By MICHAEL PERKINS
IN THE FACE OF CHANGE, HUMANS WILL DOGGEDLY DEFEND ALMOST ANYTHING, as long as they’ve grown accustomed to it. At their introduction, we inveighed against the intrusion of the telephone (the end of privacy!) and the automobile (they scare the horses and they’re filthy!), but soon learned to love chatting, well, from our freaking cars, so…
One of the things solid citizens of the late 1800’s most objected to was the slicing of the night by the first network of urban street lamps, which were excoriated in editorials from New York to Paris. An invasion! An insult! Unnatural.
Boy, if they could see us now.
In the name of energy savings and sustainability (both good things, right?), street lights across the country are in the midst of a rapid conversion from several types of fluorescent lamps to LEDs. They last longer, they burn cheaper, they cost less. All to the good, except that the light these new torches deliver is blue, pale, cold, and, in the minds of many, harsh. Even those who champion ecologically righteous causes are squinting at LEDs which strike them as grim, sickly, colorless and (wait for it) unnatural.
Writing in the New York Times in the essay “Ruining That Moody Urban Glow“,
novelist Lionel Shriver calls LED light “conducive to dismembering a corpse” and cites studies that claim the fixtures contribute to sleep loss, mood disorders, and, who knows, ingrown toenails. For photography (you knew I’d get here eventually), the new light presents a completely fresh challenge to your camera’s ability to achieve white balance, or an accurate reading of white values according to a given light’s temperature, expressed in degrees Kelvin.
Conventional lights are lower on the Kelvin scale, thus warmer, with more yellow in the mix. LEDs are higher in Kelvin value and register blue-white, muting or mutating colors. At present, both Canon and Nikon have many in-camera settings to balance for a number of sodium-vapor or fluorescents, but have yet to offer options for adjusting for LEDs, even though entire cities have made the switch to what many feel is an ugly, stark source of illumination.
In her Times article, Shriver notes that there are, in fact, subtler types of LEDs, which sacrifice only a bit of energy efficiency and yet emit warmer light, and advocates that citizens go proactive to keep their neighborhoods from looking like the parking lots on interstate truck stops. So take that for what it’s worth. But be aware that more and more of your night shots may, in the near future, have to be adjusted in post-production to resemble a century in which you feel at home.
By MICHAEL PERKINS
IT IS A SEASON OF LIGHT AND COLOR, perhaps one of the key times of the year for all things illuminated, burning, blazing and glowing. It is a time when opportunities for vivid and brilliant images explode from every corner.
And one way to unleash all that light is to manage darkness.
One example: your family Christmas tree involves more delicate detail, tradition and miniature charm than any other part of your home’s holiday decor, but it often loses impact in many snapshots, either blown out in on-camera flash or underlit with a few colored twinkles surrounded by a blob of piny silhouette.
How about a third approach: go ahead and turn off all the lights in the room except those on the tree, but set up a tripod and take a short time exposure.
It’s amazing how easy this simple trick will enhance the overall atmosphere. With the slightly slow exposure, the powerful tree LEDs have more than enough oomph to add a soft glow to the entire room, while acting as a multitude of tiny fill lights for the shaded crannies within the texture of the tree. Ornaments will be softly and partially lit, highlighting their design details and giving them a slightly dimensional pop.
In fact, the LED’s emit such strong light that you only want to make the exposure slow enough to register them. The above image was taken at 1/16 of a second, no longer, so the lights don’t have time to “burn in” and smear. And yes, some of you highly developed humanoids can hand-hold a shot steadily at that exposure, so see what works for you. You could also, of course, shoot wide open to f/1.8 if you have a prime lens, making things even easier, but you might run into focus problems at close range. You could also just jack up your ISO and shoot at a more manageable shutter speed, but in a darkened room you’re trading off for a lot of noise in the areas beyond the tree. Dealer’s choice.
Lights are a big part of the holidays, and mastery of light is the magic that delivers the mystery. Have fun.