Everything but the Camera: More Essential Night Photography Gear
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Night photography requires more than just a simple camera and lens
setup. To get great results you will need to invest in a range of other
equipment that will allow you to shoot in a range of common low-light
conditions. This article will give the insights you need to put together
a complete camera system designed to cover any night photography
situation you may encounter.
Rock Solid
One
of the most important components for the budding night photographer is
equipment to stabilize your camera. If the camera is not placed on a
stable platform image quality will be compromised by shake and
vibration.
More often than not you will be taking photos in
lighting conditions that require the use of slow shutter speeds making
hand held camera operation difficult. By using a tripod, monopod or some
other device such as a clamp you can prevent camera motion blur from
ruining your shot.
Shooting from a stable platform also allows
you to adjust the ISO setting to the camera's base ISO value. This keeps
noise at a minimum and also increases dynamic range and improves colour
fidelity. By
mounting the camera on a tripod you can increase image quality
considerably. The only motion blur captured while the shutter is open is
limited to objects that are moving through the frame - such as the
clouds, boats and car light trails in this photo of Tsing Ma Bridge.My
personal preference when selecting a tripod is to use one with carbon
fibre legs paired with a quality ball head that is rated to carry at a
least a 25 kilogram payload. Carbon fibre legs combine good stability
and low weight but are a more expensive option.
I prefer carbon
fibre tripods with only three or four leg sections as this improves
rigidity and therefore makes the camera less prone to vibration from
wind and other sources of camera shake.
If you can't afford
carbon fibre legs a set of aluminum tripod legs will do the job.
Aluminum tripods are generally heavier. This is actually a good thing
for night photography as it helps to improve stability, It does mean you
have to carry extra weight around with you.
If you want to lug
around two separate camera and tripod setups, which I frequently do for
night photography, then carbon fibre is a better option. Your back will
thank you!
One way to help stabilize a lighter tripod is to tether
it to the ground. This has the added benefit of helping to prevent the
camera being blown over by a sudden wind gust. On several occasions I
have had cameras hit the deck due to wind. Lightning
crashes. Just before I took this photo near Kulgera in the deserts of
central Australia I had my D7000 camera knocked over by wind shear
emanating from the front of this thunderstorm. I had setup the camera on
a hill and begun taking shots - conditions were perfect with not a
breath of wind. I went back to my car only a short distance away to
retrieve a second camera and in that brief time a wind gust of at least
80 kph struck. I rushed back to the camera but it was too late and it
was lying on the ground. Luckily it wasn't damaged other than a few
scratches.I use a combination of an occy strap
(for non-Australian readers: a bungee cord) and large tent peg to tether
my tripods to the ground. This is especially useful if you need to
leave the camera unattended, such as when photographing lightning. It is
much safer if you can leave the camera running and sit inside the
shelter of a car or building.
You can secure the tripod by
attaching one end of the occy strap using the hook or hole located on
the main central column of the tripod. You then attach the other end of
the tether to a tent peg which has been securely banged into the ground. By
securing the tripod to the ground you reduce the risks of having your
camera damaged from being blown over by wind. It also helps to reduce
vibration meaning your photos will be sharper. You can use a rock or
some other heavy object for tethering if a tent peg can't be used such
as on concrete or pavement.Another good option for stabilizing the camera is to place a tripod head on a clamp system. This allows you to attach the camera to a solid platform such as a fence post, tree, pole or any other stable object. A
good alternative to a tripod is a clamping system. They are also very
light and a good option if you don't want to carry a second tripod. Keep
in mind that clamps will limit your composition options as you can't
always place the camera where you want to.A
monopod can also be used if a tripod or clamp is not available. By
securing it to a fence, tree, pole or any stable platform with rope, an
occy strap or a cable tie you can keep the camera still during exposure.
If
you find yourself in a situation where you don't have access to a
tripod or some other device to stabilize the camera then a fence or a
rock may prove suitable to prevent the camera from moving. Put a towel
or piece of clothing under the camera to allow for levelling and
composing your shot. Placing the camera on a sandbag (or a sock full of
sand, in a pinch) is also a solid option for camera stabilization.
Talking Heads
After you have purchased your tripod legs your next step is to buy a good quality tripod head.
You
should think long term and invest in a product that will go the
distance. Many of the cheaper versions out there use inferior materials
that aren't made to last. Do your research and read reviews on any gear
you intend to purchase.
I prefer to use a ball head system like those made by Markins or Photo Clam.
Ball heads allow you to make quick adjustments of the camera in all
three dimensions. They also make changing from vertical to horizontal
aspect shooting an easy task. The ability to go from vertical to horizontal aspect shooting quickly is why I like to use a ball head system.These
heads use an Arca-Swiss quick release system so you can remove the
camera from the ball head quickly. You will need to purchase a plate for
each camera and for any lens with a tripod mount that you wish to place
on these heads. A
good quality tripod head is a long term investment. Don't skimp - buy a
quality brand and it will service your needs for a long time to come.
Look, But Don't Touch!
Once
you have the camera locked off and stabilized and you have composed
your shot its time to activate the shutter and take your photo.
We
want to try to minimise camera movement during the period when the
shutter is open so rather than physically pressing the shutter release
button on the camera it is preferable to use a cable release or remote
control to trigger the camera.
You can get a wired cable release
that physically attaches to the camera allowing you to activate the
shutter mechanism. These are usually a simple press button style release
with a locking mechanism to keep the shutter in the pressed or
activated state indefinitely until you release the lock. There
are a variety of cable releases available for digital and film cameras.
Adding one to your kit will help to make your photos sharper. You
can also get more sophisticated versions that allow you to program a
specific shutter speed in hours, minutes or seconds. They can be
programmed to trigger the shutter at a specific time and some of these
devices also have an intervalometer allowing you to shoot time lapse. You
can program a specific time into the more advanced cable release
timers. I used one in this photo of the stars above a radio transmission
tower near the Flinders Ranges township of Parachilna.There
are also wireless versions that avoid having to attach the camera via a
cable. These allow you to activate the shutter from a distance and you
can place the camera where it would otherwise be very difficult to shot
from.
You can also tether the camera to a computer, tablet or smartphone.
The camera connects via a USB cable or uses infrared, bluetooth or
wi-fi connections to wirelessly interface with the device. This not only
allows remote control of the shutter release but also monitoring of the
live view image coming from the cameras imaging sensor. Very handy for
composing shots in areas that are confined or difficult to access. Using
a setup like this also allows you to control other settings within the
camera such as focus, aperture control, ISO settings, exposure
compensation and many other camera control parameters.
If you
don't have a cable release system handy you can use the self timer
function of your camera to activate the shutter. This will help to
minimise camera shake.
Power To The People
As
night photography often requires extended shutter duration you are
likely to go through plenty of batteries. Carrying spares is a very good
idea. You should carry at least two batteries for each camera.
If
you intend to do extremely long exposures or shoot time lapse then you
may need to power the camera with an external battery pack or AC power
supply as the batteries that come standard with your camera may only
power it for one or two hours at a time.
I will look at external
battery packs and AC/DC power solutions and other specialist equipment
in my next article. I'll also include schematics and wiring diagrams for
the construction of your own long duration battery systems.
As
well as power you need to think about storage. You should carry spare
memory cards. I would advise on having at least 32 Gigabytes of storage
per camera.
A good-quality camera bag
is another item worth having. You are best off looking for one that is
the correct legal size for use as carry on luggage at airports. That way
you wont have any problems if you want to take it on the plane with
you.
Up Next: Specialist Gear
My
next article will be the last on night photography equipment and I will
focus on specialist camera equipment that you need for advanced night
photography.
After that I will turn my attention to shooting and
post production techniques designed to get the most from your night
photography ventures.
Until then, keep on shooting!