The Photographer's Ephemeris - Align landmarks with the sun and moon for dynamic photographs | Stuart Nafey | Skillshare

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The Photographer's Ephemeris - Align landmarks with the sun and moon for dynamic photographs

teacher avatar Stuart Nafey, Photographer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

18 Lessons (1h 4m)
    • 1. TPE Intro

    • 2. The Project

    • 3. Quick Start Guide

    • 4. The Map View

    • 5. Top navigation

    • 6. The Calendar

    • 7. Top Right Buttons

    • 8. The Red Pin

    • 9. The Gray Pin

    • 10. The Timeline

    • 11. The Right Side

    • 12. Sunset prediction

    • 13. Shooting the Sunset

    • 14. Sunset Edit

    • 15. Moonrise prediction

    • 16. Shooting the Moonrise

    • 17. Moonrise Edit

    • 18. Final Thoughts

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About This Class

The Photographer's Ephemeris is an application that uses Google Maps to predict where the sun and moon will rise and set on any date, anywhere on earth. I demonstrate how to use TPE to align the sun or moon for a photo shoot, take you on location and process the images.

Meet Your Teacher

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Stuart Nafey



Stuart Nafey is a Half Moon Bay, CA photographer that searches for unique perspectives of the world around us. A photographer all his life, he learned the art from his father. Digital cameras and computers have brought new life to his work.

He collaborates with sketch artist Lori Stotko to create unusual long exposure light painted drawings.

See full profile

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1. TPE Intro: Hi. My name is Stuart Navy. I'm a photographer in Half Moon Bay, California, where we often see fantastic sunsets over the Pacific Ocean. Maybe you know, the kind I'm referring to, where the sun is going down and the clouds just light up across the sky. We don't always get that type of sunset, and probably not today. So I like to create my own interesting scenarios by placing a landmark right alongside the setting sun. If you carry your camera with you at all times, you will occasionally be in the right place to capture such an alignment. And then later, when you look at that picture, you may like it. But you could see that the composition maybe could have been a little better. The trouble being that you weren't in the writings X spot and the sun was setting faster than you could move there. What if you could know in advance exactly where to be and went to be there to get the shot ? Lucky for you, there is software to help. This class is about photographers, ephemera. It's a program that's so difficult for me to pronounce that I referred to it as the acronym T P E. Going forward, TPE can show you exactly where using Google maps the sun and the moon will rise and set anywhere in the world on any day. No, let me say that again. Using Google maps, TPE can predict exactly where the sun and the moon will rise and set anytime of any day anywhere in the world. That means you could always know exactly when the sun will line up alongside your favorite landmark or when the sun will light up. Ah, favorite Mountain Peak and show you exactly where to stand to get that shot. The first lesson will be a quick start guide for those of you ready to jump right in. The following lessons will cover the entire user interface, describing each tool in detail. After that, I would create two predictions and take you out into the field to capture those images. Finally, I will bring the pictures back into light room and maybe do some post editing and discuss how things went. Of course, I would like to see your pictures posted here as a project where I'd be happy to provide feedback and answer any questions. Interested, Of course, you are. So click and roll and let's get started 2. The Project: for your project. The delivery herbal is simple. First, choose a landmark to align the sun or moon with I find sunsets the easiest. The landmark could be any natural or man made structure convenient to you. You don't need to travel to Paris to photograph the Eiffel Tower unless you already live in Paris. And then that would be awesome Youth E program To predict that alignment, The idea here is for you to practice so that it is easy to use the program quickly when you need it. I use it to plan my vacations to coincide when alignments will occur. You may also find that you can make mistakes in your predictions and be in the wrong place at the wrong time. I have, and those mistakes always help me understand the program better. When the time comes, get in your car and go remember all the equipment you might need. Like the tripod and remote shutter release. Be there early. Son waits for no one, and when it gets in position, you won't believe how fast it will move. Plan to stay late, then take the picture. Use all your learned photography skills when shooting into the sun or in low light during a moonrise. Neutral density filters can help. For sense, it's knowing how slow a shutter speed you can use during a moonrise is also important. Then post your picture. Here is a project. While I do get extra credit when you create projects, the best reason to pose the project is for you to test yourself and to get the practice you need to master the program. Any feedback you get will help you grow as a photographer and relating your experience also helps others. The following items are optional. Tell us something about the landmark you chose. Why does it stand out for you? Is it near your home? Next described the camera and settings used. This is always helpful to others who use the same type and model of camera. We appreciate knowing the camera settings used, even if it was just automatic or you took the picture with your iPhone. Did you edit the picture before you posted it? I personally am always interested post editing and consider it a large part of the photographic process. So what program do you use? How much did you crop it? Maybe you posted the image right out of your camera. Well, that's worthy. I'd like to know. Did you have an adventure accessing the location? Sometimes the access you want is difficult or even restricted. I hope you were careful. Do you have an adventure to relate? Tell us your tail and then comment on other people's projects. All photographers appreciate feedback, especially from people that they do not know and ask questions. We all love the opportunity to teach, and we all love the attention. Now get that camera out of the closet. Go find a nice sunset alignment and create a project. Do it. 3. Quick Start Guide: to get started quickly, I will run through the process. I used to predict the alignment for this picture I recently took on October 10th 2015. The lighthouse is just down the coast from my home and twice a year, the setting sun lines well within existing parking lot and a trail that leads down to the bluffs. It makes for a relatively easy composition to photograph, and ah, TPE showed me went to be there. TPE comes in both an online desktop version and a mobile app. This class covers the death stop version, and I will cover the mobile app in the future class. To directly open the desktop version of TPE, go to the Web page ap p dot photo ephemera rece dot com There is a link in the project session. This should take you to the online application showing Google maps and Defender work area. I'm not sure what location on earth you will see when the page opens, but going forward, the program is sticky and it will remember your last location. Now, normal Google map controls apply here. You could zoom in and out using your wheel mouse or use the plus and minus sign buttons on the bottom right of the map or even they plus and minus keys on your keyboard. You can click and grab the map, or use the arrow keys to move that around. You can also switch between street and satellite view, using these buttons on the upper left. Assuming you have a landmark or a location in mind, you may find it using the search bar in the top right. Google understands more than just street addresses. You can type in the Eiffel Tower and Google will take you there. I'm going to type Pigeon Point Lighthouse hit, enter and here we are. I am also going to change the date on the calendar on the top left October 10th. That's the day I took the picture. If you do not see the red pin on the map work area, click the red pin button on the right. This will bring it to the center of the current Matthew. You could also move the red pin around by clicking and dragging it. If your red pen it's off to the side, you want it back in the center. That button will also return it to the center of the red pin is the boast important tool in TP E. All the information we will use and that you see on the screen is derived from the rid pins location on the map, you should see at least four colored lines radiating from the pin of these lines represent where the sun and the moon rise and set on the horizon. That's when there are no mountains in the way. If you move the slider along the time line on the bottom here, thinner lines appear and move around on the map. These lines show how these sun and the moon move across the sky over time. During the day. It helps to be familiar with an area when you're composing a photograph. I know this lighthouse, and I know it's at the end of this peninsula, but sometimes the satellite view can help make that clearer. Now, zooming in, I could see the lighthouse here, which I can confirm by the long shadow on the left. Let's place the red pin right on the lighthouse. For now, this orange line going off to the left shows us where we would see the sunset if we were standing right at the lighthouse. Now, if I want both the sun and the lighthouse to appear in the picture, which I do, I must move away in the opposite direction of the sunset. I'm going to zoom out a bit here and dragged this red pin across the water and place it on the land over here, lining up that orange sunset line with the lighthouse, keeping that in line. You can now see that on this state, the sun set and the lighthouse aligned perfectly nicely with this parking lot. Looking back at my picture, I caught the sun next to the right side of the lighthouse sometime before it actually sit. This picture was taken 10 minutes before. Sense it. Now we need to address a small problem. The sun does not move straight up and down perpendicular to the horizon, but rather approaches the horizon at an angle. We will use the timeline information below the map to demonstrate that problem and then to solve it, these boxes alert you to times of specific events that happened throughout the day for this picture. We're interested in the sunset. Clicking on that box will then position the slider on the timeline below it. You see, this yellow arch represents the sun, and it goes below this center line, which represents the horizon at this time. 6 39 PM If you move the slider back in time, that's to the left. A thinner orange line appears on the map above, showing where the sun will be in the sky before the sense it zooming in. We can see that 10 minutes before the sunset, the sun will be on the wrong side of the lighthouse from my picture. So since the sun and the lighthouse are not going to move, I just need to move the red pin over a bit in order to see the alignment. I'm looking for now from this location in 10 minutes before the sun said, the sun will be along the right side of the lighthouse, which you can see when I zoom back in here, where the red pin is now. That is where I stood to get the picture. So in review, there are a couple of things I needed to do. Once I found the approximate alignment I played around with the map and the red pin and the time slider until I had a good idea where to be and when to be there. Actually, the map is what told me where to be in the timeline is what told me when to be there. One caveat is that while TPE will put you very close to where you need to be, it and Google do not know how high man made structures such a sense lighthouse are, which makes this prediction not perfectly accurate to the foot. When in the field, you should be ready to move your camera a bit this way or that in order to get that perfect alignment that you were looking for. When buildings are involved, TPE will get you close. But when you are on site, you just might need to move around and work that shot. Well, that is your quick start guide. Now let's look into the program with a lot more detail 4. The Map View: Let's first look at the Google map area. T P E relies entirely on the data provided by Google map, and the map dominates the main work area. Let's examine the controls. Buttons on the top left allow you to choose between street and satellite views. Hover over the satellite, but you have the option to turn the labels off. Switch back to the street map you and there's an option to see the terrain or not, which also includes topographical lines. You can zoom in and out, using the wheel on a wheel mouths or by using the plus and minus buttons on the bottom right here or the plus and minus keys on your keyboard. You can grab the map and move it around, too. Street views available and can be helpful to the photographer Scouting out a location. Drag the little yellow person on any street that lights up blue and you have a 360 degree view of that location. You may also zoom in and out again, using the wheel on your mouths, and also look up and down. Jump out of a street view by clicking this arrow on the top. Left above the street view button or two buttons that bring out the rid and the gray pins clicking the red button centers the red pin on the map. When the great pin is selected on additional button to swap the pins around appears below it, along with a box along the bottom of the map that shows data about the difference between the two pins locations you can grab and drag them around the map. I'll discuss them in more detail later, but let me just say that the location of the red pin that's what generates all of the data that TPE uses. In the next lesson, we look at the top navigation info. 5. Top navigation: clicking on this big title at the top takes you to the official TPE homepage. When you are in any of the other pages available on the top right clicking ephemera, it's brings you back to this. The program page. Clicking the locations Button takes you to a page that allows you to save locations that you clicked on the bookmarks button. Some information is displayed about the location of the latitude and longitude, the time zone and the elevation above sea level. Clicking these pins here will take you to that location and center that pin on the map. You can change the name, and you can add notes to any location. Once you have a long list of locations you can filter by keywords, you may export or import K M L files those air files that can display this kind of data on other maps. These locations air stored in your browser and can only be seen on this one computer. But you can open an account that will save them online and allow you to see them on other computers. On the Settings page, you can change the way the date is displayed and whether to use metric or English units. Display mode shows a wider screen If you prefer Matt, Options can restrict the Google Earth type of you. Let me demonstrate normally when zooming in. At a certain point, the view changes to a 45 degree angle. Select this option and that view never changes. Note that there are a number of event boxes across the bottom of the map. Select this option to show fewer boxes and less information there. I'll keep these settings that default so your screen looks similar to mine. The two buttons at the bottom will delete all the saved locations from the previous screen . If you need a quick cleanup of the glossary button, opens in a new tab and define some of the terms that you will see around TPE. Finally, the about button also opens in a new tab. It provides more information about the program, along with links to a blawg to sport Page and Mawr tutorials scroll down for even more links to articles around the Web. Next we'll talk about the calendar 6. The Calendar: the dates Selector buttons appear near the top left selected date by clicking on the calendar button and choosing any day in the past or future. At the bottom of the calendar are buttons to return to today's date. To clear the date field and to close the window with the calendar open, click on the month field to see all the months of for the current year. Now click on the year field and you see shortcuts toe all of the years, Jump forward or back in time. Using the arrows, I'll click on the Today button to return us to the present below the calendar field. You will see the date you chose, along with the time set by the timeline slider at the bottom of the map. Alongside that is the time zone, which is automatically selected by the location of the red pin. More on that later, the single arrow buttons here will advance the calendar one day, either forward or back in time. The center, but not only brings you to the current day, but also the current time at the location of the red pin and displays that here finally, the outside arrow buttons jumpy to the next quarterly moon events. That's the full moon, the new moon and the first and third quarter moons. Next, we will talk about the search window in these buttons here on the top, right? 7. Top Right Buttons: near the top right are an assortment of buttons thesis urge bar works. Like most other search engines, you can search by street suggests place or landmark clicking. The bookmark icon will save the red pins location as a favorite, and it brings you to the Locations page, which allows you to return easily to that location at any time. This share button allows you to join other photographers who post photogenic sites from around the world onto a site called Shot Hot Spot. This button toggles the upper event timeline often on that is these boxes down here in this last button provides a larger map view and toggles both timelines, often on just below the search bar, just like the date and time zone information on the lift, we find more information about the red pins location, specifically its height above sea level and its latitude and longitude. Now let's talk about that red pin 8. The Red Pin: the red pin is the most important T p E tool. It is thesaurus of all data used for predictions, and that data is derived from the red pins location on the map. Clicking the red pin button over here brings it to the center of the map, and with your mouse, you can click and drag it around. Move the red pin around the map and note changes at the top to the time zones the latitude and longitude, the height above sea level and down here. The timeline information moving in north and south shows you the changing angle of the sun and the moon. Move it far enough north this time of year and the sun information disappears where it never comes. Above the horizon. Locations for where the sun and moon rise and set are depicted by the heavy yellow and blue lines that radiate from the red pin, uh, yellow for the sun and blue for the moon. The thinner lines show how the sun and the moon move across the sky over the course of the day and are directed by the timeline slider at the bottom. The red pin is used in two different ways. You can place it directly on the object to be photographed, and TPE will then tell you when that object will be lit by the sun or the moon. The second option is to place the red pin where the photographer might stand. This placement is typically used to predict in alignment of the sun or moon with a landmark , and it is how I most often use it. Finally, hold the shift key down and a circle appears around Red pin. This is the six degrees shadow circle, showing you the lanes and direction of shadows kissed by both the sun and moon. The circle turns yellow when the sun is between zero and six degrees above the horizon. The shadow line is useful to help show where to stand to photograph alignments, and you can designate the time when the sun's light is most golden. Next, the grape in 9. The Gray Pin: the great pin uses geodetic six or the three dimensional measurements of the earth. The grey pin is optional but very useful to learn the grape in compares its location with that of the red pin. You can read the distance between the two pins and the apparent elevation change very handy when the terrain is not level. When there are hills and mountains between you, your subject and the son of the moon, fire up the grape in by clicking the grey pin button. It will either appear due east of the red pin or in the last place that you used it. You may need to zoom in or out to find it. Like the red pin. You can click and drag it around the map. When activated, Another button appears below the great pin button that allows you to swap its position with threat pin. A new informational bar also appears at the bottom of the map that shows of the distance between the two pins. The great pins elevation above sea level, the as a move or angle in degrees from true north, and the apparent altitude change from the red pins location. The angle above the horizon for both the sun and the moon. According to the timeline, cider are also displayed here. You can see the change as I adjust the timeline. I will demonstrate later how I use the grape in while making predictions. Next we moved down to the event timeline. 10. The Timeline: the bottom of the APP displays the two timelines. They're both times centric and directly interact. They control the movable ASM of lines on the map. The event boxes depict sun and moon events and twilight times throughout the day. They contain times for the event as a month data and exact moon phase information. The timeline below that clocks the time of day from midnight to midnight and shows the position of the sun and moon above and below the horizon at any time. During that day, the horizon being this center line across the page, clicking any of the event boxes moves the timeline slider to that exact time of day. One nice feature of the event timeline points out when the Crescent moon might be best photographed. A small information box accompanies the timeline slider. As you move it through the day, it shows you in bold letters where you are in time. It also shows the S um of and the angle above the horizon or the altitude of the sun and moon. Azimuth and altitude are both measured in degrees in order to tell them apart. Altitudes are preceded by a plus or a minus sign the plus sign when they're above the horizon and the minus one below to find tune the timeline slider. Click the slider box so that you see this thin blue ring around it and you can move it in one minute increments using the left and right arrow keys on your keyboard. 11. The Right Side: just a few words about the information. Along the right side of the APP. There are links to download the mobile APS for Apple and Android. The Next link takes you to a book by Bruce Parry and Stephen Trainer that talks about working the light for landscape photography. Specifically using TP. The photographers of Embers was created by a photographer for himself, who then made it available free to the world. If you appreciate that kind of generosity, please feel free to click the donate button to help keep it alive. Photo transit is a new app that builds on the TPE tools by including your camera and lens information. In order to improve the ability for line of sight planning, I may cover that in the future class. The Quick Start Guide is a downloadable PdF helped document that tags all the features provides short explanations and a list of keyboard shortcuts that I didn't cover. Keyboard shortcuts are always nice if you used the F every day, although I think you can get around T p E fairly easily without short cuts. Now let's create a couple of predictions and get out in the field 12. Sunset prediction: so I would like to photograph the setting sun right alongside a prominent radar station positioned here in Pillar Point Harbor, Half Moon Bay. It's right near a famous surfing area called Mavericks. You may have heard of that. The radar station is positioned out on the end of this peninsula here, and I'm going to zoom in and get a better look at it. Go to the 45 degree view. You see, there's a giant ball. This is maybe 100 feet toll, and there's another secondary dish flat dish here. Both of these items are very prominent landmarks that seem from the beach on out to the east. Let's zoom back a little bit. I'm going to police the red pin at the radar station and take note that there's an altitude of 55 meters. That means this radar station is on a bluff 55 meters above sea level. The thick orange line here off to the west shows me where the setting sun will be at sunset , predicted to be it 18 20 which is 6 20 PM now. Since I want to shoot this son alongside the dish, I need to move the red pin further to the east and look for a vantage point where the setting sun lines up with that radar dish. I'm just gonna go ahead and grab that rid been move it out approximately round here, I'll zoom back into the radar dish to see if I have that lined up. That's close enough. Let's zoom back out again and examine the area where I dropped that pin and make sure we're not in the water. No, we're right near There's a boat launch area here. I'm pretty close to the beach, but not quite close enough. Looks like I'm might be in these bushes here. I don't want to be. That looks like there is a big, wide place where people are dragging their boats out of the water. I don't want boats in front of me either, so I'm going to move that red pin closer down this sunset law until I'm on a sidewalk over here. This looks like a good safe place without obstructions. Speaking of obstructions, let's zoom out a bit and see what we will see in the way I'll be shooting across all these boats. I might get some boat mists and it is a building here that might all appear in our picture . Let's zoom out and make sure lines are lining up with the radar station. Still, yes, they are. Another way to examine our point of view is to look a use Google Street view. When you pick up this little yellow person, you could see any street that line lights up with. A blue line might give us a view of that area, and 360 degrees. Ah, this is the sidewalk that I'll be sitting up on and there's the radar station in the distance. I could zoom in using my wheel malice, and I can see that the radar station there is lots of boats and buildings that I might add , some colored to the picture, and there's a small dish right next to it. So I'm looking toe photograph the sun right here. I hope this ship isn't here at that time. Let's zoom back out, see my red pins floating in the air right above the sidewalk. Here. Let's leave Street View now, as he saw from Street View and also earlier when we had the red pin on the radar station that that is elevated about 150 feet above sea level were virtually at sea level here ourselves. So we're looking up at it. This time of 6 19 is when the sun will disappear behind the horizon. But now, since there's a hill in the way that some will disappear behind this hill sooner than that , how do we find that out? Time to activate the grape in. Now that may be right easily found in your picture. You may have to zoom in or out to find that, but let's place that grape in right on the horizon line and note the grape in information bar here. There's an apparent altitude. I feel that we want to pay attention to 1.49 degrees above the horizon. I'm going to zoom in a little bit here and move that around, See if this changes ou upto 1.51 This is the parent altitude change between the grape in and the red pin 1.28 As I move it this way, it's getting closer to the horizon, so I know that the hill is going down there. 1.44 Let's go back the other way. Make sure we're at the high point of this peninsula. It looks like I had 1.5 at 1.53 Seems to be the highest point. Let me highlight that 1.53 degrees elevation change that we have to worry about. This tells us that the sun will be disappearing behind this hill while it is still 1.5 degrees above the horizon. The next thing we want to know is, what time will that be Above this hill? Well, that takes us down to the timeline. There's a field here that we want to match with 1.53 Right now, it's at virtually zero degrees and we can remedy that by moving the time line to the left. I went to 1.9. That's a little bit too far. We're looking for 1.5 since I clicked on this box here. There is a little blue circle around it. I can now move that using the arrow keys. One minute increments. 1.6 1.4. We want to be somewhere between 6 10 and 609 to match these fields 1.61 point five. That's pretty close. So what that tells us is that at 10 minutes after six, the sun will be disappearing behind this hill. Now that's disappearing behind that hill. We need to be taking pictures before that. So I predict that about six o'clock the sun is getting very close to the top of this. Hill is going to be right next to that radar station. I want to be there early. I'll probably be there 5 30 or so setting up. I want to be there before the sun gets into that position. Now take note of this thinner yellow line. As we move back in time, that line moves across the sky. Remember that the sun does not move perpendicular to the horizon rather at an ark. And this line is telling us that at 10 minutes after six, the sun will be a little further south. I would like this thin yellow line to be a little closer. I'd like it to appear between these two dishes. If I want to be that fussy, I can go back to the red pin, reposition it up the sidewalk a little further go back to the radar dish. See how that's lining up. I like this line up here. I'm gonna leave the rid pin exactly where it's at. If I need to. I will move a few feet left and right. But I think the photographers ephemera. This is putting us right close to where we need to be. Catch the sun right alongside these radar dishes. Let's take a final look at the place where we need to stand again. I'll be parking up in this parking lot. Pick a space here that might be boats in these larger spaces. I'm you have to park down there, but I'll just walk right down this path with my tripod and camera set up right near this stop sign, we found an excellent place to capture the sun and the radar station. So in review, I decided on a landmark being a radar station. I placed the red pin on it, determine which way the sun was setting. Move the red pin to a vantage point in the opposite direction, noted the elevation of our subject, placed the grape in on the subject, took note of the apparent altitude change in this field here matched the timeline, son. Apparent altitude in degrees as best I could as close as possible. Fine tuned the red pin of where we're going to stand and we're ready to go. So we have our landmark, the radar station. We know where we're going to be standing, you know, we know when we need to be there. And Bob's your uncle. If all goes well and the weather cooperates, the next video you see will be me up there at the harbor, photographing the sunset, See, then. 13. Shooting the Sunset: okay. I am at the location here that I predicted for our sunset video. Uh, the sun is going down pretty quick, so I'm gonna make this short on. I'm having to. I'm not shooting directly into the sun because I show up just a silhouette camera. Amusing is a D 7000. I'm using my 72 200 lens. I'm shooting in manual mode and, uh, going to be using probably f 16 maybe down the F 22 because I'm shooting directly into the sun. So I'm using a small aperture and I'll adjust the shutter speed is needed. It's a nice son said, I'm going to have to move around. I think, son, that's moving at an angle. And where I'm set up, there's a amassed right in front of the radar station, so I am gonna have to move but reposition the camera at that time. I am using the live you on camera cause that looking through the viewfinder, you really get blinded by the sun. That's a little bit too dark. Went down the F 22. I'm going to just that back up to let's see if 16 focus, I'm going to zoom in a little bit more here, spit hazy. There's some clouds out there. Sometimes that enhances the pictures. Sometimes it kind of blocks what you were hoping to get. I'm zoomed in all the way. The more you the further back you can move from your subject. And the more you can zoom in, the more compressed the image will be and the with the result of the sun looking a lot larger than it would if he resumed out, at least in comparison to the to the landmark that were photographing. I am going to zoom out some because I do like seeing the harbor. There's a lot of boats in the harbor here. I'm going to take some pictures of him down. There's fishermen down there. I don't know if they're showing up in this image, but, uh, there's a fisherman. Get them in there 1 25th of a second. And if stop of F 16 at this moment is getting darker still, and the sun is right about in the position I was hoping for, I would have moved a little further to the right here. But it's a big massed in the way Sun is not very clearly defined because of the clouds, but there's always a certain artistic value to that. I am focusing right on the radar station itself. Recompose a little bit this way, thinking about the rule of thirds. I am using an I S O of 100. It's always the last thing I raised just because you lose quality a little too dark. So I'm going to adjust the shutter speed, Maybe open up the aperture a little bit. Let's go down to F 11. 1 5/100 of a second. Get a nice golden hours sunset there, a little more golden than what we're seeing with our eyes. But let's go down to to 50th. Take a look at that. That's really close to what I'm saying with my eyes. Let's zoom out a little more of the harbor. I like that. Still nice. I'm getting a silhouette of a little ships masts I think we're doing. I think we're doing well here. I'm going to shut the camera off, but I'm going to stay for a few more minutes and see if clouds light up any different, and that's it. 14. Sunset Edit: Well, I think the sunrise went pretty well. Aziz, You can see I took a number of pictures here. You might also notice that I take a variety of exposure, Some that air to light, some that are too dark. Well, this is the picture. I think I'm going to play with its Ah, a little bit too dark. I did show some of the other pictures that I had developed during the filming. This picture really is too dark. So let's go to the develop module. Very first thing I always check on first is removed chromatic aberration and enabled profile corrections that adjust for any distortion in the lens that have is using. Let's go back to the basic panel. Now it Right off the bed. It is a bit too dark. Let's crank up the exposure on this and see where we go. Now The sky is getting very bright and the dark areas hardly getting brought it all weaken . Compensate for that with shadows. Does that raise the shadows? Now I can see these ships masts here in this building, that's a fishery. But the radar station itself is getting a bit washed out. What if I added some contrast there. Okay, We need to find a balance between darkening this area, bringing out the tail and keeping this the sky not too bright. I can adjust the skies highlights by reducing the highlight slider, and they'll keep that golden color that I was looking for. Notice the sun didn't not appear as a distinct circle. It's all hidden behind the clouds here, but we still got the picture anyway. That's, you know, sometimes that just an artist choice, it comes out better. Clarity is one of my favorite tools and raising nets. Can some maybe bring out some more detailed down here? I've seen that it is. But paired with clarity is a vibrance and saturation. And the reason is because when you ed clarity, you lose color. That's the way light room works. It's a contrast control, not unlike the contracts control appear. But when you add this contrast that ends color when you end clarity, it takes color away. I'm not sure exactly how that works, but that's way. It is vibrance and saturation Kenbrell thing that color back, I'm just gonna touch by saturation of just a bit looking that skies a nice golden color. And really, that's close to what I was seeing. Let's play with the black slider just to see what we can get here if we raise the blacks of that brings out the ships and foreground. But then it again, it's washing out the I'm gonna leave that at zero. Let's go down to the detail and add some sharpening. I usually do like in sharpening, but I could see it's adding noise, holding the Ault key down on windows and adding, and moving this masking slider over what that does is prevent the sharpening from sharpening areas that are not needed to be sharpened, such as continuous color like thes blacks. Here I still see a little bit of noise. I might bring up the luminous to counteract that. Finally, I think what I'd like to do is crop because this part of this guy's really not adding anything to it. And I really want to focus on the radar station itself and the sun and the nice texture of the clouds down here. I think I'd like to keep this mast here, and I'd like to keep this mask and look at that. The radar station is lining up right with where the rule of thirds lines come together. I think that's good. I'm going to click done and that's my final picture. I'll see you on the moonrise. 15. Moonrise prediction: Okay. Now I will predict a full moon rise over the historic home in Half Moon Bay called the Johnston House. While the land is flat on the ocean side to the west, the house butts up against some hills to the east, which will block the ClearView to the horizon. And that will make this prediction more complicated. In the sunset, let's set up the map. The Johnston houses near the intersection of Highway One and Higgins Canyon Road and has a long, flat farm field in front of it. The full moon is on Monday, October 26. So let me set that date. Here is the Johnston house on the map, approximately centre in the work area and let's click the red pin button. Put it on the Johnson house. Close enough. The light blue line to the east is the moonrise on the horizon. In this case, Aiken easily move the red pin to the west. It's close to this highway as it's safe, so the moonrise lines up with the house from past experience. This is far enough of the small mountain range behind. The house still blocks our view of the horizon. We can evaluate resolve that problem by using a few TPE provided tools were in map view, and if we click the terrain box, we now see some elevated terrain east of the house. Ah, fairly small hill behind the house, it appears. And if I zoom out, we see many taller mountains further east, returning to the shoot location in map, you we can see top, a logical lines that might help determine how high these hills are. The lines are very faint, but they are there, and if you zoom in to far, they disappear. But they might come in useful. Another tool we can use to actually see the obstacles is ST for you. Like we used on the Sunset video. Grab the small yellow guy here, and if there is a street nearby that lights up on Highway one is that position it on the road near the Red Pin. Street View now allows us to see the house and the hills behind it. Zooming in helps show that the nearby hills are the only ones that concern us. The Tolar Mountains that we saw earlier further back will not play a role in blocking the moon, so We don't have to worry about them. How much time will it take for the moon to rise above that hill? That's what we need to know. We will use the grape in to help measure the apparent elevation from the red pin. And TP should tell us what time the moon will appear. Now. This is the tricky part. It helps if you are familiar with the terrain and good at interpreting Google's satellite view. Clicked, agree pin button and it will appear somewhere. Do eased or last, but you used it. You may need to zoom in or out to find it. Place the grape in Let's place the great pin on the house first along the moonrise line to get a reading. As we move the great pin around, we see the data window on the bottom that tells us what we need to know. But what we really need to know is how high this hill is right behind the Johnson house along the moonrise line. And so let's but start moving this grape in back and taking note of the altitude measurement here were at 1.48 degrees. We move that back further its 1.3. It's going down here. Let's keep going back and see what happens. 1.56 that we're going back up again. 2.12 2.52 point nine Now it's going back down again. 2.82 point 83 point. Oh 2.84 2.14 I think we're going back down here. So somewhere around here is the top of the mountain. 3.52 point 93 3.4 Let's let's work with that. Using this measurement here from the grape in field, we need to align the moon field here, but the same number grieves. That's a positive 3.4 We need to move the timeline until the moon comes up above the horizon. In this case, positive side is going to the right 2.8. We needed 3.0, too far. 3.0 for finer adjustment. Click on this white box on the slider line. A thin blue line appears behind it. We can now use the arrow keys to move the timeline one minute at a time. So we're looking at a time of 6 27 PM Now the actual moonrise happens at 607 What TPE is telling us is that while this mountain is blocking the way, it will take 20 minutes for the moon after it rises on the horizon to peek over that mountain. So I predict around 6 27 of it. But there's more to it. You noticed the moon rises at an angle. Just is the way the sun moves that an arc across the sky, they neither moving perpendicular manner. We need to move our secondary marker where the moon will be and see if the mountain is a little bit different in height, and here are altitude changed to 4.11. Let's move it up and down this line where the moon will actually be 3.5. We're going back downhill again. As you can see, it's really not easy to tell exactly what is the highest part of the terrain going down, some just going back and forth, making some guesses, paying attention to that field. 4.34 point 37 It looks like 4.3 to 4.33 Let's go with that so We need to readjust the timeline to 4.33 instead of just a three point. Oh, go to the right a little bit more using the arrow keys four point three. We're in good shape. Of course. The moon line moved a little bit. 4.4. Let's move this a little bit further to the 4.44 point five. I think I'm going to call it that the moon will appear over the mountain at approximately 6 35 on October 26 that is a full moon or near ful, as we can get on that date, 99.7% zooming back out. Actually, let's look at the Johnson House. If we want the moon to come in exactly over the house, we're just gonna have to move our position a little bit here a little bit to the north. And as we do that, let's Luke. Let's examine where we will be standing. This is a farmer's field, and there's a highway here. This dark line here is actually a drainage ditch. We can move back pretty close to the drainage ditch, but we can't cross over from the highway It's just that it has water in it. It's just it's not navigable. So weaken. Park our car down here by the fire station in this little dirt area here or here. Walk out into this farmer's field and set up as close as we can to the ditch in the highway will be safe there. Let's see if that made any changes in the alignment here. Well, the thin blue line is coming over right over the house. Now notice our grape in but has moved off of that line. We can move it around here again, but there's not that much of a change. 4.2 were at 4.5. That's with that back. We're within minutes of the prediction. 6 34 is what I'm going to call for the moon to appear over this small hill, a line exactly over the Johnston house, and we will see it if we were are standing in this farmer's field. Walk down approximately on the south side of this house that's across the street is only one house across the highway, and they have offense. I think that's a pretty good prediction now. If all goes well, and weather holds up just like the sunrise. The sunset prediction. The moon will come over the mountain and we will get our picture. I'll see you there. 16. Shooting the Moonrise: a couple of things have gone right and a couple of things have gone wrong for this wound. Roids. The moon is coming up exactly where I predicted right at the right time. 6 34 I learned myself with the Southern fence line of the property across the street way did a few moments ago. There was a car up there right next to the Johnson house, facing this way with its headlights on. That was that was one of the things that have gone wrong just as the moon rose behind the house directly, directly over behind the house, it's There was some nice silhouettes of the trees on the mountain tops. One of the things that did go wrong, though, as I was walking out here in this farmer's field, I had to park my car down there by the firehouse. Walking out in a farmer's field connection to the tripod fell apart. I had the camera on the tripod. The camera and lens fell, hit the ground and broke off at the camera. This is why we buy insurance. I will be filing a claim for that tomorrow, but I would have been using my D 7000 Nikon d 7000 with the 72 200 lens. Zoom that pretty much all the way out as far as I can in order to get compression between the moon and the house itself, making the moon look bigger. I would have been using I s O of 100. Keep best quality. That's the last thing. Even though we're in a low light situation, that would have been the last thing that I'd raise. I'd rather use a slower shutter speed, but not too slow. Because the moon is moving, the earth is spinning and use a slower shutter speed to slow a shutter speed. The moon will appear elongated and you lose detail that you might be able to pick up with the craters and mountains on the moon itself. Well, I'm not happy about my camera, but I did come out here, so I thought I'd catch it. And just to make sure that way did get a moonrise. It's It's a shame because there's a little bit of clowns and little haze around the moon, which kind of adds some character to it. That would have been fun, but I do have other pictures from the past from this location, and I will bring them up in photo shop in light room and do a little bit post setting and talk about this again. Okay, that's it. 17. Moonrise Edit: Well, if you watched my moonrise video, you know, said, Who's that? I dropped and broke. My camera did not get pictures that night, so I went back in time 2 October 17th 2013 and found a picture that I took at that time of a full moon rise. I was in approximately the same place and using the same camera. And let's see what we can do to be The sky here is looking a bit green. Even though the sun was very low, the moon was rising as the sun was setting. Uh, and it was a very golden hour. I don't think we need this much gold color in the picture, so I'm thinking right away I should move the temperature down more towards the blue and away from the yellow already. It's looking better to me. One thing I like about this is there's a lot of detail in this hill above the Johnson house , and it's hard to see. So I think the exposure is a little bit too dark, so let's bring that up a little bit. And as usual, if you've seen any of my other videos, I play with these controls I jumped back and forth between them. Bring up the shadows, bring the highlights them because the sky maybe is getting a little bit too bright. My might be even be able to bring the exposure back down, looking at the sky and lighten up the matter. The mountain with the shadows Slider. What's looking better to me already? Another thing I notice is that the house is it appears crooked. My camera wasn't perfectly level, so I'm going to work on that right away. And it's not that far off, but that's looking a little better to me. But a click done. No, I again, clarity is my favorite tool. If you've seen it in my other videos, I'm going to increase that clarity because I like to see detail. I strive to capture detail with my camera, and I want to see it. Clarity really helps bring that out. It is a contrast tool, but as you increase clarity, light room for some reason loses color. And that's why the vibrance and saturation slider zehr paired with it flits increased vibrance, getting closer up to the clarity that tends to add a little blue. But leave the warm colors alone saturation. I think everything could be saturated just a little bit. I'm gonna just give it a plus five. Thinking back on the temperature slider again. I think things air still a bit too yellow, and I think the sky's still a bit too green. I'm going to move the temperature slider even more towards the blue. See, that's making the sky even more blue. More like what would really look like The house is still warm from the setting sun. Is this hill that's not to bid like Let's let's play with that. That's too much blue. Of course, there's something where the houses nearly white. I don't want that because I know there was a setting sun. I'm going to go with about 3800 on the temperature scale. 3730 37 86. Let's go with that. I always like to end, remove chromatic aberration and enable my camera profile. My Cameron lends profile. The only thing the only tool that doesn't work for seems to be my go pro. Go to the detail tab and maybe add some sharpening that would also bring out the detail. Of course, it's going toe, it's, um, sharpening to the sky. I really go over 100% sharpening. That's gonna add some sharpening to this guy. So I'm going to move the masking slider and holding the all key down as I do it. That will tell the sky not to do any sharpening, and any noise that was in that sky will not be sharpened, and it will not increase the noise in it. I also see that there was some dust on the sensor. My camera. That's those circles up in the sky. Let's go and take care of that. Using the spot removal tool, click on the spot removal tool. I can adjust the size with the left and right bracket keys. I'll do that. It's a little bit of feathering a passage 100%. I'm gonna leave it on. He'll I'm also going to come down to the bottom here and visualize spots. I can enlarge the tool, but you don't need it any larger than the thing that you're trying to heal. So let's click on that. It's quick on this one. If there's a few others here, that air kind of faint but might as well take care of them here. Something here, here. The tool does a pretty good job. We can shut this visualize spots off to see how it did. I think it's doing a good job there. Let's click done. Maybe go back to the basic panel again. How about this contrast tool? Does that add anything to take it away just a little bit of contrast? Bring the exposure up. One not sure to. So there we have it. Moonrise over the Johnston house, though I'm still heartbroken over my camera. Appreciate you staying with me and we will see. Let's wrap it up. Thank you. 18. Final Thoughts: I hope you can see that using TPE can really help you capture those wow compositions. And I guarantee that you will get that type of reaction. When you show your images to your friends, they will ask you How did you do that? And how did you know where to be? Well, it will be up to you whether the lift him in on our secret. I know that I would like to see your pictures posted. Here is a project, and I promise to give you feedback and answer any questions you might have. Why not get that camera out and start using the program while it is still fresh in your mind and watch for a future class where I plan to cover the mobile version? Also, if you like long exposure photography, you might check out my other class on light painting. It is something different and a lot of fun. Thanks. And I'll see you in the next class