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Follow these seven helpful tips to improve your night photographs.
Some of the best night photos are taken during dusk; when the sky isn't completely black. Taking pictures during dusk will show more colors and details in the distance and will let you use a faster shutter speed.
Use a high ISO if required. It is better to get recognizable photos of your friends that are grainy than blurry photos. You can reduce noise with image editing software but you can't remove blur.
Taking photos at night requires slow shutter speed. To shoot bright pictures without the blur at night, use a tripod or monopod to keep your camera steady.
In addition to using a tripod or monopod, enable your cameras mirror lockup setting and gently press the shutter. If your camera doesn't have mirror lockup, you can use the self timer mode instead.
If you don't have a tripod or monopod with you, find some support objects to keep your body and arms stable. For example, you can lean on a wall or place your elbows on a table to keep your arms steady. If there's nothing to help keep you steady, stand with your legs far apart from each other and hold your breath while taking the picture.
Not all blurs are bad. Some blurs such as motion blur can add interest. Try shooting photos of moving objects, or deliberatly move your camera to create a motion blur. Zooming in while the shutter is still open will also add an interesting forward-motion effect.
When taking photos of your friends at night, combine flash with a long exposure. The flash will freeze the foreground and the long exposure will reveal the background. Because people tend to move right after they see the flash, set the shutter curtain sync to the second curtain (Usually in the custom functions settings). This will fire a flash just before the shutter closes instead of in the beginning. Using second curtain sync will also put your friends in front of any motion blur so nothing is covering their faces. Second curtain sync is available in most new digital SLR cameras but rarely seen in point and shoot cameras.
Place your camera on a tripod and shoot three exposures: one darker, one lighter, and one just in the middle. Your camera may have auto exposure bracketing to help you with this. Load the images into Photoshop and create HDR file out of the three exposures. Now you have a HDR image that you can apply tone mapping to to reveal more details. Tone mapped night photos can give results similar to shooting during twilight with more post-processing control.
Sometimes when you shoot long exposures, noise and hot pixels will appear even at the lowest ISO setting. To overcome this problem, shoot the same photo a few times (more is better), and use Photoshop CS3 image stacking to combine the analyze the image to remove noise and hot pixels.
Many photographers know how to use contrast to benefit their photos. Contrast makes photos eye catching and can even make the most basic looking photos look great. There are two types of contrast:
 | Tonal contrast Many excel at shooting photos with good tonal contrast. A good example of tonal contrast are silhouettes. The foreground is completely dark while the background is properly exposed. This works well because there is a sharp difference between the dark and light areas. |
 | Color contrast Color contrast is used less frequently because many people do not think about it. Capturing a photograph with good color contrast is more difficult than tonal contrast, but it is still quite easy. An image with good color contrast can look great even without any tonal contrast. In the example on the left, the image looks great even with very little tonal contrast. |
Good color contrast is a good solution when tonal contrast is hard to achieve. Even a tiny area with the opposite hue can make a large difference. Analyze the two photos below. The image on the left looks quite boring, but once we add back the colors of the red flowers, the image looks a lot more interesting.
The best tonal contrast contains complementary colors (opposite colors) and high saturation. Two colors on the opposite sides of the color wheel creates contrasting colors. The saturation of the colors affect how prominent it is over tonal contrast.
In the image below, the color contrast is good because the colors are almost opposite of each other. The image is loud and grabs attention.
The image below has low color contrast but it still looks great because it has good tonal contrast. Also, low color contrast is not always bad. Low color contrast makes the photo quieter and well for the scenery photo below.
You can make your photos more striking by increasing the color contrast. Below is an example that compares the color contrast. With less color contrast, the image will look dull and quiet. High color contrast makes photos look striking.
The color saturation affects the intensity of the effect. The more vibrant the colors, the more color contrast. A color photograph can be separated into tonal information and color information. When you combine those two, you will end up with a regular color photo.
How prominent the color contrast is depends on how high the color saturation is. With less saturation, the tonal contrast becomes more noticeable. With more saturation, the color contrast takes over.
Color contrast also works better with fewer and larger color masses. In the image below, the checkboard pattern has weaker contrast because similar colors are separated and there is an even number of colors (50% orange, 50% cyan). The image on the right has stronger contrast because there are only two areas and more of one color than the other (75% orange, 25% cyan).
When you introduce other colors into the photo, the color contrast will decrease. Even though yellow and purple are main colors in the left image below, the introduction of other colors (beige, red, and blue), makes the photo less dynamic. The image on the right is an example of good color contrast. There are few colors and more difference in mass between the two complementary colors.
A sunset is a great thing to capture, but even if you’re not shooting the sunset but instead shooting at a 90-degree angle to the sunset or even shooting with the sunset at your back, having that subtle light brings out the colors in landscape photos. Most outdoor photography magazines won’t even consider shots that haven’t been shot around this time, as well as before/after sunrise.
As well as before and after sunset, shooting before and after sunrise causes a lot of detail and tone to be seen. The lighting avoids being overexposed, which happens many times when shooting in the middle of the day with harsh light. For portraits, you can shoot in the shade for subtle light even during the middle of the day, but with landscapes, you can’t put the entire landscape into the shade. You have to rely on the weather for that. You can shoot a little longer after sunrise if there’s some slight cloud cover, but usually an hour or two after sunrise and it’s already really bright.
This is an example of a slightly underexposed landscape photo. It’s not shot during the right amount of light, and was shot when the sun was too far down or with too much cloud cover.
This is part of the rule of thirds, which I cover in the next tip. Make sure you have three elements in landscape shot in order to make it more aesthetically pleasing. For example, if there are some seagulls running on the beach along the shore, that can be the foreground, while the middleground would be the waves crashing and part of the ocean, and the distant ocean and horizon would be the background.
The rule of thirds applies to landscape photography as well. Imagine drawing out a tic-tac-toe design, with two lines running vertically and two horizontally. The plane is divided into three equal parts. Try to put the subject where these lines meet; for example, to top left or top right or bottom left or bottom right.
In this photo, the umbrella is in the lower right corner.
The angles and placement of the two objects near the upper left corner work well here.
To include as much as the scenery possible, use a long depth of field. Using a more closed aperture makes the depth of field longer (and the f-stop setting a higher number). This allows for more things to be in focus. While blurring out the background is sometimes preferred, with landscape photos, we often want to have many elements in focus.
In this photo, the camera focuses on the grass, but we want the depth of field to be high so we can see more of the landscape as well.
This is one example where we can see the detail of even elements far away.
This tip is closely related to the rule of thirds tip: don’t put subjects (the subject being the horizon in this example) in the middle of the shot. While many beginning photographers may be inclined to divide the photo in half, having the horizon the top third, or even top fifth or top eighth, is much better, as is having the horizon in the bottom third, fifth, or eighth. This allows us to focus on either the sky or the ocean or earth so we have some kind of focus.
Shooting close to where the sun is causes the areas to be blown out.
This example of the Chinese Theatre in Hollywood shows how areas are blown out when shooting to close to the sun.
This one may seem obvious, and although there are times when the horizon may need to not be level to accommodate a better composition of a subject, keeping the horizon level when possible is good practice.
This is one example where the horizon isn’t level. We’ll fix it in the next part of this article.
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