com/photos/paco_calvino/1590544615/
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    6. With so much or so little going on in your low light scene in can be a job to know where to meterfrom so set your camera to matrix or multi-segment metering and take several readings using the

    elements in your scene to judge the optimal value. Ideally its best to start with a midtone ratherthan highlights or shadows and if you are using a zoom lens, scroll in to meter from the detail of

    the subject or object and then zoom back out to compose the shot.

    7.

    Another handy trick some low light enthusiasts employ is exposure bracketing. Use Aperturepriority and meter from one area of the scene (later repeat this for the various elements in turn).

    Dial in the exposure and use the histogram to ensure accurate results. Keep aperture and ISO

    consistent throughout but vary the length of the exposure in half a stop increments. Later you canpackage these into one shot in editing.

    8. The wonderful thing about digital is the instant feedback. A lot of your technique will be trialand error in the beginning but use the histogram to check exposure. It may indicate that part of

    the shot is overexposed but this may be the areas of bright lights in a city scene for example andis therefore perfectly fine. Ideally your frame will present a post sunset sky or veil of blue

    twilight but still offer detail in buildings on foreground instruments. The most important thing is

    to have fun and experiment!

    Natalie Johnson is the former editor of Digital Photographer magazine and after seven years in the

    business has chosen to pursue her dream of becoming a freelance photographer and writer.

    Natalie Johnsonis the former editor of Digital Photographer magazine and after seven years in thebusiness has chosen to pursue her dream of becoming a freelance photographer and writer.

    Responses to 15 Tips for Low Light Landscape Photography

    On certain cameras (Im speaking for Nikon cameras, as I am not particular sure about Canon or

    other brands), the ISO modes are often branded as having a standard range (as mentioned inthe article, the D3S is 200-12,800) and expanded range.

    Expanded range essentially means settings that are beyond what the cameras sensor was

    designed for. Now, you may initially think, well, great! Ill just use those settings!, but ofcourse, there is a trade off.

    Lo-1, the lowest setting possible, is equivalent to that of ISO 100. Except, since the camerassensor was not designed with ISO 100 in mind, certain weird things may happen in a picture.

    While there may be less noise than at the standard ISO 200, there may also be pixels that are

    blotchy, or not as sharp, among other odd effects. The trade off of course is if you want to use a

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    certain aperture/shutter speed, and the light source is just overpowering enough that you need

    that little extra bit of film underexposure to make the correct exposure come together.

    Hi-3 is the highest setting possible, and on the D3S, is the equivalent of ISO 102,400. Thatspretty much night vision, which is pretty crazy. However, ofcourse, because youre pushing the

    sensor to its limits, there is going to be a TON color and luminance noise.

    As for your Rebel XTi, looking online (but having never actually used the camera myself), it

    looks that it comes only with ISO 100-1600 as the standard modes, with no expanded modes

    available. Thus, youre safe using ISO 100 whenever you have the option of light/stability,without getting any weird effects in your pictures.

    One comment I have: in my humble opinion for long exposures (several seconds), the mirror

    lock up is not necessary. On a multiple seconds exposure (say 2 seconds and up) the fraction of

    the second vibration caused by the mirror will not have any effect on the sharpness of the result.The vibration caused by the wind rushing through the camera, tripod or dangling strap, or any

    shaky/vibrating ground is going to be a much more serious problem.

    Two things that many people leave out of this discussion:

    1) In addition to #8 (remote shutter release) is to use mirror lock-up if your camera has it, even

    with a good tripod. Even if youre releasing the shutter remotely, any slow exposure (slower thanabout 1/15) can show vibration from the mirror snapping up right before the exposure.

    Most Canons have mirror lock-up as a featurefirst press of the shutter (or remote) brings up

    the mirror, second press starts the exposure. Despite what people assume, Nikons can do this as

    well, but the feature is implemented a little differently. If you turn on the option for Exposure

    Delay (advanced menus), this causes the shutter not to open for approximately 1 sec after youpress the button. What they dont specifically document is that the camera implements this by

    snapping the mirror up as soon as you press the shutter, then opening the shutter curtainsapproximately 1 sec later. What this amounts to is automated mirror lock-up. I shoot with a D90

    your mileage may, of course, vary by model. :)

    Whichever camera you use, the critical part of mirror lock-up or exposure delay is remembering

    to turn it off when youre done for the night. The feature is decidedly less helpful when shootingsmall, scampering children the next day!

    2) If youre shooting long exposures on a tripod, I suggest turning off the vibration reduction

    feature (either a switch on the lens or a camera menu option). Not only does this save you somebattery, some people say it actually helps produce sharper images.