Time-Lapse Photography Art and Techniques by Mark Higgins

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CONTENTS Introduction 1 What is time-lapse photography? 2 Time-lapse basics 3 Equipment 4 Light and exposure 5 Setting up your camera for time-lapse photography 6 Colour and composition 7 Planning and shooting time-lapse videos 8 Film-making and editing for time-lapse videos 9 Sharing and storing your time-lapse photography Index
This image is an example of what can be achieved when ideas, colours and composition are explored. Whilst experimenting we can make our own path and create visually interesting imagery that excites and inspires us. Camera settings: 1/250s, ƒ/9, ISO 400.
Page 2: Time-Lapse Photography Art and Tech
Page 5: First published in 2016 by The Crow
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 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
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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
Page 88 and 89:
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
Page 132 and 133:
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
Page 144 and 145:
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
Page 152 and 153:
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
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
Page 166 and 167:
In this image we have different lay
Page 168 and 169:
When using reflections in your imag
Page 170 and 171:
Depth of field can be used to simpl
Page 172 and 173:
This image is strong because of the
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subject. This can take away from th
Page 176 and 177:
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/
Page 198 and 199:
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
Page 206 and 207:
A half shot is usually framed from
Page 208 and 209:
An extreme close-up enables you to
Page 210 and 211:
This approach is more of a wild car
Page 212 and 213:
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
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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