I’ve had my eyes opened photographically recently. I had absorbed myself so far in a world of trying so hard to get that “perfect” image I had started to become more obsessed with getting hold of the right kit to do a job rather than look at what’s important. Which is of course, the image you produce. I never seemed to go anywhere without a tripod, a stack of filters, remote controls and a collection of lenses, which is all very well but I was becoming to purist.
I became obsessed with only ever wanting to shoot at ISO100 to ISO200 to make sure I eliminated noise. I only used a tripod, never shot handheld if I could help it. I used filters all the time, more so when I went through my 10 stopper phase.
Three things changed all that. Getting my Nikon D7000 was the start, it’s get exceptional high ISO performance so gradually I’ve been started to worry less about noise. Next up was the Nikon 18-200mm VRII, which coupled with the D7000 means I can practically shoot handheld in the street at night easily. Third, and probably most importantly, getting an interest in street photography.
What the street stuff done, was got me back shooting handheld. I now reckon I shoot 75% of my stuff handheld as opposed to 0% this time last year. I think more about the composition and the shot than the technicalities and it’s from this that I’ve started to explore other things to try and create “different” images.
This was shot at the Edinburgh Christmas funfair handheld with the D7000 and 18-200mm VRII. VR switched on and a slow-ish shutter speed. At the point of opening the shutter I quickly twisted the zoom back a little and got this effect. It’s quite abstract and not to everyone’s taste but compared to the legions of identical tripod shot images of this that appear every year, it’s different and that’s what I like about it.
This shot used the same technique from further out.
This also used the same technique but was shot over a longer exposure on a tripod. It still adds a new unusual quality to the image.
Back at the Christmas fair, this image was shot with the same sort of exposure as the twist shot but rather than twist the zoom, I twisted the entire camera at the time of opening the shutter.
This image was shot using a slow shutter, handheld. Again, a shutter speed just long enough to blur the motion. No twisting or zooming this time.
Traditionally I’d have shot this on a tripod but in this case, I upped the ISO and shot handheld, this gave a freedom to quickly try different compositions as the sunset was fading rapidly.
Remember, exploring these sorts of techniques in this digital age costs you nothing. It’s not like film where you could spend a fortune and get nothing. If the image isn’t to your liking, try again and again and again. You can always delete them later. Of course, these sort of techniques can be a little hit or miss but it’s simply doesn’t matter and the more you explore these type of things, rather than just frame and click the more you build up the chances of getting a unique shot. These won’t work in every situation but when you find the ones that do you’ll know and might actually enjoy the experimentation.
As an aside, I now find that when I do shoot on the tripod with the filters and remotes I actually enjoy it more now it’s no longer the rule. Photography is a limitless hobby so don’t impose limits, push those boundaries of your imagination and you might just like what you come up with.
Newhaven Harbour is one of these undiscovered gems that 9 out of 10 tourists will never find with they visit the city which is a pity as it’s one of the most attractive areas along the Edinburgh coastline. Situated just to the east of Leith Docks and west of the larger Granton Harbour this small harbour provides a wealth of photographic opportunities.
Getting to Newhaven is easy; simply head along the A901 which hugs the Edinburgh coastline, if the Firth of Forth is on your left coming from the west of the city or on your right coming from the east then keep going and you’ll eventually find it. There’s lots of free parking in the area, either in the free bays along Starbank Road to the South of the Harbour or if you turn hard left just part the harbour and follow the road around you can park on the cobbled area right next to it.
By far the most striking feature of this small harbour is its lighthouse. One of the best and most accessible local examples you’ll find in this area. You can walk right out to the base of the lighthouse and it’s hard to take a picture of Newhaven without if featuring in some way or another.
At low tide the harbour all but drains of all it’s water creating plenty of opportunity for long exposure shots of the boats as they beach on the harbour’s muddy bed. At low tide to the north of the lighthouse the large jaggy rocks of the sea defences are exposed and a bit of careful exploration can take you over the seaweed line right down to the rocks for some dramatic shots up to the lighthouse.
At high tide the harbour fills up quite a way and the water will come quite far up the cobbled slipway which is again a popular shot with local photographers. The boats themselves at the harbour are mainly leisure boats but there is a mix of working boats in there too although you don’t that often see many boats coming or going from here.
You can get pretty unrestricted access around the north, west and south edges of the harbour, only the eastern edge is restricted access. At low tide if you’re careful you can pick your way around the seaweed covered walkway at the bottom of the slipway right around to the lighthouse, be warned though, it’s exceptionally slippy!
Newhaven is one of the best locations in Edinburgh for a summer sunset; the sun comes down over the Firth of Forth giving ample opportunity to photograph the lighthouse or boats at sunset without any other objects in the way of the sun.
This is one of my favourite locations in Edinburgh and one that I visit often, especially during the summer months. Below are a few examples of shots you can expect to take away from Newhaven.
This is one of those locations that just begs to be given the long exposure treatment. The Scottish coastline is littered with these old piers if you know where to look for them and they make fantastic subjects as they age and deteriorate.
This particular pier gave me some amount of issues trying to find how to get access to it but once you’ve found it it’s really rather easy!
Arriving in Aberdour from the East drive though the village and you’ll go past the railway station which is on a large S bend. Around 100 yards on your right from there you’ll see signs pointing to Silver Sands down Hawkcraig Road. Follow the road down until you arrive at a large car park. Drive to the far end of the car park and park up to the left where you’ll see an opening in the trees. Walk though here and turn immediately to your left and follow the road. After a very short walk you’ll get to a little fork in the road, keep left and walk down the very steep hill towards the houses at the bottom. Continue along the little gravel lane and when you come out from between the houses that’s you at your destination!
The beach here is all medium sized loose rocks, a bit tricky to walk over to make sure you exercise some caution which approaching the pier. When I visited here, it was about an hour before high tide and it was a pretty good guess at a decent time catch the subject. You have good access all round and indeed even underneath the pier so you can get shots from a good range of angles.
While you’re here don’t forget the view you also get of the Edinburgh skyline where you can clearly make out landmarks such as Arthur’s Seat, Edinburgh Castle, the Hub spire, St Giles bell tower and the Balmoral Clock. A range up to around 200mm will get you a reasonable shot of Edinburgh from here.
This location is also interesting for the views of the various little islands dotted around the Firth of Forth including Incholm and its Abbey and the “back end” of Cramond Island. Again, a longer lens will let you get something of them from here too.
This location is best for sunsets in the winter, in the summer the sun sets off up to your right over the harbour.
All in, a nice location with loads of potential if you find yourself over on the Fife coast!
For a good while I’d seen this bridge on Flickr. Never paid much attention to it but it did feature in some pretty cool images. It’s not your normal bridge; this bridge was slap bang in the MIDDLE of the water with no visible means of access either side. Weird!
After a bit of research I found the location, in Belhaven Bay just to the east side of Dunbar. Take a look at Google maps for the exact location; you can actually see it on there quite clearly. I also discovered that the bridge actually does have a purpose, at low tide it spans the Biel Water where it empties into Belhaven Bay and the North Sea, at high tide the water effectively cuts the bridge and the sand flats beyond off. Makes a lot of sense if you see it at low tide!
The obvious time to photograph this place is high tide, so check the tide times before you make a trip out there. Ideally, a tide of 5m+ is what you’re looking for to make sure the small walkway to the bridge is under water.
The location itself is pretty accessible. Lots of parking about and the bridge itself is just feet away near the high tide line on the beach.
Ideally, you’ll need to lenses to get the most of this location, a super wide and a wide with a little zoom. If the tide isn’t covering the walkway, the super wide will be your weapon of choice, if it is and your forced further back from the bridge by the water then you’ll wish you had a little zoom at your disposal.
High tide 45 minutes earlier and I’d have been onto a winner; still it does give me an excuse to visit the location again in search of that perfect shot!
A quick note about this location, it’s a great place to be and on a nice night, it’s one of the best spots with easy access I’ve yet to find but if the weather is bad you’ll be really exposed, high winds and rain and not that uncommon, it took me 3 visits till the wind dropped enough to use the 70-200mm lens to get a shot of the Bass Rock from here that wasn’t blurred due to the wind blowing the lens about!
In the time I’ve been seriously taking photographs, one thing I’ve discovered is that a little research pays dividends before you travel to a location to photograph it. I used to just turn up where I fancied and snap away, now with a bit more experience under the belt I usually have some idea of what kind of shot I want before I get there and it’s pointless going if the conditions aren’t going to be right!
Here’s a perfect example, this is the Belhaven Bridge just to the east of Dunbar:
At this location, high tide covers the walkway to the bridge so the bridge looks as if it goes nowhere with deep water either side, it in fact, spans the Beil water as it exits into the sea at this point which you can see at low tide. So, using the Tide Times website, I knew when high tide would be so headed down there for that. Sadly, it didn’t co-incide with sunset which you could check out on Suncalc.
Arriving later than hoped the tide was peaking but not covering the walkway. I know from research that night at the high tide height was 4.6m so; it follows logic that the walkway was just on the verge of being covered so waiting for a day with a tide predicted to be higher than 5m will give me the shot I want. The perfect time to take this shot will be a high tide, 5m+ co-inciding approx 20 either side of sunset. High tide and sunset co-incide on 24th May but with a predicted tide of only 4.2m it’s not the perfect night to get the shot, better to wait a couple of weeks and try again.
Tides also play an important part of decisions where harbours are concerned. I love long exposure shots but high tide, long exposures and boats bobbing about don’t go! Nobody wants blurred boats! In this instance, it’s better to forgo the 10 stopper and use a faster shutter and wait for a lower tide, or at least the boats in the front of the shot to be grounded. Of course, you always have the option of cutting the boats out of the shot altogether, but unless there’s something else as a good focal point then this leaves you with limited options.
Clouds are another feature of nature to keep and eye on. Nice blue skies are all very well, and indeed welcome in some cases but a bit of cloud cover always helps. To try and give an example, this is the top of the Falkirk Wheel on a day with little or no cloud cover:
I know which shot I prefer…
Fast moving clouds, by which I mean heavy broken cloud, are great for long exposure photography. Huge dark clouds with little or no definition are not! Clouds can also add a lot to sunsets as the light bounces off them and in HDR photography you can create dramatic scenes with a nice cloud cover:
So, before you head off. Keep an eye on the:
And plan accordingly!
You’ve had your compact camera for ages now and while you like the convenience you’re thinking of making a step up to a DSLR aren’t you? It’s hardy surprising, 10 years ago a DSLR was very much a luxury item, you could by a car for less than most around at the time, these days with entry level DSLR’s wit kit lenses coming in at under £400 for everything you need to get started it’s becoming a more and more tempting proposition for many.
But… before you rush off to your local camera dealers, or start furiously researching best prices online, ask yourself, what do you actually want from your camera? Do you just want to take pics of your mates drunk in the pub or just a few snapshots of the kids? Then, save yourself some cash and stick with your compact, it’s more than suited to the tasks in hand. On the other hand, if you find yourself getting a real interest in photography, feeling the urge to try and take better pictures and find you use your camera a lot then go right ahead, you won’t be disappointed.
Actually, that last statement is a lie; you will be horribly disappointed and equally frustrated when you move up to a DSLR. Just because you have a “proper” camera, it won’t make you a photographer overnight. There will be a lot of learning ahead, trial and tribulations and probably tantrums and tears as you get to grips with your new toy but rest assured, its worth it all as eventually you’ll get the results you want if you persevere.
What you have to remember is, this is a proper photographic tool you’re investing in. Even a cheap one will blow most compact cameras out of the water but you have to change your way of thinking. Don’t use it like a compact; don’t stick it on auto and snap away, what’s the point of that? Your compact can do that! What I’m going to detail isn’t how to use your camera but the things you should stick at to learn how it works properly. What to focus on to help you get the most from your new camera.
First things first, what equipment do you “really” need?
Ok, so obviously, you’re digital SLR. Be in Canon, Nikon or any other makes, it might seem unimportant but think on before you buy. That Pentax might be a great deal as you eye it up in Jessop’s, but think further down the line. Is there a good supply of lenses for it? How do the prices look? It’s important as typically once you buy into one system and start to add more lenses you won’t want to switch to another. I bought into the Nikon system and have since added 9 lens to my collection, to switch to Canon and re-buy all these lens’s would be horribly expensive so choose wisely. My honest opinion, go Nikon or Canon, a safe bet all round. Try both in the shop; see what you prefer as both will be very capable performers.
DO; buy the camera with the kit lens. It’ll be cheaper than buying the body only and adding a lens to that. Most kit lens will be in the 18-55mm range which is fine for a wide range of applications and it’s enough to get you going. The camera shop will invariably try to see you a UV filter to go with your new toy. No harm in that, it’s good for protecting your lens and does cut down haze but… think about it first. If the shop is trying to sell you a branded UV filter you may be paying upwards of £30 for it. They’ll sell it mainly as lens protection and there’s no doubt that it will protect your lens front element, however which in a camera bag etc, your lens cap will also do that and while it’s in your hands, the chances of scratching the lens is minimal. I have no UV filters anymore, I had 9 scratch free lens’s and believe me I am the worst in the world for chucking them back in the bag minus lens caps. Don’t waste your money on a UV, just treat your lens with respect, look after it and if you have the cash invest in a polarising filter instead.
Used properly, a circular polariser will enhance the blues in sky, make the contrast to clouds better and cut out glare from water, shiny surfaces etc. A million times more useful than a UV. More expensive sure, but look about online, you’ll get unbranded ones that while certainly not as good as your Hoya’s etc it’ll be more than adequate for starting out and you’ll get more proper benefit from it than you will a UV.
Also invest in a tripod of sorts, how much you spend is up to you. Tripods can range from a few pounds for small spindly effort to hundreds of pounds for the all signing and dancing carbon fibre models. Go mid range, even going to about £50 will pay dividends in the end. You’ll almost certainly upgrade it if you really get into this stuff no matter what you buy. While you at it, get onto eBay and get a remote control too. Needn’t be one of the mega bucks ones, a simple IR or corded remote for a few pounds is adequate.
Finally, a bag. You’ve got minimal kit so a small bag will do right? Well, depends if you’re going to add more as you go along? Eventually, that small bag will be overflowing and you’ll need another one. I bought a Loewpro mini trekker many years ago. £60 seemed a fortune for a bag but it’s still going strong although bursting at the seams now. You get what you pay for here!
So now you’ve got your kit, what first? Well, forget auto mode. Stick the camera on Av, aperture priority mode and leave it there. Learn about depth of field, how to focus, the difference of aperture vs. focal distance etc and you’ll get a pretty good grounding. Aperture is all in photography. Take a pic of something close to you, say 2ft away at f3.5 which your lens will probably do, then take the same pic at f22. Look at what you have and you’re on the way to understanding the cornerstone of photography.
Do; use your tripod and remote switch often. Not just in low light, if you photographing landscapes get into the way of using it, even in good light with fast shutter speeds. I originally shied away from the tripod, feeling a touch self conscious using it out in public, now I rarely take a shot handheld.
Now, this next statement will have some photographers out there crying in disbelief… and this is all the more important if you’re photographing landscape, cityscapes etc… LEARN ABOUT HDR PHOTOGRAPHY. For a few quid you can buy Photomatix Pro software and you’re on your way. HDR, which spat upon by most advanced or pro photographers is a post processing technique where you combine 3 exposures, one normal, one overexposed and one underexposed to get an final composite image with an increased tonal range. In shot, it can make an average picture look stunning, especially to a beginner. Read all about it and learn how to do it. Why? Because if you do, you will be amazed at the results, so will your friends and family and that encouragement will drive you on. I love HDR; it gave me a real boost while I was learning. It let me do things my camera and kit were not capable of doing in a single shot and these results spurred me onto more. I rarely do HDR anymore as I’ve increased my understanding of filters etc but in the short term it will give you great incentive to take more and to experiment and that can’t be a bad thing can it?
Sign up to Flickr or Blipfoto. Get involved in the communities, you’ll find plenty people willing to offer advice or even some tuition to help you along. Remember to not make it all one way traffic though, the more you put into these the more you get out. Upload regularly, learn and be inspired by others and you’ll be surprised how quickly you come on.
This will all keep you gripped for months but eventually you’ll want to add more kit. It happens to us all; maybe even upgrade your DSLR? You could spend forever but spend wisely. Think about what you’re getting, what you’ll use it for and most importantly spend as much as you can afford. Cheap lenses especially are rarely good lenses.
Initially for lens purposes think about adding a 50mm f1.8 first. This is a prime lens, i.e. no zoom, it has a large maximum aperture of f1.8 to allow some great depth of field shots and most importantly, they are cheap in lens terms, around the £100 mark. Every photographer should own one.
After this look for a decent zoom, something up to around 200mm. There are a load of cheap lenses out there up to 300mm but believe me, image quality at 300mm is crap, don’t be swayed by it. I bought a Sigma 70-200mm f2.8 EX HSM, expensive yes at over £600 but I’ve never needed another big zoom since, it’s so good it does it all!
These 3 will be more than enough for most but you may also get the urge to add a wider lens at some point, a valuable addition to any landscape photographer’s camera bag. True macro Len’s are also popular, by true macro I mean 1:1 reproduction. Don’t be fooled by lens’s which have 1:2 or 1:3, these are general purpose lenses with a macro function, NOT a true macro lens. There is a massive difference, believe me.
You might also notice the huge array of filters available. I would recommend getting yourself a P series holder and some 85mm filters, starting with a set of ND and ND soft grad filters. These will fit any lens regardless of size as long as you get the adapter ring for each lens. Much more convenient that the screw in systems.
Above all, have fun with it. It won’t all be easy going, you’ll get days you look at what you took and delete the lot but stick with it, you get it in the end and every now and again you’ll get an image that actually excites you then you’ll understand why you do it!
It’s not often I drop a new blog post about a single shot but I liked this one so much I thought it worthy of a little write up.
As you will see if you follow back my recent posts I’ve been experimenting with long exposure photography over the last few weeks, in fact, it’s becoming more of an obsession than an experiment.
What I have had bother with though, is getting decent colour into shots, hence why my Flickr Photostream has gone rather monotone of late. Stacking those Hitech ND soft grads is just a sure-fire route to a purple colour cast on the D90, which is pretty undesirable to say the least. However, last night everything just fell nicely into place and I ended up with, what has to be, may favourite shot of the year so far.
The original plan had been to catch the sunset at Longniddry over the rocks but other things I had to do put paid to that and I would have only made Longniddry just before the sun went down which would have been ok if I was more familiar with the location. As I’m not I diverted back up the Edinburgh coast with the intent to catch the sunset over the Western Harbour. However, since the shows are at Ocean Terminal just now and the place was overran with walking JD sports adverts with attitudes I headed for the more peaceful refuge of Newhaven Harbour instead.
I really didn’t want to be at Newhaven having really photographed the place to death over the last few weeks. Its easy location and multiple shot possibilities make it and attractive location but it’s fast becoming my new Colton Hill, somewhere I’ve visited so often I get bored of it.
With the sun setting though, it was Newhaven or nothing and apart from anything else, at this time of year bar the Forth Bridges, it’s probably the best sunset location in Edinburgh. Sunset was still about 25 minutes away when I got there so I originally setup with the Sigma 10-20mm on the D90 and took a few tester shots using the grads and polariser but no 10 stopper. 10 stoppers are only any good in harbours if the tide is out, with it in boats tend to bob about and blurred boats do not good pictures make.
With the sun and the available light dropping fast I moved position to put the sun behind the lighthouse to avoid any lens flares and replaced the ultra wide with the Sigma 70-200mm f2.8 EX HSM, my absolute favourite lens. This let me frame the lighthouse and harbour wall nicely but avoid any boats in the shot. I then added the 77m filter ring and slipped in the polariser, ND 0.9 soft grad and tried a few test shots. I also experimented with a light tobacco grad and sunset filter but it was the red grad, a filter I’ve never used as I hated the results that was producing the goods. With the grads set properly, I locked the tripod securely and removed the filter holder and put it down on the camera bag careful making sure the grads didn’t move. I removed the 77mm ring and fitted the Heliopan 77mm ND3.0 10 stopper, fitted the 77mm ring to that and carefully slotted in the holder with the grads. I had to do it this was as with the 10 stopper fitted there was no way to line up the red grad on the horizon as you can’t see anything.
With light fading fast I upped the ISO to 200 and opened the aperture up to f8 and went for a 2 minute exposure which was ok but the red was too intense. I tried again upping the exposure to 3 minutes which turned out perfect.
As far as post process work went, there wasn’t a lot to do, the pleasures of getting it more or less right in camera. I created a new adjustment layer and increased the exposure to lighten the inside harbour walls and bring out some detail. I then erased all but the harbour walls from the layer. I then added a new photo filter layer to intensify the colour in the water, other than that, that’s about all I had to do with this one. Thankfully the sensor clean I attempted the day before must have been spot on as there was nothing needed cloned out at all. A welcome surprise.
So here it is the final product and most certainly my favourite shot of the year, so far…
Well, I finally got my hands on a 10 stop filter. Not the B+W I had originally hoped to get, they seem to be rather hard to get hold of just now in the UK, but a Heliopan ND3.0. After a little bit of research it seems that this filter is rated as highly as the B+W so when TeamworkPhoto on Ebay put a stack up for sale at a slightly lower price than the B+W versions a sale was inevitable. At a touch under £100 for a 77mm version it might seem expensive for a little bit of round glass but it’s when you start to use these things you can see the quality and exactly what your paying for.
This particular filter is the slim version so it fits nicely onto my Sigma 10-20mm lens and I can attached the 77mm p series adapter ring to it to allow me to use the CPL and grads easily too. The lens is usable at around 12mm upwards otherwise you do start to photograph the edges of the filter holder, which isn’t too bad as even without the 10 stop in place you get this same effect at around 11.5mm so no great hardship there.
First thing I noticed and it’s fairly obvious really, you simply cannot see a thing through this filter. It’s that dark. Hold it into very bright light, i.e. into the sun and you could just about compose a shot but with grads and a CPL in place as well, not a hope. This means the shot has to be composed on the tripod (obviously); the head locked in place and then carefully fit the 10 stopper and slip the filter holder with the grads on. Bit fiddly but you won’t be taking that many shots with this arrangement in place since you’re likely to be playing around in the 3 minutes exposure mark.
This was the first attempt with the 10 stopper. Taken on Calton Hill in Edinburgh, just the 10 stop and CPL in place. VERY bright light, around 5pm with a clear blue sky and, unusually for Scotland, a nice bright sun. 3 minute exposure and it’s nicely done the trick I wanted and got rid of all the tourists walking about in front of the monument, which was sheer luck not of them stood still long enough to get into the shot.
I did have another attempt later the same day at Newhaven Harbour and got some cracking results but the sea was rough, the wind was terrible and the grads were picking up spray all over and the shots were frankly unusable as a result. Lesson learned there.
Next night out was the Forth Bridges. A very familiar subject so a good place to test the filter out. I started around 7.20pm, approx an hour before sunset with the tide coming in and the sun still quite high above the Road Bridge. It seemed pointless to go shooting into the sun so I took a shot of the rail bridge with the rocks in the foreground getting covered by the incoming tide. This was a 4 minute exposure with the CPL and Hitech 0.6 ND soft grad. Very impressed at the lack of colour cast from the grad with the 10 stopper, at least if your not looking into the sun with it.
As the sun went further down I moved to the other side of the rail bridge to get the sunset with both bridges in the shot. A popular spot for photographers and sadly, the ned element of South Queensferry too it seems.
This was the last of my 10 stop shots for the night as exposure times were getting way too long with the decreasing light. This was a 331s exposure with the 10 stopper, CPL, ND0.6 soft grad and a light tobacco grad, ISO200 f11.
I have to say I’m enjoying the learning process with this new filter although my usual hit and miss method of calculating exposure times is going to get very tiring very fast. To that ends I’ve found an iPhone app called Long Time that does the calculation for you which I’ll give a trial of next time I’m out which will hopefully see the end of hit and miss results guessing exposure times.
I’ve got a new obsession.
Actually, it’s an old one rekindled and it comes in the form of the Hipstamatic app for the iPhone. A better £1.19 you couldn’t hope to spend. Digital photography has never looked so analogue is their strapline and it’s true. The easiest way to try and describe it is to look at it as some sort of lomography affair. You get the light leaks, the vignettes, the odd colourings etc and that’s the appeal. As a Holga owner this is far easier and more convenient that getting all that 120 format film developed. Obviously, it’s not proper lomo but it’s a whole lot of fun to use.
I rediscovered the pleasures of Hipstamatic after my recent interest in long exposure photography. What do you do when you’re waiting for a 3 minute exposure to end? You rattle off some Hipstamatic shots of the same subject, that’s what! It’s perfect. I even started photographing my D90 on the tripod doing the long exposure.
in fact, I’m having so much fun with this app I’ve started to take the Hipstamatic shots and then upload them using the Flickit App to my Flickr account, which also posts to Twitter with a link to the shot. Great fun as I can do it while I’m out and about rather than having to wait till I get home.
I used to use Hipstamatic to photograph everyday situations a new way, i.e. mundane scenes in an unusual style but now I’ve tried applying it to the sort of scene I’m photographing with the D90 it’s opened up a whole new set of uses and it’s nice to see some instant different takes on a scene.
So far I’ve used it at…
The point I’m trying to get to here, is that it’s a great compliment to my usual photography. What Hipstamatic does is what no other iPhone photography app does, it makes taking photos with a mobile phone fun and interesting. Your not looking for that meag quality shot, just something quick and interesting and it ticks both those boxes many times over. Besides… it doesn’t half fill in the gaps between those 3 minute exposures!
If you follow this blog you’ll know I’ve recent found myself caught in the grip of long exposure photography. Something I’ve done in the past with mixed results, but with methodical use of my range of filters I’ve discovered a lot this past couple of weeks. I still feel I’m being constrained slightly by the equipment but learning a lot and getting some images I’m very happy with as a result.
Keep the filters clean!
This was a lesson learned the hard way. I’d never cleaned any of my slot-in filters since I got them back in September. Screw in’s for some reason Iim happy to wipe down with whatever’s at hand, but I’ve been overly precious about the slot in filters. Which became very evident after a trip out and then finding I had to clone out dozens of marks on the shots. All very well but sometimes it’s not that easy to get a smooth clone on streaky clouds etc, so best avoided.
To clean then I’ve been washing them gently under a warm tap, dabbing dry with kitchen roll and then finally cleaning carefully with a lint free cloth. Seems to work fine. You can see marks on all the filters but these don’t show up at all on the images, huge difference.
Be aware of the where sun is!
This is another one I’ve finally figured out. Some shots looked dreadful. Such a disappointment when you see the camera preview, get home and find all sorts of strange flares and marks all over the shot.
What I’ve found is that with the sun directly behind you it seems to hit the filters and bounce light back into the lens and highlights any marks on the filters. With the sun to the side and rear in some cases it causes the camera to actually record the front element of the lens on the shot as a reflection. Funnily enough, shooting near on into the sun, if you can avoid the flares seems to work fine? To this ends though I’ve taken to trying to shield the filters in some way from stray sunlight, fortunately, living in Scotland, it’s not that big an issue!
Wind is both your friend and enemy
After a night out with the camera on Friday it brought home just how good and how big a pain in the rear end wind can be. On the plus side, high winds ripple water nicely making those smooth milky sea shots a lot easier and it sends the clouds racing across your shot, also desirable. However… it also blows your tripod about all over the place, even a sturdy one. It’s worse still with a stack of rectangle filters in front of the lens giving it more to catch onto. I’ve seem me this week almost standing over the tripod trying to shield the camera from the wind. Nothing worse than a 3 minute exposure and you see the camera move just as you get near the end.
All these shots were taken in near gale force winds:
In bright conditions, lose a grad and use the polariser!
My P series filter kit gives me the option of using 3 filters in front of the lens and my screw in ND8, typically for these long exposure shots that means a Hitech ND0.9 soft grad and 0.6 soft grad. However, as I’ve discussed in previous posts, the ND0.9 causes a horrific purple colour cast.
What I found on Saturday though, was that in bright conditions with blue sky around, to replace the ND0.9 with the circular polariser and keep the 2 grads, still lets me push around 20-30s exposure in very bright conditions and keep some colour in the shot too as there is little or no cast. The polariser has the added benefit of darkening the sky and highlighting the clouds, even losing the 0.6ND and using the 0.9ND for B&W work with the polariser in place was very beneficial. So, use the polariser and experiment with your other filters in bright conditions.
All these shots were taken with the polariser in place:
Despite the best efforts of some strange foreign bloke to get in every shot, these were taken in Portobello beach with the polariser slotted in place instead of the ND0.6 soft grad.
I cannot recommend this enough; try different things you never know what you’ll get. This shot on Calton Hill was taken with the ND0.6 soft grad, ND0.9 soft grad and a sunset filter in place, not a particularly long exposure at 40s but I liked the resulting colours.
Finally, I’ll leave you with a couple of other long exposure mono shots from last nights trip to Cramond just as the tide was on its way out.
Above all though, I’m enjoying this learning curve a lot. I’ve already priced up how much a move to the Lee pro filter systems will be. At approx £550 for what I want, the saving starts now!