26

This is a perfect example of "expose to the right" — that is, even though you want the final result to be low key (largely dark), take the initial exposure as bright as you can (without blowing out the brighter part of the sky, reflections, or any more subtle brighter areas). When you expose so that dark areas are really dark — either because you are ...


12

Firstly, I believe you have a misconception. You quote, Tilt until G is in the image (green). and you ask, What if G is not in in the image or cannot be placed into the image by tilting? Unless you are tilting with a super-wide fisheye (I can't imagine such a thing), the hinge/PoF axis (G) will never be in the image. In the example in your question, the ...


11

I use software such as Google Earth to "stand" at different points to create the same perspective as the image. You can zoom in/out to match the field of view of the image, and shift your position, until you come to within probably a hundred yards or so of the probable position. Once you've got that position down, you're just going to have to put in some ...


9

Distant objects can help. Considering that, once the image is leveled, the peak of Mount Spokane in the far background lines up vertically with the still-existing Kempis Apartments in the close foreground, you've got at least one very accurate line to work with. If the stretch of road that you mention runs at enough of an angle to this line, then ...


8

You're not going to get "color accurate" white balance at night. There's no way to make every object in the scene look the same color it would be if viewed under full spectrum daylight. This is because night scenes typically have a myriad of varying light sources in them. Those various sources are all different temperatures and have different amounts of the ...


6

Short answer: Shoot raw (if the camera can do that) and find the best WB setting with your image software. Reasons: Good night photos have their atmosphere because of their strong colors, not because of an accurate white balance. You have to test some night shots with seemingly boring-looking light and try intentionally "wrong" white balances. A really ...


5

Note that there are differences between the two shots. You assume the blurry edge is due to shake, but it doesn't look like that. Actually, at maximum aperture, your lens likely does not behave at its best. A wide aperture will get you various image defects like blur, chromatic aberration, distortions etc. Likewise, a narrow aperture like f/25 will suffer ...


5

My other answer demonstrated that you can't use lens tilt to recreate the photo with sharper focus along Wacker Drive. But it's not hard to achieve the goal with a regular lens. It seems to me the plane of focus is somewhere near the closest Marina Tower on the far right (the round towers). Look at the floor of fully lit windows just above the "gap"...


4

An alternative to "exposing to the right" proposed by @mattdm could be noise reduction through image stacking: align images (all images taken with "as identical as possible" intrinsic and extrinsic parameters (view point, focal length, etc.)) stack aligned images as layers in a single image blend layers using median/average/...


4

They're being blurred out by camera motion as much as they are by being overexposed. The obvious solution is to use a sturdy tripod. Good tripod technique for such long exposures includes a way to release the shutter without touching the camera. For shutter times between about 1/100 second to 1 second mirror lockup, if your camera has a mirror, will also ...


3

It's post-production. From an interview on the Lost at E Minor website: A lot of our readers are curious as to how you achieved this neon effect. Mind sharing to us your secret? “It’s simple. I try to shoot neutral, whilst featuring lights and darks. This gives me more control for when I play with the contrast and colors, for which I use Adobe ...


3

Compose early. You tend to get better light and less people early in the morning. I also keep a tripod and wireless remote with me. When there are a lot of people I will throw my camera on my full extended tripod, bring all of the legs together and then hold the camera a lot higher in the air by holding the lower part of the legs. Sometimes the extra 6' I ...


3

There are probably as many solutions to this as there are locations in cities A brief selection... Indoors. Shoot through a window. As noted in comments, this could include a parked car, though there are potential vibration issues. Lash the camera to a lamp-post, tree, pillar, fence, etc - though again beware of transmitted vibration. Elevate yourself - A ...


3

The print site is most likely just using a simple algorithm to check the file for compatibility to print well. That being said, I'm unsure why they would be making this determination off of file size alone. As has been commented, jpg compression can work wonders in shrinking a file. Given that your image is mostly dark and 1/5(ish) of it is dark sky - your ...


3

It seems that you already have both beanbag and gorillapod. If you can't bring both, I would prefer the gorillapod over the beanbag for the following reasons: Height The gorillapod is higher while the beanbag can only be placed on the ground. When there is a higher surface, the gorillapod can still be placed on it, so it is almost always higher than the ...


3

So since there is no difference between that two extreme presets, does it make any sense to use them, if Auto mode (the first image) already looks fine? That depends. If you are interested in the artistic side of photograph, experimenting with different setting just to see what effect they have on the photograph makes sense. However, if it is just too time ...


3

As noted in the comments it gets dark pretty quickly in that part of the world. Since you've only got one shot at it and you don't know how long sunset will last, I'd suggest you put the camera on a fixed ISO, Aperture priority and matrix metering and let it run. Initially you will end up with uneven exposures but you also have the best chance of getting ...


2

I have not had very good luck with gorillapods, great to hold a flash or two, but not for my cameras. This is likely due to the fact that I tend to shoot with heavier cameras and glass (and I am picky about my tripods). I have had good luck with "bean bags" (I actually use rice), packed relatively tight and heavy on a steady more or less flat surface you can ...


2

The first looks like the city lights are blown out a bit, so you get halos from the lights. You can try reducing the exposure in post, see if it gets sharper. The second looks like a focus issue or camera shake. The corners look like a combination of camera shake and mediocre lens. A few things to try: Turn stabilization off when on a tripod up your ...


2

I don't have any magic formula to remove distracting elements, but what distracts me most in the first picture you show is not that there are people and cars, but the fact that people and cars are crossing the border of the picture. If you can't remove these element from your picture, try to actually incorporate them in your composition. OK, you can't make ...


2

You need to use a tripod to eliminate motion blur as Michael Clark also points out. Also the exposure time to get the light sources correctly exposed is very short. I've taken night shots where I was exposing for 40 seconds at an ISO of 1600 to get the background correctly exposed, while I was exposing for 1/400 of a second at ISO of 100 to get the city ...


2

For me, it is easier without the math. By "it" I mean the Scheimpflug Princple of course. This is the mental model I use. It explains an untilted lens in terms of tilted lenses rather than vice versa. Apparent depth of field is always wedge shaped. The knife edge of the wedge is where the plane of lens tilt and the plane of the sensor intersect. ...


1

Since you’re “back from Europe” and are just now seeing your shots, I’m going to assume you shot film. When exposing film, it’s important that you understand how much latitude the film has in capturing the scene and whether you can play with that in development. What you should be doing is taking a meter reading off the sky, the building, and anything else ...


1

The deepest blacks The deepest and richest colors, in my experience, come from super glossy papers. So, if you're in the darkroom, go for something like Fuji's RC Glossy crystal archive paper. If printing at a lab, like mpix, do as @null says and go for the metallic paper. If printing at home, I'm a super fan of Hahnemühle's Photo Gloss Baryta 320 ...


1

The basic problem is one of large dynamic range. The range is higher than normal daylight shots because the light sources are in the picture, and you want to resolve their details. You therefore address this as any other large dynamic range problem. The first approach is to expose so that the part of the highlights you care about end up just at the end of ...


1

Exposure Very often when shooting in dark environments with a few very bright lights, such as cityscapes at night, the brightest lights tend to be grossly overexposed. The way digital sensors work regarding how color for each pixel is interpolated from the monochromatic luminance values the sensor outputs for each pixel filtered either for red, green, or ...


1

The most important factor in capturing a great cityscape, is to familiarise yourself with the subject. When does the sun create shadows that darken people, cars, lamp posts and unwanted items and highlight your main subject? From where does the sun rise and set? and at what times? What effect does this have on your image? When do the roads become busy?...


1

Looks to be unfocused. Rather, looks like the camera has focused on the centre where the frame where ripples in the water surface look like that was the focus spot. (The entire second image looks unfocused but it looks sharper in the lower portion) Stabilizer should be OFF when shooting off a tripod. Also be sure that autofocus switch is in the off position....


1

If you feel like you get good results from Auto mode, you don't need to shoot in manual. Shooting in full manual just gives you total control over all the details of your shot, most significantly exposure and depth of field. In this case, when you shoot a cityscape or landscape, you'll generally want a small-ish aperture to maximize the depth of field so ...


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