There doesn’t appear to be a name for a fear of tripods, an as yet unrecognised but very real phobia. And yes, I did Google it.
When I say “fear” that’s probably too strong a word but from giving photography lessons I have noticed that a fair few of the people I’m teaching don’t own a tripod or are very self conscious of using one.
I have to sympathise with this though. I wasn’t a prolific tripod user when I started out, probably down to a mixture of dreadful cheap tripods and not really seeing much need. As I progressed into using filtration I soon started using one nearly all the time. At some locations this didn’t bother me but in the city centre I was very self conscious of using a tripod as if it were some sort of badge that marked out the weirdos of society.
I soon realised that especially living in Edinburgh photography tripods are like rats in a big city, supposedly you’re never far away from one. Look about in a city centre, you will see people using them at certain locations, they are nothing unusual at all and it’s a fear worth overcoming as the benefits to your photography are huge.
I use a tripod as a matter of course these days. Even in bright light when shutter speed isn’t going to be an issue I still prefer it. I can compose a shot, take it and then since the camera is tripod mounted I can make adjustments and be confident my composition remains unchanged. You’d be amazed at how handy this can be.
Combine a tripod with a wireless remote control and you’re onto a real winner, the perfect combination for all situations. It’s worth simply making this part of your photography workflow for all situations. Of course, by all means shoot handheld if the situation demands it. I only ever shoot action and macro handheld as using a tripod is simply too restrictive.
For landscapes though, that just isn’t an issue and getting used to setting up on a tripod and attaching your remote is a worthwhile few minutes spent before taking any pics.
A quick word on tripods though, these are the perfect example of the buy cheap buy twice philosophy. I lost count of how many tenner in Tesco’s type tripods I burned though before I moved onto cheap and nasty Jessops efforts. I wasn’t until the death of yet another sub £40 tripod I moved up and bought a nice Giottos with a tilt and pan head. It’s been abused for 3 years now, submerged in sea water, covered in sand and made a few trips at speed in a downwards direction when the carrying photographer doesn’t see the mud in the dark on Blackford Hill. Asides from me breaking the tripod head a few months back it’s still going strong. I reckon it’ll be like Trigger’s broom in Only Fools and Horses. He had the same broom for years but it had 6 new handles and 8 new heads only it’ll be legs and heads in my case.
The point being though, for £130 I’ve had a stable, well performing platform to work from for the last 3 years. Well worth every penny.
Using a tripod also allows you to explore some other functions you might never have used on your DSLR, such as Mirror Up. or mUP as it’s called on the Nikons. Mirror up essentially means you press your remote once to flip up the DSLR mirror and then again to start the exposure. The benefit of this is that you can totally eliminate any shake from longer exposures. Flick up the mirror, wait a second or 2 for the camera to settle and then take the pic. Not a massive thing with wide lenses but tripod mount a big zoom and you’ll get to love the feature.
I suppose I should make some reference to tripod heads as well. There’s a bewildering array of them out there. The ball head seems to be the current favourite but if I’m honest, I hate them. Fiddly is the word here. I prefer a good old fashioned tilt and pan, 2 levers to do all you need it do to. Simple and functional. If you ever take pictures in the dark that’s what you want but at the end of the day it’s all personal preference.
Think too about the weight of a tripod and max height of a tripod. If you’re 6ft 6” and your tripod only goes to a max of 120 cm you’re going to get backache using it. Get something appropriate for your height, that does mean the taller amongst us will be paying more unfortunately.
Weight is a factor too. 7 stone weakling doesn’t want a full aluminium tripod with a heavy duty head on it to carry about for a days shooting, carbon fibre is more expensive but a hell of a lot lighter. The payoff may be that it’s not quite as usable in strong winds. I’ve got an aluminium one and at times I can learn to hate it with the weight in it but first windy day and I can see why I stick with it.
Again it’s down to personal preference and how you intend to use it. Do you only ever take pictures 5 ft from your car? Then buy the cheaper aluminium one. Do you hike up Ben Nevis before breakfast for the sunrise? Then you might appreciate a carbon fibre one. Do you struggle to open a packet of crisps? Get the carbon fibre. Are you Geoff Capes? Get the aluminium one. You get the idea.
So, shrug off that coat of self consciousness and go forth and be proud of your tripod, your photos will thank you for it!
A photographer living in Edinburgh has, shall we say, a good few opportunities at fireworks photography. With 22 Tattoo performances each with fireworks at the end of the performance, St Andrews Day, Son Et Lumerie, New Year and of course the huge 45 minute end of Festival display we’re somewhat spoiled for choice. We even had fireworks at midday at Edinburgh Castle this year, a strange experience if I’m honest!
So, how do you go about getting the best from all these opportunities?
What I’m going to detail here is my method for these shots, this is how I’ve taken the shots below. It might not be how everyone else does it but it sure does the job for me.
So what do you need? A camera certainly, a DSLR is best but any camera that you can control the aperture and exposure time will work, we’ll be in full manual mode for this. You also MUST be tripod mounted and using a remote control. If you don’t have a remote and your camera has a self timer set it to the lowest setting (typically 2s) and use that. It’s far from perfect but can be used if you have to.
Next job up is planning. This is essential and the key to getting the best shots. Think about where your display is going to be and what vantage points you might have. This year for the Tattoo in Edinburgh I’ve been out in a range of places. Calton Hill, Salisbury Crags, the lower slopes of Arthur’s Seat and right under the Castle in Johnstone Terrace. Each of these requires a different approach which must be planned for.
Calton requires a long lens but a shorter zoom can also be handy, Salisbury Crags is similar. The lower slopes of Arthur’s Seat only need the long lens as your so far out from the Castle. Johnstone Terrace meanwhile called for a super wide lens as you can get so close to the action. This is what you need to think about before you head off. Also think about access to the location, how easy is it? Can you get a car in there or will you have to walk?
Think about the light, will it be totally dark? You’d assume so but the early performance of the Tattoo on a Saturday night finishes at 9pm and it’s still fairly light in which case you’d be best of facing away from the sunset for the shots where the sky will be darker.
Do your research, there will be stacks of info on the net about times of fireworks etc, make sure you know when to expect them and get setup in plenty time. Search sites like Flickr for pointers on locations, you might find a great place you never thought about.
This is the hard part really but once you have this info getting the actual shots will be a hundred times easier. Performances like the Tattoo fireworks have an additional advantage in that they are the same every night. You can learn the sequence of the bursts and prepare for particular bursts you know are coming.
Once you’re at the location get your camera tripod mounted and your remote hooked up. Decide what composition you want to use, remembering that the fireworks themselves will be high above where they will launch from, in a lot of cases a portrait orientation works best for the bigger bursts, landscape for the lower bursts.
Do make sure you have some context to your shots. Get some land interest in them. It gives the fireworks a sense of scale and it will really improve the final image. In my case this is nearly always Edinburgh Castle so it’s easy to work with. I take test shots before the display starts where I make sure the Castle isn’t overexposed and there’s enough light coming in from the ground to show the city.
I like to use in nearly all cases, ISO400, f7.1 and an exposure time of around 1s. You can adjust this to get a nicely balanced image. ie, if the ground in your shot is too dark, go up to f5.6, if it’s too light, drop down to f11 or more. Ideally you want to keep that 1 to 1.6s exposure. The further away you are the longer you can chance but at close quarters 1s is more than enough to get big trails and minimise the chance of burning out the fireworks.
With the camera set up, the test shots taken, the image looking nicely balanced is all about hitting that shutter at the right time now. Don’t just rattle off shots, watch the display and hit that shutter when you see a nice trail develop. You’ll get a good few shots at it and on the longer displays time to play about with settings. Just don’t panic, keep watching the display and hit the shutter when you think it’s right.
Take loads of shots. You’re dealing with a real unknown in fireworks, the more shots you have the more chance you have of that one killer image. Simple as.
When it comes to processing fireworks shots you have to be careful with them. If you shoot in jpg there’s not a lot you can do but if you shoot in RAW make use of the fill light to bring out the land element and use the recovery slider to take out any burnt out areas as much as possible. Pay attention to the curves too but above all don’t lighten the image too much.
Fireworks are not the easiest of subjects to get right but following these guidelines should put you on the right path, the rest is up to you!
Virgin Money Fireworks Display, 1st September 2013
This is the big Edinburgh display and here’s a run down of locations you might want to consider.
Calton Hill – Iconic views but really really busy. In my opinion, best avoided.
Arthur’s Seat – Incredible view from the top, take a long lens. The lower slopes have some good vantage points too, long lens again.
Salisbury Crags – Incredible viewpoint, big and medium zoom’s work well. Can be busy.
Blackford Hill – Stick to the lower slopes near the observatory, more sheltered and away from the idiots who seem to always be at the top of fireworks night. Get’s busy and limited parking but a great flat on view. Big zoom needed.
Inverleith Park – Great view of the front of the castle flat on but gets very busy again.
Princes Street – Forget it. Simply not worth it.
Johnstone Terrace – Can be spectacular but only the biggest fireworks will be in view. Very wide lens works best.
Braid Hill Drive, get’s very busy, need to be there very early better off at Blackford Hill. Ditto Braid Hills.
Regents Road – Will be busy but nice scenic view over the top of Waverley if you can get a spot.
Grassmarket – Will be busy and probably plenty drunks too. Good view though.
Kier Street, great view to the castle from here, very close so wide to medium zoom will be enough.
Bruntsfield Links – Great spot, very close a wide lens to medium zoom is best. Can be very busy.
Here’s a few of mine from the Tattoo this year.
Well, it’s been quite a while since I last blogged hasn’t it? Not quite sure how that happened, I’m guessing the whole Facebook page has just got in the way, and if you’ve never seen it, my day to day stuff can be seen on Facebook here: http://www.facebook.com/realedinburgh
Anyway, a subject I’ve blogged on before was about never being afraid to take the same photograph twice, three times or how many times you want to take it. You can re-create a composition but you will never recreate an image. What might be a mediocre image one night might be that killer shot the next. Never let anyone tell you “oh you photograph the same stuff all the time”. As a photographer you capture light and that light is never the same.
Another advantage of revisiting was clear to me this week when I made a 2nd trip to catch the fireworks at Edinburgh Castle which mark the end of the nightly Military Tattoo performance. My first attempt at the early show on Saturday wasn’t great as it was still simply too light so another mid week visit was in order when the show finished around 90 minutes later.
Wednesday night was that night. Warm with reasonably still conditions which were perfect. Heavy rain forecast but fingers crossed it would stay away till the fireworks had finished at least. If I’m honest, when I left the house at 9.30pm I had little enthusiasm for driving into town and hiking up Calton Hill in the dark with a bag full of camera gear after a long day at work but the sight of Edinburgh Castle from the outskirts of town all lit up and standing out like a sore thumb had me inspired enough to get going!
Calton Hill has a somewhat unsavoury reputation at night but at this time of year it’s filled with tourists in the dark and the front end of the hill isn’t particularly dark either. If you’re hesitant about going up there, don’t be, you’ll be only one of a few photographers up there more than likely but stick to the front of hill where it’s well lit and you’ll be fine and the views of the city are unbeatable.
Having shot this exact same sequence on Saturday night this gave me 3 valuable insights.
1. What time the fireworks will start (in this case, 10.30pm)
2. Where the fireworks launch from (to the right of the castle away from the Tattoo lights)
3. Roughly what will be coming, ie huge bursts or low level bursts.
Number 3 was particularly important and I was pushing the limits of what I could get in the frame using a combination of the Nikon D7100 and Sigma 70-200mm f2.8 EX HSM rather than the wider 18-200mm VRII. Using the Sigma was important as it’s oh so sharp compared to the 18-200mm lens and that makes a massive difference with these shots.
With that little prior knowledge I knew the first burst was a huge red firework so I could get setup with the camera in portrait mode. I also adjusted position to put the lit front of the castle and the Balmoral clock in the centre of the firing zone so I could get both focal points in the shot.
Sure enough, 10.30pm and there goes the first shots, it was all very calm and all I had to do was wait and hit the remote at the right time, almost too easy but then again, with the forward planning most of the guesswork was out the way. This was the first shot of the night.
The next few minutes were more or less a scramble of bigger fireworks with some lower level stuff but I knew what I was after was still to come. Not that I didn’t rattle off shots in the meantime. Using a fairly short exposure, around 1.3s at ISO400 and f8 was suiting me perfectly and allowing a good range of shots.
Now, this prior knowledge paid off again. I knew there was a gap in the fireworks and after that long-ish gap was the bursts I was looking for. A series of low level bursts in an arc above the castle. Knowing this was coming I had plenty time to flip the camera to landscape mode, zoom in a bit more and make sure the focus was spot on.
Sure enough the expected bursts came and the shot I had planned was in the bag.
A previous visit along with a little planning had paid off and it’s another classic example of why you should do your homework and never be afraid of doing a shot again. Armed with this knowledge now I might have another go at these fireworks from a different location and see what the outcome is. The best of this is I’ve got fireworks shots now from a premium location, a location that will be packed to capacity for the main event on Sunday 1st September at 9pm. Where will I be that night> Not on Calton Hill that’s for sure, I’ve already got my shots from there!
If you want to try these fireworks yourself the Tattoo is on till the 24th August (except Sunday). Monday to Friday the fireworks will start about 10.30pm and last approx 10 minutes off an on. On Saturday they start at 9.00pm and again around midnight where it’s a longer display.
The main Edinburgh fireworks event takes place at Edinburgh Castle on Sunday 1st September at 9pm and lasts for around 45 minutes.
I stumbled across this earlier totally by accident but I can see it becoming a little obsession for a while.
While shooting the fireworks one camera had a really cheap remote control on it, the sort where you can push the button up and if you have the camera set to high speed drive it’ll just keep taking pics until you run out of memory space. This meant I just engaged that camera to run and I manually triggered the other one. The upshot was, I had long sequences of shots, one after the other which when flicked through in iPhoto sort of looked like a little movie…
An energy saving lightbulb lit up gradually over my head and I ended up going through all the pics taken on Sunday night with the D90 and found quite a few multi shot sequences.
These were all in RAW so I had a hell of a lot of processing to do, the trick being to take each sequence and process every shot in exactly the same way, I done this by saving the settings in ACR and applying to every shot in the sequence.
Next up with all the shots processed was to order them, as I saved with the default name I just ordered by name.
Now, using iMovie on a Mac you simply have to drag all the files in one go into iMovie. From here, highlight all the pics and set the time interval to 0.1 or 0.2s in the clip adjustment menu (little blue drop down in the bottom the highlighted pic. Now pick the Cropping, Ken Burns and Rotation menu, whatever Ken Burns is it’s a pain. Switch all the shots to Fit and click done. This will stop that stupid zoom in thing on every shot from happening. You might also have to go into File — Project Properties and change the Initial Photo Placement drop down to Fit in Frame.
With this done you can now preview the movie and make any further adjustments. Now go to Share — Export Movie and pic the best option for you. I picked the 1080p HD option but beware, 167 12mp frames ended up as a 70+mb .mov file. The .mov is fine for upload to You Tube, Facebook and Flickr so I would assume it’ll upload to other video services too.
And that’s about all there is to it, I’ve also now applied this to sequence of shots meant for a star trail that shows the movement of the stars once you give it the time lapse treatment.
You can check out the final movies on You Tube:
Well, that was probably the most challenging night I’ve ever had shooting fireworks in Edinburgh. Fireworks are never particularly easy but add in a fairly brisk westerly breeze and it makes it even more of a challenge as the burst gets blown in the wind leading to nasty trails. Not the best but I got around it to an extent.
The location of choice for the 2012 Virgin Money Fireworks Concert at Edinburgh Castle was the old favourite of Blackford Hill. I went for Blackford over the Crags this year as with the wind coming from the west the smoke from the fireworks would drift towards the Crags but off to the South, Blackford would be fine.
Blackford has the added advantage of being flat onto the back of the Castle so you are shooting the bursts as they are, rather than through them which you do from Calton or the Crags. Inverleith is the same as Blackford but looks directly onto the Front of the Castle, arguably a better location but Blackford is higher too which I think helps.
The setup for this year was again 2 cameras on the go. The Nikon D7000 had a Nikon 18-200mm VRII on this year for some wider atmospheric shots and the D90 had the Sigma 70-200mm f2.8 for those closer in shots, both tripod mounted (obviously) and both with remotes attached. The D90 was set to high speed drive so with the remote engaged I could leave it to snap away while I manually triggered the D7000.
As I said earlier, the wind was a real issue. Any wind causes the fireworks trails to trail with the wind too leaving you with messy trails, the solution I used was to try and keep the exposures short, against the conventional way of shooting fireworks.
Most exposures I kept down to 1s or under, especially on the closer in shots, wider could stretch a bit longer and I wanted the lights from the city too. The upshot of this wasn’t the glowing long trails of usual shots but the shorter trails and quicker exposure combated the nasty drift from the wind. In this mode I was able to rattle off nearly 600 images from the 2 cameras which gave me plenty to cherry pick from to get the best. All in, not as good as previous years but I certainly handled the conditions better than I have on previous windy nights.
Just as an aside, I know the whole display was geared up to be viewed from Princes Street but a lot of Edinburgh watches it from other locations too. This 2012 display was pretty poor from any vantage point that didn’t look onto the front of the Castle. Long gaps of nothing visible, and I’m talking 5 minutes upwards was the order of the night and certainly not as good as previous years. I even missed the finale as there was a massive gap with nothing notable happening, not until I packed up and was halfway back to the car at least.
Roll on the Hogmanay fireworks and hopefully no wind!
You can view the whole set at:
or even head over to Facebook to http://www.facebook.com/RealEdinburgh and hit the like button and see them there was well!
A few choice shots…
I even got the lead shot on BBC News this year too!
Valentines Day this year saw the start of another series of visible passes from the UK of the International Space Station, which if timed correctly can provide a nice photo opportunity. Lot’s of satellites are routinely visible from Earth but with sheer size of the ISS makes it a worthwhile subject to hunt down.
When it’s visible essentially what you will see if a very bright dot in the sky moving at a fair pace. You won’t confuse it with aircraft as it doesn’t have any flashing lights, it’s a steady white light similar to a bright star moving across the sky. For it to be visible though you need to catch it when it’s not in the Earth’s shadow as the light is provided by the sun reflecting off its surfaces, if it’s out of reach of the sun, you won’t see it.
Predicting where it will pass is pretty easy if you have access to app’s such as Star Walk on the iPhone, or any similar night sky tracker that show’s satellite positions. With Star Walk you can locate the ISS and then fast forward time to see where it will be at any given time, what it won’t show you though is if it will be visible from your location or not.
To determine visibility you’ll need the Heavens Above website. Simply select your location in the configuration settings and then look at the ISS predictions for the next 10 days, this will show you all the visible passes. Remember to deduct 1hr from the time for current UK time. Also check how long it will be visible for, it might be only a handful of seconds, it might be minutes depending on the position of the Earth shadow. The lower the mag value, the brighter the pass will be.
Armed with this information, what you need now is a nice dark location with a good view to the West and South and a clear sky, the ISS will arrive from the West travelling east. On a shorter visible pass your best bet is to setup the camera looking approx South-West, if you have access to the Star Walk app, try to see which easily identifiable star constellation it will pass near, that will help you decide where to point the camera. At the moment, it’s passing very close to Orion, one of the easier constellations to find.
Usual star photography settings apply, you want to be (in a very dark location) around ISO1600, lens as wide as you can get it (f3.5-4.5 is fine) and exposure should be enough so the sky looks light but not blown out, you can darken the sky back down again in post processing but for now we want to be sure we’re picking up as much image data on the stars as we can. In more light polluted area’s you’ll have to drop the ISO to maybe around ISO400 to stop the image blowing out.
After that it’s a case of watch and wait. Take a few test exposures so you know what field of view you’re going to capture in the shot, as you see the ISS (it’ll be fairly obvious) approach your field of view, hit the shutter (with a remote obviously) and keep taking exposures until it’s gone or you’re sure it’s out your field of view.
You can always combine multiple exposures in a programme such as Startrails.exe or StarStax to get a full trail of the ISS over the frame later.
This is an example of pointing the camera to much to the South and not enough to the South West, the little streak on the bottom right is the ISS but despite having watched it for a good 20s before it went into the shot it then went into the Earth shadow and that was it, gone for the night! There are loads of opportunities though over the next few days so if you don’t get it first time, try, try and try again!
If you get a dark enough location you might also be lucky enough to get some decent star shots in general just now, with the moon well out the way of the early evening night sky the stars are nice and bright to the point it’s even possible to pick out (faintly) the Milky Way just a few miles outside light polluted Edinburgh.
To say I was pissed off after missing a chance to photograph the Aurora Borealis over Edinburgh on Sunday night is an understatement. The Aurora had been #1 on my list of list of photographic ambitions for 2012 and to have it basically handed to me on a plate and miss it made it even worse. The crowing glory of self pity though is that I missed it due to complete and utter apathy. I had planned to be out with the camera at the time it was clearly visible but instead made excuses, “too windy”, “too cold”, “can’t be arsed” rather than go and paid for it!
With that in mind I hauled my bones up Blackford Hill on Monday night. The skies were beautifully clear and the stars were easy to spot on the dark of the hillside but there was little chance of any Aurora since the KP index had dropped dramatically from the night before.
With the news of the huge CME heading towards earth from Monday mornings flare on the sun Wednesday night was to be prime time. Sadly, cloud was a constant feature along with fog and rain, hardly idea conditions to try and witness an atmospheric phenomenon.
Undaunted though, convinced I could see a green glow on the clouds despite a KP of only 4 at the time I headed back to Blackford Hill. Thankfully it was mild, the rain had stopped and there was little or no wind. There was also little sign of any Aurora either. On longer exposures the camera was picking up some green tinges in the sky but nothing concrete and the low cloud was in places reflecting light from the ground. To be fair, though, if you’re going to be disappointed the Blackford is the place to be, the view of the city from up here at night is amazing and a recommended visit even if there’s no Aurora.
From here I headed down to Cramond to see what conditions were like there but the fog hanging over the water of the Forth made it impossible to see anything. Nice as the still conditions were there was no chance of it moving either.
With the realisation that I needed to be up higher again I headed to the Braid Hills, it’s nicely dark up here but you do have the light pollution from the city in front of you. Still, while there, nothing ventured, nothing gained. I took some shots headed more or less directly north when I spotted a little to the North East the light around Arthur’s Seat. It certainly wasn’t green but I stuck the camera in that direction and rattled off a few longish exposures around 1.5 minutes looking for a composition which is where the tree on the right of the shot comes in!
I actually didn’t really notice the green until I downloaded the images when I finally got home after a 4 hour session out staring at the skies. Other shots in the direction had no hint of green at all and this was the only frame that did. Right place, right time, right clouds, right conditions and a lucky lucky catch.
The moral of the story? If you don’t try, you won’t get. Even if it doesn’t look perfect give it a shot, you never know what you might come back with.
It’s been a learning curve the star trails shots. What I’ve noticed is that I’m pulling more stars out the shots now than when I first started and this is turn leads to denser trails. So what’s the difference and how do you get more stars?
1. You MUST shoot in RAW.
2. Compose your shot and expose to the point that you can see a lot of stars in the preview but don’t totally blow out anything else you might have in the shot. In light polluted areas I’ve been using 30s at around f7.1 and ISO400, in darker areas I can drop to around f3.5 quite happily.
3. Take at least 20 shots, the more the longer the trails. Focal length plays a big part here. At 18mm 20 shots will give a short trail, at 50mm it’ll be a longer trail. a cheap 50mm f1.8 is the perfect lens, but if you need wider try and get more frames.
4. What I do now, is to take all the RAW images and dump them into a folder. Now with Adobe Camera Raw (this will transfer to Lightroom too), open the first 10 RAW files. Select the first file and hike the clarity up to 100%.
5. Now drop the exposure slider to the right until you are bringing out stars, bumping up the fill light also helps.
6. Now swith to the Tone Curve tab, at the bottom of the box are 4 sliders, you want the light and darks sliders, make the lights lighter and darks darker until you get a balance of the stars with a darker sky. You will also need to go back to the basic settings and fine tune Temperature and Hue.
7. Once you have a nice balance save the settings and these will now appear in the Presets menu under the name you saved it as.
8. Now select all the images you opened and apply this preset to the all and click Open Images.
9. Once all images are open simply save each jpg and close the shot, repeat for all the RAW files you have.
10. Combine the processed JPG images in your chosen programme for blending, usually StarStax or StarTrails.exe and save the final image.
Once you have that final image you can fine tune with a little colour balance if needed. A bit of dodge and burn can go a long way to to lightening and darkening areas a little at a time until you get the shot you’re happy with. Once that’s done, save and admire!
Both these shots were processed in the way above, both are only around 30 exposures (which if it’s under 0c outside is more than enough!), but the first shot was as 18mm, the 2nd shot at 50mm where you can see a big difference with regards to the trails.
Ah, so you got a shiny new digital SLR for Christmas did you? An upgrade from a compact, first SLR maybe? I’m betting as much as you like it it’s also confusing the life out of you and frustrating you at the same time isn’t it?
Consider this 12 month plan to help you unravel the secrets of your DSLR and get the most out of it. This won’t tell you how to USE your camera but it’ll tell you what to concentrate on while you get to grips with it and what you’ll need.
So, how best to get the most out of your new acquisition? The good news for you is that you don’t need any more equipment at this point, no more expense! All you need is your camera with its kit lens and off you go. Don’t even think about new lenses and any fancy accessories just yet, spend the first while with your camera getting to know it. It’ll have a load of modes and features which no doubt you’ve played with but have no idea what they do.
Rule 1, and try to keep with this one as much as you can. Forget AUTO mode exists. Don’t touch it. There can be no excuse for using AUTO on your SLR. If you want to use AUTO, go back to a compact.
Rule 2, forget all those pre-programmed modes, the only thing to concern yourself with now is the Aperture Priority mode which may be A or Ax on your camera. Stick to this mode as it’s all you’ll need for now, eventually you can progress to using Manual but Aperture Priority will serve you well for now and it’s going to keep things simple.
Spend the next month playing with the camera in this mode. Learn what the aperture is, there’s a million tutorials on this out there, you don’t need one from me but trust me, learn to use your camera in A mode, learn the difference between taking pics at f3.5 and f22, and learn to use the ISO on your camera. Try to keep it as low as possible but don’t go over 800 if you can, learn to adjust this and the aperture so you can shoot handheld in the light available. You WILL get the feel for it a lot quicker than you think.
Months 2 – 4
OK, so you’ve recognised AUTO mode as evil and you now understand what aperture and ISO are. These are building blocks for you to move on now. By this time you’ll also know what your SLR is going to be for you. Are you just using it for family snaps? Or are you actually taking pictures with it, are you seeing scenes and trying to capture what you see? Do you find you want to take the camera wherever you go? If you are, then let’s go shopping.
If you want to progress you will need a few additional items of equipment.
1. A tripod. Now, don’t skimp here. You can get tripods from a tenner upwards but its false economy. Tripods take a fair hammering and I went through a load of cheap ones until I finally saw the light and invested £120 in a decent one which has outlasted all the other cheap ones put together and it’s still going strong. Final decision is yours but I would consider spending that wee bit more here.
2. Remote Control. To go with your tripod you need a remote. You could use the self timer on the camera but that’s not perfect, a half decent remote will serve you well. Try and avoid these tiny IR remotes that use the camera’s built in IR, these are typically useless. Get onto eBay and find yourself a programmable remote that connects to your camera with a cable, these are a LOT better and you’ll get a lot of use from it. Around £20 should be all you need to spend. If you want to go a bit further look at something like the Hahnel Giga T, which has a receiver unit that sits in the hot shoe and connects with as short cable to the camera. It’s triggered by a powerful programmable IR remote, a highly recommended investment (around £60).
3. Some decent processing software such as Adobe Photoshop Elements.
Ok so that’s it. Put the wallet away. You need nothing else. Now though, you can take pics in lower light, even dark as you have the tripod for stability and the remote to trigger the camera without touching it. You can now also progress to longer exposures, your aperture mode will allow you go up to 30s but if you flick to manual and select the shutter speed of BULB then you can go as long as you want. EXPERIMENT! It’s the best way to learn. Over this time you’ll see a difference in your pictures.
So how’s it going? Still enjoying your camera? You are? Excellent, time to go shopping again.
What we want now is a simple set of filters. Keep it cheap to start with. Get onto eBay and get yourself the following.
1. P series filter holder
2. P series adapter ring to fit the screw size of your lens
3. A set of 3 85mm (P series) soft graduated filters, 0.3, 0.6 and 0.9
4. Slot in 85mm circular polariser
This shouldn’t cost you any more than £60 or so and it will transform your images. Remove your lens hood and screw in the adapter ring, fit the holder to it and you’re ready to go. The graduated filters will allow you to control the difference between the light sky and dark land; the polariser will make white clouds white and fluffy while giving you a richer blue sky. They also reduce reflections in water and glass.
Now you need to get out and learn to use these filters. Expect disasters to start with but if you’ve been learning aperture, manual mode, using your tripod and remote then all this will be 2nd nature by now so you can concentrate on learning how to use the filters.
At this point too, if you’re still taking pics as jpg’s on your camera, learn about the RAW format, it’s time you processed your own images and not letting the camera make a best guess and what you want.
Months 9 – 12
And here we are 9 to 12 months after getting your SLR and your still out taking pictures? The bug is biting it seems. Now it’s time to go lens shopping. Your kit lens has served you well but nows the time to consider some of the following.
1. Replacement for the kit lens. These are typically low quality medium range zoom lenses, 18-55mm or so. It’s a good focal range but there are a lot better versions on the market, get a good one and it’ll last you forever.
2. A super wide lens. Your kit lens is fine but sometimes you just can’t get enough in the scene, so you need a super wide, something like the Sigma 10-20mm is a perfect choice.
3. A decent zoom lens. Now, here you have a choice. If you want to replace your kit lens and get a zoom consider a super zoom. These will typically allow you to go from 18-200mm in one lens. There are some great examples out there and they won’t disappoint. It’ll likely be pricey, around £600 but remember, it’ll do the job of 2 lenses for you.
4. A longer length zoom. It’s handy to have a good longer length zoom lens, 70-300mm is a popular range and there are some cheap examples about but if you can afford it, get a 70-200mm f2.8, the Sigma version is around £700-800 and Nikon and Canon’s versions are in excess of £1500 but what a lens, I’ve had my Sigma version for over 10 years and just could not bear to be without it. Very versatile and image quality is amazing.
5. 50mm f1.8 prime lens. One of the cheapest lenses you’ll ever buy, around £100 new but superb image quality and so versatile with that wide f1.8 aperture. You’ll have a lot of fun with one of these learning about depth of field. A must have for every photographer.
You might also want to consider a decent bag to carry all this kit around it. It needs protected, you’ve spent a lot of money on it so don’t skimp on the bag. Get a decent brand like Loewpro and it should last you for years and keep your kit in good order.
And that’s it. You’re more than capable of making your own way now, by easing yourself in through the year you’ve avoided giving yourself information overload, you’ve learned the basics and you’ve got the building blocks to move on to bigger and better things without having more debt than Greece on your Jessops card. Enjoy your new hobby for years to come!
The big problem with photographing fireworks displays in Edinburgh is trying to get something that’s not been done 100 times before. This year along we’ve had the half hour display from Edinburgh Castle for the Festival, a shorter display from the castle for St Andrews Day, a display from Calton Hill as part of the Hogmanay celebrations and just over 24 hours later, another huge display from the castle again at midnight for New Year. That’s quite a lot of opportunities with iconic landmarks.
For the Festival display I trudged high up on Salisbury Crags with what felt like 10 tones of camera gear but nailed the shots I wanted so it was all worth it.
The St Andrews Day display though was another matter. With no firm time for the display and a strong biting wind I had gave up on my Calton Hill location thinking they had been cancelled, thankfully when I realised that hadn’t I was only down by Regent Road so did get some shots, nothing I’d describe as killer though.
Ok, so it’s not bad and the Bank building in the shot rather than the castle is different but it’s not the shot I wanted, not the best of nights.
Next big chance was the Son et Lumiere on Calton Hill, the end of the Hogmanay torchlight procession. In previous years I’ve shot this from the hillside itself from the back of the 10,000 strong crowd but have never been that pleased with the results.
This year I decided to try something different. Earlier in the year I took some shots from the Holyrood side of the Radical Road around Salisbury Crags trying to get traffic light trails with a backdrop of the Parliament and Calton Hill. The idea struck me, why not try and combine the two? So that’s what I did. 2 cameras set up, D7000 with the Sigma 70-200mm shooting Calton close in in portrait format, the D90 with the Nikon 18-200mm lens shooting the wide scene on 15s exposures to get the light trails and the fireworks. And guess what? It worked. Exactly the shot I wanted and something I’ve not seen done before.
The good times didn’t last though. For the big New Year celebration fireworks I had scouted out an easy access location with a clear view to the front side of the castle. Trouble was, this was a daylight scouting mission and on arriving at the location with no time to get anywhere else, the error I had made was obvious. There’s a rugby club here and they had strong security lights on their clubhouse, right in front of the castle which caused a load of issues with light flares on both cameras.
To say this was a nightmare was an understatement, I had to spend the whole display fiddling with settings and compositions and came away with nothing I was happy with at all. Eventually I had to resort to blending two fireworks bursts together and then blending in another shot of the castle before the display to get anything approaching a usable shot. I’m not that happy with the results, it looks too perfect. No smoke obscuring the castle is the big give away. To the man in the street it’s a good shot but to a semi knowledgeable photographer, it’s a dirty big fake and that doesn’t sit that easily with me.
So, lessons learned?
Scout out new locations at night.
Use your existing shots for inspiration for locations and techniques.
Get all the info you can on the display.
Use 2 cameras on different settings if at all possible.
I’ve got a few months now before there will be anymore, I just hope I remember the lessons learned by then!