Lunar Stroll in a Cemetery

On a beautifully clear and mild night in mid-August, I volunteered to help lead a group of photographers through Philadelphia’s Laurel Hill Cemetery. Several times each year, the cemetery organizes a “Lunar Stroll,” geared toward photographers who want to do night work by the light of the moon. So I joined three other guides and we split forty people between us for a few hours of night photography, conversation, and instruction.

Ambient light image (Canon Rebel XT)

First off, the moon doesn’t throw much light (as seen at left), so if you plan to use just ambient light, your exposures will be long (half a minute or more, depending on aperture size); tripods are therefore necessary. Also, as I pointed out to one person, contrary to expectations, you cannot actually get a bright moon in the same shot as dimly-lit foreground objects (e.g. headstones) and have everything properly exposed. This requires digital manipulation with a photo-editing program. The differences in brightness of these objects is too great. To expose for the headstones properly, the moon will just be a bright dot. To expose for the moon, your dark foreground objects will be too dark. HDR can provide you with usable results, but they tend to look too cartoony for my tastes. All that said, most people brought flashlights to “paint” the stone monuments with light during the exposure. Here is an example of one of my light painting experiments:

Crypt cover "painted" with light

Blurry Angel

More so than lighting your subject (though this has to do with lighting, indirectly) is the issue of focusing in the dark. Your camera's ability to autofocus depends on its ability to "see" the subject in question. As most digital cameras depend on a well-lit subject on which to focus, focusing in the dark can make night photography quite challenging. It seems that many digitals that people brought with them did not "throw" a quick burst flash out to aid their autofocus systems. Many cameras, like my Canon Rebel XT DSLR, will just "hunt" for a bright spot in the scene on which to lock focus. Mine seldom finds one, so I end up with images like the one at right. The key? Shine a flashlight on the subject and either manually focus or let the camera autofocus, then turn the autofocus off. With the focus locked, the camera will not try to refocus when you make the exposure!

Also, image quality varies with different digital cameras. My Rebel XT  takes very poor night images (even if I use a low ISO like 400). My Olympus Pen micro four-thirds camera, on the other hand, records much better images (an example of which you see below).

Statue "painted" with flashlight

People assume (as did one photographer this evening) that for night photography, you must use the highest ISO (light sensitivity) setting of which your camera is capable. Wrong! An ISO greater than 400 only guarantees that your image will be noisy. Here's another tip: One fellow told me that his photography instructor in school always told his students that you should only shoot in full manual mode so you understand what you're doing. I gently suggested that this is fine for making photographs outdoors on a clear sunny day, but not when you're just learning to shoot at night. Start in "auto" mode just to get an idea of how your camera responds to shooting in the dark.

"Silent Sentry" statue

Folks came from all over the geographic region to attend the Lunar Stroll, to my surprise. Many were from Philadelphia, but others drove from Baltimore, Jersey, and York, PA. Many had been to Laurel Hill before, so it helped that they knew their way around. Some were not even there to make photographs – two people were there ghost-hunting! While most of the crowd was made up of either beginner or experienced photographers, everyone was there to have fun. Plus there is that thrill of being in a graveyard at night – who HASN’T fantasized about this at one time or another? For fifteen dollars, you can do it at Laurel Hill cemetery in the relative safety of a crowd of people (zombies only prey on loners).

So let’s dwell on cemetery safety for a moment. During the pre-tour orientation, our host Emma Stern (Volunteer and Administrative Coordinator for the Friends of Laurel Hill Cemetery) asked everyone to be careful, stay with their group, and don’t wander off. There are sunken graves to fall into, there are unstable monuments to avoid. Though everyone signed a waiver against holding Laurel Hill responsible for any injury, I felt obligated to announce this to the crowd: “I’ve seen a thousand-pound grave stone fall on a woman. Believe me, you don’t want this to happen to you. Don’t lean on them, don’t climb on them.”

Over the two hours we spent guiding people around the cemetery, I helped a few beginners get basic results with their gear (again, start in “auto” mode to see what your camera will produce, then go from there). As an aside, a woman emailed me prior to the Lunar Stroll evening to ask what ISO film she should bring. I said that unless you are an experienced night photographer, film would not be a good choice. With digital, you can immediately see your mistakes and correct for them. With film, not so much.

Self-portrait by author

I managed to make a few photographs myself between tutorials. The image you see above was lit with a standard flashlight during a sixty-second exposure (at f16). I released the shutter, walked in front of the camera, sat on the crypt cover and illuminated my face with the flashlight. I got up, walked behind the camera (which was on a tripod), and bathed the monuments in light, moving the flashlight  all over the objects during the long exposure. The light is relatively dim, so it does not illuminate the distant, dark background to any great extent.The sky looks orange due to ambient light from the city lights and the moon.

L.E.D. light panel (ref.)

I had actually purchased a 4x6 inch L.E.D. light panel for use in night photography (like the one you see at right), but I could not find it in my house when I needed it! My friend Veronika brought one, and I stumbled upon her setup in front of the mausoleum shown above. She had placed her L.E.D. light panel on a step, facing up toward the entrance. The effect was perfect, and I stopped to simply snap a picture! These L.E.D. light panels are great, by the way – relatively inexpensive, with bright, even lighting and incredibly low battery drain.

Image by Connie Snyder

One woman on the tour was looking for experience with night photography in preparation for a planned trip to Norway to photograph the Northern Lights! Having never actually witnessed them myself, I gave her as many pointers as I could. I also brought some props, an idea that I got from seeing people with these on a previous Lunar Stroll (Laurel Hill has been doing these officially since 2012): glow-in-the-dark pendants on a string. Folks were twirling these in a circular motion in front of their cameras during long exposures. However, the ones I purchased at the local Dollar Store all leaked their fluid out before I even opened the packages! I managed to get one necklace that stayed intact so I wore it around my neck so people could find me easily (you can see it around my neck in the photo above with me sitting on the crypt cover). One woman brought another type of prop, a three-foot long plastic skeleton! I like this “selfie” she did with the bony being!

All in all, it was a fun experience, and one that I would highly recommend for all the reasons I’ve pointed out. Check Laurel Hill cemetery's website for upcoming events and other workshops.

How to Paint Tombstones

Moonlit scene, Laurel Hill Cemetery, Philadelphia

I thought that might get your attention! I’m actually referring to the photographic technique, "painting with light." Over the years, I’ve toyed with the idea of going into a cemetery at night to take time exposure photographs of statues and monuments, illuminating them solely with a flashlight. The idea is to essentially photograph the darkness, while gradually illuminating the object by “painting” it with a flashlight beam. The only real gear you need is an SLR camera, tripod, and flashlight. Oh, and a cemetery at night.

That last issue was resolved for me last month when my friend Frank, who works at Historic Laurel Cemetery in Philadelphia, suggested getting a group of photographers together for a full moon shoot on the grounds.

Before I went, I could have read up on painting with light techniques, but as is my nature, I prefer to learn from my own mistakes. At the time, a laser pointer seemed like a cool idea – you know, outlining the statue, drawing fine designs. Well, as you can see from this image at right, such technique requires much practice! And since I have the patience of a gnat, I’d be better off next time just illuminating the entire statue with a broad flashlight beam, like my friend Zen Bojczuk did with this image below.

Photo by Zen Bojczuk

Before I get all technical on you, let me share some images with you from Zen Bojczuk’s Facebook album from that evening's shoot, "Graveyard Shift." (His gear and settings: Camera: Pentax K10D; Lens: Pentax 18-55 at F8 - F11; ISO 100). Also, being in a graveyard at night is a bit unsettling, even if you are there with a group of people. We all sort of wandered off in different directions as we waited for the full moon to appear (hoping of course, that it would not be accompanied by werewolves). I chose to make some photographs behind Millionaire’s Row, the hillside stretch of fancy Gilded Age mausoleums. Peering into the rear windows of these buildings (like the one at the top of this article) at night is enough to give you the willies – and it certainly doesn’t calm your nerves when you scare a bunch of bats off their roost in a nearby tree!

While we all waited for it to get dark enough to start our light painting, I played around with ghost images of myself (long shutter speed, hit the self-timer, then run over and get in the scene).

Photograph by Frank Rausch

Other photographers like Frank were somewhat more productive, making wonderful moonlit images like the one above. (His gear and settings: Camera: Nikon D90; Lens: AF-S Nikkor 18-105mm f3.5-5.6G; ISO 400; 30 - 40 second exposures). About 10 o’clock the full moon seemed to just appear. Since I didn’t know exactly where it would be, it was difficult to plan on what statues to photograph. You can photograph them lit by the moon itself, but that’s not really what I wanted. If the scene is evenly lit, albeit dimly, your camera will just compensate for the low light and provide you with a best possible exposure, which will probably just look like a very grainy daylight photograph. When you paint with light, you illuminate a specific object or objects, while everything around it will be dark (unless lit by other sources, e.g. street lights). The moon itself is best used as a compositional element, a point light source to add interest to your scene.

Shooting the Moon

 

When you look at my photo at left, why is the moon just a bright ball of light? Shouldn’t a rising moon (think wolf moon or harvest moon) be big and yellow, allowing you to see its crater details? You’ve seen the photos − a properly-exposed moon rising above a dim landscape like the one below. Well guess what?  Such photographs are impossible to take. They are all doctored!

Yosemite Moon stock photo (ref)

They’re either double exposures (two separate images sandwiched together) or Photoshopped to dim down the bright moon and/or boost the brightness of the landscape (this is the principle behind HDR, High Dynamic Range, which essentially evens out the range of an image’s brightness extremes). If you’re a photographer, you know you can’t have a properly-exposed bright object and a properly-exposed dim object in the same image. Photography doesn’t work that way. Neither do your eyes, by the way. Your brain compensates for such differences in brightness almost immediately, making you THINK you see everything with even brightness. Consider those times you’re driving and are blinded by the headlights of an oncoming car – overpowers your ability to see anything else, doesn’t it? Well, that’s how a camera reacts to exposing for a bright moon – all other dimmer detail is lost.

What Camera Should You Use when Painting with Light?

While you can hypothetically set a point-and-shoot digital to make a 60-second exposure, its image sensor is not very light sensitive. This will result in grainy, mottled images. You’d have much better results with a DSLR, whose larger image sensor is much more light sensitive. (A film SLR will work fine too, only you won’t see your images immediately). Put the camera on a tripod and lock the shutter up or set the shutter speed to ‘B’ (shutter stays open as long as the shutter release is held), bathe the statue with your flashlight beam, then close the shutter. Of course to do this, you need a cable release or remote for the shutter – you can’t hold your finger on the shutter release for a minute because you’ll move the camera. You need the camera to be perfectly still during the exposure. Since I forgot my shutter release cable, I used the camera’s self-timer to initiate the exposure. The image above was made with a thirty-second exposure, which gave me time to trace the walkway with my laser. The weird colors are a result of ambient skylight and my camera's image sensor misbehaving in its non-linear region (different image sensors will respond differently to low light situations). My gear, by the way, is a Canon Rebel XT DSLR with a Canon 28 -135mm lens. I shot at ISO 1600, which in retrospect, was a mistake. I should have used a lower light sensitivity, which would've underexposed the ambient-lit parts of the scene.

Exposure Settings

A reasonable point at which to start your experimentation is the "Auto" mode on your camera, though your results will vary widely from one camera to the next. In my book, Digital Photography for the Impatient, I refer to the prime determinants of a successful photograph (besides composition, which only the photographer can control) as LAFS – Light sensitivity (ISO), Aperture, Focus, and Shutter speed. Outside in the sun, you can usually set your camera on ‘Auto’ and let it make all these adjustments for you. However, for painting with light, the ‘Auto’ setting probably won’t work that well. LAFS are critical when making photographs in low-light conditions, so it makes sense to know how to adjust all of them. You might even want to experiment with all manual settings, though I prefer to use aperture-priority. Let’s look at each of the settings individually.

Light Sensitivity (ISO)

Photo by Frank Rausch

You would think that to achieve a properly exposed image you’d want your ISO cranked to max in a situation where the light is extremely dim. Not so fast, 60-Wattson..You really don't want a properly-exposed image, you want the background to be black, and the subject to be well-lit. You’re being very selective here. Think about shooting fireworks – you really just want to record light trails on a black sky, right? You don’t want the sky to be “properly exposed.” So you really don’t want an ISO of 1600 or higher. Try ISO 400, like Frank did for the image shown here, or even ISO 100 like Zen Bojczuk uses! Seems counter-intuitive, doesn't it? But it works.

Aperture

This one’s a bit tricky. You would think shallow depth of field, wide open aperture, right? After all, You don’t need anything in front of or behind the statue to be in focus, just the statue itself. Also, a wide open aperture (f-stop) would allow your lens to gather more light. Ah, but this works against you. You actually want a small, closed-down aperture for two reasons. One, exposure time should be at least half a minute allowing you time to paint the object – a small aperture will force this (small aperture requires longer shutter speed). Two, a small aperture will allow your lens focus to be more forgiving. What do I mean by that? Read on!

Focus

Ever try to focus in the dark? Not so easy, is it? Automated cameras have different ways of doing this, and some focus better than others. Some focus ultrasonically or with an infrared beam, invisible methods which could conceivably give you a properly focused image. Others use a burst of the camera’s own on-board flash to illuminate the object, allowing the lens’ optical focusing system to make the necessary adjustment. You can also manually focus your lens by pacing off the approximate camera-to-monument distance then rotating your lens barrel to that distance (its handy to have a small flashlight to assist you in this process!). I actually had to manually focus because one of the people in our group had epilepsy, and an attack can sometimes be triggered by strobed light.

What I plan to do on my next light-painting expedition is bring a bright flashlight to illuminate the statue while I allow my camera to auto-focus on it. Then I'll turn the auto-focus to manual, locked at that proper focus, and start taking pictures. Another practical tip for manually focusing in the dark: after you estimate the distance the best you can, shoot at a small aperture (i.e., a high f-stop). The smaller the aperture, the greater your depth of field – which means that there will be more things in focus around your set focus point. A wide angle lens also works to your focus advantage –  a 28mm lens inherently has greater depth of field than a 50mm or longer lens, for example.

Shutter Speed

Lasered statue

Shutter speed, or your exposure time, needs to be long enough for you to paint the tombstone, statue, or monument. Generally, this might need to be 15 seconds or more, depending on how wide a swath of light your flashlight provides and how large the statue is. My shutter speed for the image shown here was about forty seconds – cut a bit short when a helicopter appeared out of nowhere! (In case you're unaware, you can get thrown in the slammer for such an irresponsible act as aiming a laser at an aircraft. Check out this Philly news item from April 2011: Man Gets 33 Months for Aiming Laser Pointer at Helicopter.)

Though you can paint with light using a film SLR, the beauty of digital is that an LCD display gives you instant feedback on your technique. You just need to understand LAFS so that you know what you need to adjust to make your next image better! As I was leaving Laurel Hill that night, it occurred to me for next time, why not get a few people with flashlights – and various colored gelatin filters – to bathe a statue in various colors while I photograph it! Psychedlia!

References and Related Links:

Read about Ed Snyder's book, Digital Photography for the Impatient
 
Zen Bojczuk attributes his knowledge of light painting to photographer Harold Ross. View Ross' "Night Portfolio" on his website.

Learn more about HDR - "High Dynamic Range"

Man Gets 33 Months for Aiming Laser Pointer at Helicopter