![]() For example, if the object you’re shooting naturally moves with time, it looks more natural when showing this in a sliced image, as you can with my image of the London Eye. Location and weather aren’t the only things I have to consider when planning my time-slices – I also have to think about what I’m shooting and how it will actually look once it’s sliced. This image was made from 30 slices taken over 2.5 hours As unpredictable as it is here in the UK, the weather has a huge influence on whether my images are usable or not, so I always check the weather before heading out to shoot.īrighton Royal Pavilion. To be told I then can’t shoot in the location or it’s closing, so I have to leave. As I need to be standing in the same spot for a long time, the last thing I want is to get set up, only To plan for a shoot, I always make a trip to scout the location first. You need an eye for detail and a lot of patience. Choosing the correct scene is the first challenge, as you have to perfectly blend the images so that you can see the passing of time while still ensuring they line up correctly. However, unlike with a time-lapse, I try to show the passing of time in just one image. A time-slice photograph is similar to a time-lapse, in that it is used to show the passing of time. The answer is simple: to get one time-slice image, I first need around 700 individual ones. People see me shooting and often wonder why I need to stand in a spot for hours to get a single picture. What even is time-slice photography? It’s a question I get asked a lot. This article originally appeared in the May 2015 issue of Better Photography.Looking for a creative new way to take and process your cityscapes? Matt Kenneally talks through his unique ‘time-slice’ process This will soften the edges that appear in the image. If you want to avoid this from showing up in the frame, apply a slight amount of Gaussian Blur (from the Filter menu) to each Layer Mask. With this techinque, however, the individual slices will be noticeable in the final picture. Do this for all the layers, until you have your image. Now invert the selection using CTRL + I and mask out the rest of the image from that layer. Using the Rectangular Marquee Tool select the slice you want to keep. Let each image be on a separate layer, each with a layer mask of its own. Import all the images (preferably RAWs to maximise the colours in the final image) into Adobe Photoshop or Lightroom and edit them individually to get the most colour out of them. You will need a layer-based editing software for this technique to work. Select between 50–100 images that show the best gradation. If it is a cityscape you are shooting, we recommend shooting in the evening as you will be able to capture the building and street lights as they illuminate the night sky. The variations in light will be maximum during this time. Have your setup ready at least an hour before the golden hours and shoot for an hour after they pass. As much as possible get things right in-camera itself. Depending on how detailed you want your final image to be, this interval can be from being 10 minute gaps to shooting every 30 seconds. Set your camera on a tripod, so that the composition remains constant and start shooting single images at regular intervals of time. Warning: Not for the impatient photographer.įinding a great spot to shoot from is paramount. This is done by photographing the same frame numerous times and then combining them together. As the name suggests, this technique captures slices of time in a single photograph. ![]()
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