Time-Lapse Photography Art and Techniques by Mark Higgins

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Remote triggers When we take an image with our camera we push a button on the device, and this can create unwanted movement. For time-lapse and regular stills photography, sometimes we do not want the camera moving when a frame is captured. Remotes enable you to trigger the camera without touching the device itself, which overcomes this issue. Remotes can either tether to the camera or trigger the camera with Wi-Fi, infra-red or radio connectivity. Any solution will effectively do the same job in that the camera is not moved by your finger pressing the shutter release button. Do some research or go to a photographic dealer and see what options are available for your camera. If your camera has a built-in interval timer or time-lapse photography mode then this acts as a trigger. An external interval timer can, however, offer additional benefits such as better functionality and an increased number of options available. This example shows a high-end external intervalometer. This enables you to access advanced timelapse options that you do not get in the camera as standard. Many manufacturers have a device like this. So even if your camera does not have an interval timer you can still use it for time-lapse photography. Using your phone or tablet to trigger your camera
Some cameras have Wi-Fi connectivity, which allows you to trigger your camera from a smart device as well as view through the camera and focus, as shown in this example. Functionality varies between manufacturers so explore the options that are compatible with your equipment. There are some really useful apps that can be downloaded to your phone and used in conjunction with many cameras on the market. Functionality between systems may vary slightly and apps also advance quickly with changes in technology. To trigger the camera with the phone, the two are connected via Wi-Fi or Bluetooth and an app on the phone enables you to have a live view, seeing through the camera’s lens without being anywhere near it. With this connection you are also able to transfer images from the camera to the mobile phone or tablet that you are using. Functionality of these systems is getting better all the time and in many cases this solution is cheap or even free. Using computers to trigger your camera Most people have a computer and will use it for editing and viewing their work, but many are unaware of what computers can offer in terms of triggering a digital camera. A computer with the appropriate software is able to trigger the camera via a wireless or tethered connection, with the correct accessories. Try connecting your camera via USB to the computer and using software to trigger the shutter. Nikon’s Camera Control Pro software is one example of a great package that enables you to have comprehensive control over the camera for shooting stills, video and time-lapse. When shooting to a computer we can shoot more, because we are only limited by the computer’s hard
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Time-Lapse Photography Art and Tech
Page 5 and 6: First published in 2016 by The Crow
Page 7 and 8: This image is an example of what ca
Page 9 and 10: Getting started At the beginning yo
Page 11 and 12: This diagram represents the passing
Page 13 and 14: These individual still photographs
Page 15 and 16: COMMUNICATING WITH TIME-LAPSE One o
Page 17 and 18: Scenes like this will give subtle m
Page 19 and 20: • What inspires you about your su
Page 21 and 22: ALWAYS LOOK AROUND BEFORE SHOOTING
Page 23 and 24: When capturing fast-moving subject
Page 25 and 26: An area that is very close to time-
Page 27 and 28: These are still images taken from a
Page 29 and 30: Chapter 2 Time-lapse basics In this
Page 31 and 32: This example shows how the pixel di
Page 33 and 34: This example shows Full HD video re
Page 35 and 36: The format for video is more of a l
Page 37 and 38: DIFFERENT WAYS TO CAPTURE TIME-LAPS
Page 39 and 40: when looking at these options to ch
Page 42 and 43: This sequence of images is from a t
Page 44 and 45: This comparison shows how you can e
Page 46 and 47: TIME-LAPSE TO VIDEO IN CAMERA If yo
Page 48 and 49: Advantages Phones and tablets are g
Page 50 and 51: Compact cameras are very advanced a
Page 52 and 53: This camera is a fully fledged top-
Page 56 and 57: drive and not a memory card in the
Page 58 and 59: software that comes free with the c
Page 60 and 61: 24mm.
Page 62 and 63: 80mm.
Page 64 and 65: 500mm. Focal lengths between around
Page 66 and 67: This time lapse sequence was shot w
Page 68 and 69: Using harsh shadows in your frame w
Page 70 and 71: LEARN FROM YOUR SHOOTING DATA Look
Page 72 and 73: uying one. Manuals for any lens or
Page 74 and 75: Using a fisheye lens will always be
Page 76 and 77: Here we see a tilt and shift lens b
Page 78 and 79: This is the same view but the persp
Page 80 and 81: concentrating on the technical side
Page 82 and 83: where the sun is going to be at any
Page 84 and 85: when in a rush this is easy to forg
Page 86 and 87: Chapter 4 Light and exposure In thi
Page 88 and 89: This frame from a time-lapse shows
Page 90 and 91: camera’s settings. If we use man-
Page 92 and 93: 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
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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
Page 122 and 123:
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
Page 164 and 165:
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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so, the camera did a great job. The
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photography. Larger motorways tend
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A DSLR camera mounted on a pocket t
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Aperture To get a wide depth of fie
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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
Page 228 and 229:
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
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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