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Amazing Night Photography

While night photography can be a challenge, it can also be extremely rewarding. While anyone can take daytime images, night photography requires some practice and work to perfect. Images taken at night are unique and offer completely different results than ones taken during the day. While there’s no one-size-fits-all solution for capturing amazing nighttime imagery, there are a few things that everyone who’s interested in this type of photography should know. With this in mind, here’s a look at a few tips that you’ll want to follow that will help you to capture some amazing nighttime images.

Once the sun starts to set, the sky will start changing quickly. Getting set up early will allow you to capture the various stages of the sunset, including the different shades of reds and oranges as well as the beautiful blue hour that sets in just after the sun dips below the horizon. Even though you’ll be shooting the same location, you’ll end up with drastically varied images, each one with an entirely different look.

Make sure you bring along the right gear to increase your chances of capturing some amazing images. Here’s a look at some things you’ll want to pack.

  1. A Tripod

    To get the sharpest, clearest images possible during low light conditions, you’ll want to steady your camera, especially during long exposures. In most cases, a tripod is the best option as it allows you to stabilize your camera to help prevent camera shake and image blur.

  2. A Wide Angle Lens

    While the best lens for night photography varies, most night landscapes will call for a wide angle lens. Something around 14-24 is usually ideal. A wide angle will help you to fit everything in the frame and will also enhance the sense of distance in an image. It will cause elements in the foreground to appear larger and more prominent, and mountains in the distance to look farther away. Wide angles are also more forgiving when focusing in the dark, and provide sharpness throughout your image especially when you’re using higher f-stops.

  3. A Flashlight

    Don’t forget your flashlight! Not only will it help you to see what you’re doing when working in low-lighting conditions, but it’ll also come in handy if you’re hoping to illuminate dimly lit areas in the foreground of your scene; making it easier for your camera to focus.

  4. Remote Release

    A remote release is helpful when you’re using long exposures where even the slightest movement can cause image blur. Having a remote release, or using the timer on your camera, will keep you from having to press the button, preventing unwanted blur.

While it’s easy to focus on the spectacular night sky, you’ll want to try to find some interesting elements to include in the foreground as well. These details can help add more definition to your compositions, and draw the viewer into the image. While night photography can be a challenge, especially in the beginning, that’s part of what makes these images so rewarding. By mastering the basics, and getting plenty of practice you’ll soon be capturing amazing, eye-catching nighttime images yourself – ones that you’ll be proud to call your own.

Use a Telephoto Lens for Landscape Photos

You may be surprised to hear that in some cases, the somewhat unlikely telephoto lens may prove to be an ideal option. These lenses are ideal for compressing the elements in a scene, and helping to minimize the sense of scale and distance in a composition. This means that for those times where you’re hoping to showcase a distant mountain in all of its grandeur, photograph a full moon looming over the horizon, or capture a distant bird in flight, a telephoto is your lens of choice.

When presented with a beautiful landscape, the challenge shouldn’t be to “fit everything in,” rather; your goal should be to effectively capture the scene at hand. Often, this means finding a focal point, and isolating the main point of interest. Using a telephoto can help you to capture powerful images since it makes it easier to select a slice of the landscape that has the most appeal or interesting details. Focusing on part of the scene, rather than the entire vista will allow you to create a tighter and simplified image, and leaving out any unnecessary and potentially distracting details.

Telephotos are ideal for those times when you want to compress the visual elements in a scene. Any time that you’d like both near and distant objects to appear similar in size or closer together, you’ll want to reach for your telephoto. This is also the case if you’re hoping to draw a distant element – such as a hill, a distant house, or the moon – a bit closer. If your focal point is a distant element, you’ll want to use a telephoto. A telephoto is also ideal for creating panoramic images – and with a minimal amount of image distortion. Using a telephoto will allow you to zoom in on different areas that you’d like to photograph, and capture a series of images that you can stitch together in post processing. Your telephoto will also prove to be useful during stormy or misty weather conditions, allowing you to easily capture a patch of the distant, brooding sky, or isolate a section of a beautiful foggy valley. Instead of feeling tempted to fit everything into your scene, try zooming in and filling the frame with a section of the setting for a unique and powerful image.

You’ll also want to take special care to ensure that your camera is steady when using a telephoto. These lenses are very sensitive to movement, so be sure to use a tripod or stabilize your camera to prevent blur. When using a tripod, you’ll want to turn off any image stabilization features. You’ll also want to utilize the ‘mirror lock-up’ feature on your camera and consider using a remote shutter release to further reduce the chance of camera shake.  When using a telephoto, you’ll most likely run into situations where different areas in your image will require different exposures, especially images where you’re capturing both the sky and foreground. For situations like this, it’s a good idea to get some neutral density (ND) filters that will fit your lens. Or, you could capture bracketed exposures, exposing for the sky, then the foreground, and then the whole scene, and then blending them together in post-processing. While creating breathtaking compositions with your telephoto may prove to be a challenge initially, being able to use these lenses for landscape photography will open up a whole new world of potential photo opportunities. Soon you’ll be using your telephoto to create images that are breathtaking and powerful, and capturing scenes that are every bit as beautiful as they appear in person.

Landscape Photography

Landscape photography shows spaces within the world, sometimes vast and unending, but other times microscopic. Landscape photographs typically capture the presence of nature but can also focus on man-made features or disturbances of landscapes. Landscape photography is done for a variety of reasons. Perhaps the most common is to recall a personal observation or experience while in the outdoors, especially when traveling. Others pursue it particularly as an outdoor lifestyle, to be involved with nature and the elements, some as an escape from the artificial world. Many landscape photographs show little or no human activity and are created in the pursuit of a pure, unsullied depiction of nature, devoid of human influence—instead featuring subjects such as strongly defined landforms, weather, and ambient light. As with most forms of art, the definition of a landscape photograph is broad and may include rural or urban settings, industrial areas or nature photography.

Landscape photography typically requires relatively simple photographic equipment, though more sophisticated equipment can give a wider range of possibilities to the art. An artist’s eye for the subject can yield attractive and impressive results even with modest equipment.

  • Camera

Any ordinary (or sophisticated) camera — film camera or digital camera—can be readily used for common landscape photography. Higher-resolution and larger-format digital cameras (or larger-format film cameras) permit a greater amount of detail and a wider range of artistic presentation.However, a larger-format camera yields a more limited depth of field (range of the scene that is in focus) for a given aperture value, requiring greater care in focusing. A camera with “panorama” function or frame can permit very wide images suitable for capturing a panoramic view.

  • Lens

 Telephoto lenses can also facilitate limited ranges of focus, to enable the photographer to emphasize a specific area, at a fairly specific distance, in sharp focus, with the foreground and background blurred. A big difference between a wide-angles lens and a telephoto lens is the compression of the landscape; the wider the angle the more distance will appear between the foreground and background elements; however, a telephoto lens will make the same elements appear closer to each other. Other lenses that can help include the fisheye lens for extremely wide angles and dramatic effect, and the macro lens for extreme close-up work. While variable-range zoom lenses are widely used, some landscape photographers prefer fixed-range prime lenses to provide higher clarity and quality in the image.

  • Filters

    Neutral density filter demonstration. Photo taken with shutter speed 1/5 of a second and a focal length of 21mm. Filters can serve a wide range of purposes in landscape photography. For instance, a polarizing filter can darken the sky, while allowing surface features to be shown in relatively sharper clarity. Polarizing filters also help with cutting glare from water, snow and ice—even facilitating greater transparency of water and ice. Neutral density filters are darkened with a neutral (colorless) gray tint which reduces the amount of light entering the camera lens. These filters are used to lengthen shutter speeds without the need to alter aperture or film/sensor sensitivity, or alternatively, to use large apertures without exceeding the maximum shutter speed of a camera.

Awesome Yearbook Photos

A yearbook, also known as an annual, is a type of a book published annually to record, highlight, and commemorate the past year of a school. The term also refers to a book of statistics or facts published annually. Many high schools, colleges, and elementary and middle schools publish yearbooks; However, many schools are dropping yearbooks or decreasing page counts given social media alternatives to a mass-produced physical photographically-oriented record. Several pages are often used for pages chronicling activities undertaken by students, such as trips abroad, activity trips, sporting and other special events. This part of the book often covers students’ lives both inside and outside of the campus. Sometimes members of a yearbook write editorial and journalistic content about life as a student, current events (local, national, and international), and other matters of interest to the peer group.

Students may design yearbook pages themselves or use company-provided templates in most cases. In general, most yearbook pages are designed as double-page spreads and include several items:

  • Headline: Akn abbreviated sentence highlighting the content of the spread, usually involving word play along with factual information
  • Story/Copy: Staffs usually write short stories capturing the highlights of a specific department, sports season, organization, etc., from the past year. Often, yearbook staff members will either interview students, teachers and others for comments. Alternative story formats have gained popularity in recent times, allowing stories to be told in visual ways (graphs, charts, polls, timelines, etc.).
  • Photographs: Every spread that isn’t a portrait or an ad spread contains candid shots of students, suitable to the page’s topic and theme. Included with the photographs are one or more captions, which describe each picture; these often begin with a lead-in.

In the past, most yearbooks were laid out by hand, with photographs physically cropped and placed on layout boards. The work was tedious, and required multiple deadlines and contact with a yearbook publisher. Today, virtually all yearbooks are published using computers, which allows for shorter deadlines and easier editing. Students typically design pages using a desktop publishing program, usually Adobe InDesign. Some schools use a proprietary web-based design program belonging to the company that prints the book.

A digital yearbook or eYearbook is a yearbook holding memories of a given time with a given group of people—most commonly, a school year at a particular school—that exists in digital form. A digital yearbook may contain text, images, audio, and video. A digital yearbook page, also known as a dyp, makes an existing yearbook interactive using Portrait Recognition Technology. A mobile application and smartphone or tablet is used to scan a student’s portrait. Scanning the portrait will take the student to the Digital Yearbook Page. DYPs contain multimedia content archived throughout the school year. The DYP can also contain links with contact information.

Nothing says yearbook like getting up close and personal with your subjects. Yearbook photos offer a lot of opportunities for action shots, whether it’s a marching band, a sports team on the field, or a school event or fundraiser in full swing. To capture the most important and interesting elements of such scenes, be sure to get in close to the subjects. Physically move in close with your camera, so that you’re as near as possible for the shot. This technique adds a layer of realism to yearbooks that boosts their overall value.

Yearbooks are great opportunities to capture the emotion in students’ lives throughout the year. They’re a veritable track record of all the highs and lows that happen with school activities. Look for that emotion as a photographer, and go in and shoot it with aplomb. Get in close during that celebration when the school’s football team kicks the winning field goal. Similarly, also capture disappointing events, like players’ reactions when they lose a big game. This’ll add much-needed balance to a yearbook. The same thing goes for big events like graduations and dances. Capture the reactions of students as they go through various milestones in their school year and lives.

Wedding Photography Tips

A wedding is a special event that marks a vital transition in the life of lovers, and so documenting its proceedings should come with a great deal of care and accuracy. As a photographer, you need to understand how to work around different situations to offer the perfect shots during the amazing day. To prepare to give your clients the best, here are 15 tips you could embrace to perfect your skills in wedding photography.

1. Expect the unexpected

One of the things as a photographer you need to learn is that things could go wrong any time and this could in some way form the best moment. All you need to do is to embrace the event with an open mind and a flexible eye so as to capture moments as they come not as your fixed plan says you should do.

2. Have fun

A wedding is an event that is all about celebrating, so you should not be left behind while the rest will be enjoying themselves. Having fun allows you to be relaxed and this increases your confidence and accuracy level.

3. Set continuous shooting mode

Events proceed quickly at some point and this where you need to capture the drama as it unfolds. To achieve the goal easily, you should use continuous shooting mode, which allows you to capture as many photos as possible within a short time span.

4. Try group shots

Trying to capture every person in the wedding is also important as this gives a preview of the amount of frenzy present in the event, and it allows you to share the story better. You could do this by getting on a raised ground where you can easily capture every person in the venue.

5. Fill flash

During the day where there could be shadow, a little fill in flash comes in handy as it works out the clarity stolen by the differences in lighting on that day. You need to keep your flash attached to achieve this.

6. Get a little creative

Having a fixed perspective while shooting wedding photos could limit your effectiveness. You need to include some creativity by coming up with ideas like using different angles to create the dramatic and unexpected shots your photos should have.

7. Don’t delete your mistakes

Many photographers are tempted to discard their mistakes but this is also a mistake in itself. Images can be cropped to give a perfect photo, so not every image you feel is not perfect is useless.

8. Pay attention to your backgrounds

The biggest challenge about wedding photography is that you will have people moving about and you cannot control where they should be at any particular time. It is, therefore, advisable to time when your target is at an uncluttered background to create emphasis.

9. Do it RAW

Many people don’t prefer shooting in RAW because of the processing time, but gives you much more flexibility to manipulate the shots after taking. You are not assured to get the perfect lighting and this means you need to make manipulations to cater for your needs perfectly.

10. Apply diffused light

You also need to have the ability to diffuse light as this will help you when the light in the venue is too low. You can do this relatively easily with a diffuser.

11. Exude boldness

Being timid won’t give you the perfect shot and sometimes you need to be strong to capture a moment. Timing is vital and thinking ahead allows you to get the perfect position for key moments.

12. Invite a second photographer

You cannot be everywhere every time and this is the reason you need to work with someone else. With another photographer helping you, it becomes easy to focus on one area by minimizing movement.

13. Have two cameras

Hire or borrow an extra camera and make sure to use a different lens. This allows you to create diversity and come up with perfect shots for different moments.

14. Capture the tiniest details

It is the small details that are often ignored that create great memories. Focus on them to come up with photos that will hold value for many years.

15. Turn the sound off

You don’t want to disrupt with beeps amid speeches and important announcements, so just keep your camera in silent mode.

Color Theory for Photographers

However, in some cases, color can negatively impact an image as well, causing it to swim with details and appear distracting, or even unrealistic. While it may be a thin line to walk, being able to use color effectively can help you to take your photographs up a notch, allowing you to create compositions that are eye-catching and exciting. Developing an eye for color can take time, but it is something that’s worth pursuing with your photography. With this in mind, let’s take a look at color theory as well as some different ways that you can use color to bring out the best in your images. There is a lot to explore when it comes to color theory, and how it affects our images, but understanding the color wheel and how the different colors work together and complement each other is a great place to start. Different color combinations provoke different feelings and responses; with some color schemes working together much better than others.

By understanding how different colors work together, you’ll be able to see things differently, and get the most from the colors around you. Here’s a basic look at some different color combinations.

First, let’s look at analogous colors. These are the colors that are next to each other on the color wheel. An analogous color scheme can consist of anything from two colors on up to half the wheel. These colors – think blue and green – can often make for a pleasing and harmonious color combination. Complementary colors are shades that are located directly across from each other on the wheel. Think: blue and yellow or orange and green. These colors are complementary because they are said to work well together. Complementary combinations can create a high-contrast and vibrant look especially when used at full saturation. A split complementary color scheme takes two colors that are directly opposite, and another color that’s one of the complementary colors’ analogous color. This type of combination often works extremely well, helping to balance out an otherwise high-contrast color combination.

Triadic colors are three colors are equally spaced out from each other on the color wheel. This color scheme is very similar to split complementary colors. A quadratic color scheme is a combination of two complementary color harmonies on the color wheel. This grouping can also be called a double complementary scheme, because it is the combination of two complementary colors. Of course, there are many more combinations that you can use as well including monochrome colors, such as a black and white color scheme. Depending on the type of photography you are working with, the harmony of colors you choose to work with will vary. For instance, in most types of landscape photography it can be difficult to influence the resulting colors in a composition – although you do have some control over foreground elements that you may choose to include, such as brightly colored flowers – or the results of your image in post processing. In portrait photography, though, or when capturing macros, it can be easier to create specific color combinations.

When working with different color combinations, keep in mind that the brightness and saturation of different colors will impact the harmony of the resulting image. In most cases, you’ll want to pay close attention to the colors in the image that are bold or saturated as these are the ones that will generally attract the viewer’s attention. These colors work well for the subject or main focal point in an image. As you probably already know, different colors tend to convey very different moods in an image. Colors that are on the warm side of the wheel – such as red, orange, and yellow – often result in an image that feels in bold or energetic, while colors that are cooler – think: blues and greens – tend to convey feelings of calm and tranquility.

Image Histogram

An image histogram is a type of histogram that acts as a graphical representation of the tonal distribution in a digital image. It plots the number of pixels for each tonal value. By looking at the histogram for a specific image a viewer will be able to judge the entire tonal distribution at a glance. Image histograms are present on many modern digital cameras. Photographers can use them as an aid to show the distribution of tones captured, and whether image detail has been lost to blown-out highlights or blacked-out shadows. This is less useful when using a raw image format, as the dynamic range of the displayed image may only be an approximation to that in the raw file. The horizontal axis of the graph represents the tonal variations, while the vertical axis represents the number of pixels in that particular tone. The left side of the horizontal axis represents the black and dark areas, the middle represents medium grey and the right hand side represents light and pure white areas. The vertical axis represents the size of the area that is captured in each one of these zones. Thus, the histogram for a very dark image will have the majority of its data points on the left side and center of the graph. Conversely, the histogram for a very bright image with few dark areas and/or shadows will have most of its data points on the right side and center of the graph.

Image editors typically have provisions to create a histogram of the image being edited. The histogram plots the number of pixels in the image (vertical axis) with a particular brightness value (horizontal axis). Algorithms in the digital editor allow the user to visually adjust the brightness value of each pixel and to dynamically display the results as adjustments are made. Improvements in picture brightness and contrast can thus be obtained. In the field of computer vision, image histograms can be useful tools for thresholding. Because the information contained in the graph is a representation of pixel distribution as a function of tonal variation, image histograms can be analyzed for peaks and/or valleys. This threshold value can then be used for edge detection, image segmentation, and co-occurrence matrices.

Histogram vs LCD

Now that you know what a histogram is, you might be thinking to yourself that it would be easier to evaluate the exposure by looking at your LCD screen. This is a mistake! LCD screens have adjustable brightness that you can set yourself, so they’ll never give you a truly accurate rendition of your exposure. You’ll be able to tell if the shot is massively under or over exposed but the screen is really only useful for checking your composition. For accurate results, the histogram is your best friend!

Using The Histogram

The horizontal axis of your histogram goes from white through mid grey to black; from left to right. This is married to a vertical axis, which I always think looks a little like a mountain range, with various peaks and troughs. What this is actually representing is the relative quality of light for the given luminance of the scene. So, a perfectly balanced exposure will show a ‘hump’ in the middle, which tailors off on each side towards black or white. A digital camera that uses 8-bit sampling has 255 shades of grey, meaning that the histogram goes from 0 (black) to 255 (white). The arches on your histogram essentially show the brightness of an image. So, if you take a shot and see that the majority of your vertical arch is to the right of the image you will have a high-key image, which could be overexposed. Reverse this so that most of your data is on the left and you’ll have a low-key shot, which may be underexposed. Remember though that it’s not always a big fat negative to have a spike on one side of your histogram. For example, if you’re shooting with bright sunlight, it would be totally normal to see a sharp right-hand spike. A completely balanced histogram isn’t always going to be your goal. What you have to bear in mind is how to read the histogram, what’s in your scene in terms of brightness, darkness and contrast, and your desired result. With these elements taken into account, you can view your histogram and make adjustments – e.g. adjusting your exposure by changing your aperture, shutter speed or ISO or even recomposing your shot to change the amount of light or dark areas in your image.

Calibrate Photoshop

First things first, you’re going to want to make sure Photoshop is calibrated properly. This will allow you to view your photo at actual print size on the screen. To do this, you’ll want to find out what your screen resolution is, and then make the change in Photoshop’s settings.

Step 1: Measure the width of your screen

Measure your laptop or pc screen horizontally in inches. You can find this information in the owner’s manual, on the manufacturer’s website, or you could even just measure it yourself.

Step 2: Find your screen’s resolution

Next, make sure your monitor is in native resolution (if you have a retina display, make sure it’s set to the native resolution and not scaled up or down).

Step 3: Do the Math

Take the length of your screen horizontally in inches and divide it by the number of pixels horizontally.

Step 4: Change the Settings in Photoshop

Now, head over to Photoshop, and find your “Units & Rulers” section. This should either be under Photoshop > Preferences, or Edit > Preferences. Next to “Screen Resolution,” put in the PPI that you just calculated.Hit save!

Step 5: Check It Out

Now, open a photo in Photoshop, and view the print size to see what it will look like. To view the current print size go to View > Print Size. Make sure it’s in inches. This is what your image will look like when it’s printed. If you don’t see a ruler, enable it by going to View > Rulers and selecting it. The inches on the ruler that appear on the screen should represent an actual inch – you can verify this with an actual ruler to make sure. If everything lines up, congratulations! You’ll be able to view your images in actual print size now.

Change the Image Size

Ok! We’ve calibrated Photoshop. Now, let’s see how we can resize an image for print.

Here’s a look at how you can resize an image to a 6×4 print

You want to make sure the images that you’re printing will work for the frame that you have, or the photo album that you’ll be using.

Head to Image > Image Size. Make sure the box for “Resample” is unchecked. Find the Resolutionfield, highlight the number, and enter in 300. Once you’ve changed the resolution, the physical dimensions of the image, the width and height should change too. By unchecking the Resample box, and changing the resolution, you can make the image smaller, without losing any valuable data in the process.

Now, recheck the Resample box. Go to width, and enter in 6. The height box will probably read something like 3.979 – which is close enough for more cases when you’re printing, but in order to ensure absolute accuracy, you’ll want to take things a step further.

After hitting OK, navigate to the Marque Tool, located in the top left-hand corner, and select the rectangular marquee. Go up to the style drown-down dialogue and select Fixed Ratio. If your picture is in landscape orientation, you’ll want to input 3 for width and 2 for height at the top of the menu.

Now, go to the upper left-hand corner, click on the corner of the image, and drag open the box. You can drag the box around to position it. Once you’re happy with it, go to Image > Crop.Now go up to Image > Image Size, and, making sure the Resample box is checked, click the width to change it to 6. The height should automatically change to 4. Your picture should now be a perfect 6×4. Save your image to your desktop, and it’s ready to go for print!

Photographic Mosaic

In the field of photographic imaging, a photographic mosaic, also known under the term Photomosaic, a portmanteau of photo and mosaic, is a picture (usually a photograph) that has been divided into (usually equal sized) tiled sections, each of which is replaced with another photograph that matches the target photo. When viewed at low magnifications, the individual pixels appear as the primary image, while close examination reveals that the image is in fact made up of many hundreds or thousands of smaller images. Most of the time they are a computer-created type of montage. There are two kinds of mosaic, depending on how the matching is done. In the simpler kind, each part of the target image is averaged down to a single color. Each of the library images is also reduced to a single color. Each part of the target image is then replaced with one from the library where these colors are as similar as possible. In effect, the target image is reduced in resolution (by downsampling), and then each of the resulting pixels is replaced with an image whose average color matches that pixel.

In the more advanced kind of photographic mosaic, the target image is not downsampled, and the matching is done by comparing each pixel in the rectangle to the corresponding pixel from each library image. The rectangle in the target is then replaced with the library image that minimizes the total difference. This requires much more computation than the simple kind, but the results can be much better since the pixel-by-pixel matching can preserve the resolution of the target image. There is debate over whether Photomosaics are an art or mere technique. The making of a photomosaic is sometimes paralled and compared to forms of artistic appropriation, like literary assemblage. Artists such as David Hockney, Christopher Kates and Pep Ventosa have pioneered their own photographic mosaic techniques where multiple photographs are taken of a scene and then pieced together again to create a cohesive image.

Photographic mosaics are typically formed from a collection of still images. A more recent phenomenon, however, has been video mosaics which assemble video clips rather than still images to create a larger image. The closing credits of the 2005 PlayStation 2 game God of War, for example, incorporates a still image of the main character, Kratos, formed from a number of in-game videos. The term “video mosaic” also describes a large still image made from adjacent frames of video, such as those from video shots of geographic features like roads or cities. A mosaic of the video’s relevant frames replaces the full video, saving time and bandwidth, since the stills are much smaller.

Long Exposure Photography Tips

To help you start out, here are quick tips you should follow and keep in mind. These do not assure that you’ll become a master long exposure photographer, but they can help you do things right. These can help you make the proper start to your long exposure practice. Follow all these tips so you won’t wonder where you went wrong or why the shot didn’t come out the way you expected it to.

1. Avoid vibration of any kind

Make sure that your camera and tripod are on a steady, balanced surface. Some photographers even put something heavy on the tripod (like sand bags) to add some weight to it. The extra weight will make the tripod and camera sturdier. In addition to the extra weight, it will help if you use a remote shutter so there won’t be a need to press the shutter manually. Pressing the shutter can cause some vibration.

2. Be mindful of the weather

Days before the shoot, get all the information you can about the weather. Find ways to monitor the weather, especially if it has been raining for days or if it’s the rainy season. Do not schedule a shoot when the sky is cloudless or when the rains are pouring heavily. But pay attention to the weather forecast because conditions can change in a matter of minutes or hours. Do a location inspection several days before the shoot – study and familiarize it. This will give you ideas on how to set up the shoot and which shots to take. Likewise, an ocular inspection will give you the opportunity to study your concept, as well as to determine whether the location is perfect for what you want to achieve.

3. Visualize and compose your photo

Pay attention to the surroundings of your location and try to visualize how they can be incorporated into the shot or photo. This is important because you need to find a way to improve the scene or location for the long exposure shot. It is essential to pay attention to the total picture and not just the ones that are your focal interest.

4. Lock the focus and look for leaks

Make sure that your photo is well-composed. Do not lose your focus on the subject. You can manually lock the focus or use the shutter button if you are on autofocus mode. Be sure to lightly press (not full press) the button until the focus you want is achieved. Be mindful of the leaks. If there are leaks on the camera’s viewfinder (or anywhere else), you need to seal them off. To do this, you need to bring with you a black tape and any opaque material that you can use to cover the leaks. Even if the leaks are tiny ones, they can still affect the outcome of your long exposure shot.

5. Pay attention to the light

Whether you shoot in the daytime or at night, it is important to be mindful of the light. Is there ambient lighting? How much light can I get if I shoot at night? What man-made light sources can I use? Asking these questions will help you determine how much of your light requirement need to be improved and which ones should be utilized.