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The Low Light Photography Field Guide, by Michael Freeman
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Like all the titles in this successful series, The Low Light Photography Field Guide offers advice from a respected expert and professional. In this volume, Michael Freeman looks at an area that remains problematic for photographers with even top-of-the range equipment: low light. Opening with a section on the qualities of different kinds of low light, the book then deals with ways of overcoming gloomy situations, whether you're shooting hand-held or on a tripod. Post-production fixes are also covered, allowing the reader to turn difficult shots into amazing images.
- Sales Rank: #5676668 in Books
- Published on: 2011-11-01
- Format: International Edition
- Original language: English
- Number of items: 1
- Dimensions: 6.10" h x .55" w x 4.57" l, .56 pounds
- Binding: Paperback
- 192 pages
Amazon.com Review
Amazon Exclusive: An Excerpt from Low Light Photography Field Guide Handheld or Locked Down Low light photography is one area in which process dominates. By this I mean that all the various limits and difficulties that we looked at in the first chapter need to be thought about before you start shooting. In practical terms, low light shooting is about pushing technical and mechanical limits as far as you can, and this in turn means that there are two competing ways of approaching it. In one the idea is to do everything necessary to retain the freedom of using a camera in much the same way as you would under normal light. The alternative is to abandon freedom in favor of a full choice of technical settings--sharp, clean images without noise, and at any aperture setting, and with no limit to the exposure time (except, of course, for short exposures). It is not easy to switch from one to the other mid-shoot, so it is normal to decide at the start which route you are going to take for any one session. There are good arguments for both handheld and for using a tripod, and which to choose depends on the subject, your preferred style, the results you are looking for and the quality you absolutely need. The last factor is too often ignored, as we'll come to in a moment, and can sometimes make the others redundant. The key factor for most photographers is the optimum shutter speed for subject movement. If the subject is active, for instance people in motion, a tripod is no help in freezing the movement. Some kinds of movement may well be acceptable, or even desirable, such as the streaked trails of vehicle lights on a highway, but if you need sharp capture, the threshold shutter speed for this determines everything. This in turn is affected by the relative movement in the image frame (see pages 110–113), so a walking figure naturally calls for a faster shutter speed if it fills the frame than if it takes up just a small part of the picture. But basically, the rule is, if you are photographing people, then shoot handheld. The obvious advantages are freedom and mobility, and the chance to shoot unobserved, without drawing attention to the camera as is inevitable with a tripod. You can strip down the amount of equipment drastically; one camera, one or two lenses, maybe a flash unit if the camera does not have one built in, and very little else. Gone are the days of two camera bodies, each for a different film (such as high-speed color, with high-speed black and white to be pushed to the maximum if necessary). Digitally, everything can be dialed up from the menu. The disadvantages are in camera handling and image quality. As handheld shooting in these conditions almost never enjoys the luxury of fast shutter speeds, holding the camera (and yourself) still is always an issue, and may often--as we'll see a few pages further on--call for over-shooting to lessen the risk of frames lost to camera shake. A fast lens, with a maximum aperture wider then ƒ/2, is a distinct advantage, though costly. Image quality centers on noise, because the key strategy is setting the appropriate ISO. High sensitivity means high noise levels, and while there are ways of dealing with this it reduces quality. This completely depends on how the pictures are going to be used, in particular the size. It is very important to become familiar with just how bad different noise levels look when reproduced at particular scales. The positive side of this is that if you are going to use the picture small, the noise may be invisible, thus giving handheld almost no disadvantages at all.
Subject motion sets limits:
Handheld shooting reaches its practical limit when the movement of subjects is too fast even for a combination of wide-open aperture and high ISO setting.
Size matters: While noise is evident at 100% magnification, at this size of reproduction, it becomes unnoticeable.
Detail:
Remember to use the 100% magnification on your computer to check pixel-level detail.
Low light reportage: Shooting handheld lets you follow classic reportage methods like photographing unnoticed.
Handheld movement:
Handheld shooting allows for a number of loose, ad hoc effects, such as a slow speed while walking, as in this image, taken at 1/3 sec.
Depth of detail: Images that rely heavily on fine resolution call for maximum image quality. A tripod is the natural choice.
Handheld vs. Locked Down Checklist Handheld
Free, quick, and mobile Unobtrusive, allows reportage-style shooting Lightweight, needs little equipment First choice for subjects in motion Camera shake always an issue Fast lenses are a priority Needs high ISO settings, resulting in noise Depth of field always shallow because wide apertures used Locked down
Static, takes time to change viewpoint Conspicuous, may attract unwanted attention Tripod can be an inconvenient burden First choice for static subjects If tripod used well, no risk of camera shake Any lens can be used, even very long slow telephotos Can use lowest ISO setting. Good depth of field practical by stopping down About the Author
Michael Freeman, professional photographer and best-selling author, was born in England in 1945, took a Masters in Geography at Brasenose College, Oxford University, and then worked in advertising in London for six years. In 1971 he made the life-changing decision to travel up the Amazon with two secondhand cameras, and when Time-Life used many of the pictures he came back with, he embarked on a full-time photographic career. Since then, working for clients that include all the world's major magazines, most notably the Smithsonian Magazine (for which he has shot more than 40 stories over 30 years), Freeman's reputation as one of the world's leading reportage photographers has been consolidated. Of his many books, which have sold over 4 million copies worldwide, more than 60 titles are on the practice of photography. For this photographic educational work he was awarded the Prix Louis Philippe Clerc by the French Ministry of Culture. Freeman's books on photography have been translated into 27 languages.
Most helpful customer reviews
10 of 10 people found the following review helpful.
Nearly impossibel to read
By Matthew Howe
As a concert and nature photographer, I'm always facing low-light situations. I was hoping Mr. Freeman's book would be helpful in helping me conquer some of the technical difficulties of these types of photography. And while the book will be ultimately helpful, I still find it extremely disappointing.
Mr. Freeman's style is less than great, but the information presented is solid.
The real problem is the book's layout. As other reviews have pointed out, this "field guide" seems to merely be a shrunken-down version of a full-sized book. The type is so tiny, it is nearly impossible to read, even at home under bright light. The example images he gives, images in which you are often looking for subtle differences, are so small they also become difficult to interpret. I'm slugging through it because I have to, but I don't wish this struggle on anyone else.
Making the pages bigger, or adding pages, would have solved all of these problems. If it means the book would cost more, I'd be happy to pay.
This is a ridiculous reason for an otherwise 3 or 4 star book to earn a 1 star review, but there it is. I'm amazed that any publishing professional could have let this book out in its current form.
1 of 1 people found the following review helpful.
FOR PROFESSIONALS AND ADVANCED AMATEURS
By Bill McLean
I guess I'm ready to improve my low light photo skills. Until now I have confined most of my amateur shooting to daytime outdoors and flash indoors.
I'm writing after reading only half the book. So far, my only criticism is the size of the type. It's just too small for me to comfortably read - even with reading glasses. I have to read it in direct sunlight.
Anyway, it has been worth the extra effort. The book is not only wonderfully informative, it's inspiring.
Because I have only read half the book, and tried out only few of the examples., I promise to return and amend this review IF I have more to say.
6 of 6 people found the following review helpful.
Too small to read
By Dews
The information is great but this is not a field guide. As a graphic designer as well as photographer I can see where a normal size book was simply miniaturized to make it portable and thus fit the category. The fonts, images, color and backgrounds all correspond to a larger format. At the present size it looks like the small print in some ads and is almost impossible to read. I would recommend that you wait until the publisher realizes the mistake made and comes out with a larger size book. Once you can actually read it, it will be worth every penny.
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