Aurora, Norway, Henry Henry discussed on Photography Tips From the Top Floor
There we are bringing out to try faults. Putting on warm, jackets and hats and gloves to to shoot this firework from from a moving ship, and yeah. Yeah. That that does pose its own challenges. Just a few things about shooting the Northern Lights k first of all they are always different. I've seen them several times. But they were never the same brightness or intensity or in motion. So. I I've had people ask me when I posted photos online. What what settings I shot them at and I'm happy to provide those. But they don't mean anything because every Aurora's different than you will need different settings for any Aurora. If it's a fast one you want shorter shedder speeds, if it's a bright one you can reduce your eyes. So if it's a very slow one, you might get away with longer shatters weeds and lower is, oh and get less noise. And so on so the values do not really mean anything. Yeah, they come at different speeds. But you kind of want to keep your shutter speed short. They come in with in different forms. They might some have soft edges sometimes they have hard edges. They come in different sizes. So you are looking at using wide angle and often of an established full frame fourteen. Millimetres it's kind of a yeah. Focal length that a lot of photographers use that shoot Aurora's. I use my twenty four millimetres because I have I forgot my fourteen minute meter. I know you might remember I was only back home for like a couple two three days between New Zealand and Norway trip. And for some reason, I didn't pack the fourteen so a hat to use my twenty four millimeter, which let's kind of a bit of a bummer initially. I thought because you want the brightest possible ends as well. And the the fourteen millimeter I have goes to two point eight the twenty four only goes to f three point five. So I lost a bit of brightness there and a bit of angle of view, but it turned out really well despite that, and you also will shoot at high so's. I I would personally rather do more noise reduction in post production and post processing then. Yeah. Shoot. Did lower isos in longer. I'd rather have them have the Roosevelt mall Crispin at shoulder shutter speed. So high sells. The values I shot, and again, they don't really mean anything, but for this specific situation, I shot at a one second at three point five at an ISO of six thousand four hundred which most modern cameras can handle you will have noise in your photos put. There's an entire well, I'll talk about post pro processing in a minute. And then you're moving platform in his ship, and you shoot something that's moving. So. Turns out works best. If you still kind of have the camera on a tripod and again, get an short shutter speed as possible. And the best way to do that. And to to to increase your chances to get something that works is to shoot with a wide open aperture and to shoot lots. And. Of course, there are few tricks. If you are moving platform like a ship the motion of the ship is comes in cycles. Right. He goes up and down and sideways might be rolling a bit. So you can try to time the shots to that motion. Or you do what I did. And just like shoot as much as you can take the time to sift through them later. So yeah, I shot a lot in. I think in in the NHL at about four hundred photos within half an hour. And I ended up with maybe about ten photos that I love and that I wanna share so. Yeah, that's about the ratio that I personally managed, but I still try to shoot at the at the point that ship is at the at the crest of the wave. And then I think it showed all the time. Now. In addition, another complication is the focusing. Especially if you don't have any faraway features that you could use to focus on such as the moon or a house or house of street lights at the horizon. Yeah. The auto focus on an Aurora does not really work. So that. Yeah. To faint. Sound cameras might get away with? Might be able to focus on auto focus on the star. But that even that doesn't didn't work for me. So what I did is I manually focused on a used live view to manually focus on us a star and that kind of works. I mean, you you go in life, you you might have to crank up the ice or your camera. Does it for you? And you. Use zoom in digitally in in the life. You and then you minute focus, and then you just take your hands off in. I did that and it worked quite well. And yeah, that's how I got my four hundred photos with with three hundred ninety to throw away a word about post production. The usual suspects. Of course, you will adjust like exposure and the black point and white balance adjustments shot those at a fixed white balance at three thousand six hundred Kelvin which was close enough. But I still adjusted them slightly to the green of the Aurora. It's a major league green. At least those that we saw and that green tone something that. Yeah. You gotta get it in the ballpark. And then you just just that in in post production to what what feels right? I mean, they are all different anyways. So I think of it of artistic licenses just fine there, and and then in post production one of the few areas. The hours are one of the few areas where I will use clarity. I kind of try to avoid it for like, you know, it tends to create a bit of an over process. Look, so yeah, I'm not a fan of clarity at all. But in an Aurora, especially if you use it if you use it just on on the Aurora itself like brush it in that does wondrous works really well like I would use a graduated filter on the sky, and then dial in the clarity a bit. Now, the Beckton the motion thing again with if you shoot from ship with a tripod, and you have like exposure that's longer than just a few fractions of a second. In this case one second you will get stars. And they are squiggly lines. At least in those phases. When the ship moves. Unless you hit one of those spots at the top of wave where the ship is kind of standing still for a second. And there were a couple of shots where I liked the Aurora allot a loved how it looked the composition was spot on. But it was it gets squiggly stars in them because it was. Yeah. Just not shot at the right point in time for the stars. And with a couple of loose shots. I actually spent the time to take them out that it's like a thirty minute clone session zoomed in with the clone tool to clone out every single star. And I I like what how that turned out. Again, there's tissue license, but the alternative with the squiggly star lines. And of course, they all squiggle the same way. So it looks really weird that that didn't work for me. So yeah, that's what I did. I spent on. In two of those shots as thirty minutes to clone. All the stars out. And last, but not least there's one nice feature when you shoot from fr- from ship on the sea. And which I like on those shots. And that is you get reflections in the water. And that just I don't know what it is. I just love to have a water surface in the front of annot row row because it kind of double said or it. I don't know what it does. But it works. Really? Well for me. So yeah, you check out the photos, they're they're a few of the Aurora shots and a lot more other shots from the last two weeks in northern Norway at Tf TTF dot com slash Arctic twenty nine nine again. This Tf TTF dot com slash Arctic two zero one nine and the link is of course, also in the show, notes and. Yeah. It was a good time. I've really liked the photography. Of course. The people just a quick shout out first week first week of the two weeks. Bruce abbey. Skip Eric will leak avoid gung Pam Nora England Charlotta and Christina on on the second week Tomas. Ramon Hammoud, Christina will Michelle bond Matza Martina, Alex Nicol on Andrea's. So thanks everyone for for joining us on that tour. This is not the last time, I'll do that. 'cause I kind of really nyc that mode of travel and that yeah. The opportunities that you get that you do not get any other way. Oh, and of course, there's one other person who was with us while they were a whole bunch of people with us on the ship that was a captain in the I made and two technicians and service person and a cook a an amazing cook and probably missing several so apologies. But yeah. Those one other person apart from the guests and myself on the ship, and that is kind of an important person. Henry Henry, Paul Wolfe is was our expert expedition guide on those two tours. He's a German he leaves in Iceland. And he he knows a lot about a volcanoes about glaciers about ice about y'all the whole Arctic region. He is he guides expeditions at different places in Greenland and volleyball, and yeah. Up in northern Norway. So he, and I we got along really well, and I think that also helped make this a great experience for everyone, and we got along. So well that I invited him to be a guest host on curiously polar on the podcast that I started together with Mario aqua ONA another expedition guide from another tour, and yeah, Henry was happy to come on the show. And I guess we'll probably have more episodes in the future because there are still plenty of topics that we can talk about on curiously polar. There's episode forty four outright now with Henry on sea-ice. And yeah, there are new episodes on the horizon, I will link that specific episode in the show notes. So yes, the Arctic. I love it.