On tuesday I shared the details behind an image I took of some our Maasai team standing around the fire during a cultural evening on our extended migration safari. Today i’ll be sharing the details behind this image.
For those of you who have joined us in Kenya, Tenke (Francis) & Sakaya (Dickson) were my props for this shot.
As with the last example, I’ll break things down step by step. For this scene i stayed in Aperture Priority – I could easily have gone to Manual and achieved the same result.
F8.0 @24mm on a 24-70mm F2.8
F 8.0? why on earth would I do that? I wanted to get a longer exposure which would allow Sakaya to walk through the scene with the lantern by his side, creating the wavy line of light you see at the bottom of the frame. F8.0 allows in less light that f2.8 and considering that I would be on a tripod for this shot anyway, I didn’t need to open up as wide as I did with the image of the Maasai around the fire.
Not the highest of ISO values for shooting in low light like this but because I was shooting off a tripod and intentionally wanted to have a slow shutter speed ISO 500 in combination with an aperture value of F8 gave me a pretty slow shutter speed with which to work.
Exposure Compensation – 2/3 EV
Under exposing the scene by -2/3 of a stop to make sure that I kept the dark mood and twilight blues meant that my shutter speed increased slightly (as underexposing effectively reduces the amount of light falling on the sensor by increasing the shutter speed in aperture priority mode).
Being in Aerture Priority mode and having direct control of everything except shutter speed meant that the shutter speed was the final result of the combination of settings above.
2 Second Timer delay
This is an awesome feature for those spontaneous shots taken off of a tripod. Once I had set this up all that was left now was to trip the shutter and get the guys in action.
Tenke was already in position on the right of frame when i tripped the shutter and Sakaya walked briskly across the scene with the lantern at his side towards Tenke. When he reached Tenke he simply raised the lantern and held it in a position which would help to illuminate and expose both of their faces.
Nothing too fancy here as the final image was pretty much spot on.
This is a great technique to play around with at night but if you want to get some detail and deep rich blue skies in your images then your best bet is to work in the twilight hours which, to the human eye looks pretty dark, but the camera picks up as these beautiful saturated tones of blue.
* * *