Category Archives: Time-lapse
No matter what you are shooting–people, landscapes, weather, machines–your subject is essentially the movement of these elements within the frame. You really need to develop a talent for pre-visualizing how this movement will look in time-lapse mode.
This skill will guide you in determining that important interval setting. As you look up at the sky and watch the clouds barely moving, or try to imagine a stadium filling with people before its actually happened, you will (with experience, make increasingly educated decisions about that span between exposures.
We also want to remind you that postproduction is going to become your best friend. Sometimes its better to just shoot more frames and then speed up the action in post. This will take some of the guesswork out of trying to constantly answer the “how long” question. But, don’t get lazy… you still want to develop yourtime estimation skills!
Depending on the duration of your record time, you may run out of power with the standard in-camera batteries. Easy right… just swap ’em. Oh wait, taking the camera of the tripod would screw up the consistency of the shot. Even if the batteries are accessible, you still want to avoid touching the camera. A subtle change in framing from a bumped camera will quickly destroy the illusion.
Try this instead:
- Get a Grip. You can extend the life of your camera’s power capacity by using a battery grip. These can attach to the bottom of your camera and allow you to use an additional battery (or even a higher capacity battery).
- Go Direct. The other option is to switch to AC power. You may need to pick up the adapter as most camera’s don’t include one. Just make sure you have a backup plan like a generator or extension cords.
I wanted to share a recent find with you. At Macworld Expo I had the chance to speak with Boinx Software. They make several great apps for Mac and iOS devices.
They had just released their iStopMotion app for iPad… and it has a bunch of time-lapse features. The app ended up winning Macworld Best of Show award, so I thought I’d give it a whirl. The app is currently 50% off and selling for $4.99.
Let’s start with a sample of what can be done:
- Time Lapse – Record automatically or at an interval.
- Manual Controls – Control camera exposure and focus.
- Instant Playback – Tap a button to see it playback instantly.
- Remote Camera – Use the free iStopMotion Remote Camera app with an iPhone 4/4S, iPod touch (4th gen) or a second iPad 2. Connect via WiFi to each other.
- Share – Publish via email or on YouTube. You can also export your movies to a Mac or PC for further editing or archiving.
- iPad 2 or later (any model)
- iOS 5.0 or later
- iStopMotion Back Camera: 1280×720
- iStopMotion Remote Camera: 1280×720
- Format PNG uncompressed 1280 x 720 pixels
- Frame Rate: 1 – 30 fps in 1 frame steps (default 12 fps)
- Export Video Format Video: H.264.
- Resolutions: Small (426×240), Medium (640×360), Large (854×480), HD/Full Size (1280×720)
I’m taking this app with me on the road and will post some test shots this week. I highly encourage you to check it out though. It’s a fun app.
When talking to a photographer or cinematographer, you may hear them talk longingly about the golden hour or magic hour. This time refers to the first and last hour of sunlight each day. This is often considered the best light by many, and really offers a unique look that can be very attractive.
The lighting during sunrise and sunset tends to be softer and nicely diffused. The hue is often warmer with nice rich shadows as well. The best feature is how the skies can become quite dramatic with varied colors and nice glows. If you’re shooting landscapes, sty skylines, or nature, this is a great time
Position is Everything
So the question is, are you shooting to capture the sunrise and sunset (such as a beautiful shot of the sun cresting over the ocean’s edge) or are you just trying to shoot at a time where the sun is the only light you have. In either case you need to know where the sun is.
- Shooting a sunrise: A sunrise is much trickier to catch if you’re up early. The entire horizon may start to glow, but choosing exactly how to compose the shot is tricky. I rely on my compass and SunPath calculator to show me the sun’s path. This makes it easier to compose a good shot where the sun rises in my frame, I generally choose to center the sun.
- Shooting a sunset: With sunset, things are pretty easy. Just follow the sun as it goes down. If you’ve lost track of the sun setting, look west.
- Shooting a subject during this time: Try to keep the light in front of your subject (and to your back). You may need to turn or rotate as needed. Eventually, the light may become so diffused and soft that you’ll be able to let it backlight your subject.
Be Prepared for Fast Changes
Keep in mind that the golden hour may not be an actual hour. This type of light is determined by the altitude of the sun. The closer you are towards the equator, the shorter the time will be. While the further away you get, the longer the time can last. In fact, during certain seasons (like Winter) you may have no golden hour at all.
Also, realize that the posted sunrise and sunset is when the sun actually crosses the horizon. This great light will often start before the technical sunrise and go slightly longer than the setting sun.
In all cases, I’d have a fast lens attached to the camera and be ready to change aperture settings. If you’re shooting a sunrise and don’t have much to focus on, make sure the lens is set to the infinity setting for focus distance.
Determine your golden hour and shoot in it. You can visit http://bit.ly/goldenhourcalc to help determine the best shooting time.
While the sun is generally incredibly useful to photographers, it can occasionally be annoying. If the sun hits your lens at an undesirable angle, you can end up with spots or flares that ruin a shot. Flares generally take on a geometric shape, and may be easy to miss while shooting. Additionally, a flare can significantly reduce the amount of contrast and saturation in your image.
The flare is typically caused by a very bright light sources (in most cases the sun). Flares are far more common in zoom lenses as they have multiple surfaces that are prone to light scatter. With a little practice you’ll learn to spot flares quickly. Getting rid of flares just requires a few strategies and modifications to your shooting style.
Use a Hood
Most lenses include a hood attached at the end of the lens. Typically, the hood is reversed for shipping (to make the lens shorter and easier to pack). Unfortunately most people never bother to turn the hood around.
Once a lens is mounted to your camera, you should properly set the hood. With a quick turn (and perhaps a push of a release button) the hood can be removed. Reverse its direction and re-attach it to your lens in order to protect the lens from flare.
Hoods are usually specific to each lens. Some will have notches (called petals) to better accommodate the aspect ratio of your camera’s digital sensor. These type have an angle of view which is greater in one direction than the other . Others will vary in length to avoid casting a vignette in your final image.
If you lose your hood, I recommend you purchase a replacement. The hood is the best way to cut down on flares. It can also help protect the front of the lens from accidental impact as well as contact smudges.
Keep the Lens Clean and Clear
Most lenses have an anti-reflective coating to cut down on lens flare. Of course greasy fingerprints and other smudges can also cause their own problems. When you clean the lens, be sure to use a proper lens cleaning cloth to remove smudges without damaging this coating.
If you’re going to use additional filters on your lenses (such as a protective UV filter or a neutral density filter) make sure you don’t skimp on quality. Cheap filters often lack good anti-reflective coatings). These filters can often cause flare through the introduction of additional reflective surfaces. If using filters, make sure you choose a quality that matches your lens.
Flag the Lens
One way to prevent lens flare is to block the light. Typically the flare is caused by light entering from the side of the frame. This light is rarely needed for a proper exposure and can be blocked. If using a tripod, you can place your body to the side of the lens to serve as a wall. You can also reach out with a hat off to the side to block the light.
You can of course use other devices to block unwanted light. I’ll often attach a Rogue FlashBender right to my lens (http://www.expoimaging.com). These flexible cards are normally used to shape an off-camera flash, but I find the built in flexible support rods bendable surface works well to flag a troubling flare.
Change your Position
If you can’t minimize a flare, you have one simple recourse. Move your camera until the flare is gone. Remember flare is caused by light hitting the lens at an unwanted angle. Often a little adjustment can be very effective at removing the flare. You can look to frame the shot so objects are blocking the sun or light source (or even reposition your subject to block the light for you). You may find that tilting or panning the camera just a few degrees can remove the flare.