Time-Lapse Photography Art and Techniques by Mark Higgins

More documents

Recommendations

Info

When searching for subject matter to use in your time-lapse videos, look for scenes that work well for regular still photographs. Once you have found a great image, bring it to life with time-lapse photography and give it movement. Camera settings: 1/8s, ƒ/2.5, ISO 450. You may never have recorded a video in your life as part as your hobby or profession, but please overcome any reservations you may have. You may not even be interested in video, but it is important to consider that much of what you learn with time-lapse photography is similar to, if not the same as, film-making. Many stills photographers are apprehensive about video, mostly because of the software used. If this is the case, please be assured that the video software is much easier to use than stills photography software, so don’t let this hold you back. Video is simply still images with movement, and in certain circumstances can be a more effective communication tool than still photographs alone. For the videographer Even if you do not shoot much in the way of stills photography, and spend most of your time filming and/or editing to create videos, after exploring time-lapse photography you may find that you discover a growing interest in stills photography. There is much to be gained from learning about stills photography in terms of visual style and creative diversity. If you have not tried your hand at stills photography yet, please explore it and enjoy.
COMMUNICATING WITH TIME-LAPSE One of the biggest reasons why time-lapse is such a rich and interesting area is because what it achieves visually cannot be created in any other way, so as a communication tool it is unique. With all image-making it is helpful to establish what you are trying to communicate before starting out; this could be something as simple as a sunset. If you are creating content to be shown as part of a movie, you will have a good starting point as the message to portray will have already been established. In this example you will need to decide how you can create something that will complement the main story line, as in this instance the time-lapse itself is not the main feature. If your time-lapse is the primary piece, you might have more creative freedom to be able to build your idea from the ground up. Rather than just going out and shooting at random, make sure you have a clear idea of what you want to show and the message you want to get across. This process will aid your experience and also make it easier for the viewer to understand what your footage is portraying. You could, for example, shoot city scenes to show how the crowd movement interacts with traffic and communicate a buzzing city centre. In contrast, you could choose a quiet park with people strolling around and feeding ducks in order to show the serenity of the location. Both of these contrasting examples will provide strong visuals and can communicate in a way that stills and video cannot. Exploring time-lapse and how it helps us portray the passing of time will produce exciting and unique content.
Page 2: Time-Lapse Photography Art and Tech
Page 5 and 6: First published in 2016 by The Crow
Page 7 and 8: This image is an example of what ca
Page 9 and 10: Getting started At the beginning yo
Page 11 and 12: This diagram represents the passing
Page 13: These individual still photographs
Page 17 and 18: Scenes like this will give subtle m
Page 19 and 20: • What inspires you about your su
Page 21 and 22: ALWAYS LOOK AROUND BEFORE SHOOTING
Page 23 and 24: When capturing fast-moving subject
Page 25 and 26: An area that is very close to time-
Page 27 and 28: These are still images taken from a
Page 29 and 30: Chapter 2 Time-lapse basics In this
Page 31 and 32: This example shows how the pixel di
Page 33 and 34: This example shows Full HD video re
Page 35 and 36: The format for video is more of a l
Page 37 and 38: DIFFERENT WAYS TO CAPTURE TIME-LAPS
Page 39 and 40: when looking at these options to ch
Page 42 and 43: This sequence of images is from a t
Page 44 and 45: This comparison shows how you can e
Page 46 and 47: TIME-LAPSE TO VIDEO IN CAMERA If yo
Page 48 and 49: Advantages Phones and tablets are g
Page 50 and 51: Compact cameras are very advanced a
Page 52 and 53: This camera is a fully fledged top-
Page 54 and 55: Remote triggers When we take an ima
Page 56 and 57: drive and not a memory card in the
Page 58 and 59: software that comes free with the c
Page 60 and 61: 24mm.
Page 62 and 63: 80mm.
Page 64 and 65:
500mm. Focal lengths between around
Page 66 and 67:
This time lapse sequence was shot w
Page 68 and 69:
Using harsh shadows in your frame w
Page 70 and 71:
LEARN FROM YOUR SHOOTING DATA Look
Page 72 and 73:
uying one. Manuals for any lens or
Page 74 and 75:
Using a fisheye lens will always be
Page 76 and 77:
Here we see a tilt and shift lens b
Page 78 and 79:
This is the same view but the persp
Page 80 and 81:
concentrating on the technical side
Page 82 and 83:
where the sun is going to be at any
Page 84 and 85:
when in a rush this is easy to forg
Page 86 and 87:
Chapter 4 Light and exposure In thi
Page 88 and 89:
This frame from a time-lapse shows
Page 90 and 91:
camera’s settings. If we use man-
Page 92 and 93:
During the day we tend to get natur
Page 94 and 95:
The exposure triangle is the most i
Page 96 and 97:
This scene is overexposed. This ima
Page 98 and 99:
the decision based on the light tha
Page 100 and 101:
This image was captured at 1/200th
Page 102 and 103:
This chart shows that changing the
Page 104 and 105:
Taken at ƒ/8 this image shows the
Page 106 and 107:
A very wide aperture of ƒ/1.4 has
Page 108 and 109:
• Distance between the camera and
Page 110 and 111:
In conditions where there are low l
Page 112 and 113:
This section of the image shows how
Page 114 and 115:
This neutral density filter screws
Page 116 and 117:
These stills are from a video clip
Page 118 and 119:
Your camera’s metering system Und
Page 120 and 121:
of middle greys, and in theory the
Page 122 and 123:
Here the histogram is seen next to
Page 124 and 125:
Always check your manual to find th
Page 126 and 127:
These images are taken at two stops
Page 128 and 129:
To capture the separate images when
Page 130 and 131:
Chapter 5 Setting up your camera fo
Page 132 and 133:
This image shows a much better appr
Page 134 and 135:
Live-view focusing can be much more
Page 136 and 137:
Most DSLR cameras have a button to
Page 138 and 139:
If you want a different point of vi
Page 140 and 141:
Chapter 6 Colour and composition In
Page 142 and 143:
change between settings whilst in l
Page 144 and 145:
A fluorescent white balance produce
Page 146 and 147:
values to choose from, such as 3000
Page 148 and 149:
The ‘correct’ white balance can
Page 150 and 151:
during the day we usually have a ne
Page 152 and 153:
The ‘golden hour’ is a time of
Page 154 and 155:
This time-lapse shows how the colou
Page 156 and 157:
When you have the choice of colour
Page 158 and 159:
This image has high contrast and sa
Page 160 and 161:
Your box of compositional tools Eve
Page 162 and 163:
When the horizon is at the bottom i
Page 164 and 165:
Strong verticals can be quite a sta
Page 166 and 167:
In this image we have different lay
Page 168 and 169:
When using reflections in your imag
Page 170 and 171:
Depth of field can be used to simpl
Page 172 and 173:
This image is strong because of the
Page 174 and 175:
subject. This can take away from th
Page 176 and 177:
A different look that also uses bok
Page 178 and 179:
Chapter 7 Planning and shooting tim
Page 180 and 181:
emember that photography is about l
Page 182 and 183:
This time-lapse video was taken fro
Page 184 and 185:
so, the camera did a great job. The
Page 186 and 187:
photography. Larger motorways tend
Page 188 and 189:
A DSLR camera mounted on a pocket t
Page 190 and 191:
Aperture To get a wide depth of fie
Page 192 and 193:
Time-lapse settings The camera was
Page 194 and 195:
had a 24mm ƒ/1.8 prime lens attach
Page 196 and 197:
Shutter speed A shutter speed of 1/
Page 198 and 199:
Always revisit locations on a diffe
Page 200 and 201:
Chapter 8 Film-making and editing f
Page 202 and 203:
Overshot Undershot Point of view Ca
Page 204 and 205:
The long shot can be very similar t
Page 206 and 207:
A half shot is usually framed from
Page 208 and 209:
An extreme close-up enables you to
Page 210 and 211:
This approach is more of a wild car
Page 212 and 213:
The point of view shot is not often
Page 214 and 215:
lens in and out might mean that you
Page 216 and 217:
This image has the contrast turned
Page 218 and 219:
This image has the saturation turne
Page 220 and 221:
This image shows the same frame wit
Page 222 and 223:
If you record audio for your time-l
Page 224 and 225:
This directional microphone has a v
Page 226 and 227:
you want. MUSIC Making your own mus
Page 228 and 229:
Credits are easy to create even wit
Page 230 and 231:
Chapter 9 Sharing and storing your
Page 232 and 233:
page dedicated to showing their wor
Page 234 and 235:
Sometimes, even with all the enthus
Page 236 and 237:
cleaning your equipment 53-55 colou
Page 238 and 239:
L length of your video 128 lenses 5
Page 240 and 241:
T taking yourself out of ‘auto’
show all

Time-Lapse Photography Art and Techniques by Mark Higgins

Create successful ePaper yourself

Delete template?

Save as template?