Time-Lapse Photography Art and Techniques by Mark Higgins

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If you record audio for your time-lapse or video on camera, always check the input levels. This will show whether the recording volume is too loud or quiet. If you see any red indicators this means it is too loud and the audio file will be distorted and unusable. Most cameras will have the facility to record audio. Some cameras have a built-in microphone and/or a facility to plug in an external microphone. Before recording a video clip to capture audio, make sure that you are not covering up the internal microphone because the audio recording will sound muffled or quiet. Another consideration is to make sure that you do not press any buttons on the camera whilst it is capturing audio. If you press buttons on the camera or use the focusing system whilst recording video, you will hear the clicking noises on the audio track. Ultimately it can be more tricky to use the built-in microphone than you might think. The audio quality is usually pretty good but a better and clearer audio is easily achieved with an external microphone plugged into the camera or a separate recording device. Recording audio off camera For the most part a dedicated audio recording device will be of a higher quality than the camera’s built-in microphone and because we will achieve a crisper, cleaner audio signal, it will help to capture the viewer’s attention when watching the final video. There are many hand-held devices that
are available to us and many are very reasonably priced. Editing your visuals to audio can be much easier than you think. If you make cuts during changes in the music your video will feel much more confident with its pacing and aesthetics. Recording audio off camera often gives us much more flexibility and it means that audio can be captured whilst the camera is shooting a time-lapse video. When using a microphone, the key is to use the correct tool for the job and for most time-lapse videos, a directional microphone will be appropriate. Directional microphones
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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
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This time-lapse shows how the colou
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When you have the choice of colour
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This image has high contrast and sa
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Your box of compositional tools Eve
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When the horizon is at the bottom i
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Strong verticals can be quite a sta
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In this image we have different lay
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When using reflections in your imag
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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
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Page 184 and 185: so, the camera did a great job. The
Page 186 and 187: photography. Larger motorways tend
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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 204 and 205: The long shot can be very similar t
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Page 208 and 209: An extreme close-up enables you to
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Page 226 and 227: you want. MUSIC Making your own mus
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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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