Well it was a gorgeous full moon last night, so strong that it looked a little too strong. The one thing I have learned about shooting in moonlight over the last few years is that just like lunchtime sunshine, the light can be rather 'hard'. Half moon, moon rise or moonset can be far more flattering on the lunar landscape, but last night I learned a few more things, doing the torch dance in the early hours with new moonlight cadet, Rob.
The biggest issue when shooting under a full moon is retaining the sense of night. The light levels are surprisingly high, which means a well exposed image is going to look like daylight, which is somewhat uninspiring. Underexpose the sky and the ground becomes less than interesting, so last night at Spinsters Rock, the challenge was very apparent.
After a straight shot with the remarkable 1Dx at ISO800, shooting f2.8 looked like a summer afternoon. Bold greens, cyan sky and a rather dubious looking white sun. Rather than drop the ISO, I increased the aperture to let less light into the camera, which darkened the sky and gave far greater depth of field. Nice. This rendered the cairn looking somewhat lackluster, so out with the torches - lets create our own light.
I have been trialing a fabulous new torch, a SpotON 1150 High Performance Lamp. It’s pocketable, comes with a separate power pack that lasts hours, and can burn you’re your retinas out in a single glance. In fact it’s so powerful, it can be used to paint entire cliffs from 1000m away! What I love about this in particular is that it’s the same white balance as the moon itself, which means a complimentary white light, instead of the usual yellowy beams, which create complicated post processing issues with multiple white balances.
ASSEMBLY
So, how was this shot assembled? After a few attempts at some side lighting things were looking good, but not good enough. The stones were in alignment with Orion and the moon on high (druid moment), but there was just not enough drama going on. So with the cameras lined up, Rob got me into position behind the stones and I span the torch in my hands. This gave fabulous shadows extending outwards, whilst Rob did the honours, skillfully painting the stones, without biasing the one at the front.
So, here's the spec - Canon 1Dx, 14-24, f8, ISO800 for 30secs, with 20secs from Rob on the 'side' torch, and 30secs from me in the centre.
After 15 takes, until just gone midnight, we had it in the bag. I have no idea what the farm over the road thought was going on - two grown men doing ballet in a field of sheep; but then moonlight does funny things to people.
7 Comments
Hey matey, very nice effect! That starburst looks great. Just been in fits of laughter about some of the accessories for that torch. The ‘strap on’ head attachment, the ‘ring piece’ rubber rings - need I go on
Matt Clark - 29 November, 2012I love your sense of youthful experimentation - you mock the idea that night photography should in some way me a somber reflective pursuit.
The sense of energy, story-telling and creative control are all excellent. This is a masterclass in atitude as much as it is in technique.. Top notch amigo.
Alister Benn - 30 November, 2012Hi David
Love your work, particularly your light painting and nightscapes. Do you think the 5D MKIII will have the same high ISO performance as you’re getting with the new 1Dx?, as that’s more in my price range… or should I hold out and break the bank for a 1Dx? Just worried about paying a lot more money for a camera that’s 18 mp rather than the 22mp I’m used to on the 5D mkII.
Appreciate any comments you may have on the subject.
Cheers
Ian
Ian Alcock - 30 November, 2012Matt - haha, glad you pointed that out! Next time I tell Rach I am off out with you wearing my ‘strap on’, could you kindly enlighten her?
Ali - that’s a really kind thing to say, it’s this that keeps the ideas flowing and me have the confidence to get out there. I do feel very alive at this time of night as I know you do. The possibilities are the thing that keep me really going. I long to light paint those Himalaya!
Ian - The 5D3 falls short of the 1Dx rather considerably. My ‘real world lab tests’ conclude that the 5D3 is far better than the 5D2, but it lacks the dynamic range at higher ISOs and the ability for the files to be pushed in post processing, especially when shooting at ISO3200 and above. The 1Dx responds effortlessly, with noise reduction cleaning up with less than 20-30% NR, even at ISO 6400. I was amazed at how much data is in these files. It a tough call as the camera is considerably more expensive. If I didn’t do this for a job, I would stick with the 5D3, but as lowlight work represents earning potential, the 1Dx is definitely the camera of choice (in fact I bought one today…)
David Clapp - 30 November, 2012Thanks David always good to know the differences as don’t want to waste money on upgrading a MKII to a MK III if not really worth it. Obviously I don’t use autofocus for my Landscapes but could do with occasionally for other shots, so is the 5D MK III on a par with the 1 Dx as autofocus wise as Canon’s specs make the 2 cameras look very similar but obviously going to be cut backs between the 2 to warrant the extra cash….. the bottom line is if you only had the 5D MKIII to choose from would you have upgraded from a MKII?
Ian Alcock - 30 November, 2012You have great skills in photography, and the editing you have done in this pictures it’s awesome, i want to say thanks for sharing this dazzling photograph.
Person who is trying to spam my website whose name - 24 December, 2012Nice shot and the Photoshop effect too. You are a very creative person.
Clipping Path - 30 April, 2013