How to Photograph Outdoors at Night

Nighttime photography can be a tricky task. In Greek, the word photography means writing with light, meaning that photography is the art of bending and manipulating light. Nighttime photography is no different. The key to taking great night photos is learning how to manipulate very little light into a bright detailed photograph. There are many tricks to working in the dark, but in the end the only procedure for learning how to photograph at night is to experiment and experience.

Instructions

1

Choose a subject. Nighttime photography is generally reserved for photographing buildings or other steady objects. The presence of people (or cars and animals) in night photographs is usually used for a desired blur effect. When choosing a location, keep in mind the presence of light. Choose locations with interesting or unique lighting in terms of angles and color variety.

2

Steady your camera. Nighttime photography requires the use of a tripod unless you are in a well-lit area. If you're photographing architecture, nature, the sky or any other static models (subjects that aren't directly moving in front of you), setting up a tripod is the best measure to ensure a clear photograph with the minimal amount of blur. If a tripod isn't available, set the camera on any flat surface that can provide the angle you desire.

3

Adjust your settings. Before photographing anything, a photographer must set both the aperture and shutter speed. It's generally assumed that a slow shutter speed (long exposure) is used in nighttime photography as the camera needs more time to collect available light. If your camera is on a tripod or resting on a flat surface, set your shutter speed to a long exposure between 10 and 30 seconds. The greater the exposure time, the more chance there is of blur when photographing a scene containing movement. Long exposure therefore implies a small aperture (high number) as using a large aperture would overexpose the shot. Setting you aperture to f/22 is a reasonable stop for a long exposure.

4

Set the timer. When using a tripod or flat surface, set the timer on your camera to automatically take a picture after five or 10 seconds. The force of your finger pressing the shutter release button is enough to jostle the entire shot into one big blurred mess.

5

Attach a lens hood. Lens hoods help keep out unwanted side light that may leak into the photograph during a long exposure. By using a lens hood you are ensuring that only the light you're photographing makes its way into the photograph.

6

Never use flash. Nighttime flash photos drown the scene and remove all detail. Flash should only be used at night in people situations (such as an outdoor wedding party) when the people and their movement are the main subjects. In these situations a slow shutter speed cannot be used and therefore a flash light source is needed. If using flash, attach a flash diffuser or light box to your flash to soften the beam and create a more natural lighting effect.

---

Nighttime photography can be a tricky task. In Greek, the word photography means writing with light, meaning that photography is the art of bending and manipulating light. Nighttime photography is no different. The key to taking great night photos is learning how to manipulate very little light into a bright detailed photograph. There are many tricks to working in the dark, but in the end the only procedure for learning how to photograph at night is to experiment and experience.

Instructions

1

Choose a subject. Nighttime photography is generally reserved for photographing buildings or other steady objects. The presence of people (or cars and animals) in night photographs is usually used for a desired blur effect. When choosing a location, keep in mind the presence of light. Choose locations with interesting or unique lighting in terms of angles and color variety.

2

Steady your camera. Nighttime photography requires the use of a tripod unless you are in a well-lit area. If you're photographing architecture, nature, the sky or any other static models (subjects that aren't directly moving in front of you), setting up a tripod is the best measure to ensure a clear photograph with the minimal amount of blur. If a tripod isn't available, set the camera on any flat surface that can provide the angle you desire.

3

Adjust your settings. Before photographing anything, a photographer must set both the aperture and shutter speed. It's generally assumed that a slow shutter speed (long exposure) is used in nighttime photography as the camera needs more time to collect available light. If your camera is on a tripod or resting on a flat surface, set your shutter speed to a long exposure between 10 and 30 seconds. The greater the exposure time, the more chance there is of blur when photographing a scene containing movement. Long exposure therefore implies a small aperture (high number) as using a large aperture would overexpose the shot. Setting you aperture to f/22 is a reasonable stop for a long exposure.

4

Set the timer. When using a tripod or flat surface, set the timer on your camera to automatically take a picture after five or 10 seconds. The force of your finger pressing the shutter release button is enough to jostle the entire shot into one big blurred mess.

5

Attach a lens hood. Lens hoods help keep out unwanted side light that may leak into the photograph during a long exposure. By using a lens hood you are ensuring that only the light you're photographing makes its way into the photograph.

6

Never use flash. Nighttime flash photos drown the scene and remove all detail. Flash should only be used at night in people situations (such as an outdoor wedding party) when the people and their movement are the main subjects. In these situations a slow shutter speed cannot be used and therefore a flash light source is needed. If using flash, attach a flash diffuser or light box to your flash to soften the beam and create a more natural lighting effect.

---

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Define Side Lighting

Photography is a popular hobby, and one that is easy to work with using a digital camera. One of the most important parts of learning to take high quality photographs is in the way lighting is used. While direct light on a subject, be it a portrait or a still shot, can be effective, other types of lighting can have a much more powerful impact. Side lighting in particular can be effective.

Side Lighting

Working with side lighting involves finding or creating a source of light that will illuminate one side of the subject of a photograph. Side lighting can come from either side and be directed in a number of angles so as to cast shadows in a particular way.

Effects

Using side lighting can add a dramatic or dark element to a photograph that could otherwise have been simple or even bland. Photographs that utilize side lighting have more depth and texture than photos that use direct or overhead lighting. Side lighting will create contrast between light and dark within the photo and can also be used to emphasize contrast between certain colors or parts of an image.

Techniques

Side lighting can be accomplished in several ways. Using a spotlight to the right or left of a subject will illuminate one side while leaving the other in shadow. The same effect can be accomplished by having a subject stand partially in front of a window or placing an object in the path of light to create shadows.

Benefits

Aside from giving more depth to the subject of a photograph, side lighting can also be used to capture greater amounts of texture. Placing a source of light at the side of the subject of the photograph will help the camera catch more subtle details of texture and form, such as crevices and uneven surfaces for landscape shots or the planes of a person's face.

Uses of Side Lighting

In addition to enhancing photographs, side lighting is also used in paintings and in theater productions. Using side lighting on a stage can help draw attention to a specific event or create contrast. Using side lighting techniques from photography onstage can have a similar impact on a scene.

---

Photography is a popular hobby, and one that is easy to work with using a digital camera. One of the most important parts of learning to take high quality photographs is in the way lighting is used. While direct light on a subject, be it a portrait or a still shot, can be effective, other types of lighting can have a much more powerful impact. Side lighting in particular can be effective.

Side Lighting

Working with side lighting involves finding or creating a source of light that will illuminate one side of the subject of a photograph.

Enhance your photography skill,The Top Secret Photography Techniques

. Side lighting can come from either side and be directed in a number of angles so as to cast shadows in a particular way.

Effects

Using side lighting can add a dramatic or dark element to a photograph that could otherwise have been simple or even bland. Photographs that utilize side lighting have more depth and texture than photos that use direct or overhead lighting. Side lighting will create contrast between light and dark within the photo and can also be used to emphasize contrast between certain colors or parts of an image.

Techniques

Side lighting can be accomplished in several ways. Using a spotlight to the right or left of a subject will illuminate one side while leaving the other in shadow. The same effect can be accomplished by having a subject stand partially in front of a window or placing an object in the path of light to create shadows.

Benefits

Aside from giving more depth to the subject of a photograph, side lighting can also be used to capture greater amounts of texture. Placing a source of light at the side of the subject of the photograph will help the camera catch more subtle details of texture and form, such as crevices and uneven surfaces for landscape shots or the planes of a person's face.

Uses of Side Lighting

In addition to enhancing photographs, side lighting is also used in paintings and in theater productions. Using side lighting on a stage can help draw attention to a specific event or create contrast. Using side lighting techniques from photography onstage can have a similar impact on a scene.

---

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How Can I Make Cheap Studio Lights?

Purchasing professional studio lighting can cost thousands of dollars. However, the fancier the setup does not imply a better photograph. Many professional photographers use amateur home-made light setups to produce shots of an equal quality to those shot with professional lights. The word photography means writing with light; if you can control the light in any way to bend it to your will, then you have photographed. Cheap studio lights require nothing save a trip to the hardware store and a little creativity.

Instructions

1

Set up a white paper backdrop. Backgrounds and sidings are a critical feature in capturing light inside of a studio, before setting up the lights, tape or drape a large sheet of white crepe paper (inexpensive at any craft store) to act as the background. If you are doing life-size studio portraits, you will need to use a white drape or sheet to act as the backdrop supported by stands such as coat racks or secured to the ceiling. The backdrop will refract the light and spread it evenly.

2

Acquire "daylight" or "ultra white" hot bulbs from a hardware store. These bulbs are inexpensive regardless of the store; averaging about five dollars each. For a basic studio set up, you will need three bulbs either attached to a tripod (about twenty-five dollars at a hardware store) or on hardware clamps. Get creative with what you clamp it too, such as a coat rack or door frame.

3

Set up diffusing screens. As you are using plain bulbs without any softboxes or umbrellas around them, you will need to diffuse the light in order to avoid white-out and harsh shadows on the subject. Screens allow the light to bounce off and diffuse evenly onto a subject rather than strike it. Use any form of large screen at your disposal; a large whit sheet, large white paper, etc.. The screen must be placed in front of the light at a distance far enough away to keep from catching on fire, this it needs to be free standing. Consider using a cheep clothes rack to act as a screen frame and drape or tape material over it.

4

Position the lights in your studio. Place two of the lights as background lights on either side of the backdrop to illuminate the background behind the subject/model. Make sure the lights are not in the frame of the camera. Place the third light at the front-right or front-left of the subject/model with the diffusing screen placed in front of it.

5

Measure your shots. Each setting is different for the natural light present and or the use of your camera flash. Play around with your set up, adjust lights, add screens or reflective mirrors to manipulate the light until you get the shot you have envisioned.

---

Purchasing professional studio lighting can cost thousands of dollars. However, the fancier the setup does not imply a better photograph. Many professional photographers use amateur home-made light setups to produce shots of an equal quality to those shot with professional lights. The word photography means writing with light; if you can control the light in any way to bend it to your will, then you have photographed. Cheap studio lights require nothing save a trip to the hardware store and a little creativity.

Instructions

1

Set up a white paper backdrop. Backgrounds and sidings are a critical feature in capturing light inside of a studio, before setting up the lights, tape or drape a large sheet of white crepe paper (inexpensive at any craft store) to act as the background.

Enhance your photography skill,The Top Secret Photography Techniques

. If you are doing life-size studio portraits, you will need to use a white drape or sheet to act as the backdrop supported by stands such as coat racks or secured to the ceiling. The backdrop will refract the light and spread it evenly.
2

Acquire "daylight" or "ultra white" hot bulbs from a hardware store. These bulbs are inexpensive regardless of the store; averaging about five dollars each. For a basic studio set up, you will need three bulbs either attached to a tripod (about twenty-five dollars at a hardware store) or on hardware clamps. Get creative with what you clamp it too, such as a coat rack or door frame.

3

Set up diffusing screens. As you are using plain bulbs without any softboxes or umbrellas around them, you will need to diffuse the light in order to avoid white-out and harsh shadows on the subject. Screens allow the light to bounce off and diffuse evenly onto a subject rather than strike it. Use any form of large screen at your disposal; a large whit sheet, large white paper, etc.. The screen must be placed in front of the light at a distance far enough away to keep from catching on fire, this it needs to be free standing. Consider using a cheep clothes rack to act as a screen frame and drape or tape material over it.

4

Position the lights in your studio. Place two of the lights as background lights on either side of the backdrop to illuminate the background behind the subject/model. Make sure the lights are not in the frame of the camera. Place the third light at the front-right or front-left of the subject/model with the diffusing screen placed in front of it.

5

Measure your shots. Each setting is different for the natural light present and or the use of your camera flash. Play around with your set up, adjust lights, add screens or reflective mirrors to manipulate the light until you get the shot you have envisioned.

---

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The Negative Density of Film

The density of film refers to the amount of light a negative transmits. The denser or more blocked from light the sections of a negative are, the darker they will be in print. This is called negative film density. A system of measurement ranging from minimum to maximum called log density is used to assess the tonal range of negatives.

Log Densities

Log density is a simple ratio expressed as a logarithm. On a scale from minimum to maximum, "Dmax" is the maximum density or the most negative film density that a print can have. The higher the Dmax in portions of the negative, the better quality the black will be in those areas in the final print.

Tonal Ranges

A negative with a short tonal range, meaning that there is less variation in the gradations of light, is considered to be of low negative film density. Conversely, a negative with a lot of tonal variation is described as having a long tonal range and a high negative film density.

Film Base and Fog

A 35 mm negative has a basic gray film base. The emulsion on the film base has a certain minimum density referred to as "fog." Fog is the result of a small proportion of unexposed emulsion being developed. The film base and the emulsion usually absorb half of the light that is it exposed to, while reflecting the other half.

Determining Negative Film Density

Film densities above film base and fog (fb + f) are the way that negative densities are expressed. Film base plus fog (fb + f) density is the equivalent of a 2x blocking factor, expressed as the ratio 2x, in stops (1 stop) or as a logarithm of the ratio. The logarithm to base 10 of 2 is rounded up to a 0.30 density.

Further Examples of Calculating Negative Film Density

If a certain section of the negative allows one-third of the light to burn through, it is described as having a blocking factor (blocking of light) of 3x. This is expressed as the ratio 3x, in stops (1.5) or using log density, the log to a base of 10 of 3, and rounded to the nearest hundredth decimal, to equal .48.

If a different section of the film allows no more than one-thousandth of the available light to burn, the ratio is described as 1,000x; in stops (10) or as a log density of 1,000 or 3.0.

Exposure, Development and Negative Film Density

Overexposed film is considered "blocked-up" or not transparent and has a high negative density. Underexposed film is considered "clear" and has a lower negative density. While exposure determines the detail of the shadows, development determines the highlight detail placement. Using log densities you can reduce your development time and produce a "thinner" negative, which is suggested for compatibility within the range of most scanners to print well. While a thin or underexposed and/or underdeveloped negative produces prints that scan well, higher paper grades and filters may be used to print the detail of the shadows.

Using Exposure to Control Density

You can manipulate the negative density of your film by overexposing it, but you sacrifice the tonal variations in the process.

Conversely, underexposing your negative in order to manipulate density may make the images appear as black and featureless.

---

The density of film refers to the amount of light a negative transmits. The denser or more blocked from light the sections of a negative are, the darker they will be in print. This is called negative film density. A system of measurement ranging from minimum to maximum called log density is used to assess the tonal range of negatives.

Log Densities

Log density is a simple ratio expressed as a logarithm. On a scale from minimum to maximum, "Dmax" is the maximum density or the most negative film density that a print can have. The higher the Dmax in portions of the negative, the better quality the black will be in those areas in the final print.

Tonal Ranges

A negative with a short tonal range, meaning that there is less variation in the gradations of light, is considered to be of low negative film density. Conversely, a negative with a lot of tonal variation is described as having a long tonal range and a high negative film density.

Film Base and Fog

A 35 mm negative has a basic gray film base. The emulsion on the film base has a certain minimum density referred to as "fog." Fog is the result of a small proportion of unexposed emulsion being developed. The film base and the emulsion usually absorb half of the light that is it exposed to, while reflecting the other half.

Determining Negative Film Density

Film densities above film base and fog (fb + f) are the way that negative densities are expressed. Film base plus fog (fb + f) density is the equivalent of a 2x blocking factor, expressed as the ratio 2x, in stops (1 stop) or as a logarithm of the ratio. The logarithm to base 10 of 2 is rounded up to a 0.30 density.

Further Examples of Calculating Negative Film Density

If a certain section of the negative allows one-third of the light to burn through, it is described as having a blocking factor (blocking of light) of 3x. This is expressed as the ratio 3x, in stops (1.5) or using log density, the log to a base of 10 of 3, and rounded to the nearest hundredth decimal, to equal .48.

If a different section of the film allows no more than one-thousandth of the available light to burn, the ratio is described as 1,000x; in stops (10) or as a log density of 1,000 or 3.0.

Exposure, Development and Negative Film Density

Overexposed film is considered "blocked-up" or not transparent and has a high negative density. Underexposed film is considered "clear" and has a lower negative density. While exposure determines the detail of the shadows, development determines the highlight detail placement. Using log densities you can reduce your development time and produce a "thinner" negative, which is suggested for compatibility within the range of most scanners to print well. While a thin or underexposed and/or underdeveloped negative produces prints that scan well, higher paper grades and filters may be used to print the detail of the shadows.

Using Exposure to Control Density

You can manipulate the negative density of your film by overexposing it, but you sacrifice the tonal variations in the process.

Conversely, underexposing your negative in order to manipulate density may make the images appear as black and featureless.

---

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How to Create Canvas Prints

Printing photographs onto canvas as fine artwork is all the rage for home decor. Several companies will do this process for you, but if you have the correct supplies, you can make as many canvas prints as often as you want at a low cost, using your digital images and a sufficient printer with canvas material. You can do this to reproduce your personal photographs, your own artwork or for other fine artwork.

Instructions

1

Make sure your home printer is sufficient enough to print canvas. You can typically find this information in the instruction manual, but if your printer prints up to 13 by 19 inches wide, it should be able to print on canvas. Decide the size of your print. Ideally, your canvas print should be as large as possible. Good printers for making canvas prints include the HP Photosmart printers, which come with this feature already installed.

2

Decide what photo you wish to make into a canvas print. It can be a favorite vacation photo, a print of your artwork, or another artist's print to add to your home decor. First, you need to make it a digital file. If it is not already on your computer, scan it with a quality scanner (most printers you will use to make the canvas print should have scanners). High-quality photo software--such as Adobe Photoshop or Photofuse--will produce the most vibrant and clear print. Such software must come with functions such as cropping, balancing out color and saturation percentage, and resizing. When cropping and editing your photo, add a 1-inch border around it. For example, make the print 11 by 17 inches if your print is 13 by 19 inches. This will help make the print fully visible on the canvas.

3

Open the edited digital file of your print on the computer. Click "Print" on the image. The next page should bring up your printing options. Select the best printing quality option (usually shown on a bar that goes from 0 to 100%), and if there is a "canvas" printing option, choose that as well. Then choose the size of your print, which is the size you originally chose in the beginning.

4

Do a test print with regular paper before using the canvas, so you can make sure the measurements are correct and that the print comes out as expected.

5

Put on the gloves before handling the canvas paper to avoid getting fingerprints and oils on the canvas. Carefully place the canvas sheet into the same slot you would insert regular printer paper. Make sure the edges fit within it smoothly and evenly. Print your canvas picture. Allow the ink on your canvas print to dry completely before you touch it.

6

Need a larger canvas print then your printer can produce? Use a website like Kodak, Zazzle, ImageFly or Shutterfly. Shutterfly is an ideal Web site print orders because they routinely run special deals on canvas prints (See Resources). Larger canvas prints can be expensive to order, but not as expensive as purchasing a large set printer for your home.

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Printing photographs onto canvas as fine artwork is all the rage for home decor. Several companies will do this process for you, but if you have the correct supplies, you can make as many canvas prints as often as you want at a low cost, using your digital images and a sufficient printer with canvas material. You can do this to reproduce your personal photographs, your own artwork or for other fine artwork.

Instructions

1

Make sure your home printer is sufficient enough to print canvas. You can typically find this information in the instruction manual, but if your printer prints up to 13 by 19 inches wide, it should be able to print on canvas. Decide the size of your print. Ideally, your canvas print should be as large as possible. Good printers for making canvas prints include the HP Photosmart printers, which come with this feature already installed.

2

Decide what photo you wish to make into a canvas print. It can be a favorite vacation photo, a print of your artwork, or another artist's print to add to your home decor. First, you need to make it a digital file. If it is not already on your computer, scan it with a quality scanner (most printers you will use to make the canvas print should have scanners). High-quality photo software--such as Adobe Photoshop or Photofuse--will produce the most vibrant and clear print. Such software must come with functions such as cropping, balancing out color and saturation percentage, and resizing. When cropping and editing your photo, add a 1-inch border around it.

Enhance your photography skill,The Top Secret Photography Techniques

. For example, make the print 11 by 17 inches if your print is 13 by 19 inches. This will help make the print fully visible on the canvas.
3

Open the edited digital file of your print on the computer. Click "Print" on the image. The next page should bring up your printing options. Select the best printing quality option (usually shown on a bar that goes from 0 to 100%), and if there is a "canvas" printing option, choose that as well. Then choose the size of your print, which is the size you originally chose in the beginning.

4

Do a test print with regular paper before using the canvas, so you can make sure the measurements are correct and that the print comes out as expected.

5

Put on the gloves before handling the canvas paper to avoid getting fingerprints and oils on the canvas. Carefully place the canvas sheet into the same slot you would insert regular printer paper. Make sure the edges fit within it smoothly and evenly. Print your canvas picture. Allow the ink on your canvas print to dry completely before you touch it.

6

Need a larger canvas print then your printer can produce? Use a website like Kodak, Zazzle, ImageFly or Shutterfly. Shutterfly is an ideal Web site print orders because they routinely run special deals on canvas prints (See Resources). Larger canvas prints can be expensive to order, but not as expensive as purchasing a large set printer for your home.

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