Time-Lapse Photography Art and Techniques by Mark Higgins

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The long shot can be very similar to the establishing shot. Generally it is similar to a landscape shot, but used for your time-lapse movie. The long shot is almost always taken using a wide-angle lens to capture a large scene with lots of depth, normally with the main subject placed in the foreground or middle. The approach that is taken with this kind of shot is very similar to landscape photography because an aperture of around ƒ/11 is often used to create a big depth of field so that everything is clear for the viewer to explore visually. Full shot
A full shot can be used if you are recording a time-lapse of any scene with people in. This kind of composition will generally be head to toe. You can have a full shot of a single person or of a crowd. This camera shot is of a full person, head to toe. If your time-lapse has people in it then you can decide how much of them are in the frame. Keep an eye on movement though. It could be that people are going up an escalator at a train station and therefore moving out of the frame as they move. When using people as part of the movement in your video, this will help you think about how to frame and compose. Half shot
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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
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This chart shows that changing the
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Taken at ƒ/8 this image shows the
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A very wide aperture of ƒ/1.4 has
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• Distance between the camera and
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In conditions where there are low l
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This section of the image shows how
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This neutral density filter screws
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These stills are from a video clip
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Your camera’s metering system Und
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of middle greys, and in theory the
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Here the histogram is seen next to
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Always check your manual to find th
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These images are taken at two stops
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To capture the separate images when
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Chapter 5 Setting up your camera fo
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This image shows a much better appr
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Live-view focusing can be much more
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Most DSLR cameras have a button to
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If you want a different point of vi
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Chapter 6 Colour and composition In
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change between settings whilst in l
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A fluorescent white balance produce
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values to choose from, such as 3000
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The ‘correct’ white balance can
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during the day we usually have a ne
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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
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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
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Page 168 and 169: When using reflections in your imag
Page 170 and 171: Depth of field can be used to simpl
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Page 174 and 175: subject. This can take away from th
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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
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Page 192 and 193: Time-lapse settings The camera was
Page 194 and 195: had a 24mm ƒ/1.8 prime lens attach
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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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Page 206 and 207: A half shot is usually framed from
Page 208 and 209: An extreme close-up enables you to
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Page 216 and 217: This image has the contrast turned
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Page 222 and 223: If you record audio for your time-l
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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’
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Time-Lapse Photography Art and Techniques by Mark Higgins

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