Exercise 4.07 – Cloudy weather and rain

For the first part of this exercise, I’ve chosen the following three sets of images. The camera was in Aperture priority with a fixed aperture of f/10, to make it easier to calculate the exposure stops for each image. I used daylight white balance for each shot.
The first two images are of a Linden tree in our garden – its leaves are turning nicely now and the berries are looking good.

Full Sun

With the sun still low in the sky (as it is most of the time just now) there’s good contrast and strong colours in this image. The clear blue sky makes a good backdrop too.

Cloud cover

With the fairly thin cloud in front of the sun, an additional 3.5 exposure stops were required. It’s produced a clearer image, with no burn out, but the colours are much more muted. The overall colour in the foliage and berries seems to be bluer than the previous image, even though the sky is not so prominent.
So it depends on whether strong, harsher colour and high contrast is preferable to the flatter image with better detail. My personal preference, in this case, is the latter.
In Whitby we now look at Captain Cook’s monument.

Full Sun

Again, the low sun has provided the lighting with fairly high contrast, due to the dark shadows. His dark eyes give him a look of determination. The bright light has caused burn out on the ever present gull.

Cloud Cover

With cloud cover has meant an extra 2.5 exposure stops and has produced quite a flat image. His attire now looks much softer and his eyes look tired rather than determined. Of course it could be the gull which is making him tired – it certainly doesn’t do anything for his jacket and may be responsible for some of the verdigris, which incidentally looks bluer than in the previous image.
I think I prefer the first image in this pair. I think monuments in general should look as though they’ve been carved, so higher contrast is preferable – and I can’t think that Captain Cook was a softy!
It was the Wartime weekend in Whitby, so lots of people in uniform and period dress, together with check points, ancient vehicles, crooners, big bands and general good fun.

Full Sun

The Home Guard and the Air-raid Prevention Warden were happy to pose in the sunlight. The side lighting has resulted in a not very complimentary image. The light is just too harsh.

Cloud cover

The diffusing effect of the cloud cover has made the features of these society ladies much softer. An altogether much more pleasing result even though the overall colour is more muted and has a blue tinge.
The skin tones in the first image look a lot healthier, but I think the softer lines in the second image are much more desirable for this type of image.
The following images from my library demonstrate how softer, diffused light, due to the weather can be used to good effect.

Four Oaks

The lower light level has produced this relatively low contrast image, with very little burn out. A harsher light would have almost certainly caused loss in the white areas. The detail has therefore been maintained throughout the image. The eye is drawn to the trees because of the triangle made by the converging roots

Misty Webs

The very low cloud has made the spider web glisten with water droplets. Although the background has become lost in the mist I think this image really works. The muted colours with the enhanced detail work well with the misty background, while the points of yellow and the droplets in the webs give it so much interest.
Obviously the lighting makes this image. Without the soft light this just wouldn’t work.
An overcast day was used to capture these images around the harbour:

Dull Gull

Gulls are difficult to photograph on bright days. Their white plumage tends to get burned out in an image. Look at the detail that can be seen in this immature bird on a dull day – individual feathers are easily distinguished and the eye is very clear. The vegetation also has more detail than I’d normally have expected.

Overcast Pots

The overcast sky has provided a light where shadows are almost non-existent. On a bright day the hard shadows would have caused a lot of the detail seen here to be lost. The ropes in this image seem to have more depth; the weights and floats stand out and more detail can be seen in the knitting of the pots. Using this light has made a simple scene come to life.

Chieftain Fender

The bow fender on this steel angling boat ‘chieftain’ is better seen in this overcast light. If it were taken on a sunny day the shadows in the knotted rope would have been much darker, so the detail would be lost. Also the red paint would be much brighter on a sunny day which would distract the eye from the fender. The colours here are quite muted, so details like the welded patches below the fender become more obvious than they would if the colour was more vibrant.
The wet weather images were a little more challenging.

Wet Seat

There weren’t many people on the beach today. This view of a favourite seat has a lot of feeling to it. Look at the raging sea through the rain and mist; See how the grass is bending in the wind and the water droplets hang on the seat. You can feel the cold, but if you can feel it that’s good – an image should evoke some emotion after all!

Wet Web

The feeling that this evokes in me is one of wonder. The rain shows the work that’s gone into this web which holds the droplets like jewels. A heavy mist can have a similar effect, but not as pronounced as this. In any dry / bright conditions this image would not be available. The lighting conditions help to give more detail too. Worth getting wet for!

Moors rain

The lighting conditions during heavy rain showers created such atmospheric images – muted colours and low contrast. This approaching shower, combined with the selective lighting of the sun through the clouds gives real depth to the view. Don’t you just wish you were comfortably settled inside that farm house? Taken at ISO 100, f/29, 1/45 sec and converted to monochrome (the colours were muted anyway, but I think the monochrome works well)

 Many years ago, I was the one who always played in puddles - so why stop now?

Raindrops in puddles can become:

Puddled!

So working with different weather conditions can be really useful, whether it’s to enhance or mute the colour, give more or less depth, or create atmospheric images. The additional highlighting using water droplets and reflections is another bonus.

Exercise 4.06 – Variety with a low sun

Initially I took images of the lighthouse on Whitby West pier, but they seemed a little uninteresting, so I took this set at the old St Stephen’s church at Robin Hoods Bay. Although the church is no longer used for services, it’s open most days for visitors. The graveyard is tended by sheep, so not very good on the weeding. There are several generations of my ancestors buried here, so I paid my respects while I was there.

The camera was tripod mounted and the white balance was set to ‘daylight’ (hence the colours aren’t as I remember them).

Frontal sunlight

With the sun directly behind me the image seems flat. The shadows seen on the grass are due to using a wide angled lens – the stones directly in front in the direction of the sun’s rays. The colours are much stronger, but the texture and depth don’t stand out so well.

Side light

The shadows give the image much more depth and texture. The lines of stones lead the eye into the picture. This degree of shadows is only there when the sun is at a relatively low angle in the sky, so it’s worth getting up early.

Back light

I’ve used HDR on this image. Without it the back lighting was burning out – mainly because of the reflection from the sea – and the stones were almost black. The use of HDR also brought out more colour – the greens couldn’t be seen on the straight image. Flare was reduced by shielding the sun from the lens using my hand.

Edge light

Ivy in the graveyard had the edge light seen here. Again I had to shade the lens to reduce flare. I really like this effect.

Yet again – it’s the best time of day and well worth getting up for.

Exercise 4.05 – Light through the day

This exercise was done out of turn, due to the weather forecast – this couldn’t be missed.

An early morning start to catch the sunrise over the River Esk. I used the Nikon D300s with the 18-200 mm VR lens. The lens was set at 24 mm for the main images in this series. I used manual settings for aperture and shutter speeds during the darker periods, to retain some realism in the light levels. The white balance was in ‘daylight’ setting.

The sketch shows significant items in the scene, which change through the day as the light changes.

At 0600 there are signs of a sunrise. This is obviously looking East – not the direction I’ll be using.

This is the scene I’ll be using.

Also at 0600 - The sky is just starting to lighten and everywhere has an overall blue hue.

By 0630 we can now see some more colours – reds and greens are starting to show, but the overall hue is still blue. Small fish have been jumping chased by larger ones which make loud splashes.

At 0645 the sky is becoming more of a ‘sky blue’ colour but there’s still a hint of red from the East. The colours seem to be more pastel. The wild birds were becoming more active around this time. I photographed herons as they left to roost and the squadrons of mallards started to arrive. The resident geese moved to their nest on the weir. The early morning onshore – offshore breeze has arrived – this will be reversed later.

The first sunlight shone across at 0700, bringing out the autumn colours on the West side of the river. The pinkness in the sky has now disappeared and the low sunlight has turned the overall blue / violet cast into yellow / green.

By 0800 the sun has risen further so more features are lit by the predominantly yellow light. The whites of the buildings on the West side have now acquired a warm glow, instead of the cold, flat look they had previously. Colours are now generally more vibrant.

At 0900 the colours have almost stabilised to the ‘normal’ daylight range. The changes in lighting over the next few hours are by virtue of the sun’s position, rather than its height in the sky.

As can be seen in this image taken at 1230, the blues are almost the same as at 0900. The yellow cast has disappeared, but the main change is the angle of the sun, so the buildings on the West side are now less prominent – note how the wicket fence is now almost unnoticeable, whereas in the previous image it was a prominent feature. The onshore breeze also has an impact as the reflections have almost disappeared.

By 1430 the sun has moved round so far that the buildings are now in shade. Not the best time of day for this view.

At 1700 the East bank is now lit by the lowering sun. The colours in the trees are stronger and the cottage is now much more prominent. The lower sun is now producing warmer colours here.

By 1830 we’re returning to the overall red / blue hues. Shadows are getting much darker and reflections seem more prominent. The mallards have now gone and the geese returned to the grass to graze.

The redness in the sunset is more pronounced by 1900. It all seems very tranquil.

At 1930 the sky’s deep blue is taking over from the sunset red. The lights have come on in the cottage and it’s time to call it a day.

The following three images are ones I took during the day, looking at interesting details from the view.

OK so there’s some dust on the lens, but shooting into the rising sun through the light mist at 0800 has produced an image I really like. It’s an atmospheric shot and I like the muted colours. The railway bridge just sets it off. I even like the Bokeh effects of the dust particles on the lens.

The reflections of the wicket fence, tyre fenders and autumn colours make a much more interesting image than the main overview. This was taken at 0900, hence the warm colours and strong light. By midday this image would have disappeared.

I think the colours brought out by the low sun at 1715 with their reflections make this a very fine landscape image. The moorhen just sets it off.

It’s been a good exercise for me. I’ve learned a lot about the changes of light and how they affect not only the colours but the different elements within a scene. I’ve also learned a lot about the changing life on the river through the day.

Project - The time of day

Exercise 4.04 – Judging colour temperature 2

The following three sets of images were taken in the same way as the ones in Part 1 of this exercise – midday full sun; midday shade; and low evening light. The difference in this part of the exercise is the white balance adjustment, using ‘daylight setting for the full sun images, shade for the ones in the shade, and auto for the evening images.

The first set is of the roof of our bird table

Midday – Full sun – Daylight WB

My feeling is that it was much brighter than this – maybe there’s some overcompensation in the White Balance.

Midday – Shade – Shade WB

Again, I feel this has been overcompensated. My recollection is that the colours weren’t so muted.

Evening Sun – Auto WB

These colours and brightness look about right to me.

The next set are of a garden ornament, moved around the garden to suit the required lighting conditions.

Midday – Full Sun – Daylight WB

My recollection is of a brighter day with more contrast in the shadows. Maybe there’s overcompensation here too.

Midday – Shade – Shade WB

I feel that this too has been overcompensated. The dog seems to be too ‘yellow’ to me.

Evening Sun – Auto WB

These colours and brightness look right to me.

The next set is of a clump of saxifrage in a garden which is in need of some weeding!

Midday – Full Sun – Daylight WB

I would say that the greens were too ‘blue’ in this image – not as I would perceive them.

Midday – Shade – Shade WB

I used my body to create the shade for this image (it creates quite a large shadow – even at midday), but I feel that the greens in this image are too ‘yellow’

Evening Sun – Auto WB

This image looks about right to me – the colours reflect warm light of the evening which is what I would have expected.

It seems to me that the pre-set camera settings are dubious to say the least. Obviously they’re set to what are perceived to be the optimum for each daylight / shade situation etc. Obviously the light conditions change on a daily basis and even more with the seasons, so it’s got to be taken with a pinch of salt. I suppose setting the balance manually, using the standard grey card would be the best way, but it seems that the camera’s automatic system works pretty well to me.

Exercise 4.03 – Judging colour temperature 1

Taken with the camera in ‘Daylight’ white balance, the following three images are of my best friend:

1. Taken at midday in full sun

With no colour cast at midday in full sun, this image is assumed to be the baseline for this exercise. The sky was cloudless, but not very high in the sky – a fine autumn day. The sky was a deep blue.

1. Midday in the shade on the same clear day

Although this image was taken within a minute of the first, the colour difference is very noticeable. The overall impression is of a much bluer light – no doubt from the strong sky colour. It’s also worth noting that the redness in the lips is much more muted. The effects of the side lighting in the first image aren’t present in this one, making the image seem flatter.

1. The same day at sunrise.

This early morning image, taken on the same cloudless day with the sun just above the horizon has a much warmer colour. The yellow / orange colour cast from the sun provides a flattering light – it’s the best time of day for many reasons.

So the time of day has a major impact on the colour of light and therefore the feeling an image portrays. It’s another point to remember when composing an image. It’s also worth considering the camera settings – obviously the white balance needs changing, to obtain a colour balance which is relevant

Project - The Colour of Light

Exercise 4.02 – Higher and lower sensitivity

The first images for this exercise were taken in Sneaton forest, where I wanted use a minimum aperture setting for the increased depth of field, with low light conditions, to be able to ‘freeze’ the movement of fast flowing water.At ISO 200, f/29, the exposure needed to be 4 sec, so movement of the water is shown as a blur (I must admit to preferring this type of image for water flow)

Still at f/29, but ISO 640, a shutter speed of 1/25 sec is required. Movement in the water still causes some blurring.

At ISO 3200 the shutter speed of 1/125 sec is enough to stop any significant blurring in the moving water.

For the next set of images we move back to the beach. The object of this exercise was to freeze the waves while still maintaining a reasonably sharp focus in the background. This involved using the minimum aperture while altering the ISO to allow faster shutter speed.

The camera was in aperture priority and tripod mounted.

At ISO 200, 2/22, a shutter speed of 1/80 sec was required for this image. The waves still have a significant amount of blurring, so that they tend to run into each other and look less powerful.

At ISO 400, 1/160 sec, the waves are not running together so much, but they’re still not ‘crisp’

With ISO 800, the shutter speed is reduced to 1/250 sec. Now we can see the curl of the waves and the force as they break. At this speed there’s more of a feeling of power.

This effect has really surprised me. I was expecting to see the difference in clarity in the waves but I wasn’t prepared for the difference on the impact of the image.

In the shopping centre I wanted to stop the escalator while keeping the shops in focus, so a similar setup was used. The main difference was that the camera was hand held. I had to do this to avoid the attention of the security staff – that’s also why the images were taken from the top of the escalator (the security chappies were downstairs). I’d much rather have had the shoppers’ faces.

Starting at ISO 200, I had to use 1/8 sec at f/22. The vibration reduction in the lens helped, but close inspection shows some significant blurring due to camera shake as well as the moving people.

ISO 500 allowed a shutter speed of 1/20 sec but this was still not good enough for a hand held camera and with moving subjects.

At ISO 1600 a speed of 1/60 sec was enough to stop the movement. Close investigation of this image shows an increase in noise – particularly in the dark areas.

The next three images demonstrate another advantage of varying the ISO. I was using the D200 with a 500 mm lens, without a tripod and trying to photograph gulls in flight. This involved panning with the camera in continuous focus – not easy with a lens of this size! It was also quite windy. The D200 doesn’t have the same level of noise reduction as the D300s.

At ISO 100 the fastest shutter speed I could attain was 1/320 sec. With the speed of the bird, awkward shooting angle and wind I couldn’t manage a sharper image than this.

ISO 400 allowed a shutter speed of 1/640 sec with a resultant sharper image.

At ISO 1000 a shutter speed of 1/800 sec enabled a much sharper image. Out of focus areas due to movement of the bird and / or the camera were greatly reduced. I think the increased noise in the image is more than compensated by the clarity of the image.

Noise can be the down side of using high ISO settings. Software is available to remove some of this noise (e.g. Topaz Labs De-noise), but the image has then been digitally manipulated which is not always acceptable. It’s also possible that the increased noise may be beneficial to an image – particularly if using monochrome. The Nikon D300s operates very well at high ISO settings and can automatically reduce noise if programmed, so it’s not too much of a problem for me.

Demonstrating the effect of increased sensitivity has been a useful exercise. Not only as a means to take images in low light without additional lighting, or to keep good sharpness throughout an image without using slow shutter speeds, but also to enable hand held shots where a tripod would be difficult.