Time-Lapse Photography Art and Techniques by Mark Higgins

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500mm. Focal lengths between around 10mm and 70mm are generally popular for time-lapse photography because the most common subject matter tends to comprise landscape-style shots, and these focal lengths are favoured for landscape photography. Do not limit yourself to these lenses, however. The more you explore different lenses and new ways of using them, the more interesting your photography becomes. Even though there are focal lengths that are often used for time-lapse, try everything that you have at your disposal. Consider hiring or borrowing different lenses you have never used before. There is a tremendous amount you can learn about photography through experimentation; keep in mind that the lens is the most important part of the camera. The 50mm prime lens
This frame would work well as a time-lapse video as well as a street photography image.The 50mm prime lens enables us to frame a subject on the other side of the street with ease, making it quick to take a snap shot of anything that is happening. Camera settings: 1/160s, ƒ/5, ISO 250. Often photographers will talk about their beloved 50mm prime lens and how it is the best lens they own, but why? Apart from being compact and effective in low-light shooting situations, what is all the fuss about? A key factor in why this lens is such a popular choice is that it will represent your subject how you see it, with your own eyes. Obviously we do not see the world through a rectangle like the camera does, but the distance and perspective of the subject appears the same through a 50mm as it does when you look at your subject without viewing it through the camera. Think of this lens as the ‘eyesight lens’ – it imitates what your eyes see.
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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
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 54 and 55: Remote triggers When we take an ima
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 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
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
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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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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
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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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