Level: Beginner
LESSON 7Capture Dramatic Night Views
Focal length: 135 mm / F-number: 8.0 / Shutter speed: 5 sec / ISO: 400 / White balance: Custom (3600K / M5)
Night views while traveling or of scenic locations are very popular subjects to photograph. In this chapter, you will learn how to capture a night view beautifully, accurately reproducing your impression of the actual scene.
First, set the camera to the P-mode, and try the following tips.
Shooting with a tripod
A tripod is the most effective tool for taking beautiful photographs of night views. When shooting in low-light situations like night views, the shutter speed slows down to increase the amount of light entering the camera, and the ISO sensitivity becomes higher. As a result, the image tends to become unclear because of camera shake, or grainy with the increased noise.
This photograph was shot with the shutter speed set to 3.2 sec. At this shutter speed, the image ends up completely blurred, no matter how hard the photographer tries to remain still.
Shutter speed: 3.2 sec
If you secure the camera on a tripod, you can shoot a clear photograph without blur even at slow shutter speeds. At the same time, set the ISO sensitivity to the lowest possible value. Although this will further slow down the shutter speed, you don’t need to worry about blur because the camera is secured on a tripod. Also, the low ISO sensitivity can reduce noise. The minimum value of the ISO sensitivity varies by model, but values from ISO100 to ISO 400 are recommended.
When you use a tripod, disable the SteadyShot function to avoid malfunctioning. Also, the vibration of the camera resulting from the press of the shutter button may cause blur. Setting the 2-second self-timer is an effective way to prevent such blur.
Focal length: 50 mm / F-number: 10 / Shutter speed: 5 sec / ISO: 200 / White balance: Daylight
Shot with a tripod, the above photograph is not affected by blur. With the long exposure time, the light shining on the water looks beautiful, spreading evenly across the surface.
What should you do if you don’t have a tripod?
If you don't have a tripod, lean against a nearby wall or pole, or place the camera on a handrail or other flat surface to keep the camera steady and reduce blur.
If these approaches are not possible, use faster shutter speeds to reduce camera shake. If blurring occurs at the shutter speed automatically determined by the camera, manually increase the ISO sensitivity. The available maximum value of the ISO sensitivity varies by model. As the ISO sensitivity is increased to ISO6400, 12800, and above, the shutter speed gets higher, and the image is less affected by blur. However, the image may suffer from noise and loss of detail.
Focal length: 24 mm / F-number: 2.8 / Shutter speed: 1/40 sec / ISO: 3200 / White balance: AWB
This photograph was shot with ISO3200. Using a faster shutter speed successfully prevented blur. However, if you examine the enlarged image, you can see that it is a little grainy with noise, compared to the image shot with the lower ISO sensitivity. Also, in terms of the resolution of details and the texture of the water surface, the photograph shot with the tripod looks better than this one.
If noise is noticeable, as in this case, use the "Hand-held Twilight" mode in Scene Selection (shooting mode). In this mode, 6 images are shot continuously by one press of the shutter button, and these images are combined with high precision while processing noise. This process allows you to shoot night views with less noise, compared to a normal single shot.
However, because the "Hand-held Twilight" mode in Scene Selection is an auto shooting mode, you cannot change the color and brightness settings described in the next section.
Once you get used to shooting in the P-mode (Program Auto), try shooting in the M-mode (Manual Exposure). In the M-mode, you can fine-tune both the aperture (F-number) and the shutter speed.
Shoot several photos while changing the settings according to the brightness of the night view, the time of night, and the surrounding brightness to gain a feel for it and get closer to the image that you want to capture.
For instance, the photograph shown as an example at the start of this lesson captures subjects with differing brightness, such as street lights and the moon, within the frame, making for conditions with challenging exposure settings. Using the M-mode to set a smaller aperture and long exposure enables to beautifully harmonize the street lights, silhouettes, and the slender moon hanging in the twilight sky.
The time before sunrise and after sunset known as the magic hour is when the colors of the sky change moment by moment, providing the chance to capture dramatic photographs. When shooting during the magic hour, we recommend setting an F-number between F8 to F13 and controlling the amount of light by adjusting the shutter speed. Adjust the brightness starting from a shutter speed of 2 seconds. Since slow shutter speeds are involved, be sure to use a tripod, and also make use of the 2-second self-timer.
For details on each term, please refer to the following pages:
Adjusting the brightness and color
If you have learned to shoot without blur, adjust the brightness and color based on your image.
The brightness can be adjusted with exposure compensation. Human eyes recognize the night sky as "dark," and the lights of buildings and illuminations as "bright." However, the camera tries to render all scenes with the same brightness standard, whether they are dark or bright. As a result, when shooting night views where dark parts (like the night sky) and bright parts (like building lights) are mixed, the exposure determined by the camera may not properly reproduce the brightness felt by human eyes. This makes it difficult to get the desired results when shooting night views; the night sky may look washed out, or the colors of street illuminations may look clipped.
In addition, the brightness of the photograph is also affected by the settings of the camera itself, such as the Creative Style/Creative Look settings.
First, try shooting without exposure compensation, and adjust the exposure based on the results.
Focal length: 120 mm / F-number: 6.3 / White balance: Fluorescent: Warm White (-1) Saturation: +3 / Exposure compensation: 0Focal length: 120 mm / F-number: 6.3 / White balance: Fluorescent: Warm White (-1) Saturation: +3 / Exposure compensation: +0.7
Without exposure compensation, this photograph became underexposed because of the strong street lights. The cityscape behind the building blacked out. By setting the exposure to +0.7, the photograph was rendered with appropriate brightness.
Now, let’s move on to color adjustment. You can use white balance to adjust the overall color tone. Auto white balance [AWB], in which the camera automatically determines the color tone, can reproduce the actual colors faithfully. However, when shooting night views of a city, selecting [Fluorescent: Warm White] will add a bluish tone. This may be more suitable for conveying the characteristics of artificial lighting.
Also, strong lights, such as urban buildings and illuminations, tend to become whitish in a photograph, and their colors do not look as vivid as expected. If this happens, adjust the saturation to the + side from the option settings in Creative Style/Creative Look, so that the lights will be more vivid and colorful.
Focal length: 16 mm / F-number: 6.3 / Shutter speed: 13 sec / ISO: 200 / White balance: AWBFocal length: 16 mm / F-number: 6.3 / Shutter speed: 13 sec / ISO: 200 / White balance: Fluorescent: Warm White (-1) Saturation+3
By making adjustments like these, you can shoot photographs of night views that capture the dramatic impression you get at the sight of the actual scene.
Like other scenes, the best color tone for night views varies depending on your preferences and intention. Make full use of the adjustment functions, like exposure compensation, white balance, and Creative Style/Creative Look, and find your favorite shot.
For details on each term, please refer to the following pages:
Convenient fixed focal length lenses
With small F-numbers (fast maximum apertures), fixed focal length lenses allow a large amount of light to enter the camera.
As a result, you can shoot night views with less blurring and noise, even in low-light situations. Also, you can shoot portraits or snapshots with backgrounds greatly defocused.
Both APS-C and full frame cameras and lenses are offered, but as long as the same E-mount is used, compatibility is ensured. See the following page for notes on use.
Are APS-C and full frame cameras and lenses interchangeable? (α E-mount)
Note: There are models that are not sold in certain countries and regions.
Focal length: 20 mm / F-number: 8.0 / Shutter speed: 13 sec.
SEL20F18G
This large aperture ultra-wide angle prime lens features an ultra-wide 20 mm angle of view, a big, bright maximum aperture of F1.8, high resolution, and beautiful bokeh in a compact, lightweight package. The compact, lightweight design makes it easy to mount on gimbals and grips, and features such as excellent close-up shooting capability and a quiet AF drive make it a recommended choice for movie recording.
Focal length: 35 mm / F-number: 1.4 / Shutter speed: 1/60 sec.
SEL35F14GM
This large aperture wide-angle lens with a 35 mm fixed focal length features a compact, lightweight design and achieves overwhelming G Master resolution even at the widest F1.4 aperture setting, letting you enjoy soft, natural bokeh. In addition to high resolution performance and backlighting resistance over the entire frame, its close-up shooting capability with a maximum shooting magnification of 0.23x (0.26x in MF mode) is also appealing.
Focal length: 55 mm / F-number: 11.0 / Shutter speed: 20 sec.
User Works (from the photo sharing community site α cafe)
SEL55F18Z
This lens achieves stunning ZEISS contrast and overwhelming resolution. It enables a variety of expressions, such as telephoto-style shooting that leverages the bokeh characteristic of full frame cameras, or closing down the lens aperture to increase the depth of field for wide-angle shooting that emphasizes both near and far subjects. Moreover, this bright lens demonstrates its power even in environments prone to camera shake and subject blur, such as when shooting at dusk or indoors.
Focal length: 11 mm / F-number: 1.8 / Shutter speed: 1/250 sec.
SEL11F18
This large aperture ultra-wide angle prime lens achieves an ultra-wide angle of 11 mm (equivalent to 16.5 mm in 35 mm format) and a large F1.8 maximum aperture in an overwhelmingly compact and lightweight design with a total length of just 57.5 mm and weighing about 181 g. Its high resolution performance over the entire frame and beautiful bokeh are also appealing, and expand the range of expression for both still images and movies.
Focal length: 24 mm / F-number: 5.0 / Shutter speed: 1/13 sec.
SEL24F18Z
This large aperture wide-angle prime lens has a large F1.8 maximum aperture that lets you fully enjoy the outstanding rendering power of a ZEISS lens. The maximum shooting magnification of 0.25x provides excellent close-up shooting capability.