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We'll e-mail you with an estimated delivery date as soon as we have more information. Your credit card will not be charged until we ship the item. 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. Post-production fixes are also covered, allowing the reader to turn difficult shots into amazing images. 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.
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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 Low Light Photography Field Guide : Michael Freeman :
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 — , 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.
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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. Reviews 0. Quick Compare. About the Author Michael Freeman is a renowned international photographer and writer who specializes in travel, architecture, and Asian art.
The Low Light Photography Field Guide (Photographer’s Field Guide)
He is particularly well known for his expertise in special effects. He has been a leading photographer for the Smithsonian magazine for many years, and has worked for Time-Life Books and Reader's Digest. Michael is the author of more than 20 photographic books, including the hugely successful The Photographer's Eye. Packaging Info. See any errors on this page? Let us know. Type of Media. Michael Freeman. Focal Press.