Monday, May 13, 2013

AVAILABLE LIGHT PHOTOGRAPHY




St. Paul Winbter Carnival 1992 Ice Castle
Plaubel Makina, Anticomar 100mm f/2.9
Agfacolor Optima 100, 10 sec, f/2.9

This terminology is self-explanatory; photography with whatever light is available.  During daylight hours, this is no problem.  Difficulties arise when light levels are quite low.  Under such circumstances faster lenses or higher ISO settings often become a necessity.  With film, higher ISO settings generally are accompanied with coarser grain and ISO 3200 is a limit that is hard to overcome.  Here digital technology offers considerable advantages with some cameras offering ISO levels of 10 thousand or even more.

This has created another performance evaluation besides camera resolution in megapixels.  Some individuals are definitely of the opinion that a camera isn’t worth considering unless it excels at super high ISO levels.  There is definitely an advantage to be had, but are levels of 10 thousand ISO or more really necessary or helpful for that matter?

I have been involved in several discussion about this and thus have come across examples where anything less than 10 thousand ISO just doesn’t cut it.  My enthusiasm of this is far more measured, but then I don’t photograph black cats in a coal mine very often.

"Boltergasse" Barntrup, Germany
Linhof Technica 70, Schneider Symmar 100mm f/5.6
Ilford FP-3 10 minute exposure

Lou Bellami, Penumbra Theater, St. Paul, Minnesota
Leica M6, 135mm f/2.8 Elmarit-M
Ilford XP-2 Super, ISO 800

The beginning of my photographic education is solidly anchored in the film days.  Over the years I have certainly done my share of available light photography, yet rarely did that necessitate ISO levels higher than 800 or 1600.  As a matter of fact, I am hard pressed to imagine a photographic situation where anything substantially higher is necessary, although I should add that the coarse grain of very fast films is often used as an artistic element.

Children's Day Minneapolis Institute of Arts
Leica Digilux 2, ISO 400

Newton Fork Ranch, Hill City, South Dakota
Leica Digilux 2, ISO 100

Minnesota State Capitol, St. Paul, Minnesota
Canon 5D Mark III, ISO 1600

I have always tried to keep film grain as small as possible which is the very reason why I used to shoot quite regularly with film speeds of ISO 25.  Obviously, that is quite limiting.  Combining small grain with a variety of film speeds led me to chromogenic films, mainly Ilford XP-2 and its successor, the XP-2 Super.  Unlike other black and white films, these have the advantage of offering a relatively wide range of ISO settings without the need of developing adjustments.  I regularly used the XP-2 and XP-2 Super at ISO ranges from 100 to 800.  This would be of no consequence if there were no apparent difference.  However, at lower sensitivity setting these films display a noticeably finer grain.  Since no development adjustments are necessary, there is the advantage of being able to change the film sensitivity as needed and take advantage of the finer grain at the lower speeds, all on the same roll of film.

Office Building Minneapolis, MN
Leica Digilux 2, ISO 100

Brentwood Estate, Alexandria, Minnesota
Leica Digilux 2, ISO 100

Private Japanese Garden, Plymouth, Minnesota
Leica Digilux 2, ISO 100

"Tecco"
former principal violinist St. Paul Chamber Orchestra, St. Paul, Minnesota
Leica R4. 28mm f/2.8 Elmarit-R
Ilford XP-2 Super, ISO 800

Of course such considerations are of not much consequence with digital cameras.  Here we can change sensitivity setting at will, although the greater noise at relatively high settings, which does look very much like film grain, is something to consider.  Thus I still follow my old habit of using relatively low ISO settings in order to get the most out of my cameras and lenses.  With my digital cameras that generally is ISO 100 or 200.

Available light photography is considered by most as photography under relatively low light levels.  This naturally can result in fairly slow shutter speeds unless higher sensitivity settings are utilized.  Of course a tripod can be of great help when slow shutter speeds are necessary, although no tripod can overcome the need for faster shutter speeds with fast moving subjects.  I also consider a tripod very restrictive in the way I can use a camera.  I much prefer to use my cameras hand held.

Cindy Hillger, Don Shelby
Live Newscast WCCO TV Minneapolis
Leica M6, 50mm f/2 Summicron-M
Ilford XP-2 Super, ISO 800

For that reason I still employ the old formula that I learned in the film days, to use as the slowest shutter speed a setting which is the equivalent of the focal length of the lens.  With other words, the slowest shutter speed that the average person can safely hand hold with a 50mm lens is 1/50 (1/60) sec.  Subsequently, 1/250 sec would be the slowest with a 250mm lens, 1/30 sec with a 28mm etc.  This approach has served me well over the years. 

Would higher ISO settings be of an advantage?  Of course!  As long as the image quality does not substantially deteriorate, why not?  But I would not make high ISO capabilities a major factor when deciding on a camera.  As long as my camera equipment offers good performance at ISO 1600 or 3200, I feel unrestricted.

Finally, I must comment on another advantage of digital cameras.  With relatively long exposure times, they don’t display reciprocity failure.  This is a definite problem with most films and, unfortunately, it differs from film to film.  As a rule of thumb, we can safely assume that reciprocity failure is of no consequence with exposure times up to one second.  After that the exposure response is not linear anymore and films require an increase in exposure.  Unfortunately, there is little choice than to consult the reciprocity information that should accompany the film.

Don Stolz
Old Log Theater, Excelsior, Minnesota
Leica M6, 50mm f/2 Summicron
Ilford XP-2 Super, ISO 800

All in all, photography in low light is no problem, as long as we take the necessary measures to overcome the problems associated with this.  Digital photography has the added advantage of allowing to experiment without adding to the cost of film and processing.  The results can be outstanding photographs, much beyond the usual daylight snapshots.



4 comments:

  1. The front of the houses in the foreground of the Boltergasse picture appear to be rather grainy. I didn't think the old Ilford FP-3 was a lot less grainy, especially if one considers that it is from a medium format negative.

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  2. Unfortunately I don't have the negative for this print. It got lost. This image was scanned from a print made on Agfa Portriga Rapid 118 paper. What you see is actually part of the texture of the paper. An interesting side note: During the 10 minute exposure my dad and I (we took this photo together in 1967) used a small flashlight to add some extra light to the facade of the two houses in the foreground by constantly painting with light. The only other illumination was the streetlight in the background which consisted of a 250 watt bulb. During the exposure several people walked in front of the camera, some even giving us advice that such a picture could not be taken without flash, that it was too dark. Fortunately nobody stayed long enough to show up on the negative.

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  3. Is the Plaubel Makina you took the ice castle/fire works picture with the same camera that was featured in your April 1 spoof? If so, I have to say that is an amazing performance for an old camera like that.

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    Replies
    1. Yes, it is the same camera. It was made in the 1930s and I agree, it is an amazingly well performing camera considering its age. It is also a good example that uncoated lenses are not necessarily poor performers.

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