Time-Lapse Photography Art and Techniques by Mark Higgins

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Sometimes, even with all the enthusiasm in the world, we can occasionally find ourselves lacking inspiration. Inspiration is so important because it fuels our direction when working and also how we feel about the subject in general. You might see a piece of work by a photographer or a film in a cinema that gives you that feeling of awe. When we have these moments it reminds us why we do what we do. If we are lacking inspiration, however, how do we go about finding it? Inspiration and creativity are not commodities that you can just turn on and off with a switch and this makes it very difficult to find sometimes. It can come from something totally unexpected, such as noticing an image in a newspaper, a commercial on television, or it could be obtained from a visit to an art gallery or even a restaurant. As a time-lapse photographer, you should be able to get inspiration from anywhere with movement so make sure that you are always looking for it and how it can be captured in a time-lapse video. You might be at a train station and notice that the flow of the crowd is quite interesting because it has patterns. You could even find inspiration sitting in a coffee shop looking out the window onto the street. You might not always have your camera on you, but you will have your eyes and this enables you to look for inspiration. Recording inspiration and ideas Because inspiration and ideas may come to us at any time we need to be prepared to record them. If we think of a fantastic idea and forget it, we have missed out on what could have potentially been a piece of work that you might have been very proud of. Sometimes the most raw or impulsive thoughts and ideas make way for some amazing content. Other times you may decide that an idea will just not work. Either way, ideas and inspiration cost nothing and are one of our most valuable assets as image-makers. Carry a notepad or have an app for making notes on your phone. First and foremost, enjoy your image-making and good luck.
Index 4K 23–24 A angles, camera eye level 125 high angle 124 low angle 125 overshot 125 point of view 126 tilted angle 125 undershot 125 aperture 64–66 aperture priority mode 64 applications 52 aspect ratio 25–26 , 30 audio capturing audio 131 directional microphones 132 recording audio off camera 132 recording audio on camera 131–132 wind shields 132–133 auto ISO 67 B batteries 38–39 bracketing 74–75 brightness 129–130 C card readers 39
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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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This image is strong because of the
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subject. This can take away from th
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A different look that also uses bok
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Chapter 7 Planning and shooting tim
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emember that photography is about l
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This time-lapse video was taken fro
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Page 188 and 189: A DSLR camera mounted on a pocket t
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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
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 220 and 221: This image shows the same frame wit
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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 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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