How To Handle Cold Weather Photography
Cold weather presents a few unique challenges to digital photographers. In this post, Peter Carey offers some suggestions to keep you photographing when the mercury drops.
First, give your camera time to acclimate!
This one is very important and it's a two way street. If you're heading outside from a nice warm house, or if you're coming back in from a shoot out in the cold, give your camera lens time to adjust to the temperature change. Going either direction will fog up your lens and viewfinder. Leave your lens cap on when going either direction and give your camera plenty of time to adjust to the temps. The amount of time depends on the the difference in temperatures from inside to outside. The larger the difference, the more time you should allow. 15 minutes is usually fine but more may be needed depending on how humid each environment is. You want a slow, gradual change so if you can, leave your camera in a camera bag as it gets used to the change. While this may take a bit longer, it does help ensure condensation won't become a problem.
Next, you'll want to protect your batteries.
Besides the lens of your camera (even worse, your sensor) getting fogged over, batteries are the lifeline for digital photography. Unlike traditional film (with another set of cold weather challenges), digital cameras obviously rely on working batteries. The problem is cold saps batteries of energy even when they aren't in the camera. Carry spare batteries in pant pockets where they are close to your body. The warmer the battery, the better it performs. Even when your camera indicates a battery is dead, warming it up in a pocket (especially one with a hand warmer!) can bring it back to life for a few dozen more shots. Get used to rotating batteries in this manner and you'll be able to stay out shooting longer.
Let's not forget your hands!
Once your camera has adapted to the cold, holding it for long periods of time can cause frost bitten fingers. Just having your hands exposed to subfreezing temperatures for more than a few minutes can make your digits fumble and feel quite painful. Obviously gloves are a requirement for outdoor photography, but what works well? You'll need both the warmth of a puffy winter mitten but the dexterity and tactile feel of a thin, thin layer. Enter the Mountain Hardwear Power Stretch Glove! I've found these gloves to provide the best warmth while still maintaining all the feel of the camera I need. They keep the wind out and while they are no extreme winter glove, they get the job done.
Lastly, keep your camera out of the elements
While the snow may be falling and seem so much better than a rainy day behind the lens, be aware that snow can cause just as much damage. Carry a soft, water absorbent cloth to help dry off your camera while out and about. Also consider investing in a rain hood for your camera if it's a DSLR, which allows you to keep shooting in the heaviest of downpours. In a pinch, wrapping a towel around your camera will keep the snow off.
There's no reason to let the cold weather keep you inside or away from your camera. With a little preparation you can ensure great photo opportunities don't pass you by this winter!
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Alastair Montgomery
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Find out why your camera has different quality settings, and how they affect your pictures
Remember that center image we took? Find it in the list, then hit the "Anchor this image for position" button, and, assuming it's a well-lit shot, "Anchor this image for exposure." Next up is an optional step, for those who know a fair deal about their camera—head to the "Camera & Lens" tab, click on the center image, and fill in what you know about your gear's degrees of view, focal length, color offsets, and other photo-pro stuff. You can save your information here for future panoramas. Once you're done (or lost), let's head to the meaty stuff at the "Control Points" tab.
AutoPano does a decent job sometimes, but it often picks out clouds, cars, blown branches and other moveable objects, which doesn't help anything. For a seamless meld, I wipe out the automatic points (select the first in the list at bottom and jam on the "delete" button on the right) and start fresh.
To see how Hugin did, hit the "Preview Panorama" menubar button, and you'll get a rough look at your creation. (It won't turn out exactly the same, but basically close). If it looks warped and off-base, you can head back and re-pin or add Control Points, move the crosshairs or use the "Center" and "Straighten" buttons in the preview mode to finesse it. Whenever you make any changes, however, head next to the Optimize tab and re-optimize—you can also change optimization settings to see if that nets any benefits.
We're almost there, seriously! If the preview looks decent, head finally to the "Stitcher" tab. The "Projection" setting is the heart of Hugin, telling the program how to bend and shape the output. For a few overlapping photos, "Equirectangular" usually provides the fullest view and best blend, but "Rectilnear" seems best when photos are tightly lined up. Hit "Calculate View of Field" next, keep the Quick Stitcher setting to "with custom settings below," and then hit "Calculate Optimal Size." The numbers will be ludicrously big, so knock one of them down to a standard size. Keep the stitching engine on "Nona," and make sure "Image output file" is "TIFF" and that "soft blending" is checked so the Enblend engine can work its stuff. Tell it where to save, and Hugin gets to work. If you're prompted to point to "Enblend," it's located in its own folder right inside Hugin's directory. Hugin will create temporary TIFF files and work your system pretty hard while it runs, which can take anywhere from seconds to a few minutes, depending on your system.
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