Fotobug Guide to Time Lapse Photography

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DSLR Time-Lapse DSLR Time-Lapse

Wispy clouds gently fly past the viewer, thousands of stars rotate in the night sky Wispy clouds gently fly past the viewer, thousands of stars rotate in the night sky

overhead, and the sun rapidly falls below the horizon revealing the stars in the dusky sky. overhead, and the sun rapidly falls below the horizon revealing the stars in the dusky sky. Einstein wrote that time is relative and we have come to expect events to occur at

Einstein wrote that time is relative and we have come to expect events to occur at specified rates.

specified rates. However, through the magic However, through the magic of time-lapse photography, flof time-lapse photography, flowers canowers can bloom and

bloom and die die in mere in mere seconds, seconds, shadows can shadows can race acrace across mountainous ross mountainous landscapes, andlandscapes, and city traffic streaks through city highways.

city traffic streaks through city highways.

Surely you have seen amazing time-lapse sequences in nature films, on YouTube and Surely you have seen amazing time-lapse sequences in nature films, on YouTube and Vimeo and even in commercial f

Vimeo and even in commercial films. ilms. Speeding up the rate at which sSpeeding up the rate at which some events occur ome events occur will often reveal details that would not be obvious when seen at their normal rate.

will often reveal details that would not be obvious when seen at their normal rate.

Manipulation of time to see events that are not apparent to the unaided eye include Manipulation of time to see events that are not apparent to the unaided eye include high-speed video to slow down rapidly occurring events and time-lapse photography to high-speed speed video to slow down rapidly occurring events and time-lapse photography to speed up events which can occur over mi

up events which can occur over minutes, hours, or even days and weeks! nutes, hours, or even days and weeks! High-speedHigh-speed video requires specialized equipment that is rather expensive. Remarkably, time-lapse video requires specialized equipment that is rather expensive. Remarkably, time-lapse photography d

photography doesn’t requoesn’t require a ire a lot olot of expensive f expensive equipment equipment and and most digital camost digital cameras aremeras are capable of creating these im

capable of creating these images. ages. Since the imSince the images are composed of separate stilages are composed of separate still images,l images, video capability isn’t necessary.

video capability isn’t necessary.

In fact, the very minimum requirements are a digital camera, a steady tripod and lots and In fact, the very minimum requirements are a digital camera, a steady tripod and lots and lots of pati

lots of patience! ence! Also recommended is a triAlso recommended is a trigger release although you can just press gger release although you can just press thethe shutter button repeatedly

shutter button repeatedly. . Just bear in miJust bear in mind that your final video will nd that your final video will be determined bybe determined by your ability to sit and repeatedly trip the shutter!

your ability to sit and repeatedly trip the shutter!

More advanced users will want to use automated intervalometers and perhaps even More advanced users will want to use automated intervalometers and perhaps even automated camera sliders

automated camera sliders or motorized heads. or motorized heads. Many of thesMany of these items can be fairlye items can be fairly

inexpensive and will ensure that you don’t end up going crazy or develop some form of inexpensive and will ensure that you don’t end up going crazy or develop some form of repetitive strain injuries by pressing a camera trigger every few seconds for hours at a repetitive strain injuries by pressing a camera trigger every few seconds for hours at a time!

time! History History

Motion pictures and video normally are projected at a rate between 24 and 30 frames per Motion pictures and video normally are projected at a rate between 24 and 30 frames per second (films are 24, video is 30 fps in the USA and 25 fps in many European countries). second (films are 24, video is 30 fps in the USA and 25 fps in many European countries). Let’s use 24 f

Let’s use 24 frames per second to illustrate. rames per second to illustrate. That means for every sThat means for every second of screen time,econd of screen time, there are 24 individual frames that are sequentially displayed to produce the illusion of there are 24 individual frames that are sequentially displayed to produce the illusion of motion.

motion. The frames The frames per second are the same fper second are the same for capture and playback so the motionor capture and playback so the motion appears normal to us.

appears normal to us.

However, imagine if you took a frame every minute for 24 minutes and then projected However, imagine if you took a frame every minute for 24 minutes and then projected them back at the normal

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One of the first photographers to use time lapse was Eadweard Muybridge back in 1872 One of the first photographers to use time lapse was Eadweard Muybridge back in 1872 to help settle a bet on whether a horse has all four feet off the ground at one time.

to help settle a bet on whether a horse has all four feet off the ground at one time.

Muybridge was hired by the Governor of California, Leland Stanford to try to settle a bet. Muybridge was hired by the Governor of California, Leland Stanford to try to settle a bet. It took Muybridge a few years to come up with a system to record such an event and It took Muybridge a few years to come up with a system to record such an event and began

began by firing by firing 24 24 large glass large glass plate caplate cameras using meras using threads to threads to trip ttrip the cahe cameras and meras and thenthen ultimately using a clockwork timing device (the precursor to an intervalometer).

ultimately using a clockwork timing device (the precursor to an intervalometer). In 1877 he was finally successful in capturing the iconic galloping image on a single In 1877 he was finally successful in capturing the iconic galloping image on a single negative and proved that a horse indeed has all feet off the ground at one point in a negative and proved that a horse indeed has all feet off the ground at one point in a gallop.

gallop.

Realizing that if these images were projected rapidly, one after the other, this would give Realizing that if these images were projected rapidly, one after the other, this would give the appearance of motion and so the motion picture was born!

the appearance of motion and so the motion picture was born!

In 1898, a German botanist by the name of Wilhelm Pfeffer, the director of the Leipzig In 1898, a German botanist by the name of Wilhelm Pfeffer, the director of the Leipzig Botanical Garden, created the first time-lapse sequence by photographing a tulip over Botanical Garden, created the first time-lapse sequence by photographing a tulip over many hours and projecting the images back at regular film speeds to reveal the tulips many hours and projecting the images back at regular film speeds to reveal the tulips blooming and

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Basics Basics

We have it much easi

We have it much easier today than Herr Pfeffer and Mr. Muyer today than Herr Pfeffer and Mr. Muybridge. bridge. Our digiOur digital camerastal cameras produce

produce image sequences image sequences that that can be can be quickly aquickly and end easily made asily made into vinto video sequences.ideo sequences. There are also some additional devices that will make the work and capture even easier! There are also some additional devices that will make the work and capture even easier! First of all you need to decide what time base you are going to use for final playback so First of all you need to decide what time base you are going to use for final playback so that you can calculate the number of frames you will need, the period of time to cover that you can calculate the number of frames you will need, the period of time to cover and how long will it take to capture these frames.

and how long will it take to capture these frames. Yeah, I

Yeah, I know. know. Math sucksMath sucks. . But the But the math imath isn’t comsn’t complicated!plicated!

To keep everything easy and to help avoid confusion, I’m going to use a time-base of 30 To keep everything easy and to help avoid confusion, I’m going to use a time-base of 30 frames per second f

frames per second for the remainder of this or the remainder of this guide in order to simguide in order to simplify the concepts. plify the concepts. OnceOnce you understand the underlying principals, it is easy to adjust the time-base to 24 fps or 25 you understand the underlying principals, it is easy to adjust the time-base to 24 fps or 25 fps or whatever y

fps or whatever you want. ou want. I’m using 30 fI’m using 30 fps because that is the sps because that is the standard video playback tandard video playback speed in the Uni

speed in the United States and many western countries. ted States and many western countries. Besides, it iBesides, it is better to capture toos better to capture too many frames and speed the sequence up later in your video editor, rather than try to slow many frames and speed the sequence up later in your video editor, rather than try to slow it down!

it down! Better to drop frames than try to artifiBetter to drop frames than try to artificially create in-between frames with your cially create in-between frames with your video editing software!

video editing software!

For purposes of illustration, let’s say you want to capture a 2-hour event to be played For purposes of illustration, let’s say you want to capture a 2-hour event to be played back

back in 10 in 10 seconds. seconds. 10 10 seconds of seconds of screen tscreen time at ime at 30 fps 30 fps would requwould require 300 ire 300 frames.frames. That’s 10 seconds x

That’s 10 seconds x 30fps = 300 frames. 30fps = 300 frames. So, we want to capture 300 fSo, we want to capture 300 frames over a 2-rames over a 2-hour period.

hour period. Two hours cTwo hours contains 120 miontains 120 minutes or 7200 nutes or 7200 seconds. seconds. 7200 seconds di7200 seconds divided byvided by 300 frames gives us 24, so we need to capture a frame every 24 seconds for a two-hour 300 frames gives us 24, so we need to capture a frame every 24 seconds for a two-hour period

period and tand that would hat would give ugive us ts the 300 he 300 frames we frames we need need for our for our 10-second sequence.10-second sequence. So you see, the math is

So you see, the math is rather simple (ugh!). rather simple (ugh!). You just need tYou just need to determine how mucho determine how much screen time you want and how long a period you want to compress into that screen time. screen time you want and how long a period you want to compress into that screen time. It just takes some simple math to set up and begin capturing!

It just takes some simple math to set up and begin capturing!

Also be aware that if your time between frames is rather short and your exposure time is Also be aware that if your time between frames is rather short and your exposure time is relatively long, you have to account for the exposure time as well in your calculation. For relatively long, you have to account for the exposure time as well in your calculation. For example, let’s say that you want to record a frame every 5 seconds and will be exposing example, let’s say that you want to record a frame every 5 seconds and will be exposing the frame f

the frame for 2 seconds. or 2 seconds. A 2 second A 2 second exposure every exposure every 5 seconds is a 5 seconds is a total of 7 total of 7 seconds. seconds. 77 seconds times 300 frames is 2100 seconds and divided by 60 seconds means that it will seconds times 300 frames is 2100 seconds and divided by 60 seconds means that it will take 35 minutes to record the 300 f

take 35 minutes to record the 300 frames! rames! If your exposure timIf your exposure time is short (lie is short (like 1/30ke 1/30 second or faster), then you likely don’t have to include the exposure time in your second or faster), then you likely don’t have to include the exposure time in your calculation, as it isn’t really significant.

calculation, as it isn’t really significant. There are some rough guidelines

There are some rough guidelines to follow depending upon what you are capturinto follow depending upon what you are capturing. g. For For moving traffic

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So, let us assume you want to record a sunset and still want 10 seconds of screen time. So, let us assume you want to record a sunset and still want 10 seconds of screen time. That’s our same

That’s our same 300 frames that are requi300 frames that are required. red. You decide to record a framYou decide to record a frame every 2e every 2 seconds, so 2 (seconds) x

seconds, so 2 (seconds) x 300 (frames) = 300 (frames) = 600 seconds or 10 minutes! 600 seconds or 10 minutes! That means yThat means youou need to trip the shutter every two seconds for 10 minutes to capture the 300 frames that need to trip the shutter every two seconds for 10 minutes to capture the 300 frames that you need f

you need for your fior your final sequence. nal sequence. Simple!Simple!

The amount of frames to capture (generally you want at least 10 seconds of screen time) The amount of frames to capture (generally you want at least 10 seconds of screen time) and length of time between frames is a skill that you will quickly acquire a feeling for. and length of time between frames is a skill that you will quickly acquire a feeling for. Just keep the rough guidelines in mind that I previously discussed.

Just keep the rough guidelines in mind that I previously discussed. The time base y

The time base you chooou choose is se is only important at this sonly important at this stage for doing your calculationstage for doing your calculations. . YouYou can always change your mind when y

can always change your mind when you render your still fou render your still frames into a video sequence. rames into a video sequence. If If you choose 24fps and it is too slow, just render it with a time-base of 30fps and vice

you choose 24fps and it is too slow, just render it with a time-base of 30fps and vice versa!

versa!

However, who really wants to sit and press a camera shutter every two seconds for 10 However, who really wants to sit and press a camera shutter every two seconds for 10 minutes, much less every

minutes, much less every 24 seconds for two hours? 24 seconds for two hours? Not me, and I’ll bNot me, and I’ll bet you don’tet you don’t either.

either. Fortunately, there are sFortunately, there are some clever gadgets that you can buy ome clever gadgets that you can buy that will perform thatthat will perform that task for you!

task for you!

Equipment - intervalometers Equipment - intervalometers Naturally you

Naturally you are are going tgoing to o need a need a digital camera, digital camera, and and you wyou will need ill need one one that that will allowwill allow you to trigger the

you to trigger the camera remotely. camera remotely. This may limit yThis may limit your choices for point and shootour choices for point and shoot cameras, but most DSLRs s

cameras, but most DSLRs should allhould allow remote triggering. ow remote triggering. There is a possibiThere is a possibility that your lity that your camera may have an intervalometer built in. Many Nikon cameras have this capability camera may have an intervalometer built in. Many Nikon cameras have this capability and the new D800 can even combine the f

and the new D800 can even combine the frames in camera into an MOV filrames in camera into an MOV file. e. If iIf it does,t does, then you may not need a remote trigger, although remote triggers are likely to be more then you may not need a remote trigger, although remote triggers are likely to be more flexible.

flexible. You will als

You will also need a good solid tripod and head. o need a good solid tripod and head. Since you are going to be recSince you are going to be recording aording a sequence over an extended time period, you want to be sure that the camera will not sequence over an extended time period, you want to be sure that the camera will not move or shake during the capture.

move or shake during the capture. If it does, the If it does, the final sequence will shfinal sequence will shutter and shakeutter and shake and will l

and will look extremely amateurish. ook extremely amateurish. Avoid using the miAvoid using the middle riser on triddle riser on tripods and youpods and you may also be able to hang some weight on the middle extension in order to prevent the may also be able to hang some weight on the middle extension in order to prevent the tripod from m

tripod from moving in the wind. oving in the wind. For the head, a good ball hFor the head, a good ball head or even a video headead or even a video head should work fine.

should work fine. Older, heavy aluminum Older, heavy aluminum tripods can often be found used and are itripods can often be found used and are idealdeal for this purpose.

for this purpose.

There are lots of options for

There are lots of options for intervalometersintervalometers. . An iAn intervalometer is ntervalometer is a device that ya device that youou attach to your remote shutter port on your camera and can be programmed to capture attach to your remote shutter port on your camera and can be programmed to capture frames over a peri

frames over a period (interval!) of time. od (interval!) of time. An inAn intervalometer will automate your capturetervalometer will automate your capture and allow you to take a break while it does all the work!

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However there are a number of third parties that make timers that may look identical to However there are a number of third parties that make timers that may look identical to the name brand tim

the name brand timers for a lot less mers for a lot less money. oney. I have a unit fI have a unit fromrom LinkdelightLinkdelight

((www.linkdelight.comwww.linkdelight.com) for my Canon (they make them for other cameras too) that is only) for my Canon (they make them for other cameras too) that is only $25 and looks and works exactly like the Canon TC-80N3.

$25 and looks and works exactly like the Canon TC-80N3.

If you do a search on Amazon.com, you will find several third party intervalometers, If you do a search on Amazon.com, you will find several third party intervalometers, such as the Satechi, whi

such as the Satechi, which sells for around $50. ch sells for around $50. AlsAlso, Poloroid has a battery grip fo, Poloroid has a battery grip for theor the Canon line of cameras that has a built-in intervalometer.

Canon line of cameras that has a built-in intervalometer.

Canon TC-80N3 and Nikon MC-36 Intervalometers Canon TC-80N3 and Nikon MC-36 Intervalometers

On the higher end,

On the higher end, Promote controlPromote control ((www.promotesystems.comwww.promotesystems.com) has a unit that sells for ) has a unit that sells for about $300 and also can be programmed to do HDR time-lapse.

about $300 and also can be programmed to do HDR time-lapse. Time-lapse+Time-lapse+

((www.timelapseplus.comwww.timelapseplus.com) has a universal unit for Canon, Nikon, Olympus, Sony, and) has a universal unit for Canon, Nikon, Olympus, Sony, and Pentax.

Pentax. It also offIt also offers bulb ramping, which is a ers bulb ramping, which is a special technique to gradually increase or special technique to gradually increase or decrease exposure time for sunsets and sunrises. Another high-end intervalometer is the decrease exposure time for sunsets and sunrises. Another high-end intervalometer is the Time Machine

Time Machine ((www.bmumford.com/www.bmumford.com/), which sells for about $325 and has advanced), which sells for about $325 and has advanced capabilities.

capabilities. The

ThePromote controlPromote control was originally funded by Kickstarter.com as was thewas originally funded by Kickstarter.com as was the TriggerTrapTriggerTrap by Ha

by Haje Jan je Jan Kamps. Kamps. TheTheTriggertrap V1Triggertrap V1 can be found atcan be found at www.triggertrap.comwww.triggertrap.comandand comes in three flavors: a pre-built model for $199, a shield only (build it yourself model) comes in three flavors: a pre-built model for $199, a shield only (build it yourself model) for $49, and finally, an iPad, iPod Touch, iPhone mobile version which is only $9.99 plus for $49, and finally, an iPad, iPod Touch, iPhone mobile version which is only $9.99 plus $19.99 for a

$19.99 for a dedicated camera dedicated camera cable and cable and dongle. dongle. TheTheTriggertrapTriggertrap has a lot of additionalhas a lot of additional capabilities to fire a camera based upon certain events (sound, movement, etc.) and I capabilities to fire a camera based upon certain events (sound, movement, etc.) and I would highly recommend looking into the mobile version.

would highly recommend looking into the mobile version. Enlight Photo

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a kit form (you will als

a kit form (you will also need a $30 Arduino chip) oo need a $30 Arduino chip) or $225 for a pre-builr $225 for a pre-built version. t version. I willI will discuss the MX2 in more detail under camera sliders.

discuss the MX2 in more detail under camera sliders.

Trigger Trap V1 Trigger Trap V1

In addition to the mobile phone devices mentioned above, there are also computer-based In addition to the mobile phone devices mentioned above, there are also computer-based applications which requi

applications which require you to tether your camera to your computer or lre you to tether your camera to your computer or laptop. aptop. TheseThese aren’t as convenient or portable but there are a number of free and commercial options aren’t as convenient or portable but there are a number of free and commercial options available.

available. In addition, there are mIn addition, there are more and more apps being released fore and more apps being released for both Android andor both Android and IOS devices.

IOS devices.

Equipment – ND filters Equipment – ND filters Finally, there are a f

Finally, there are a few other extra items that yew other extra items that you may wish to consiou may wish to consider. der. In a moment I’mIn a moment I’m going to discuss “ideal” shutter times, which in some instances can be somewhat long. going to discuss “ideal” shutter times, which in some instances can be somewhat long. For reasons yet to be

For reasons yet to be discussed, ND (neutral densidiscussed, ND (neutral density) filters may be necessaryty) filters may be necessary. . You mayYou may want a range of filters or may even want to consider a more expensive variable density want a range of filters or may even want to consider a more expensive variable density filter.

filter.

ND filters c

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Equipment - lenses Equipment - lenses

Although nearly any advanced digital camera should be able to be used to time-lapse Although nearly any advanced digital camera should be able to be used to time-lapse photography (a

photography (and nd maybe evemaybe even some n some point point and shoand shoots!), you ots!), you will need will need to to consider your consider your choice of lenses.

choice of lenses. If you are goinIf you are going to be capturing landscape time-lapse sg to be capturing landscape time-lapse sequences, then aequences, then a wide-angle lens is l

wide-angle lens is likely your best choice. ikely your best choice. Keep in mind yKeep in mind your camera sensor size needsour camera sensor size needs to be considered when determining the focal length that you will need. A 20mm lens on a to be considered when determining the focal length that you will need. A 20mm lens on a crop sensor DSLR (such as the 1.6 crop on a Canon 7D or the 1.5 crop on Nikons) would crop sensor DSLR (such as the 1.6 crop on a Canon 7D or the 1.5 crop on Nikons) would give the same angle of view as a 30mm lens on a full frame sensor camera, or a 35mm give the same angle of view as a 30mm lens on a full frame sensor camera, or a 35mm film camera.

film camera.

If you are planning to do star trails or night and low light time-lapse sequences, then you If you are planning to do star trails or night and low light time-lapse sequences, then you will want as fast a lens as y

will want as fast a lens as you can get (smaller f-stops). ou can get (smaller f-stops). Unfortunately, these fUnfortunately, these faster lensesaster lenses are also more expensive!

are also more expensive! Equipment – tripod Equipment – tripod

You don’t need anything fancy f

You don’t need anything fancy for a tripod, but it shor a tripod, but it should be heavy and secure! ould be heavy and secure! It isIt is amazing how much a strong, steady

amazing how much a strong, steady wind can cause a tripod to move slwind can cause a tripod to move slightly. ightly. SomeSome tripods have a center hook, from which you can hang additional weight to make sure it tripods have a center hook, from which you can hang additional weight to make sure it remains steady.

remains steady.

The tripod head also doesn’

The tripod head also doesn’t need to be anything special. t need to be anything special. It just needs It just needs to hold the camerato hold the camera steady during the time you will be recording exposures. Of course, if your sequence is steady during the time you will be recording exposures. Of course, if your sequence is going to cover hours (or days or even weeks and beyond) you must take that into going to cover hours (or days or even weeks and beyond) you must take that into consideration as well.

consideration as well. Equipment – extras Equipment – extras

Since your camera is going to be taking many images for an extended period of time (or Since your camera is going to be taking many images for an extended period of time (or even long exposures), you will n

even long exposures), you will need as much battery power as yeed as much battery power as you can get. ou can get. ExternalExternal battery packs

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The aperture and shutters on still cameras can be very accurate and reliable, however, The aperture and shutters on still cameras can be very accurate and reliable, however, they weren’t intended for the kind of exposure accuracy that is required for time-lapse they weren’t intended for the kind of exposure accuracy that is required for time-lapse sequences.

sequences. Consider the l

Consider the lens aperture. ens aperture. It is It is a mechanical device that a mechanical device that must mmust move metal (plastiove metal (plastic?)c?) blades to

blades to reduce treduce the ahe amount of mount of light passing light passing through tthrough the he lens and lens and then then move back move back intointo their resting place again. They must do this very quickly for still images – incredibly their resting place again. They must do this very quickly for still images – incredibly quickly!

quickly! Imagine if Imagine if you take an you take an exposure of exposure of 1/5000 second, the 1/5000 second, the aperture musaperture must close ant close andd open in less than 1/5000 of a second!

open in less than 1/5000 of a second!

Since the aperture is a mechanical device there will always be tiny variations in the Since the aperture is a mechanical device there will always be tiny variations in the amount it closes.

amount it closes. Normally Normally this won’t show up and isn’this won’t show up and isn’t a problem for regular st a problem for regular stilltill images as the amount is

images as the amount is quite small. quite small. However, for converting our sequence of However, for converting our sequence of stillstill images into a video, the tiny variations could cause the final sequence to flicker like an images into a video, the tiny variations could cause the final sequence to flicker like an old time movie (yes, I know old movies didn’t flicker when they were new!).

old time movie (yes, I know old movies didn’t flicker when they were new!). Don’t despair.

Don’t despair. There are wayThere are ways to work ars to work around this problound this problem!em! The first way i

The first way is to always shoot wis to always shoot with the lens wide open. th the lens wide open. Setting the aperture wiSetting the aperture wide opende open will mean it doesn’t have to close down and therefore cannot cause tiny exposure

will mean it doesn’t have to close down and therefore cannot cause tiny exposure fluctuations.

fluctuations. There are two disThere are two disadvantages to this method: depth of fiadvantages to this method: depth of field and daylighteld and daylight exposure.

exposure.

Since the lens is wi

Since the lens is wide open, the lens is at the shde open, the lens is at the shallowest depth of fiallowest depth of field. eld. As you reduce theAs you reduce the aperture, the depth of fi

aperture, the depth of field increases. eld increases. If you are usiIf you are using a wide-angle lens (whing a wide-angle lens (which alreadych already has a greater depth of f

has a greater depth of field), this may nield), this may not be a problem. ot be a problem. It depends if yIt depends if you have somethingou have something in the foreground that needs to remain in focus along with the horizon.

in the foreground that needs to remain in focus along with the horizon. The second problem is exposure.

The second problem is exposure. When the lens iWhen the lens is wide open we will ns wide open we will need a lower ISOeed a lower ISO combined with a fas

combined with a faster shutter speed, especially in dayliter shutter speed, especially in daylight. ght. As I wilAs I will point out in al point out in a moment, the best-captured motion for time-lapse has a bit of blur so we actually want to moment, the best-captured motion for time-lapse has a bit of blur so we actually want to drag the shutter (use a s

drag the shutter (use a slower shutter speed). lower shutter speed). It is It is possible that you mpossible that you may not be able toay not be able to reduce the ISO to a low enough setting for the lens to be wide open

reduce the ISO to a low enough setting for the lens to be wide openand and _{to use a slow}_{to use a slow}

shutter speed.

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The second technique inv

The second technique involves using an olves using an older lens. older lens. Canon cameras Canon cameras will accept adaptorswill accept adaptors to allow you to use other manufacturer’s lenses (I personally still have my Olympus to allow you to use other manufacturer’s lenses (I personally still have my Olympus Zuiko lenses from my OM2 and OM4Ti days!). There is no automatic coupling between Zuiko lenses from my OM2 and OM4Ti days!). There is no automatic coupling between the camera and these lenses, so you need to focus and set the aperture manually, but for the camera and these lenses, so you need to focus and set the aperture manually, but for time-lapse; this i

time-lapse; this is exactly what you want! s exactly what you want! For Nikon, you can purchFor Nikon, you can purchase older Nikonase older Nikon mount lenses, which shoul

mount lenses, which should also fit, but will d also fit, but will also have no auto aperture or focus. also have no auto aperture or focus. TheThe glass on these older lenses should still be excellent and you can often pick them up from glass on these older lenses should still be excellent and you can often pick them up from auction sites very inexpensively!

auction sites very inexpensively! Shutters are als

Shutters are also mechanical and can vary slightly. o mechanical and can vary slightly. If the shIf the shutter varies by a merutter varies by a mere .1%, ite .1%, it will hardly be noticed at 1/30 sec, but could have an impact at 1/5000 of a second!

will hardly be noticed at 1/30 sec, but could have an impact at 1/5000 of a second! Fortunately, we want to use slower shutter speeds, so we really don’t need to be too Fortunately, we want to use slower shutter speeds, so we really don’t need to be too concerned about a slight variance in

concerned about a slight variance in the mechanical shutter. the mechanical shutter. The reason we want slThe reason we want slower ower shutter speeds is to capture a bit of motion blur in order for the final sequence to look shutter speeds is to capture a bit of motion blur in order for the final sequence to look nice and smooth when played back.

nice and smooth when played back.

The amount of blur that is desirable for any give capture can be easily calculated. The amount of blur that is desirable for any give capture can be easily calculated. Let us return, f

Let us return, for a moment, to our motion pior a moment, to our motion picture capture of 24 fps. cture capture of 24 fps. This is the stanThis is the standarddard capture and playback speed of m

capture and playback speed of modern motion picture film. odern motion picture film. Since the film iSince the film is passings passing through the camera at 24 frames every second, the slowest shutter exposure we can through the camera at 24 frames every second, the slowest shutter exposure we can possibly get

possibly get is 1/24th is 1/24th second.second.

However, due to the transport of each frame into the gate, we actually can’t capture at However, due to the transport of each frame into the gate, we actually can’t capture at 1/24th of a second, as we need to close the shutter momentarily in order to allow the 1/24th of a second, as we need to close the shutter momentarily in order to allow the camera mechanism to pull the next frame into place and register it before it is exposed. camera mechanism to pull the next frame into place and register it before it is exposed. Motion picture cameras have a disk shutter with a section cut out (usually around 180 to Motion picture cameras have a disk shutter with a section cut out (usually around 180 to 190 degrees or so).

190 degrees or so). When the cut out portion of the disk is in front of the filWhen the cut out portion of the disk is in front of the film, light canm, light can pass throug

pass through. h. When the When the opaque opaque part of part of the dthe disk spins isk spins into into place, the place, the mechanism canmechanism can safely pull another frame into place, which is then exposed when the open portion rotates safely pull another frame into place, which is then exposed when the open portion rotates into place again.

into place again. This allThis allows the camera to pull 24 frames inows the camera to pull 24 frames into the camera gate to beto the camera gate to be exposed for each second.

exposed for each second. (Many m(Many modern motion picture cameras will allodern motion picture cameras will allow the amountow the amount of cutout of the disk to be varied, but that isn’t important to this discussion!).

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be aro

be around 1.und 1.5 5 seconds – seconds – or or approximately half approximately half of of the gap the gap between between each each captured captured frame.frame. For clouds and slow moving objects, this will likely be too long and you may have to For clouds and slow moving objects, this will likely be too long and you may have to experiment to find a capture speed that works for each subject.

experiment to find a capture speed that works for each subject.

In some cases, such as HDR time-lapse, that may not be practical and the extra In some cases, such as HDR time-lapse, that may not be practical and the extra movement may impact the abili

movement may impact the ability to line up the exposures! ty to line up the exposures! The total amThe total amount of capturingount of capturing multiple frames may exceed the 3 seconds between frames, and I will cover some of multiple frames may exceed the 3 seconds between frames, and I will cover some of these considerations in

these considerations in the advanced section. the advanced section. In addition, you don’t want too mIn addition, you don’t want too much blur,uch blur, or some moving obj

or some moving objects may disappear entirely! ects may disappear entirely! Consider the amount of movement inConsider the amount of movement in the frame; little movement will require longer exposure times and rapid movement, the frame; little movement will require longer exposure times and rapid movement, shorter times!

shorter times! Technique Technique

In the previous section I discussed some potential issues with the camera shutter and In the previous section I discussed some potential issues with the camera shutter and aperture.

aperture. However, there are other sHowever, there are other settings on our diettings on our digital cameras that we don’t want gital cameras that we don’t want toto change from f

change from frame to frame as rame to frame as well! well! I recommend usinI recommend using manual fg manual for everything! or everything! Don’tDon’t let the camera automatically adjust any setting or you may end up with strange artifacts, let the camera automatically adjust any setting or you may end up with strange artifacts, color shifts, or other issues such as the nasty flicker problem.

color shifts, or other issues such as the nasty flicker problem. ISO

ISO

Choose an ISO setting that is appropriate for the light (considering shutter speed and Choose an ISO setting that is appropriate for the light (considering shutter speed and aperture, of

aperture, of course!). course!). Also cAlso consider how monsider how much noise you are uch noise you are willing willing to tolerate. to tolerate. For For low-light time-lapse sequences, you may wish to use higher ISO settings, but consider the low-light time-lapse sequences, you may wish to use higher ISO settings, but consider the amount of noise your particular camera produces at higher ISO settings. Manufacturers amount of noise your particular camera produces at higher ISO settings. Manufacturers are managing to reduce noise levels and permit usable higher ISO settings for each are managing to reduce noise levels and permit usable higher ISO settings for each generation camera that comes

generation camera that comes on the market. on the market. CurrentlyCurrently, on my Canon, I would likely, on my Canon, I would likely limit the upper ISO

limit the upper ISO to no more than 3200. to no more than 3200. However, I recommHowever, I recommend you avoid using Autoend you avoid using Auto ISO, as this setting will be more than likely to create flicker in your final sequence.

ISO, as this setting will be more than likely to create flicker in your final sequence. White balance

White balance

The same logic applies

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you are doing low light captures using the intervalometer to control the shutter speed, you are doing low light captures using the intervalometer to control the shutter speed, then you will li

then you will likely need to set the camera on Bulb setkely need to set the camera on Bulb setting. ting. Bulb will Bulb will keep the shutter keep the shutter open as long as the camera shutter button (or cable release) is pressed.

open as long as the camera shutter button (or cable release) is pressed. Before we continue, here is

Before we continue, here is a little trivia a little trivia about the origin of the “bulb” settinabout the origin of the “bulb” setting. g. In theIn the early days of photography (back in the mid 1800s), glass and metal plates needed a lot of early days of photography (back in the mid 1800s), glass and metal plates needed a lot of light to expose them.

light to expose them. So, the photographers woulSo, the photographers would trigger the cameras wid trigger the cameras with a squeezeth a squeeze bulb a

bulb and hond hold it ld it for the for the time requtime required for ired for the the exposure exposure and tand then let hen let go, or go, or set off set off flashflash powder.

powder. That That is why tis why the time he time exposure exposure shutter cshutter control todontrol today is ay is still called still called “bulb”.“bulb”. File Format

File Format

Your choice of whi

Your choice of which file format to use is lch file format to use is largely a personal one. argely a personal one. If you want theIf you want the

maximum amount of control over each frame, then you will want to use the RAW format. maximum amount of control over each frame, then you will want to use the RAW format. However, RAW images are going to take up more storage space and will require more However, RAW images are going to take up more storage space and will require more postproduction work.

postproduction work. Some caSome cameras do meras do have smaller have smaller RAW RAW image sizes, image sizes, which will which will helphelp to save on storage room.

to save on storage room.

Full high definition frames are 1920 pixels x 1080 pixels which is the same as a 2 mega Full high definition frames are 1920 pixels x 1080 pixels which is the same as a 2 mega pixel file.

pixel file. Even at Even at the sthe smallest JPG mallest JPG settinsettings, gs, your camera your camera is capturing is capturing a a larger larger image thanimage than this.

this. Therefore, you will be capturinTherefore, you will be capturing more than enough resolution that wig more than enough resolution that will even allll even allowow you to add “pan and scan” m

you to add “pan and scan” movements to your final sequence, if yovements to your final sequence, if you wish. ou wish. This willThis will allow some additional movement in the frame if you don’t want to resort to more allow some additional movement in the frame if you don’t want to resort to more expensive camera sliders or other mechanical movement devices.

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File formats compared to HD video File formats compared to HD video

One last tip – if your camera allows you to create folders on the memory card, I like to One last tip – if your camera allows you to create folders on the memory card, I like to create a new folder for each sequence, which helps me organize and process my image create a new folder for each sequence, which helps me organize and process my image sequences.

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If you do an Internet search for camera sliders, you will find many versions such as the If you do an Internet search for camera sliders, you will find many versions such as the Igus

Igus ((www.igus.comwww.igus.com- also available on Amazon.com) and- also available on Amazon.com) and Glidetrack Glidetrack

((www.glidetrack.comwww.glidetrack.com). ). However, you nHowever, you need more than juseed more than just a track – yt a track – you need someou need some method to move the camera on the track during or before each frame.

method to move the camera on the track during or before each frame.

If you are interested in moving the camera, then I highly recommend you check out the If you are interested in moving the camera, then I highly recommend you check out the open source project from

open source project fromDynamic PerceptionDynamic Perception ((www.dynamicperception.comwww.dynamicperception.com). They). They have a track system available for about $900-$1000, but if you don’t mind a little effort, have a track system available for about $900-$1000, but if you don’t mind a little effort, you can save some money by doing it yourself.

you can save some money by doing it yourself. The heart of the

The heart of the Dynamic PerceptionDynamic Perception system is thesystem is the MX2MX2motion motion controller. controller. You You cancan buy this

buy this pre-made pre-made for $225for $225, or , or you can you can buy a buy a kit kit for $55 for $55 and build and build it yourself (it yourself (you wyou willill also need an

also need anArduinoArduino microcontrollmicrocontroller er board board for for about about $20). $20). TheTheMX2MX2features freefeatures free open source software, which will allow you to control up to two motors (such as one for open source software, which will allow you to control up to two motors (such as one for the slider and one for a motorized pan head!) and also acts as a full-featured

the slider and one for a motorized pan head!) and also acts as a full-featured intervalometer!

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In addition to moving the camera along a vertical or horizontal structure, some systems In addition to moving the camera along a vertical or horizontal structure, some systems also all

also allow you to add pan and or tilt options tow you to add pan and or tilt options to the camera. o the camera. All of thesAll of these moves can reallye moves can really enhance your finished video, if done correctly and with a purpose, but it also complicates enhance your finished video, if done correctly and with a purpose, but it also complicates the setup and capture.

the setup and capture.

I’ve also read some articles on the Internet about time-lapse photographers who have I’ve also read some articles on the Internet about time-lapse photographers who have used motorized Meade Telescope heads m

used motorized Meade Telescope heads modified to accept a camera. odified to accept a camera. These heads allThese heads allowow you to pan and or tilt the camera and could create really interesting moves if combined you to pan and or tilt the camera and could create really interesting moves if combined with a camera slider.

with a camera slider. Time-lapse HDR Time-lapse HDR HDR still

HDR still photography can produce some amazing images. photography can produce some amazing images. Imagine taking the HDR Imagine taking the HDR technique and apply it to a ti

technique and apply it to a time-lapse video sequence. me-lapse video sequence. Well, many of Well, many of the intervalometersthe intervalometers will all

will allow you to capture multiple frames fow you to capture multiple frames for HDR capture. or HDR capture. NaturallyNaturally, this complicates, this complicates your setup.

your setup. First of First of all, you want to capture a scene that sall, you want to capture a scene that suits HDR (hiuits HDR (high contrastgh contrast scenes).

scenes). You also need to consiYou also need to consider the extra storage for the mder the extra storage for the multiple frames as well ultiple frames as well as theas the post

post processing work. processing work. Finally, there Finally, there will be will be additional tadditional time required ime required to to capture capture all threeall three frames and that time needs to be taken into account, especially if you are doing low-light frames and that time needs to be taken into account, especially if you are doing low-light photography.

photography.

For post processing the HDR captures, you will need software that can batch process For post processing the HDR captures, you will need software that can batch process your HDR

your HDR frames. frames. Imagine iImagine individually processing ndividually processing hundreds of hundreds of images mimages manually! anually! MostMost HDR software packages allow you to adjust the first set of captured images, and then HDR software packages allow you to adjust the first set of captured images, and then

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The software program

The software programGBTimeLapseGBTimeLapse ((http://www.granitebaysoftware.com/http://www.granitebaysoftware.com/) only runs) only runs on Windows systems but will also allow you to program in ramping to increase or on Windows systems but will also allow you to program in ramping to increase or decrease exposure during the sequence capture.

decrease exposure during the sequence capture. GBTimeLapseGBTimeLapse has a lot of other has a lot of other capabilities as well, but does require you to take your laptop into the field with you! capabilities as well, but does require you to take your laptop into the field with you! A technique, which I haven’t tried yet, but should work, is to set your camera to take A technique, which I haven’t tried yet, but should work, is to set your camera to take bracketed

bracketed exposures, exposures, just like HDR. just like HDR. However, However, instead of instead of taking ataking an under-exposedn under-exposed image, correct exposure and over-exposed image, set the bracket to take an image one image, correct exposure and over-exposed image, set the bracket to take an image one stop over (or more), and another two stops over (or more for sunsets – do the opposite for stop over (or more), and another two stops over (or more for sunsets – do the opposite for sunrises).

sunrises). When you go to process your images, select the fiWhen you go to process your images, select the first range of frames until therst range of frames until the exposure on the last frame is too underexposed, then select the next sequence and do the exposure on the last frame is too underexposed, then select the next sequence and do the same for the thi

same for the third sequence. rd sequence. You will nYou will need a program such aseed a program such asLRTimeLapseLRTimeLapse to smoothto smooth out the exposures, but this would allow you to record up to 4 stops difference and even out the exposures, but this would allow you to record up to 4 stops difference and even more if your camera allows more than three bracketed exposures (such as many Nikons more if your camera allows more than three bracketed exposures (such as many Nikons and high end Canons).

and high end Canons). Star trails

Star trails

Star trails don’t have to be video sequences of the Milky Way rotating in the sky, but can Star trails don’t have to be video sequences of the Milky Way rotating in the sky, but can also be a still image with the movement of the stars creating a streak and circling around also be a still image with the movement of the stars creating a streak and circling around the North Star.

the North Star.

As I already indicated, avoid aiming the camera toward the east or west and in the As I already indicated, avoid aiming the camera toward the east or west and in the

northern hemisphere it is best to aim in a northerly direction and in a southerly direction northern hemisphere it is best to aim in a northerly direction and in a southerly direction

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So, if you have an APS-C cropped sensor (1.6x) and a 10mm lens – the 35mm equivalent So, if you have an APS-C cropped sensor (1.6x) and a 10mm lens – the 35mm equivalent focal length i

focal length is 10mm x s 10mm x 1.6 or 16mm. 1.6 or 16mm. Divide 600 by Divide 600 by 16 and you will 16 and you will get 37.5. get 37.5. So, 37.5So, 37.5 seconds should be the maximum shutter exposure to avoid blurring the stars.

seconds should be the maximum shutter exposure to avoid blurring the stars.

However, I wouldn’t be too concerned about streaks for a video sequence and if you want However, I wouldn’t be too concerned about streaks for a video sequence and if you want a star trail

a star trail still image then ystill image then you want the streaks anyway! ou want the streaks anyway! For the above example, IFor the above example, I wouldn’t hesitate to use a 1-minute exposure, or perhaps even a bit longer.

wouldn’t hesitate to use a 1-minute exposure, or perhaps even a bit longer.

You may be wondering why I’m discussing a star trail still photo in this section when this You may be wondering why I’m discussing a star trail still photo in this section when this guide is about

guide is about time-lapse stime-lapse sequences. equences. Glad you asked! Glad you asked! If yIf you want a long ou want a long star streak, thatstar streak, that would require leaving the camera shutter open for 30 to 40 minutes, minimum, to several would require leaving the camera shutter open for 30 to 40 minutes, minimum, to several hours!

hours! This causes a This causes a few problems. few problems. One is One is the fact the bthe fact the battery(s) must battery(s) must be capable of e capable of providing enoug

providing enough poh power to wer to keep tkeep the shutter he shutter open. open. The otThe other problem her problem is noise. is noise. TheThe longer the shutter remains open, the more heat the sensor generates and the more noise longer the shutter remains open, the more heat the sensor generates and the more noise that is produced.

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Another interesting option is

Another interesting option is LRTimeLapseLRTimeLapse ((www.lrtimelapse.comwww.lrtimelapse.com).).LRTimeLapseLRTimeLapse works with

works withLightroomLightroom fromfromAdobeAdobe and not only allows you to export your still framesand not only allows you to export your still frames as a video sequence, but also has some interesting techniques that will allow you to as a video sequence, but also has some interesting techniques that will allow you to reduce, or eliminate any flicker that may occur, and can be used to ramp exposures reduce, or eliminate any flicker that may occur, and can be used to ramp exposures gradually for the ”Holy Grail” of sunrises and sunsets!

gradually for the ”Holy Grail” of sunrises and sunsets! Lightworks

Lightworks ((www.lwks.comwww.lwks.com) is another program available for multiple platforms and is) is another program available for multiple platforms and is a

a professiprofessional based editing software that has a onal based editing software that has a free versifree version as well as an inexpensiveon as well as an inexpensive paid

paid version.version. LightworksLightworks has been used to edit some well-known Hollywood motionhas been used to edit some well-known Hollywood motion pictures and

pictures and is worth is worth checking ochecking out!ut!

If you are attempting an HDR time-lapse sequence, you will have to batch process all If you are attempting an HDR time-lapse sequence, you will have to batch process all your HDR frames with your favorite HDR software before you can import them into your your HDR frames with your favorite HDR software before you can import them into your video software and create a vi

video software and create a video sequence. deo sequence. If your HDR sIf your HDR software changes the name of oftware changes the name of the final output file, you can always use

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Recap Recap

Here is a summary list of the steps required to capture a time-lapse sequence: Here is a summary list of the steps required to capture a time-lapse sequence:

1.

1. Determine your Determine your time-base, that is time-base, that is the frame the frame rate that you will rate that you will be playing back be playing back your final sequence (usually 24 or 30 fps).

your final sequence (usually 24 or 30 fps). 2.

2. Determine Determine the length the length of timof time of e of the sequence ythe sequence you want to ou want to capture. capture. This iThis iss optional, but you will li

optional, but you will likely want at least a 10 second skely want at least a 10 second sequence. equence. By using yBy using your our time-base, you can calculate how long it will take to capture the necessary frames time-base, you can calculate how long it will take to capture the necessary frames for the sequence length.

for the sequence length. 3.

3. Decide on Decide on the rate the rate that ythat you want ou want to capture. to capture. That isThat is, 1 f, 1 frame every rame every 3 seconds, 3 seconds, 11 frame every 30 seconds, etc.

frame every 30 seconds, etc. 4.

4. Figure out Figure out the ISO, shutthe ISO, shutter speed anter speed and aperture fd aperture for the lor the lighting conditions.ighting conditions.

Remember that you may wish to drag your shutter a bit in order to introduce some Remember that you may wish to drag your shutter a bit in order to introduce some

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