How to successfully shoot snow

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Allegheny Old Jail v3 ~ Fujifilm XE 1 with 18mm lens ~ 14s at f/8 ~ ISO 200

Winter is upon us and instead of hibernating, take advantage of the official Night Photography season!

I find winter night shoots to be more productive than the summer as I can shoot earlier and longer. There definitely can be challenges to photographing in the winter, especially in those colder locations in the world.  But when it snows there is magic to be made! So bundle up accordingly and I’m going to give you some tips on how to capture those snowglobe winter wonderlands.

Typically, when we photograph at night, we have our camera, tripod, and cable release all good to go.  We open the shutter, possibly light paint, and then close the shutter after the extended exposure.

This first shot of Pittsburgh’s Allegheny County Courthouse and Jail, (1888), demonstrates a typical 12 second exposure.  But the image isn’t showing the snow that is falling on the scene.  That is because the snow is never in the same part of the sky for more than a second.

Look closely – you can see through the car, as it was only there for half of the time.  Once it drove out of the scene the camera kept exposing and revealed what was behind it – the yellow double line, the bricks from the building, etc.  Direct light is the only thing that can pass through a picture and be forever etched into the image. 

Note all the streaks of light – these are the head and rear lights of the cars driving by.  The tallest red lights were from a truck, I always like getting different levels of lights from all the types of vehicles that pass by.   Snow, unlike rain, is white and reflective.  So by using a flash, not a flashlight, we can freeze snow forever in the photograph. 

 

In the second image, I used a Nikon SB910 at 1/8 power off camera.  I stood at a 90 degree angle to the right of the camera and manually popped the flash to shoot across the scene.  This was important because I didn’t want any extraneous light from the flash to be lighting up the building and background. 

I fired the flash 3 times so it could “light up” more snow. My only issue with this image is that the snow is blue.  I had set my white balance in camera to 3200 kelvin to cool down the orange light coming from the sodium vapor street lamps.  But a flash’s color temperature is set to daylight or 5500 kelvin, which when mixed with the cooler white balance of the camera creates blue snow. I could set my in camera WB to 5500 to match the flash but that would be a 2000+ kelvin change in how I wanted the scene to look.  The snow would be white but the rest of the image would be under an ugly orange cast.  Even if I cooled it down post, the snow would have changed to blue again because we are globally turning the whole scene cooler.

An easy fix is to convert the image to Black and White like I did in the third photograph.  This scene actually looks better stripped of color.  The formidable fort of a jail appears even more ominous and the snow is of course white.  However black and white isn’t the solution for all photographs. The best way to capture white snow with the cooler night color temperatures is to use a CTO, Color Temperature Orange, filter over your flash. 

The CTO filter can convert the 5500K of the flash to match the cooler white balance that you have chosen in camera. CTO gels come in a variety of “cuts” – here is a breakdown of the different gels and what they convert to: Full CTO converts 5500K – 2900K 3/4 CTO converts 5500K – 3200K 1/2 CTO converts 5500K – 3800K 1/4 CTO converts 5500K – 4500K 1/8 CTO converts 5500K – 4900K   You can purchase a sheet of these gels inexpensively and use them over a variety of flashlights or flashes They are also available in convenient kits by Honl, Rogue, and Rosco.   The first step in figuring out what gel to “match” the scene is to take a test shot to figure out your ambient light and what in-camera WB setting will look best.  I typically shoot somewhere between 3800k-2900k depending up on the light source in the night scene.  Knowing that, I always bring these three CTO gels – 1/2, 3/4, and full cut.  

 

In last two shots of the Allegheny Observatory my camera’s WB was set to 2900 and I used a full CTO gel over the flash. 

This time I angled the flash under but about a foot in front of the flash and fired up.  That angle was lighting up the snow better and the closer snow made it look bigger.  You have to make sure you are not firing into the lens, having a shade not only helps prevent flare but also restricts the amount of snow from landing directly on the lens.

  I used 1/8 power and fired 3 times – freezing the snow falling directly in front of the lens. Be conscientious of how many times you pop the flash.  Three times seemed to be the perfect amount for how the snow was falling this night. 

The last shot shows when I fired the flash 5 times and lit up too much snow and I feel it takes away from the rest of the picture. The snow was also a cold dry snow that wasn’t getting my camera that wet.  Typically I would bring an Kata Elements cover to protect the camera from getting wet.   So when the weather outside seems frightful, forget that fire so delightful, grab  your flash and CTO gels and Let it Snow, Let it Snow, Let it Snow!

Black & White & Color

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My family gave me my first camera when I graduated from college.  I’m not sure why they gave it to me as I had not shown any interest in photography up to that time.  I was a Theater major and made short silly films with my buddy Jonny on our designated film nights.  I was definitely the creative type but hadn’t found a voice yet.

So, I took that camera on a six week journey across the United States and fell in love with directing the still moment.  The camera was natural in my hand and my eye immediately sought out strong visions.  I think I had shot about 60 rolls of film by the time I got to the Grand Canyon – and I ran out of film.  So I strolled into the gift shop, but all they had was black and white film.  Geesh, were my images going to look like expressionistic silent films now?

Well, when I finally got my 80+ rolls of film back from the lab it was the black and white that struck me the deepest.  It was a new way to see the world and I was addicted.  I shot 90% B&W for the next ten years and I feel that by doing that, my composition thought process was strengthened.  B&W lends itself to a very graphic and/or documentary style of work.  We are influenced by the shadows instead of the colors.  Texture and contrast are easily enhanced.  Black and White is the true 50 Shades of Grey!

Looking back at my last few years of work I realize I have become more of a color shooter.  Those graphic nights are now filled with blues and oranges battling for power.  When shooting digital, I always capture RAW color in-camera. I then decide how to process it when I get home to my Lightroom.  Some I definitely know will be B&W and I compose accordingly.  Others I don’t know until I start developing.  My rule of thumb is if the color isn’t playing a major role in the story then consider stripping it out.  Either way, it should be a decisive choice.

Below are some examples of what the images look like in both color and black and white – I’ll walk you through my thought process.

For this image I was first drawn to the gold reflecting on the river.  I wanted to enhance the color further by shooting at a shallow depth of field.  This created a very pleasing bokeh background of colors and shapes.  The focal point is the solid remnant of the pier playing against the movement of the currents. I only saw it as a color image but it isn’t bad in B&W, the color turns into a pleasing highlight contrast and there is a timeless quality to it.  Feel free to click on the images to get a larger look.

I immediately saw this Under the Manhattan Bridge image in B&W.  Steel and stone always look stronger in black and white and it enhanced the overall structure of the scene. The pleasant surprise was how it also gave more separation/movement to the clouds.  The stars on the left hand side are also easier to see on this moonless night.

In the last image I was drawn to the quickly moving clump of clouds and wanted to play them in an abstract way against the bridge.  Again I don’t mind the color – in fact I like the yellow light on the main cable lines.  However it is easier to influence the contrast and detail in black and white and it lends itself to this image even more.

I really enjoyed this exercise. It reminded me to be more thoughtful of the entire process of seeing. Look purposefully for color and compositions that will lend themselves to black and white.

Which versions do you like and why?

Lights Out, Big City

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One week ago, Sandy crippled the Northeast – towns were destroyed, people were stranded in their homes, and a lot of us were left in the dark.

We take for granted the power that fuels the infrastructure of a city.

Last week we literally had that power taken away from us.

What amazed me the most was the call to action that spread over the social media waves.

There were floods – and people came with pumps;  there was darkness – and people brought light; when our most basic necessities: food, water, and gas were suddenly lost, people did not riot.

Instead they rushed to each other’s aid.

Yes, mistakes were made but the good in humanity persevered.

NYC has been through a lot in the last 11 years and perhaps those experiences aided our first instinct being to help.

Nancy and I foolishly went out during the night of the storm with a tripod and camera to document our neighborhood in Brooklyn.

The neighbors that we pass every day were coming together to help one another and share their experiences. We had all been locked in our homes during the storm without any news of what was going on.  Ironically the bar across the street from us was open throughout Sandy’s invasion – it was a true meeting place and the satellite TV was our only source of information.

As a photographer – I was a witness to a very surreal experience.

The Bright Lights of the Big City had been turned off.

The NYC skyline was lit only by the full moon and I knew I had to document it.

By Thursday the lights were starting to come back slowly – one of the first buildings “back” was the Freedom Tower.  I went to a familiar place along the Brooklyn side of the East River to capture the darkened skyline.  Compare it to the wider shot taken earlier this year from the same location and you realize how many people were put out of their homes and how much power was truly lost.  The grid works in mysterious ways, for example the image of the Brooklyn Bridge from the dock shows the fist set of lights coming from Manhattan are out. In the last image, you can see how the Manhattan Bridge is half in and half out of darkness.

As my friend and I explored the City Hall/Downtown area, the only lights we saw were coming from police cars, bicycles, and people walking around with headlamps and flashlights.  Well lit, bustling streets were now eerily quiet and sunken into an even darker shadow under the skyscrapers.

Technically speaking a typical exposure under the lights of a city are fraction of a second.  But now, working under the full moon and ambient light coming from cars my exposures were averaging 3 minutes at f/11 at 200 ISO.

These longer exposures, hopefully never again to be experienced, created a look at the city that hadn’t been witnessed in many years.

We live in strange and challenging times – but to me this was another example of how we become stronger with adversity and how the true lights of the cities will never be blown out.

So keep creating, keep helping, keep sharing, and keep living.

Night Photography Seminar at Photo Plus

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Will you be in New York next week for the largest Photo Trade Show in the US – Photo Plus?
If so – you should join me and 3 other incredibly diverse photographers for a 2 hour seminar on Thursday October 25th from 4-6pm.
Whether you are new to the night or want to improve your technique, you are bound to gain more inspiration and knowledge from this hand picked panel of night photographers that I am very honored to be a part of.

The seminar is called – Mastering the Night:  From Gaining Access to Choosing Gear to Perfecting Technique and More.

I’ll be breaking down what gear works best to successfully create an image in the many different night environments.  My day job at B&H lets me test a ton of toys and I’ll be bringing that knowledge to the table.  I’ll share with you the benefits and drawbacks to the latest crop of DSLRs and Evil cameras as well as the viability of film cameras that can create longer exposures than digital SLRs.  There are so much gear for photography, but I’ll shine a light on the key accessories that you’ll definitely want to have in your bag when the sun goes down.

Steve Duncan, urban historian and photographer, who documents the unseen infrastructure of metropolises all over the world will be sharing his images and adventures.  He will give us insight into gaining access from unthinkable locations as well as how to safely navigate through tunnels, towers, and aqueducts!  If you haven’t seen the 30 minute film on Steve called UNDERCITY by Andrew Wonder – watch it now.  Urban exploring is dangerous enough, but to film Steve as he leads us through abandoned subway stations, canals, and climbs to the top of bridges is simply mind blowing.

 

Linda Rutenberg, a professional fine art photographer, author of 5 books, and teacher for the last 30 years will bring us gently back to earth.  Linda’s Garden at Night series is ingenious.  By choosing the night time to capture some of the most famous gardens in the world  we are shown a very special time when “plants and flowers possess a kind of luminescent elegance, reflecting light from their surface”.  Her images are surreally sumptuous and she will be sharing her soft lighting tips as well as her story on seeing a project through from inspiration to completion.

 

And finally, moderator Jill Waterman, author of one of the best books on night photography – Night and Low Light Photography will showcase  recent work from the night photography community before opening up floor to discussion.  Jill is the senior editor of the ASMP Bulletin and Editor of PDNedu. Her global series on The New Year’s Eve Project depicts how humans all over the world have been celebrating.

 

I want to thank Jill for organizing this very unique class – Night Photography has been one of the fastest growing photographic genres over the last 5 years and part of the beauty is the unseen mystery of the night.

So come take the next step and be inspired to see better in the night!

Spend your Halloween in Sleepy Hollow

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The Legend of Sleepy Hollow was one of my favorite fables as a child.
The Disney vision of the burning pumpkin flying towards the lanky Ichabod was the first true fear I felt as a youngster.

Over 3 years ago, I was given the opportunity to revisit that tucked away fear and photograph the very cemetery where all that fire and brimstone took place over 2 centuries ago. It was twilight, the gates to the cemetery were locked, and I was on the inside with a tripod and camera…how would I fare at night with the ancient spirits and cracked tombstones?

Well I’m still here to tell the tale! With over 90 acres of sculptures, mausoleums, and tombstones…some dating back to 1850, Sleep Hollow Cemetery is inspiring in a whole new way!

The town of Tarrytown and the cemetery of Sleepy Hollow literally come alive the week leading up to Halloween. And here is what I am proposing… if you are remotely interested in night photography, are looking for a unique way to celebrate the All Hallows season, or just overcoming some childhood fears:

Join Matt Hill and I as we help you hone your night photography skills and explore one of the most historic cemeteries in the United States on October 27th-28th. We have found that shooting continuously for consecutive nights helps our students become more comfortable faster as well as the having the freedom to experiment with the night light.
So without further ado – here are the details:

Tuition, per night: $195
Date: October 27 and 28, 2012. 3pm – 11pm each day.
Instructors: Gabriel Biderman and Matt Hill
Where: Sleepy Hollow Cemetery, 540 North Broadway, Sleepy Hollow, New York.
Required Gear (Film or Digital): camera, tripod, and cable release. A full gear guide will be sent to you upon registration.

Schedule:
Saturday October 27th we will go over the basics of night photography—how to successfully and consistently create long exposures that evoke the spirit of the location. Star trails, composition, the basics on light painting, and how to operate a camera under the moonlight will all be presented in this 8 hour lecture and field class.
Sunday October 28th we will continue to challenge your night photography skills by adding advanced light painting techniques that will enhance the many beautiful details of the cemetery as well as capture ghost movements, and possibly encountering a headless horseman!
You can sign up for one night or really improve your comfort level by taking the two night class. Photographers wishing just to sign up for the Sunday Advanced Class will need to send us a sample of your work in order to qualify.
If you sign up for the 2 day class you will be able to have Gabriel and Matt review your work in person as well as save 10% off the class.

Please click here for additional information & to sign up for the workshop.