Zoo Photography Tips
I recently took a trip to the zoo to do a test on a camera that I was reviewing and thought I’d share a few tips that I put into practice along the way.
Zoos are great locations to practice photography as they present us both with a great variety of subjects (both animals and the people watching them) but also with some real challenges. Some of the things you’ll need to overcome in getting great shots at a zoo include:
- Distance – the space between photographer and animal
- Moving Subjects – animals rarely stay in the one place for long
- Tricky Lighting – foliage and indoor/outdoor shooting can prove to be challenging
- Cages and Glass – while many zoos are improving in how they contain their animals and are giving them more natural surroundings the challenge of photographing them without the distractions of reflections off glass or grim looking bars both in the foreground and background add to the ‘fun’ of zoo photography
Zoo Photography Gear
What camera and gear will you need to get good photos at a zoo?
The answer to this question will vary a little from photographer to photographer depending upon their style, the type of shots that they want to take and the type of zoo that they’re visiting – however, a long zoom lens will almost always be handy to have attached to your camera.
Camera/Lenses – This means you’ll either need a DSLR with an attachable longer focal length prime lens or telephoto lens (something with an upper length of 200-300mm would probably be handy) or a point and shoot camera with a super zoom lens (probably a 10-12x Optical Zoom).
Also consider taking a macro lens if you’re lucky enough to have one. At our zoo we have a number of enclosures where they are handy (a butterfly enclosure for example).
Tripod – Also consider a tripod or monopod (depending upon the weather and how light it is, you’ll probably find that in some animal enclosures you’ll need to use slower shutter speeds which mean you’ll need the extra stability).
Lens Hood – the combination of shooting outdoors, having limited angles to shoot from (which means sometimes you’ll need to shoot into the sun) and that at times you’ll be shooting through glass means that a lens hood might be handy to have. I actually left mine in the car and as it was a bright day my images suffered considerably as a result.
Zoo Photography Tips
1. Points of Interest – Before you start photographing an animal ask yourself ‘what is it about this animal that interests me?’ What has drawn you to photograph it above other animals around you? Does it have great colour, is it in a humorous pose, is it about it’s expression, is it something about it’s surroundings? The reason to ask these questions is that they help you to identify potential points of interest for your image (something that will take your shot to the next level) and will help you to determine how to approach the shot.
2. Get in Close – as with many styles of photography, if you’re able to get close to your subject you create a feeling of intimacy with it and are able to capture details that you’d not otherwise have been able to see. Of course with animals in cages this is a challenge and getting close will almost always need to be done using a longer focal length (you can of course help a little by shooting for as close as you can get – without breaking any zoo rules). Tightly cropping the animal’s face or body helps you get shot with a real impact but also helps eliminate any distracting elements in the photo.
3. Focus on the Eyes – the eyes are the ‘window to the soul’ in portrait photography and a similar thing is true when shooting animals. Get the eyes in focus and in a prominent position in your shot and you’ll help create a more personal connection between your subject and the viewer of your image.
4. Get down Low - photographing an animal down at their level is another way of creating a sense of closeness and intimacy with your subject. This might mean you need to get down on your knees (and get a little dirty or look a little silly) but it will give your shots punch.
5. Eliminating Reflections – shooting through glass is a real challenge and something to avoid if you can. If you can’t get around it get in close to the glass, give it a wipe with a cloth (or your sleeve) to get rid of finger prints, find a spot that is less scratched than other parts, use a lens hood and/or your hand to try to eliminate any reflections and attempt to shoot at right angles to the glass. If you can’t eliminate reflections you might also like to try to work with them. Take a few steps back and incorporate the reflections of those watching the animals into the shot (hard – but if you get it right it could make for a great shot).
6. Shooting through Cages – there’s nothing worse than trying to shoot through the wire or bars of a cage. On occasions you’ll be able to find a wider opening (look for the bigger gaps around gates) but when you have to shoot through cages get up as close as you can to them, use a longer focal length, choose a wider aperture and wait for the animal to move back from the cage. In many instances when you do this you’ll not even notice the distraction of the cage at all. But what if you are using a point and shoot with no control over aperture? Try switching to portrait mode which is a mode that uses a wide aperture and should narrow your depth of field.
7. Shoot People – speaking of people – they also make a great subject when at the zoo. Don’t just focus on the animals but look for the wonderful reactions of those around you as they react to the animals (they can sometimes be more animated than the animals as they mimic them).
8. Look for Humorous Situations - animals do the funniest things. Keep your camera up to your eye for that moment when the monkey points at you, the giraffe picks it’s nose with it’s tongue (sorry – they do do it) or when the Emu pokes its head through the cage to steal something out of someone’s bag.
9. Treat Animals as Moving Subjects – to overcome the problem of your subjects always being on the move consider shooting with a fast shutter speed. You might like to switch to shutter priority mode at a fast shutter speed or let your camera do the work by shooting in ‘Sports’ mode. You can also help with this by shooting in continuous shooting mode so that when your subject is on the move you capture a burst of shots quickly one after the other.
10. Plan your day - I’m a fairly spontaneous kind of person but when it comes to photography have learned that it’s worth thinking ahead. When you get to the zoo get yourself a map and work out which animals will be on your hit list. Also note any feeding times that are publicised (these can make for some action shots). You might also like to find a zoo keeper to ask them what times certain animals are more active. Another good strategy is to head to the gift shop of the zoo and take a quick look at their postcards and picture books that might give you a little inspiration and a few ideas on good shooting angles for different animals.
11. Patience – occasionally you’ll stumble upon an animal in the perfect pose for a shot when you first see it – but in many cases you’ll need to wait for it. Once you’ve picked the animals you want to capture give yourself extended periods of time to camp out at their enclosures. This way you’ll hopefully see them in a variety of positions and with different expressions. This is what often takes your zoo shots to the next level.
12. Think About Context – the beauty of zoo photography is that you get relatively close to animals (something that is obviously difficult in the wild). The challenge is that the environment is not a natural one and that on many occasions there will be distracting elements in the background or foreground. Where possible try to shoot from angles where ‘natural’ looking elements are included (vegetation etc) – but where there are distractions you might like to try using wide apertures (small numbers) which narrow depth of field and throw foreground and backgrounds out of focus. Also try cropping with focal length (or later at home with photoshop).
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
How to Photograph Flowers
Earlier in the week I had the chance to sit down with a photographer whose specialty is photographing flowers. As I tend to do with pro photographers – picked his brain as we chatted and took as many notes as I could. Here’s what I gleaned from him and his flower photography experience:
By the way – he also recommended two flower photography books – Photographing Flowers: Inspiration*Equipment*Technique by Sue Bishop and Field Guide To Photographing Flowers by Rokach
Preparation is key
Getting your gear together and in working order, choosing the right lens, having a tripod set up and then preparing to take the image. Pause and examine your subject before pressing the shutter. Some questions to ask:
- how to crop it – get in close or take a wider angle shot?
- what is the focal point/point of interest? Insect, stem, colour, texture, shape etc?
- what angle will you shoot from to get the best perspective?
- how much depth of field do you want?
- how is the subject lit?
- which flower is the best specimen for your photo?
- what distractions are there in the background and foreground?
- which is the best format to shoot in? (horizontal or vertical)
Highlighting subjects
One of the questions above is worth a little extra consideration – ‘what distractions are there in the background and foreground?’
Gardens are filled with all kinds of potential distractions. They might be the tool shed, a fence, other flowers, the clothes line etc. A decision needs to be made whether you want to include these elements or remove them from your shot. Either option is legitimate but in most cases you’ll probably want to remove them unless they in some way enhance your shot. There are a number of options open to you if you want to remove distractive elements:
- move them – some distractions can be moved pretty easily so that they’re not in your frame
- move yourself – find a new angle to shoot from that has a less distracting background
- crop them out - go for a tighter framing of the flower either by using a zoom or moving physically closer to it
- use aperture to narrow depth of field – as we highlighted in our introduction to aperture, if you choose a wider aperture (small numbers) you’ll decrease the depth of field. As you do this you make elements in the foreground and background more and more out of focus.
- move your subject - I’m not a big fan of intervening in a scene too much but some photographers will move the flower to a new location for the shot. This might include getting someone to hold the stem on a different angle or could even mean picking the flower and taking it elsewhere. If you’re going to do this make sure you are aware of the environmental impact of your photography.
Don’t ignore the dead, marked or dying flower
Sometimes carcasses of flowers can present you with wonderful subject matter. While the perfect flower is the one you’ll probably be drawn to first sometimes the more interesting shot is the ‘ugly duckling’ beside it.
Identify a focal point
As in all types of photography you need to think about where you want your viewers eye to be drawn. Consider setting it off centre using the rule of thirds – but do find something in your frame that will grab your viewer’s eye and carefully think about how to position it.
Go abstract
Sometimes going in extra close and focussing in on a part of the flower can create wonderful and unusual images that take on an abstract quality. Look for contrasting colors, patterns and textures.
Focus is Key
Sharp focus is important in all forms of photography but in flower Macro photography it is crucial and even a tiny adjustment can have massive implications for your shot as the depth of field is so small. In macro photography your depth of field is a game of millimetres so attention to detail in focussing is something to be worked upon.
Identify the point of interest that you want to be in focus and then work hard to ensure that it’s as sharp as possible. This can be a real challenge, especially outdoors on breezy days where you’ll probably end up taking a lot of images and relying on luck to some degree! You can improve your ‘luck’ a little by photographing in a more controlled environment (taking flowers inside for studio shots, shielding them from wind or just choosing to do your photography on a still day).
Lighting
Ideally your subject will be wonderfully lit without you needing to offer any assistance, however the world of outdoor macro photography is often far from ideal and there might be a need to intervene with either artificial light or some kind of reflector.
Using a flash is something to experiment with. Generally you’ll find that direct flash on automatic mode might wash photos out a little so consider using a flash diffuser and/or bouncing your flash off another object. I find that the more subtle and indirect the flash is the more natural your shots will look.
Reflectors can also be handy in shooting flowers as they give a nice, natural, diffused light into areas of your subject that might not be getting natural sunlight. Experiment with different colored reflectors as they can really impact the colors in your shot.
Lenses
Point and Shoot Cameras – if you’re shooting with a point and shoot camera with no interchangeable lenses you’ll obviously have less options here. You will probably have the ability to switch your camera into macro mode (which will allow you to focus a little closer and will tell the camera to use a large aperture giving you a shallow depth of field). Some point and shoot cameras do have the option of a macro lens attachment also to allow closer focussing (see your owners manual).
DSLRs – if you have a camera that allows interchangeable lenses (DSLR and some prosumer cameras) you might like to consider buying a purpose built macro lens. Most of the major camera manufacturers offer a range of them. For example offers a number including ones at focal lengths of 50mm, 60mm, 100mm (the one I own), 180mm etc. Each will have it’s own specifications and strengths (do some careful research before buying). Obviously a shorter focal length means you need to get physically closer to your subject to really hone in on your subject while longer ones allow you to shoot from further back (helpful when photographing insects).
I hope that you’ve found the above notes from my chat with a Pro Flower Photographer helpful. We did cover a lot more ground but I can only type so fast! Feel free to add your own flower photography tips in comments below.
Don’t forget to check out the two books on flower photography – Photographing Flowers: Inspiration*Equipment*Technique by Sue Bishop and Field Guide To Photographing Flowers by Rokach.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
The Art of Self-Portraiture: An eBook that Could Dramatically Improve Your Photography
Today I’m excited to announce a brand new dPS eBook – The Art of Self-Portraiture. Buy it this week and receive a 25% discount and the chance to win an iPad 2! Full details below.
I was recently asked by a friend to name the period in my life where I improved most as a photographer. My mind immediately went back to a period as a young adult when family and friends would comment regularly about how much my portrait photography had improved.
It was also around this time that I started getting friends ask me to photograph them, their parties and even their weddings.
What was the Secret to My Photography’s Improvement?
There were a number of factors that were at play but the main one was that I turned the camera around and started to practice my portrait photography by photographing myself.
- Self-Portraiture gave me the avenue to practice my portrait photography without having to convince a friend or family member to pose for me.
- Self-Portraiture enabled me to experiment with techniques, posing and composition
- Self-Portraiture helped me to grow in my confidence as a photographer
- Self-Portraiture was also a lot of fun and helped me to find new ways to express myself to family and friends.
The Art of Self-Portraiture
Discovering self-portraiture was a big part of my own development as a photographer and for this reason I was really intrigued when I came across self-portrait photographer Anna Gay and excited when she agreed to write a an eBook with us – The Art of Self-Portraiture.
Anna is known to many dPS readers for her guest posts on dPS and for her work as a 365 project photographer on Flickr where she’s posted literally hundreds (if not thousands) of self portraits and in this eBook she takes the knowledge gained from honing her own work and puts it into simple and easy to apply tips for the rest of us to gain from.
She also provides some beautiful imagery from her own portfolio and that of other self-portrait photographers to both illustrate her teaching and inspire those who see them to explore their own work.
Learn more about what this beautiful eBook covers here.
Early Bird Offer – 25% off and the Chance to Win an iPad 2
To celebrate the launch of The Art of Self-Portraiture we’re launching this new eBook with a 25% discount and the chance for one reader who buys it to win an iPad 2 (the perfect device for reading this eBook).To take advantage of the discount and competition all you need to do is buy your copy today (or before 31 May).
Get more information on what the eBook includes here or buy it directly from the button below.
Post from: Digital Photography School - Photography Tips. Check out our resources on Portrait Photography Tips, Travel Photography Tips and Understanding Digital Cameras.
The Art of Self-Portraiture: An eBook that Could Dramatically Improve Your Photography
4 Reasons Not to Write off Shooting in Automatic
In this post Natalie Norton from natalienortonphoto.com explores why shooting in automatic can sometimes be worth doing.
Sometimes photographers have a complex about shooting in automatic. I shoot primarily in Aperture Priority (and am not here to knock manual settings AT ALL), but I have a tender place in my heart for ol’ Auto. Here are 4 reasons not to write her off too quickly.
1. If you’re relatively new to photography.
If you’re relatively new to photography, Auto can give you a great opportunity for exploration, frankly because it’s less to think about. You have the freedom to “go out on a limb” artistically speaking that you wouldn’t be able to were you going mad metering light, selecting shutter speeds and fiddling with apertures. I really believe that photography takes a certain amount of training of the eye to fall into your personal artistic niche- you’ve got to be free to do that, no strings attached. You can’t surpass the limits of shooting Auto until you become familiar enough with your camera (and photography in general I must add) to know what they are. I shot in Auto for over a year before making the transition over. Shamelessly! The images were superb and it is very rare (like it’s NEVER happened to me once) for anyone to look at a great image and say, “Wow, but did you shoot that in Auto?” No one cares. A good image is a good image is a good image. Period.
ANY friend of mine who comes to me early on in their photography “career” asking for lessons is forbidden from shooting in any mode other than AUTO for at LEAST 3-6 months. In my mind that’s enough time to get your framing style down to the point where it’s just, for lack of a better word, automatic. . . second nature. When that happens, THEN you’re ready to explore other settings. I’ve known too many photographers who are technically off the chart but can’t frame an image worth poo. Don’t fall into that trap by plugging up the artist in you by focusing too much on the technical aspect. It will come. It will. I PROMISE.
This is from the first wedding I ever shot. I shot the whole thing in Fine Quality (as opposed to RAW) and Auto.
2. It can save you when you’re just not QUITE sure.
I have a little “trick” that I use every so often.
If I’m busy shooting away in manual or AP and I’m just not 100% sure I’m nailing the shot, I’ll fire off a few frames in Auto just to be safe. That way if I’ve muffed my shot, there’s still hope. It’s been amazing for me, as it’s saved me a few times over. It’s also been great because it’s given me confidence. There’s nothing like the insecurity of not knowing if you’re really capturing what you hope you are. Yes, I know, LCD screens are helpful. But let’s just face it, they could be a whole heck of a lot bigger. Plus, if you’re shooting anything other than a 100 year old woman who couldn’t move if she wanted to, you don’t have time to check to be sure you got the shot after each frame. You’re rippin’ shots off just about as fast as you can and don’t have time to check to be certain you’re nailing each and every one. There’s nothing as depressing as coming home, uploading and finding that an entire batch is totally underexposed.
Over time you’ll come to where you’re generally happier with the images where you were the boss of your camera rather than the other way around. Mmm. That feels good.
I wasn’t quite sure how true I could get the color of the shoes by shooting manual. I knew the bride’s maid was going to grab them and put them back on at any second, so I chose to grab the shot quickly in Auto and “take my chances.” Score!
3. The terms: Aperture Priority, Shutter Priority and Manual mean nothing to you.
Awesome! Less pressure! Just don’t mess where you aren’t yet comfortable. Rome wasn’t built in a day and neither was Ansel Adams. Just keep pressing forward. You’ll feel inclined to learn when you’re ready. No rush. Just don’t pick your son’s first birthday party as your day of camera setting exploration. . . set a time and run a test shoot. Play it safe!!
I shot this bridal shoot back when I had little idea of what the word Aperture even meant. I shot RAW, and in AUTO.
4. Your subject won’t sit still.
Sometimes I run into issues shooting in manual when I’m doing candid shots of kiddos. They’re constantly running in and out of the light, and up and down and around and through and over and under and. . .you get the picture. I can’t switch my settings fast enough to catch them before they’re on to the next adventure. When that’s the case I click over to automatic and thank my lucky stars! She’s so good to me!! Sure if I had time and patience I could fiddle and faddle around to get the precise setting, but generally I’m working against the light, against the clock (a 1 hour sitting) and against the patience of a two year old! I’ve gotta be quick so that I have a broad selection post shoot.
Example: I shot the most darling little boy the other day at a beach that also has forest, caves and cliffs. He’s just the coolest little kid ever AND he’s got enough energy to put my 3 year old to shame (and if you know Cardon you understand that that’s REALLY saying something. . .REALLY). He was EVERYWHERE. I couldn’t fire off a shot before he was on the move again. I was going haywire trying to focus. The changing light as he would run in and out of thick forest (remember I live in Hawaii, the canopy is dense) and climbing up onto bright cliffs, was really throwing me for a loop, so I hopped on over to Automatic and yippee! She saved the day.
This sweetie kept on wanting to tug on her hood. I had to fire off a shot quickly without having a chance to even think let alone mess with settings. Auto to the rescue!
I just want to reiterate that shooting in Auto doesn’t make you any “less” of a photographer by any stretch of the imagination. Ignore anyone who tells you otherwise. We’re all at different stops along the path, but every one’s destination is the same. Images that speak to us, that make our hearts sing and our spirit’s soar. . . images that make us feel and cause us to wipe a tear from our eye. Whatever you have to do to get to that point, it just doesn’t matter. So, give yourselves, and good ol’ Automatic, a break!
Happy Shooting!
Note: this post was originally posted in 2008 but has continued to get regular responses from readers – so we decided to republish it for those who may not have seen it.
Natalie lives and shoots on the North Shore of Oahu, HI with her wonderful husband and 3 crazy sons. See more of her work and writing at natalienortonphoto.com.
Post from: Digital Photography School
12 Ways To Never Miss A Photo Opportunity
The following post on 12 Ways To Never Miss A Photo Opportunity is by San Francisco based photographer Jim M. Goldstein. Learn more about him at the end of this post.
Nothing is more frustrating than seeing a great moment to photograph, but missing the opportunity to do so. I’ve missed my fair share of great moments either due to timing or worse lack of preparedness. Either way it’s no fun to miss a photo whatever the circumstances. The Art Of Being Prepared is just that, an art. So what can you do to minimize the chance you’ll miss that next great photo? Here are 12 ways to never miss a photo…
1. Have a camera bag that enables you to easily and quickly access your camera
If you’re stuck with an overly complicated bag that takes too long to open or is organized in such a way that other gear is in the way of you getting to your camera quickly you’re guaranteed to miss that next great spontaneous photo. Look for bags that have quick access flaps and aren’t cumbersome to secure.
note from the editor: lately we’ve been using a Lowepro SlingShot 100 (pictured left) which enables you to quickly get your DSLR off your back by flipping it around.
2. Be sure to have not just (1) one fully charged battery but (2) two
It’s easy to loose track of how long you’ve been using one battery and if your battery status is 1/4 full what does that really mean? Is a 1/4 battery going to last 30 minutes or 20 photos? It’s tough to tell and you might not know it, but battery life is dependent on how cold it is. Yup that’s right cold batteries don’t last as long, but there is a way around that as I discuss in a recent photo outing “Los Angeles City Lights & Maximizing Your Battery Life“. The trick… warm up your battery to squeeze out a few extra photos. Certainly a good tip to know if you’re in a squeeze, but why play with fire when you can just plan ahead. Carry that second battery with you and never make an excuse to leave it behind. You won’t regret it.
3. Be sure to clean the front and rear elements of your lens to minimize spots (optionally cleaning your camera sensor)
Spots in your photos are first and foremost lost data. Data you can fill with a cloning or healing brush, but lost data none the less. Why miss out on the original when you can get it right the first time with a little forethought. Properly preparing your lenses and camera will enable you to get the photo right the first time reduce the time you spend post-processing and dealing with spotting your images.
4. Before heading out make sure you have CF cards in your camera that are empty or have lots of free space
Being conscious both of your available storage capacity and having easy access to more cards can make or break a photo outing. Getting in to the habit of downloading and clearing your cards after each outing will help ensure that you always have the maximum space available.
5. Pre-set your camera settings for the type of subject you’re aiming to photograph
You don’t have to be psychic, but over time you should know the camera settings that you feel most comfortable with or will need before a given photo shoot. Your settings don’t have to be exact but making sure you’re in the general range of what you’ll need so you can quickly adjust to the right ISO, shutter speed, aperture, etc. settings is key. Nothing is worse than realizing that you’re shooting at ISO 1600 in bright daylight introducing more digital noise than would be preferred or having too low of an ISO set in low light conditions resulting in too long of an exposure blurring your subject. One thing I’ve learned to get into the habit of doing is putting my camera away at the end of the day with the same camera settings. This repetition has enabled me to routinely adjust from a common baseline for every photo outing. As a result of doing this I’ve since trained myself to think about my settings before and after heading out with my gear.
6. If you have a camera with image stabilization or vibration reduction set your lens appropriately for the subject
For those that have the luxury of using a lens with IS or VR be sure you have this function set appropriately for your subject. If you’re doing a lot of hand holding while photographing your subject or working in low light be sure this feature is on. If you’re using a longer focal length and have your camera mounted to a tripod be sure this feature is disabled. The end result in both of these situations will be sharper photos.
7. Have needed filters on your lens or take filters off your lens as necessary before heading out.
If you’re fumbling for filters when you should be focusing on your subject you’ll increase the likelihood of missing photo opportunities. Know your subject and know what you’ll need beforehand. If you’re in the mood to experiment preload filters on your lens and remove them as need be. It’s almost always faster to remove a filter than to fumble clumsily putting one on.
8. It may sound obvious but take off your lens cap.
I’m man enough to admit I’ve left my lens cap on more than once while trying to capture a fleeting moment. The habit I’ve developed to avoid this is to take off my lens cap as soon as my camera comes out of my camera bag. If I’m concerned about the safety of my lens I’ll keep it on, but with my hand cupped on the cap attached to the front element of the lens. As soon as I decide to use my camera my hand comes off the lens with the lens cap in hand.
9. Head out with a notion of what you’d like to photograph and how, but always keep your eyes open for new subjects and the unexpected
Priming your minds eye to what you want to photograph is often helpful, but it can also be a distraction. If you lock on to a preconceived notion of what you want to photograph too intensely you’re apt to miss other great opportunities that are right under your nose. Have a notion of what you’d like to photograph, but keep your eyes and mind open.
10. Have your camera on and your hand on your camera bag
Keeping your camera on ensures that you won’t have to wait those extra seconds for your camera to start up when a photographic opportunity arises. If you’re in need of protection and have your camera in a camera bag keep your hand on your camera or near it so you can retrieve it at a moments notice. Those seconds add up and can make the difference between getting the photo you want and missing it.
11. Stay focused
Whether you’re out looking for the spontaneous or waiting out an inevitable moment worthy of capturing keep focused. Murphy’s Law would have it that the moment you take your eye off of your subject, is the moment your subject does exactly what you wanted to photograph. In my book this is by far one of the most frustrating things to experience.
12. Don’t Chimp
Chimping is when a photographer “Oohs” and “Aaah” while looking at images on their LCD screen. If you’re photographing something don’t get caught up in the self-gratification of reviewing your photos. Check to make sure your settings are ok, but keep your eye on your subject and remember #11.
There’s no guarantee by following these recommendations that you’ll capture every fast moving photo opportunity, but it will likely increase your odds of doing so.
This post was written by Jim M. Goldstein. Jim’s landscape, nature, travel and photojournalism photography is featured on his web site JMG-Galleries.com, and blog. In addition Jim’s podcast “EXIF and Beyond” features photographer interviews and chronicles the creation of some of his images.
Post from: Digital Photography School
How to Shoot Light Trails
One of the first subjects that I remember trying to capture as a teenager with my first SLR camera (film) was light trails created by cars on a busy road near my home.
I’d seen this type of shot in a photography magazine and was impressed by the eye catching results.
Light Trails continue to be popular subject matter for many photographers and they can actually be a great training ground for those wanting to get their cameras out of manual mode and to experiment with shooting in low light at longer exposures.
Following area few examples of light trail shots as well as some practical starting point tips for those wanting to give it a go.
To get more tutorials like this subscribe to Digital Photography School.
Equipment:
There is not just one particular type of camera and kit that you’ll need to capture light trails – however it is important to have a camera that allows you to have some control over exposure settings – particularly those that allow you to choose longer shutter speeds. This means you need a camera that has the ability to shoot in either full manual mode and/or shutter priority mode (something that all DSLRs and manypoint and shoot cameras have).
You’ll also need a tripod (or some other way to making your camera completely still) as you’ll be shooting with long shutter speeds which will make shooting handheld pretty much impossible.
Not essential but helpful to have with you are lens hoods (to help block lens flare from ambient lights), remote shutter release cables or wireless remote controls, patience and some warm clothes if you’re going out on a chilly night.
The Basic Principle:
At the most general level photographing light trails involves finding a spot where you’ll see the light trails created by cars, securing your digital camera, setting a long exposure setting on your camera and shooting at a time when cars will be going by to create the trail of light. Of course it’s a little more complicated than this – but the general factor behind it is longer exposures that will enable the car/s that create the trails to move through your image.
Experiment:
While there are a lot of tips that could be shared on the topic of photographing light trails – the main thing I learned in my early days of attempting to create these types of images was to experiment extensively. The beauty of digital photography is that you can do this with no extra cost to yourself and can get instant results (unlike when I did it on film and had to fork out for film and processing – not to mention wait days to see my results).
Setting Up Your Shot:
Photographing light trails is not difficult – it’s as simple as finding virtually any road with cars going down it once the sun goes down. But getting a shot that grabs attention means putting a little more thought into choosing your location, thinking about timing and framing your image. Here are a few tips on how to set your shot up:
- Timing/Light – one might think that the middle of the night is the best time for light trail photography (and it can be) – however one very effective time to do it is just as the sun is going down (just before and after). If you shoot at this time you’ll not only capture light from cars, but ambient light in the sky which can add atmosphere to your shots. You also might find that earlier in the evening you get a little more ‘action’ in your shot with more cars and even the movement of people through your shot.
- Creative Perspectives – some of the most effective light trail shots that I’ve taken and seen from others were taken from perspectives other than at the height of a normal person standing up. Get down low or find a place looking down on your scene that will create an unusual angle.
- Location – the most obvious thing with location is that you’ll need it to be somewhere near a road – however there’s more to think about than that. Choose a location that adds interest to the shot in some way. This might be one where there are well lit buildings along the road, one where multiple roads merge together to create light trails in different directions, on the bend of a road so that the trails sweep through the image, near a roundabout so the trails create circular shapes, in the middle of dual carriageways (on a triaffic island) so that you get traffic coming in two directions etc.
- Framing – the normal ‘rules’ of composition apply in this type of photography. Images need some sort of point/s of interest, the rule of thirds can be applied effectively, draw the eyes into your image using lines smartly, foregounds and backgrounds should add to and not distract from the image.
Settings:
- Aperture and Shutter Speed – I wish I could give you shutter speeds and apertures that will work in every situation – but as the ambient light and speed of cars will differ in every situation there’s no one exposure combination that will work in every setting.
Having said this I’ve found that I usually shoot at shutter speeds between 10 and 20 seconds (which gives cars time to move through the frame) and with apertures in the mid range (start with something around f/8).
The key is to start with something in the range above and to take a few test shots to see how the exposure works. You’ll quickly realize whether your shots are under or overexposed and whether the length of the exposure is long enough to let cars travel through the frame in the way that you want.
If your shots are overexposed – close your aperture down (increase the f stop number) or if your shots are underexposed open it up (decrease the f stop numbers). If you want the car’s lights to go further through the frame go for a longer shutter speed and if you want it to travel less through the frame shorten it.
Keep in mind that aperture impacts depth of field. If you need to go with a larger aperture you decrease the depth of field and more of your shot will be out of focus.
- Histogram – One thing to watch out for is letting any light source in your image (whether it be headlights, street lights etc) washing out your image. Lights that burn too bright can cause distractions and draw the eye of your viewer away from focal points – ruining your shot. One way to quickly check out if there’s any area in your shot that is overexposed to this degree is to view the histogram on your shot. If there are areas that are blown out you’ll have a graph with a right hand side that is too high on the graph. Learn more about histograms here.
- Choose a low ISO setting - this will give you images with as little noise as possible.
- Shoot in RAW if you have it - this will enable you to have more control in your post production work – particularly in getting white balance right (something that can be important as you’re shooting in a situation with lots of artificial light that can cause all kinds of color casts in your shot).
- Manual Focus - In low light situations cameras can struggle to get focusing locked correctly. The last thing you want is for your camera to be in and out of focus just as you need to hit the shutter release. Switch to manual focus and make sure your focus is upon a part of your image that is visually strong.
Timing Your Shot:
There is no right or wrong way to time your shot. Hitting the shutter just before a car enters the frame and releasing it just after it leaves the frame can create a lovely unbroken line – but sometimes shooting with shorter exposure times while the camera is in the frame can be effective also. Once again it’s about experimenting with different timings and seeing what effects it has.
Using Bulb Mode:
Many digital cameras have a mode on them called ‘bulb’ mode that allows you as the photographer to keep the shutter open as long as you wish. This can be very handy in this type of photography to time your shots with precision. If you use this you’ll want to be using a remote shutter release to stop any camera movement while the shutter is open.
Got some good light trail shots? Head over to our forum and share them with the DPS community.
Note: This is a ‘classic’ post from our archives – first published back in 2008 but updated this week with extra information. We hope you enjoyed reading it!
Post from: Digital Photography School - Photography Tips.
