Time-Lapse Photography Art and Techniques by Mark Higgins

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A fluorescent white balance produces strange colours when used with daylight but will give a white neutral light with fluorescent lighting.
Shady white balance is often used in direct sunlight because it makes the image slightly more orange in colour, which changes the feel of the image. This picture looks much warmer than when the camera is set to auto. • Auto • Inc<strong>and</strong>escent • Fluorescent • Direct sunlight • Shade • Cloudy • Flash • Kelvin • Preset white balance Most of these options are self-explanatory in respect of the lighting situations they are meant for; however, there are a couple at the bottom of the list that are not so obvious. Firstly ‘Kelvin’: the Kelvin Scale is a numbering system that measures colour temperature, <strong>and</strong> you will find a long list of
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Time-Lapse Photography Art and Tech
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First published in 2016 by The Crow
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This image is an example of what ca
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Getting started At the beginning yo
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This diagram represents the passing
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These individual still photographs
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COMMUNICATING WITH TIME-LAPSE One o
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Scenes like this will give subtle m
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• What inspires you about your su
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ALWAYS LOOK AROUND BEFORE SHOOTING
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When capturing fast-moving subject
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An area that is very close to time-
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These are still images taken from a
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Chapter 2 Time-lapse basics In this
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This example shows how the pixel di
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This example shows Full HD video re
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The format for video is more of a l
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DIFFERENT WAYS TO CAPTURE TIME-LAPS
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when looking at these options to ch
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This sequence of images is from a t
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This comparison shows how you can e
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TIME-LAPSE TO VIDEO IN CAMERA If yo
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Advantages Phones and tablets are g
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Compact cameras are very advanced a
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This camera is a fully fledged top-
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Remote triggers When we take an ima
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drive and not a memory card in the
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software that comes free with the c
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24mm.
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80mm.
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500mm. Focal lengths between around
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This time lapse sequence was shot w
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Using harsh shadows in your frame w
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LEARN FROM YOUR SHOOTING DATA Look
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uying one. Manuals for any lens or
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Using a fisheye lens will always be
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Here we see a tilt and shift lens b
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This is the same view but the persp
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concentrating on the technical side
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where the sun is going to be at any
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when in a rush this is easy to forg
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Chapter 4 Light and exposure In thi
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This frame from a time-lapse shows
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camera’s settings. If we use man-
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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 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
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had a 24mm ƒ/1.8 prime lens attach
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Shutter speed A shutter speed of 1/
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Always revisit locations on a diffe
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Chapter 8 Film-making and editing f
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Overshot Undershot Point of view Ca
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The long shot can be very similar t
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A half shot is usually framed from
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An extreme close-up enables you to
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This approach is more of a wild car
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The point of view shot is not often
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lens in and out might mean that you
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This image has the contrast turned
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This image has the saturation turne
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This image shows the same frame wit
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If you record audio for your time-l
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This directional microphone has a v
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you want. MUSIC Making your own mus
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Credits are easy to create even wit
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Chapter 9 Sharing and storing your
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page dedicated to showing their wor
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Sometimes, even with all the enthus
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cleaning your equipment 53-55 colou
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L length of your video 128 lenses 5
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T taking yourself out of ‘auto’
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Time-Lapse Photography Art and Techniques by Mark Higgins

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