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Urban Landscapes

Shooting interiors

Up the aperture

When shooting in a large interior with a limited amount of light it’s better to use what’s available and make up the difference by adjusting both the aperture and shutter speed. By locking down the aperture to around f22 the amount of detail will be greatly increased, and a longer shutter speed will allow the majority of the available light to be captured.

Strong tripod

Every photographer needs a decent tripod, but for long exposures the head is just as important. If the camera is placed on a slightly awkward angle a weaker head will come loose, causing the camera to flop midway through the exposure. Spend a bit extra on a decent head and lock it down tight to prevent unwanted movements during the shot.

Limit the light

When involving any artificial light in an image the potential for glare is high, especially when longer exposures are involved. Smaller halogen lights don’t tend to cause a massive problem, but a lens hood and circular polarizer can insure the light isn’t a huge orange glow ruining the rest of the shot.

Stay off camera

There’s little more annoying than carefully framing a shot then tripping over the tripod or jogging the camera as you hit the shutter release. Remove human error from the equation by standing off-camera with a cable release or, even better, use a wireless setup and stand as far back as you like. Be aware that casting a shadow in front of the camera can also cause issues.

Find flat ground

Chances are the interior you visit will, at some point, have members of the public floating around to ask questions and generally get in the way. Try and choose a less busy time to take the shot, such as early morning or mid afternoon. Find yourself some flatish ground and even out any inconsistencies with the legs and head.

Frame up

Getting the shot flat and level is extremely important, so if you don’t have the assistance of a spirit level find a flat surface parallel with the tripod and use it as a reference point. Shelves and the top of door frames are normally a decent first port of call, as are window frames.

Trial and error

Part of the advantage of shooting interiors is that it’s less susceptible to change than shooting outdoors. As a result you can alter the exposure times to insure the end result isn’t too light or dark. Switch to Manual mode, lock the exposure to a high level and try some long exposures.  

Using Flash

For closer, detailed shots of interiors the depth of detail is far easier to achieve without long shutter speeds. For this a more focussed light source is required, which is where a flashgun comes into play. By having a directional, powerful source which can be diffused across a wide area the photographer can accentuate the detail while still utilising the existing lighting to keep the rest of the image balanced.

A decent flashgun can give around four times the distance of the built in unit, making it a must have for internal shots. The head can be angled vertical and, in some cases, twisted horizontally as well, allowing the flash to bounce of off ceilings and walls rather than be directed into one area. If your built-in flash isn’t providing the level of illumination required for interior images invest in a flashgun, as it will instantly reduce noise and improve focus. 

Wireless Shooting

Getting rid of cables has huge benefits for computer connectivity to the internet, and the same sentiment can be levelled at both flash and camera control. With the ability to stand clear of the camera when sat on a tripod there’s far less chance of nudging it, and having the flash sit off camera means there’s far more chance of the desired area being lit as opposed to a general point within the eye-line of the camera.

Wireless camera remotes work in the same manner to a standard wired option, allowing a preset or bulb exposure to be triggered at the push of a button. Most modern DSLRs have an infa-red receiver at the front, allowing for easier shots without a human behind triggering it. For images from behind the camera it’s best to opt for a separate sender-receiver setup from the likes of Hahnel, which connect into the wired remote socket.

Wireless flash can also be operated in two ways, with either the flash being configured manually as a slave unit, which means it reacts when the built-in flash is fired, or being sat on a wireless unit. Both these methods mean light can be angled in more creative manners.

How to shoot light trails

Capturing light trails is deceptively simple, involving taking a long exposure with a number of moving light sources within, such as cars. Because the shutter is left open for an extended period and the subjects will be moving through the frame a streak of light is create along the image. In order to insure a decent image is created the surroundings must be dark enough so the moving lights are the strongest source, but not so dark as to render the backdrop pointless. The camera must then be set on a longer shutter speed and low ISO. 

Location, location, location

As the light trails will be an attractive effect but offer no real detail the surroundings are all the more important. Choose a road with a number of high rise buildings in the background and use the road itself as a focal point. Lock the focus once the road is sharp by switching to manual.

Long shutter speed

The length of shutter speed depends on the amount of light available, but you won’t need to stray far from between 10-30 seconds. Keep the times shorter in early evening and lengthen as the light dwindles. Aperture can be left at around the f8 mark depending on the distance and length of the road. 

Angles and extras

Don’t be tempted to stay in one place and shoot the same image over and over again. Move around, trying to keep the framing so that the cars move across the frame. Abstract angles at a closer distance are worth trying, as are utilising reflections such as puddles.

Pro Tips

Louise Carreck is an abstract architectural photographer who has exhibited work at The Royal Academy Summer Exhibition 2009 and Sarah Myerscough Gallery in London. Her images of architecture deal with the illusion of space, placing the viewer in an environment where scale and location are hard to identify. Light is important to the environment, enhancing the ambiguity and the surreal nature of the spaces. Louise does no manipulation to her images and all that you see is true to the space.

Tip 1: When choosing architecture to photograph, it is not always the most obvious buildings that will look interesting. Buildings that do not strike you straight away may have more potential so remember to look thoroughly and think about composition.

Tip 2: Light is very important when working on location especially with architecture, as the mood of the image can alter quickly. Great sunshine and blue sky in some cases can be great, but at other times a more even light can be better, as to not create such harsh shadows and overexposed highlights.

Tip 3: Use the depth of field to your advantage. In my own photography a good depth of field is necessary to create the illusion of space so most of the building is in focus. If you are concentrating on one small particular piece of detail than a smaller depth of field is more appropriate.

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