How did I choose my night photography ball head?

I do long exposure photography almost exclusively, so I look for specific qualities in ball heads. If I am adjusting the ball head in the dark for a series of photos for stacking for Milky Way photos or two-hour long star trails, I want something easy to use and rock solid. We’ll go through my decision-making process together.

I used an Acratech GP-s to take 17 photos in succession to “stack” them in an effort to reduce noise a little.

Deciding on a tripod head

There are numerous tripod heads. And much of this is a matter of preference and practicality.

A pan and tilt head separates horizontal, vertical and panning motions into three separate axes, often doing so precisely, and are popular for video. They often tend to be heavier. Some have handles. The few times I’ve used one with a handle for night photography, I’ve rammed my teeth on the handle. Maybe not.

A gimbal head moves fluidly and is great for tracking, making it popular for wildlife or sports photography. However, it seemed a little large and chunky and overdone for night photography.

I decided to look for a ball head. A ball head is relatively light and compact and would allow me to easily compose in either landscape or portrait modes, aiming the camera easily at various angles. Like tripods, I really wanted to purchase a quality ball head once and use it for many years to come. I purchased my ball heads over six years ago and am still happily using them, so I apparently didn’t choose too poorly!

I used an Acratech GP-s ball head for this star trails photo, showing the perceived celestial movements over 12 minutes of time.

Ball head features that are useful for night photographers

Stability

Above all, I wanted a ball head to be rock solid and not sag, vibrate or move and could accommodate a large amount of weight. After all, many of us night photographers use a heavy DSLR and ultra wide angle lens combination.

Ease of operation

I did not want to use a headlamp every time I positioned the ball head in the dark, so this was also a must. I wanted easy-to-turn knobs that were logically placed.

Ball tension

I also wanted to have a separate tension knob where I could precisely dial in the amount of tension that I wanted. This is particularly helpful when adjusting the main ball head , as it provides enough tension so that it isn’t too tight requiring extra force when positioning, but not too loose so that you risk the camera flopping or have difficulty precisely positioning the camera.

Arca-Swiss quick release plate

My two cameras already had a special kind of quick release plate called an L-bracket attached to them, all of which were Arca-Swiss compatible. I looked for a compatible mounting base that would easily let me open the clamp, slide the camera in, and secure it easily. I like using L-brackets because I can quickly adjust the camera to portrait or landscape mode. Sure, I could probably achieve portrait mode with a ball head by turning it on its side, but I felt this might introduce some instability, as I photograph frequently in high-wind areas in the desert. And the wind in the desert sometimes seems to gust out of nowhere!

Pan adjustment for panoramas

The pan adjustment is used to rotate the camera from left to right without adjusting the tilt at all. I was hoping to find a ball head that allowed me to easily pan in reasonably precise, smooth adjustments. I wanted to have this option. However, more than six years later, I still have not done a panorama. Someday, right?

What did I choose?

Because I had two cameras and was purchasing two tripods, I also purchased two ball heads.

Acratech GP-s ball head

My scuffed up six year old Acratech GP-s ball head, perched atop a Feisol CT-3342 carbon fiber tripod. It may be light, but it holds up to 25 pounds without breaking a sweat…not that I’ve ever seen a ball head sweat. No. That’d be weird.

I chose this because it was highly regarded, lightweight at less than a pound while still holding 25 pounds and relatively small, this seemed like a winner. As a bonus, the GP-s could convert into a panoramic tripod head easily. You may position it upside-down to function as a leveling base for panoramic photography, keeping everything parallel to the horizon. I also liked its smaller size, which could easily accommodate travel tripods without banging its pan knob against the tripod, and even allowing the tripod legs to fold over it. Sold!

Really Right Stuff BH-55

My scuffed up Really Right Stuff BH-55 ball head, ready to use with my Feisol CT-3372 tripod. The tripod has a load capacity of my tripod is 65 pounds while the BH-55 is 50 pounds, so short of using this for a car jack, this handles just about any situation, even in high wind. You can see the pan turntable underneath with 360 degrees of markers.

Although it might sound strange, the BH-55 is a beautiful looking ball head that inspires confidence. I chose this for extra stability in high wind conditions, as it supports up to 50 pounds, easily accommodating large cameras with heavy ultra wide lens. This does, however, weigh 1.9 pounds, almost twice as much as the Acratech. That said, I do love the large locking knob. I have large hands, so this really feels comfortable, although I should mention that the Acratech ball head has a scalloped lamping knob. Although smaller, its extremely easy to grip, so having a large locking knob doesn’t matter so much.

Choosing by time traveling

If I could go back in time and choose again, I would likely choose to purchase two Acratech GP-s ball heads. I love the BH-55, don’t get me wrong. But the GP-s ball head is so stable and easy to use that I don’t feel I need the extra weight and beefiness of the other. But really, I have no regrets! I love them both.

An interesting ball head for today

Today, if I were looking for a ball head, I would have a close look at the Platyball Elite from Platypod. Why? This intriguing ball head has an “upside down” ball head design, placing the panning turntable on the top instead of the bottom, making it far easier for us to pan cameras in a straight line even if the tripod legs themselves are not perfectly level.

But there’s more. You may notice that I never mentioned bubble levels as one of the features I was looking for in a ball head. That’s because they’re almost impossible to see, not only because I shoot in the dark but also because they are frequently poorly positioned. The Platyball Elite uses a backlit electronic leveling system not terribly unlike what you might see in a digital camera. This uses an A23 alkaline battery for power and works in any orientation, also offering three brightness levels. Although I could do without one more item that requires a battery, this is such a useful feature that I might make an exception!

VISIT ME, VISIT ME!

MY WEBSITE:
Head on over to the Ken Lee Photography website to purchase books or look at night photography and long exposure photos. My latest book, “Abandoned Southern California: The Slowing of Time” is available there and Amazon, Barnes and Noble, Target, Booktopia, Books A Million, IBS, and Aladin. If you enjoy the book, please leave a nice review.

SOCIAL MEDIA:
Ken Lee Photography Facebook Page (poke your head in, say hi, and “like” the page if you would, uh, like)
Instagram

PODCAST:
Behind the Shot video podcast – interview February 2020

VIDEO INTERVIEW:
Conversation about night photography and my book with Lance Keimig of National Park At Night

ARTICLES:
A Photographer Captures Haunting Nighttime Images of Abandoned Buildings, Planes, and Cars in the American Southwest – Business Insider by Erin McDowell
A Photographer Explores Southern California’s Desert Ruins – Los Angeles Magazine article by Chris Nichols

Five Tips All Night Photographers Would Love To Know

Night photography has its own quirks and needs. After all, you’re photographing in the dark, maybe not the most normal thing to do. I decided I would avoid the more obvious sort of tips, such as “know how to operate your camera in the dark” or “understand how to shoot in manual” and get to physical sorts of tips that can help immensely. Let’s dive in.

1.) Gaffer’s Tape

Let’s start off with one that every night photographer could use. Gaffer’s tape. Yeah. This all-purpose tape is used by gaffers in film and TV production. The gaffer is the chief lighting technician, and is typically the head electrician. They need to use tape that is strong but doesn’t leave a residue. This is where we come in. We can use this for all sorts of purposes, so it’s always great to have gaffer’s tape in your bag. Break something? Tape it together. If you break part of your tripod, such as the ballhead, you can tape your camera to the tripod. Need to keep something in place, such as a prop or piece of equipment? Gaffer’s tape to the rescue. With some old cameras that don’t have a self-timer and you are missing your external intervalometer, you can even tape a pebble to the shutter button to hold it down. Need to tape down your focus ring on your lens so you can keep the same focus while moving around? Yes, gaffer’s tape. Too much light coming in to your room when you need to sleep late? Tape a blanket over the window. Want to use some tape to find things easier? I use orange gaffer’s tape (among other things…see below). All this and more, gaffer’s tape is indispensable.

2.) Velcro Your Intervalometer

Do you have an external intervalometer? If so, use hook and loop fasteners to “Velcro” your intervalometer to the leg of your tripod. This allows you to keep it up high without either dangling and swaying from your camera or dragging in the dirt when you are operating down low.

Above: My ProtoMachines LED2 light painting device is not something I want to go missing. There’s gaffer’s tape and glow-in-the-dark tape to help me locate it easier, and that’s a beautiful thing.

3.) Working In Pitch-Black Indoors

I photograph a lot of abandoned places. Many of these places are indoors, so even if there’s a full moon overhead, it’s likely very dark. I’ve photographed abandoned mining houses, penitentiaries, tunnels, factories, and more indoors. They’re completely pitch black, quite often. A great tip is to take dim electric tea lights or even a headlamp, or really, anything that creates a dim light that illuminates the room. Place this anywhere, and then get to work. You can see what you are doing and see the room, but the light is dim enough that it doesn’t adversely affect your light painting of the room. This is also nice because I don’t blow out my eyes, but it’s just bright enough that I can see what I am doing. I also use a red LED headlamp so I don’t blow out my vision as well.

Above: The room here isn’t completely pitch dark, but it was dark enough that I couldn’t really see things very well, and tripped over some huge floorboards upon arrival. I busted out a dim light so I could see the floor, and that really helped prevent further tripping.

4.) Find Your Belongings

I use both reflective tape and glow-in-the-dark tape for finding my equipment. I have both kinds of tape wrapped around my tripod legs and my ProtoMachines LED2 flashlight. Why do I use both? Glow-in-the-dark tape works almost all the time, and 99% of the time, this is enough to find the equipment. But in those cases where it is too dim or it didn’t get enough light to activate it, I also have reflective tape that alternates red and white so if I need to, I can shine a flashlight around and have this reflect back. I prefer not to do this because I like to work in the dark, but also because I might ruin my exposure if I inadvertently shine my flashlight into the camera lens. For other things that are dark, I sometimes use orange gaffer’s tape so that it is a little more visible.

5.) Kneepads

I kneel on a lot of surfaces that are sort of rough, whether it is rocks, sand with sharp little rocks, or abandoned locations. I also climb around sometimes. In those instances, it’s really nice to have kneepads to go a little easier on the knees. I have knee braces that have pads in the front so they provide a little bit of support for going down hills or bending a lot. This is really nice when I am photographing for 6-8 hours, especially during a cold evening.

Above: I had to climb into this airplane cockpit and squat and kneel around some rather hard and sharp metal. Kneepads would have helped immensely here. I used a blanket, but still managed to scratch up my leg.

VISIT ME, VISIT ME!

SOCIAL MEDIA:
Ken Lee Photography Facebook Page (poke your head in, say hi, and “like” the page if you would, uh, like)
Instagram

PODCAST:
Behind the Shot video podcast – interview February 2020

VIDEO INTERVIEW:
Conversation about night photography and my book with Lance Keimig of National Park At Night

Ideas For Night Photographers While Staying At Home

Night photographers, just because we are staying at home doesn’t mean that we can’t continue creating photos. Here’s a few ideas we can do while not leaving the house while during the coronavirus.

This first photo of R2D2 above was done in my backyard. I used electroluminescent wire and a little penlight laser to create the lighting as well as a regular LED flashlight. While I did this outside, there’s no reason why you can’t create images like this indoors as well.

“There is no try, only do!”

Sports fans can get in on the action as well.

These sorts of images do not need to cost a lot of money or require a lot of setup to do. YOu may have a lot of the materials in your home already, or at least be able to purchase them inexpensively. Electroluminescent wire, for instance, can be purchased easily on Amazon or elsewhere, and often only costs around US$13, not including the battery. Although I use a ProtoMachines LED2 for a lot of “light painting”, a light painting device that is fantastic but rather expensive, many of these were photographed before I purchased that. These were done with a relatively inexpensive LED flashlight.

Now I am rather lucky in that I have a lot of trees on the periphery of my backyard. Still, I live in the city, and there are a lot of stray lights from the neighbor’s houses that occasionally manage to sneak their way through the trees and into the camera lens. I try to photograph from a lower perspective so it eliminates most of these lights. Still, though, despite my best efforts, some lights still get through. To eliminate these, I sometimes take some dark blankets or paper and hang them from the trees or with some extra stands I have lying around. I do usually have to go into Photoshop later and darken this a little bit more just to make the background even, but it typically does not take very much effort since I am pulling these back farther from the subject and not shining the light on the blankets. I also prefer to underexpose the background and keep it black as well, which helps immensely.

And finally, you can “light write” important messages indoors!

This photo was created in New Year’s Eve with Lisa helping out, not knowing that this was going to be a marriage proposal. I set up the camera, had her help out by lighting me with a flash, and used “light drawing” to write this message while the camera’s shutter was open for this long exposure photo. I did this only once.

Then I had her look at the LED screen on the back of the camera. She was very surprised! She said yes. I joked and said she had to “light draw” her answer.

I had intended to propose in Joshua Tree National Park at night, with the stars in the sky and next to a Joshua Tree, but when we were there, it was 40 degrees and windy, so New Year’s Eve it was, inside the warmth of our house!

I liked that I was able to propose while doing so in a way that was fundamentally me. After all, I am a night photographer, so it’s fun to imbue this with my personality and what I love to do. Being able to create a photo that actually captured the very moment that I proposed as well as creating a fun surprise really illustrates the way that we can create lasting memories – and images – even while inside the home. In fact, it may be that very familiarity that works in your favor. Here, we have an image that makes for a great story and will last a lifetime.

#stayathome #coronavirus #coronapocalypse #covid19 #nightphotography

VISIT ME, VISIT ME!

SOCIAL MEDIA:
Ken Lee Photography Facebook Page (poke your head in, say hi, and “like” the page if you would, uh, like)
Instagram

PODCAST:
Behind the Shot video podcast – interview February 2020

VIDEO INTERVIEW:
Conversation about night photography and my book with Lance Keimig of National Park At Night

Learn in the Time of COVID-19: Photographers, What Will You Do With This Time?

Hello everyone. I hope that you are doing well, and that you are staying safe and healthy.

It is a strange time. Most of us have probably been asked to “shelter in place”, not going out except for essential things.

If you are passionate about photography like I am, what will you do with this time? Will you continue processing your backlog of photos? Try to create new content (blogs, etc.)? Learn new post-processing techniques? Take on new challenges to photograph the things around you that you usually don’t do?

Related to that last question is an awesome exercise where you try to photograph as many cool things around your apartment, back yard, house, or whatever and make it really compelling, practicing new compositions, new techniques, different genres of photography, utilizing new lenses that are ordinarily not used for that purpose, and approaching everything with a fresh perspective. I would heartily encourage you to do this if you don’t already.

If you never do portrait photography, perhaps this would be a good time to experiment with this. Or if you’ve never tried your hand at “light painting”, give it a go. Macro? Why not? Panos, sure, even if it’s in a tiny apartment!

What post-processing can make your images better? Perhaps it might be time to figure out how to dodge and burn. This is a technique going back many decades, one. utilized, as the name “dodge and burn” implies, in the darkroom. Luminosity masks is a great thing to learn, and can help target specific areas. For instance, I use luminosity masks to target the night sky specifically so that I may apply some noise reduction to the sky but not to the foreground or the stars. Layer masks is a beautiful thing. We could learn how to do a better job organizing our photos in Lightroom or whatever program we use that has some sort of file management system.

We can go to lynda.com, YouTube, Phlearn, National Parks At Night, or other places to learn new techniques.

Although we may not be able to run out and photograph, this is a time when we can still step up our creativity, knowledge, and techniques.

Let me know how you are doing in the comments, and what part of your photography or art you might work on during this strange time.

VISIT ME, VISIT ME!

SOCIAL MEDIA:
Ken Lee Photography Facebook Page (poke your head in, say hi, and “like” the page if you would, uh, like)
Instagram

PODCAST:
Behind the Shot video podcast – interview February 2020

VIDEO INTERVIEW:
Conversation about night photography and my book with Lance Keimig of National Park At Night

Why Should You Do Night Photography When It’s Cloudy?

It’s the weekend. You’re finally have some time away from your job. You’re ready to hop in the car with your camera gear, ready to drive a few hours at night listening to weird music and get good and dusty. You’re ready for night photography.

But it’s cloudy.

Should you pack it in and fire up Netflix?

Maybe not.

Clouds can add immense drama and interest to your photo, and can sometimes make a night photo better. They can frame your subject or add interest to the night sky or glow from the moon or even light pollution. They can add a beautiful mysterious glow to the stars. Moon or no, clouds can look magnificent. Just as with day photography, they can add interest, so it is with night photography as well.

For long exposures, it’s usually best when they are moving a bit and not completely covering the sky, although even then, it’s possible to get some good photos.

Let’s look at a few photos.

The photo above has quite a few clouds. I checked my app, Clear Outside, and it stated that that the sky could be as much as 100% total cloud cover. The app does describe whether the clouds are high clouds, medium clouds, or low clouds as well as giving total cloud cover, so you can tell the character of the clouds, which is rather useful. Additionally, the app gives other information, such as when the International Space Station is visible, visibility, fog, rain, and wind. On this particular night, I saw that there was some wind and that there was between 80-100% high clouds. This sounded grim. And it was a long drive to this location. But we had received permission, so we perservered. We were rewarded with beautiful dramatic skies that glowed profusely from light pollution, streaked wispily across the sky, yet revealed the glorious Milky Way over head. In this photo, I quietly observed which way the wind was blowing so I could pre-visualize how the clouds would look. I knew that they were sort of coming toward the camera and would dramatically bracket the airplane in the foreground. And here, because these clouds are higher, wispier clouds and because they are moving from wind, they don’t completely occlude the stars, but add a gorgeous, diffuse glow.

The next photo, shown above, is absurdly cloudy. It was initially somewhat clear, but as the sun melted into the horizon, more and more clouds appeared until finally, almost the entire sky was covered. Initially disappointed, I began to realize that the clouds might add a certain eeriness to some of the photos of houses buried in sand. Here’s a photo in which I actually desaturated the photo slightly to go with the cloudy feel and exaggerate the already eerie feel.

Partially cloudy skies work as well, even when the clouds are low, as with this photo above, taken in Joshua Tree National Park in the Mojave Desert. The blurring of the moving clouds adds drama and movement to the composition, and bracket the rocky foreground, adding to the already surreal landscape. Although this would be more romantic if we knew the glow were from a setting sun, the reality is that this is light pollution from Coachella Valley.

The above photo, also taken in Joshua Tree National Park, shows quickly moving low clouds, and again, the long exposure adds a sense of drama and movement. Here, an almost full moon backlights the Joshua Tree and adds a beautiful glow to the clouds.

This last example of night photography with clouds is admittedly more obvious since it’s accompanied by the additional drama of a lightning storm. This is of course the Grand Canyon in Arizona. I was doubly lucky because to the back of me was a full moon that was beautifully illuminating the canyon below, with the Colorado snaking through the rocky terrain. Here, the clouds are also in movement, coming almost right toward the camera and adding, once again, drama and movement to the photo.

When you see clouds before going out to photograph, remember that this doesn’t mean you are automatically hosed. Sure, maybe it may block your Milky Way. But maybe it won’t. And maybe, it will add drama to the night sky that you never even imagined possible. I hope this was helpful or inspiring. Please share if you like it, and please leave a comment below.

VISIT ME, VISIT ME!

SOCIAL MEDIA:
Ken Lee Photography Facebook Page (poke your head in, say hi, and “like” the page if you would, uh, like)
Instagram

PODCAST:
Behind the Shot video podcast – interview February 2020

VIDEO INTERVIEW:
Conversation about night photography and my book with Lance Keimig of National Park At Night

Surrealistic Art in the Nevada Night Sky

Saluting The Night Sky (6871)

The Car Forest is an art installation outside Goldfield, Nevada. I drove up from Beatty to photograph here on a gorgeous evening, surrounded by braying and sometimes galloping burros. Many of these cars were repainted since my last visit, some for the better, and some by idiots.
~~
This is a real night photo. I illuminated the exterior and interior with a hand-held ProtoMachines LED2 flashlight while the shutter was open on my tripod-mounted camera. This is not a post-processing creation. No pixels were harmed during the creation of this photo. 😀
~~
Nikon D610/14-24mm f/2.8 lens. The long exposure photo is 21 minutes total “stacking” three photos, each 7 minutes f/8 ISO 200 on 2017-06-11 00:03.
~~
#kenlee #kenleephotography #slowshutter #amazing_longexpo #longexphunter #longexpoelite #longexposure_shots #nightscaper #supreme_nightshots #ig_astrophotography #super_photolongexpo #long_exposure #nightscaper #nightphotography #longexposure #startrails #lightpainting #nevada #carforest

Long Exposure Night Photo with Light Painting

VISIT ME, VISIT ME!

SOCIAL MEDIA:
Ken Lee Photography Facebook Page (poke your head in, say hi, and “like” the page if you would, uh, like)
Instagram

PODCAST:
Behind the Shot video podcast – interview February 2020

ARTICLES:
A Photographer Captures Haunting Nighttime Images of Abandoned Buildings, Planes, and Cars in the American Southwest – Business Insider by Erin McDowell
A Photographer Explores Southern Caoifornia’s Desert Ruins – Los Angeles Magazine article by Chris Nichols

Reflection of a Convict – Lake Reflections At Night

Reflection Of A Convict (8011)

During the day, we ran into talented night photographer and all-around great guy Ron Pinkerton and Deanna while about to rent a kayak. It was quite a surprise to run into friends hours away from home. We paddled around Lake Convict, CA and later, met for a delicious dinner at the Restaurant At Convict Lake. I returned in the evening and met up with Ron. The scene we wanted to photograph was blotted out by the moon, but I found this beautiful reflection of one of the mountains in the water, and decided to do a simple star trails photograph instead. I also photographed a version of this with the stars as pinpoints.
~~
Nikon D610/Nikon 28-300mm lens. 1 hour total from “stacked” images, each one 3 minutes f/8 ISO 800. 2017-08-01 22:35.
~~
IG – @kenleephotography
fb – kenleephotography
500px – kenleephotography
~~
#kenlee #kenleephotography #slowshutter #amazing_longexpo #longexphunter #longexpoelite #longexposure_shots #nightscaper #supreme_nightshots #ig_astrophotography #super_photolongexpo #long_exposure #nightscaper #nightphotography #longexposure #convictlake #sierras

Long Exposure Night Photo with Light Painting

VISIT ME, VISIT ME!
You can see more of these photos here on my Ken Lee Photography Facebook Page (poke your head in, say hi, and “like” the page if you would, uh, like), on 500px, or my Ken Lee Google+ Page. We discuss long exposure, night sky, star trails, and coastal long exposure photography, as well as lots of other things, so I hope you can join us!

And you can go to the Ken Lee Photography website, which has more photos from Ken Lee. Thank you very much for visiting!

Carrara Goggles – Ghost Towns of Nevada At Night!

Carrara Goggles (1604)
When I first saw this from the inside, they reminded me of goggles. How long this will remain standing, I’m not sure. Carrara is a failed cement plant down the mountain from where marble was discovered near Beatty, Nevada. This was photographed on a windy night, and surprisingly cold for June.

This is a real night photo. I illuminated the interior with a red light from several angles as well as the building in the back with a hand-held ProtoMachines LED2 flashlight while the shutter was open on my tripod-mounted camera. This is not a post-processing creation. No pixels were harmed during the creation of this photo. 😀 Initially unbeknownst to me, night photographer Kevin Balluff photographed this beautifully from a similar vantage point earlier than I did, and also with red light, so this is another variation for your enjoyment. 🙂
~~
IG: @kenleephotography
FB: facebook.com/kenleephotography
500px: 500px.com/kenleephotography
~~
Nikon D7000/Tokina 11-16mm f/2.8 lens. The long exposure photo is 333 seconds at f/8 ISO 200 on 2017-06-12 01:13.

#kenlee #kenleephotography #slowshutter #amazing_longexpo #longexphunter #longexpoelite #longexposure_shots #nightscaper #supreme_nightshots #ig_astrophotography #super_photolongexpo #long_exposure #nightscaper #nightphotography #longexposure #startrails #lightpainting #nevada #carrara #beatty

Long Exposure Night Photo with Light Painting

And you can go to the Ken Lee Photography website, which has more photos from Ken Lee. Thank you very much for visiting!

Bedrock City Star Trails – Roadside Attraction Kitsch Like You’ve Never Seen It!

Bedrock City Star Trails (1455)

I came across Bedrock City as a kid on the way to the Grand Canyon, and first photographed it at night in 2015. It felt great to return here. I also got to meet the owner briefly. Bedrock City, Arizona is a roadside attraction, a recreation of The Flintstones’ town. I photographed this on a cool, quiet evening, with the sound of coyotes howling in the distance.
~~
This is a real night photo. I illuminated the exterior and interior with a hand-held ProtoMachines LED2 flashlight while the shutter was open on my tripod-mounted camera. This is not a post-processing creation. No pixels were harmed during the creation of this photo. 😀
~~
Nikon D7000/Tokina 11-16mm f/2.8 lens. The long exposure photo is 50 minutes total, with one hundred images “stacked” as a composite, each 30 seconds f/8 ISO 1000 on 2017-06-07 23:55.
~~
IG: @kenleephotography
FB: facebook.com/kenleephotography
500px: 500px.com/kenleephotography
~~
#kenlee #kenleephotography #slowshutter #amazing_longexpo #longexphunter #longexpoelite #longexposure_shots #nightscaper #supreme_nightshots #ig_astrophotography #super_photolongexpo #long_exposure #nightscaper #nightphotography #longexposure #startrails #lightpainting #bedrockcity #arizona

Long Exposure Night Photo with Light Painting

And you can go to the Ken Lee Photography website, which has more photos from Ken Lee. Thank you very much for visiting!

The Glow of the Grand Canyon – Beautiful Arizona Sunset!

The Glow of the Grand Canyon (6670)

Deserts can have some of the most spectacular sunsets. The Grand Canyon, Arizona, during sunset. But you knew that, didn’t you? I had gotten back from a hike, got back to the car, and ran to the nearest lookout that seemed halfway decent. Several other people wielding tripods also were running. I bracketed five photos, shooting them at different exposures, and blended them together manually so that it looks more like what you see in person. I call this “Intelligent HDR”. 😀
~~
Nikon D610/14-24mm f/2.8 lens @ 1/2-1/15th second f/8 ISO 400 on 2017-06-08 19:47.
~~
IG: @kenleephotography
FB: facebook.com/kenleephotography
500px: 500px.com/kenleephotography
~~
#kenlee #kenleephotography #slowshutter #amazing_longexpo #longexphunter #longexpoelite #longexposure_shots #nightscaper #supreme_nightshots #ig_astrophotography #super_photolongexpo #long_exposure #nightscaper #nightphotography #longexposure #startrails #arizona #grandcanyon

Long Exposure Night Photo with Light Painting

And you can go to the Ken Lee Photography website, which has more photos from Ken Lee. Thank you very much for visiting!

Deciding on a tripod head

Ball head features that are useful for night photographers

Stability

Ease of operation

Ball tension

Arca-Swiss quick release plate

Pan adjustment for panoramas

What did I choose?

Acratech GP-s ball head

Really Right Stuff BH-55

Choosing by time traveling

An interesting ball head for today

VISIT ME, VISIT ME!

Share this:

Like this:

VISIT ME, VISIT ME!

Share this:

Like this:

VISIT ME, VISIT ME!

Share this:

Like this:

VISIT ME, VISIT ME!

Share this:

Like this:

VISIT ME, VISIT ME!

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this: