Time-Lapse Photography Art and Techniques by Mark Higgins

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The ‘golden hour’ is a time of day when the sun is rising or going down <strong>and</strong> is a fantastic time of day for time-lapse photography. Camera settings: 1/640s, ƒ/6.3, ISO 5000.
When clouds are present during the golden hour it helps to achieve a range of different colours <strong>and</strong> shapes that are perfect for a timelapse. This, paired with the movement the clouds provide, opens up some exciting opportunities. Camera settings: 1/60s, ƒ/5.3, ISO 800. The colour of man-made light
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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
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The exposure triangle is the most i
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This scene is overexposed. This ima
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the decision based on the light tha
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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 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
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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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