Compress time with time-lapse photos from almost any camera

    One real fun shot is the time lapse.

    We've all seen those videos that show people and other things moving at high speed, clock hands moving quickly or or a storm front come through like an express train with no brakes.

    Those are done through time-lapse photography, where a picture is taken at intervals and then assembled together into a video. It's one of those things that allows us to see things we usually can't see because they take a long time.

    And while there are fancy cameras that can be used to take them, it's also possible to use the kit you've already got to make a decent photo.

    First, if you use a cellphone, you might already be set, or at least one visit from the app store away from producing time lapses.

    Apple's iPhones, going back to at least iPhone 5, have a time-lapse option on the camera. You just put the phone on a tripod or other secure holder, push the button to start and then let it run until you're ready and it the button again.

    The phone will convert the series of pictures it has taken into a video. Depending on the length of time you ran the time lapse, the program will cut out frames in order to keep the video to the length predetermined by Apple.

    If you use an Android, you're out of luck with your camera fresh out of the box, but there are multiple apps on the Google Play store that will allow you to do a time lapse. Just read the reader reviews carefully to see which one will work best for you. Some may produce choppy video as it assembles a string of still photos together into a video.

    If you are using a digital camera, there are still ways to do it.

    Some cameras, such as Pentax, will give you the option to do a QuickTime movie, but I've found that it was a bit too jerky for my tastes.

    It should go without saying, but to cover myself, mount the camera on a tripod. There's no way you're doing this hand-held.

    Another way to do it is to take a series of photographs and use them as frames in a video.

    To do this, you might need an intervalometer, which allows you to have your camera take photos in a particular interval. Pentax actually has one built into its camera, but there are apps where you can use your phone as the trigger, or you can invest in a dedicated device.

    Another way to get a series of photos is to use a cable release and, if your camera permits, put it into a drive mode and just lock down the shutter button and let the drive do its work.

    In these situations, you need to figure out how long you want your video to be and the frame rate, which will tell you how many pictures to take.

    You also want to set your aperture and shutter speed to slightly blur moving objects, which will better sell the high-speed effect.

    A few years back, I did a time lapse to highlight a busy intersection the local police identified as a traffic hazard. Working with our paper's chief photographer, we figured out how many shots were going to be needed for the video (I was contributing to a larger video) and the best time to do it.

    After figuring out the right shutter/aperture combination to get the motion, I locked those settings in while setting ISO to automatic. That would allow us to maintain a constant exposure as the sun set.

    While I'm a strong proponent of shooting RAW whenever possible, in this case jpgs were the the better option as they take up less space on the card and would not be as hard to combine for the final video.

    I shot 600 shots, one picture every three seconds for a half hour. I just dialed the time between frames and the total amount of pictures into the intervalometer and sat back with a cup of hot chocolate while the camera did its thing.

    The resulting pictures were then converted into a video, with each shot becoming a frame in the video.

    There are a couple ways to combine them. You can use a video editor or software designed specifically for assembling still images into a video. I used to use Time Lapse Assembler until the software became incompatible with my Mac's OS, but I found QuickTime offers a free way to do it.

    Open up QuickTime Player, select "Open Image Sequence" from the File menu, specify your resolution, frame rate and final video format, and the software does the rest.

    Here's that traffic sequence I did, processed through QuickTime.

     

Website offers free, reasonable AI colorizing for old photos

     Colorizing black-and-white photos is almost as old as photography itself, with people striving to make pictures look more lifelike.

    In the past, it usually involved meticulous hand painting of photos, a task that got relatively easier with digital photo editing software.

    Now, one of the new features in Photoshop is colorizing photos using artificial intelligence algorithms to do the heavy lifting. The results are fairly impressive, although there are naturally a few goofs that are relatively easier to fix compared to trying to colorize an entire picture.

    But suppose you don't have Photoshop, or the "Jack Sparrow" version you're using disables Adobe's Neural Filters?

    Vertexshare's Picture Colorizer offers a free AI-based colorization service that produces acceptable results. I played around with it for an evening and got some decent results.

    Here is a photo of Gen. Ulysses S. Grant taken from the Civil War. First, the original:

 

   And here's the colorized version (the only thing I did with the photo was just colorize it):

     It wasn't perfect, but things such as Grant's hand, his left boot and that yellow spot on the tent can be easily fixed in editing software.

    The main caveat with the service is that it only works with jpgs and pngs, and they can't be larger than 5 mb and 3,000 x 3,000 pixels. You might have to resize the image you want to colorize, as well as finish off any other edits you want to do, before uploading it. 

Television offers way to create backdrops, sets for product, model photo shoots

     Caleb Pike, over at the DSLR Shooter on Youtube offers a way to set up backgrounds or even animated sets for shooting product photos, models or action figures.

    Pike recommends using a flat-screen television. In his case, he uses a 55-inch 4k TV screen that has built-in Roku, allowing him to cast photos or animations on to the screen.

    He uses it as both a tabletop, where he projected heads-up display-style graphics around his subjects, or created animations that helped light it up. The TV he used was durable enough to put a mirrorless camera body on, but he suggested getting a plexiglass sheet to protect more delicate screens.

    The other way is to use it as a backdrop, putting up an image to serve as the background, which can be adjusted for perspective and lighting through a linked phone.

    Pike also offers a few things to look for when picking a TV, or a monitor, and how to get the best photo possible in the process.

    

 

How to bring out the inner glow of your jack-o-lantern

 

Photo by Skyler Sawyer on Unsplash

     Halloween is fast approaching, and one of the traditional decorations is the jack-o-lantern.

    Some range from the minimalist designs with a mouth, nose and eyes cut away from the gourd, while others are more elaborate pictures. The best way to photograph them is with the primary light source being the one that is inside the pumpkin. And that means adjusting your camera to only capture that light.

    Over on Instructables, user jenleigh offers some basic tips for doing it. She suggested making sure there is a fairly strong light inside the pumpkin, either a pumpkin light or a bright flashlight. I think you might get a good effect with a remotely fired flash inside the pumpkin. The best way do that would be to have the flash on the bottom and pointed at the top, illuminating the inside.

Pringles can offers macro flash diffusion for less than $2

    In a recent post, we discussed ways to do macrophotography if you don't have a dedicated macro lens.

    Now, lets talk about lighting those extreme close-ups.

    While you can use continuous light, such as a desk lamp, you might not have that option if you are shooting outdoors, or if the lights you have won't permit a fast-enough shutter speed to avoid blurring.

    One of the best ways to do that is through camera flashes, but you are going to need to diffuse the light to make it flattering, as well as work well up close.

    One low-budget way to do it is to use a Pringles potato-chip can as a snoot/diffuser for the pictures.

    A Pringles can is particularly suited for this task because the inside of the canister is silver colored, making it more reflective. It also has a clear cap, into which you can put diffusing material to soften the light.

    Plus, Pringles don't leave the same greasy residue behind like traditional potato chips.

    There are multiple tutorials online for how to make this rig, but here's how I made mine.

    First, I picked up some Pringles at the local Walmart for just under $2, and had a nice snack at work for a couple days.

    Then, after sweeping all the chip crumbs out of the tube, I cut out a hole in the side about a quarter-inch from the bottom that was the same dimension as the flash head. While some people cut away the cardboard completely, I chose to leave it as two flaps to better grip the flash head.

    While some people will mount the flash in the back, I found the side mount is better, as the head is straight up, and you can angle it to light the subject in front of the lens. The other way requires sculpting the tube into a particular shape, which only works if you are going to use one particular lens for your macro shoots. I personally prefer to keep my options open.

    For my diffusion panel, I put a circle of copy paper in the cap. After making sure it worked, I then put black duct tape on the outside to give it a relatively professional look.

    This is how the rig looks when on the flash and camera, before being covered in duct tape. 

 

       (Note the guide number of the side of the flash, a tip from an earlier post on flash photography.)

     

     Here's a photo taken with ambient light in the room, with no flash as the control.

    

  

    And here's one with the diffuser.

    For this shot, I was using through-the-lens metering for the flash, but you can use a manual flash, but it might take a bit of trial and error.