After Dark
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Barrie Gilbert
Nov 13, 2012, 4:25:53 PM11/13/12
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One of the few good things about the clocks going back an hour at this time of year is the potential to take photographs in different light conditions, provided that you have a tripod or a steady hand.
This teatime shot is of First Cymru Pointer-bodied Dart 42610, which is one of a handful that have been repainted in the new corporate livery and refurbished with leather seat covers. It is also one of the three that carry the new bilingual fleetnames and branding for Service 36.
The location is Clase Road, Morriston in November 2012.
© Barrie Gilbert
Cymru Coastliner
Nov 13, 2012, 4:47:11 PM11/13/12
to Welsh Bus Photographs
...Or a bin to lean on in my case lol. Not sure about the new livery
though. I must be one of the few people who don't mind the former
livery. Given First's present status is it a case of painting over the
cracks I wonder? Nice and light for night time shots though!
Steve
On Nov 13, 9:26 pm, "Barrie Gilbert" <barry.374gilb...@btinternet.com>
wrote:
> C Barrie Gilbert
>
> FirstCymru42610.2.2.jpg
> 556KViewDownload
though. I must be one of the few people who don't mind the former
livery. Given First's present status is it a case of painting over the
cracks I wonder? Nice and light for night time shots though!
Steve
On Nov 13, 9:26 pm, "Barrie Gilbert" <barry.374gilb...@btinternet.com>
wrote:
>
> FirstCymru42610.2.2.jpg
> 556KViewDownload
David Beilby
Nov 13, 2012, 5:07:40 PM11/13/12
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It's odd that you should post that photo just after I'd been out to
photograph a First Manchester bus myself in similar lighting
conditions. That I can push up to 6400ASA and get good results is a
testimony to modern camera development and at that speed the bus
doesn't even have to be stationary!
Your picture shows one of the issues that no camera technology can
deal with (at the moment at least), which is the narrow colour
spectrum from sodium lighting. Whilst high pressure sodium lighting
isn't as bad as the older sodium lights, there's still a yellow cast
which colour correction won't get rid of. Of course, it is actually
an accurate record of the scene and thus perfectly correct. You can
use a flash but apart from, at he very least, annoying the driver, the
photograph wouldn't look natural and would be flat.
Nonetheless I'm an enthusiastic exponent of night photography and am
glad to find someone else trying - do try more! When it works well
the effect can be so dramatic. Heavy rain makes for great photos but
a pretty miserable experience taking them. And don't forget those
Christmas lights!
Regards,
David Beilby
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photograph a First Manchester bus myself in similar lighting
conditions. That I can push up to 6400ASA and get good results is a
testimony to modern camera development and at that speed the bus
doesn't even have to be stationary!
Your picture shows one of the issues that no camera technology can
deal with (at the moment at least), which is the narrow colour
spectrum from sodium lighting. Whilst high pressure sodium lighting
isn't as bad as the older sodium lights, there's still a yellow cast
which colour correction won't get rid of. Of course, it is actually
an accurate record of the scene and thus perfectly correct. You can
use a flash but apart from, at he very least, annoying the driver, the
photograph wouldn't look natural and would be flat.
Nonetheless I'm an enthusiastic exponent of night photography and am
glad to find someone else trying - do try more! When it works well
the effect can be so dramatic. Heavy rain makes for great photos but
a pretty miserable experience taking them. And don't forget those
Christmas lights!
Regards,
David Beilby
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> <FirstCymru42610.2.2.jpg>
Peter Owen
Nov 13, 2012, 5:38:56 PM11/13/12
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Great photo Barrie.
Peter.
--
Ray Evans
Nov 13, 2012, 6:17:36 PM11/13/12
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Nice photo Barrie, but I am surprised how clear it is considering
how much these buses vibrate when idling !
Ray Evans
Ray Evans
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Martin Bray
Nov 14, 2012, 6:19:05 AM11/14/12
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The resolution of the computer screen coupled with low lighting level, subject distance and Barrie's off the camera presentation would diffuse any vehicle vibration.
Sent using BlackBerry® from Orange
From: Ray Evans <bridge...@ntlworld.com>
Sender: welsh-bus-...@googlegroups.com
Date: Tue, 13 Nov 2012 23:17:36 +0000
ReplyTo: welsh-bus-...@googlegroups.com
Subject: Re: After Dark
Philip Weaver
Nov 15, 2012, 1:06:34 PM11/15/12
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Beautiful shot, Barrie.
Barrie Gilbert
Nov 15, 2012, 3:47:53 PM11/15/12
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Thanks for all the positive comments.
Martin Bray
Nov 16, 2012, 4:25:28 PM11/16/12
to Welsh Bus Photographs
David, your posting conjures up to me, of a tripod being pitched up in
darkness and torrential rain outside Frankie and Bennies, pointed
across the road into Cwmbran bus station as a B10M is taking on
passengers for an X24 working. Can you imagine the reflections off the
vehicle in the rain and darkness.
6400asa images are a little too grainy to print but have plenty of
impact under variable lighting conditions within the image. Here's one
of mine without the rain...
http://www.martinbray-ukloco.com/
darkness and torrential rain outside Frankie and Bennies, pointed
across the road into Cwmbran bus station as a B10M is taking on
passengers for an X24 working. Can you imagine the reflections off the
vehicle in the rain and darkness.
6400asa images are a little too grainy to print but have plenty of
impact under variable lighting conditions within the image. Here's one
of mine without the rain...
http://www.martinbray-ukloco.com/
David Beilby
Nov 16, 2012, 5:25:59 PM11/16/12
to welsh-bus-...@googlegroups.com
Thanks - you've conjured up a great image of Cwmbran and probably, on
a night like tonight, quite accurate!
However, the tripod is thing I like to manage without, it gives you so
much more flexibility. The link below, whilst OT for South Wales,
shows the sort of thing you can do. But cameras that do good 6400ASA
don't come cheap - and neither do the lenses!:
http://davidbeilby.zenfolio.com/p817002398/e3e5669d5
Occasionally I try the ultimate challenge, which is of a bus on an
unlit road at night. This might sound impossible but there's a lot of
light comes from the bus itself. It's not something you'd do a lot,
but it's fun to experiment!:
http://davidbeilby.zenfolio.com/p817002398/e9c5ca18
I suppose I'd better get on topic somehow. How about Rhymney Valley
RE 59 (GTX 359N) in Nelson bus station at dusk on 1st August 1978?
This dates back to the time of that radical concept of one operator's
buses actually connecting with another's. It'll never catch on!
Best Regards,
David Beilby
(Please note, I retain copyright in photographs I post on this group,
they are for personal use only and may not be reproduced in any form
without prior permission)
a night like tonight, quite accurate!
However, the tripod is thing I like to manage without, it gives you so
much more flexibility. The link below, whilst OT for South Wales,
shows the sort of thing you can do. But cameras that do good 6400ASA
don't come cheap - and neither do the lenses!:
http://davidbeilby.zenfolio.com/p817002398/e3e5669d5
Occasionally I try the ultimate challenge, which is of a bus on an
unlit road at night. This might sound impossible but there's a lot of
light comes from the bus itself. It's not something you'd do a lot,
but it's fun to experiment!:
http://davidbeilby.zenfolio.com/p817002398/e9c5ca18
I suppose I'd better get on topic somehow. How about Rhymney Valley
RE 59 (GTX 359N) in Nelson bus station at dusk on 1st August 1978?
This dates back to the time of that radical concept of one operator's
buses actually connecting with another's. It'll never catch on!
Best Regards,
David Beilby
(Please note, I retain copyright in photographs I post on this group,
they are for personal use only and may not be reproduced in any form
without prior permission)
MARTIN BRAY
Nov 17, 2012, 3:07:54 AM11/17/12
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David, These pictures are some of the most inspiring I've ever seen at night. The only thing I can't get my head around is the shutter speed of 1/160 and 1/50 which should have all the hallmarks of softness which I don't see upon very close scrutiny of the pictures. They're razor sharp. Dare I suggest that the driver stopped the vehicle for you? The only other issue is, they weren't Stagecoach vehicles.
I wonder if our Mr Perry can help me out?
Regards
Martin Bray, Swansea, UK
Martin Bray, Swansea, UK
Stagecoach Cymru... http://www.stagecoach-cymru.co.uk/
Welcome to Margam Depot...http://www.margam-depot.co.uk
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David Beilby
Nov 17, 2012, 7:56:37 AM11/17/12
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One thing I've realised through these pictures, particularly the
second one on the unlit road, is that I sub-consciously pan the camera
whenever I photograph a moving bus. I didn't even know I was doing it
- the giveaway is the distant street lights.
In both cases the buses were moving and I've no idea who the drivers
were - I certainly didn't make any arrangement with them.
It's odd standing with camera ready in the pitch dark - although I've
got a bit used to it. You will notice that on the first photograph the
camera has still managed to "miss" the display!
Now to get the time machine working - except the technique probably
still wouldn't work as street and bus lighting levels were lower then
and you still couldn't do it.
That shot of AJs last night was really good. I'd been out shopping
last night and it had got a bit misty and I was thinking that the
effect with the street lights was good - only AJ actually captured
it! I did have a little play with his photograph in Photoshop which I
suggest anybody else interested does (and this is not a criticism of
the photograph, by the way). If you go into hue/saturation and select
each of the six individual options to edit, Reds, Yellows, Greens,
Cyans, Blues and Magentas you will find you move the sliders over the
full range for the last four and it makes no difference at all to the
image, apart from a little bit inside the vehicle. That's because of
the very narrow spectrum from the sodium lighting on the outside,
whilst the interior is fluorescent-lit with a wider spectrum. This
isn't a camera thing - the task for the camera would be almost the
equivalent of turning a black and white image into a colour one and
there's a lot of us would like to be able to do that!
Night photography is a wide field with lots of different of different
approaches. Photofloods give you a bright and colourful image, but it
isn't natural - but does a photograph have to be natural? Similarly,
a natural photograph would have a lot of the image dark with no detail
- that's natural and what it was really like but if you just treat it
as a photograph of the bus it doesn't work well. Turning night shots
into black and white images often works surprisingly well and is worth
a try.
The good thing about photography (including night photography) is that
you can make up your own rules. In the digital age it's much easier
(and cheaper) to experiment - you get the result instantly and can
correct and have another go. More than anything though, when you're
experimenting the one that comes out is easily worth the ten that
didn't. (I haven't shown you those!)
Regards,
David Beilby
> >>> To unsubscribe from this group, send email to welsh-bus-photog...@googlegroups.com
second one on the unlit road, is that I sub-consciously pan the camera
whenever I photograph a moving bus. I didn't even know I was doing it
- the giveaway is the distant street lights.
In both cases the buses were moving and I've no idea who the drivers
were - I certainly didn't make any arrangement with them.
It's odd standing with camera ready in the pitch dark - although I've
got a bit used to it. You will notice that on the first photograph the
camera has still managed to "miss" the display!
Now to get the time machine working - except the technique probably
still wouldn't work as street and bus lighting levels were lower then
and you still couldn't do it.
That shot of AJs last night was really good. I'd been out shopping
last night and it had got a bit misty and I was thinking that the
effect with the street lights was good - only AJ actually captured
it! I did have a little play with his photograph in Photoshop which I
suggest anybody else interested does (and this is not a criticism of
the photograph, by the way). If you go into hue/saturation and select
each of the six individual options to edit, Reds, Yellows, Greens,
Cyans, Blues and Magentas you will find you move the sliders over the
full range for the last four and it makes no difference at all to the
image, apart from a little bit inside the vehicle. That's because of
the very narrow spectrum from the sodium lighting on the outside,
whilst the interior is fluorescent-lit with a wider spectrum. This
isn't a camera thing - the task for the camera would be almost the
equivalent of turning a black and white image into a colour one and
there's a lot of us would like to be able to do that!
Night photography is a wide field with lots of different of different
approaches. Photofloods give you a bright and colourful image, but it
isn't natural - but does a photograph have to be natural? Similarly,
a natural photograph would have a lot of the image dark with no detail
- that's natural and what it was really like but if you just treat it
as a photograph of the bus it doesn't work well. Turning night shots
into black and white images often works surprisingly well and is worth
a try.
The good thing about photography (including night photography) is that
you can make up your own rules. In the digital age it's much easier
(and cheaper) to experiment - you get the result instantly and can
correct and have another go. More than anything though, when you're
experimenting the one that comes out is easily worth the ten that
didn't. (I haven't shown you those!)
Regards,
David Beilby
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MARTIN BRAY
Nov 17, 2012, 9:48:51 AM11/17/12
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David,
I looked for the tell, tell signs of panning on the unlit road and on the basis of the sharpness of the fence just in front of the bus, which I would have expected to be soft, its razor sharp!
With respect to Black and White, I would normally use channel mixer (I use cs6) for this as I did with 20697. When I went for the infra red look 200% green took the green of the vehicle to white so I moved the red channel to 200% and played with the green and blue channels till I got the black and white effect that suited me. I didn't bother with a black and white cast (red+blue+green not equal to 100%).
I'm tempted to forgo my home made curry tonight and spend a
couple of hours in town. I have found my old 50mm prime lens as well.
Hmm, I wonder if I'll get any finger gestures from 1st Buses?
Regards
Martin Bray, Swansea, UK
Martin Bray, Swansea, UK
Stagecoach Cymru... http://www.stagecoach-cymru.co.uk/
Welcome to Margam Depot...http://www.margam-depot.co.uk
From: David Beilby <da...@beilby.gotadsl.co.uk>
To: welsh-bus-...@googlegroups.com
Sent: Saturday, 17 November 2012, 12:56
Subject: Re: After Dark
To: welsh-bus-...@googlegroups.com
Sent: Saturday, 17 November 2012, 12:56
Subject: Re: After Dark
One thing I've realised through these pictures, particularly the second one on the unlit road, is that I sub-consciously pan the camera whenever I photograph a moving bus. I didn't even know I was doing it - the giveaway is the distant street lights.
In both cases the buses were moving and I've no idea who the drivers were - I certainly didn't make any arrangement with them.
It's odd standing with camera ready in the pitch dark - although I've got a bit used to it. You will notice that on the first photograph the camera has still managed to "miss" the display!
Now to get the time machine working - except the technique probably still wouldn't work as street and bus lighting levels were lower then and you still couldn't do it.
That shot of AJs last night was really good. I'd been out shopping last night and it had got a bit misty and I was thinking that the effect with the street lights was good - only AJ actually captured it! I did have a little play with his photograph in Photoshop which I suggest anybody else interested does (and this is not a criticism of the photograph, by the way). If you go into hue/saturation and select each of the six individual options to edit, Reds, Yellows, Greens, Cyans, Blues and Magentas you will find you move the sliders over the full range for the last four and it makes no difference at all to the image, apart from a little bit inside the vehicle. That's because of the very narrow spectrum from the sodium lighting on the outside, whilst the interior is fluorescent-lit with a wider spectrum. This isn't a camera thing - the task for the camera would be almost the equivalent of turning a black and white image into a colour one and there's a lot of us would like to be able to do that!
Night photography is a wide field with lots of different of different approaches. Photofloods give you a bright and colourful image, but it isn't natural - but does a photograph have to be natural? Similarly, a natural photograph would have a lot of the image dark with no detail - that's natural and what it was really like but if you just treat it as a photograph of the bus it doesn't work well. Turning night shots into black and white images often works surprisingly well and is worth a try.
The good thing about photography (including night photography) is that you can make up your own rules. In the digital age it's much easier (and cheaper) to experiment - you get the result instantly and can correct and have another go. More than anything though, when you're experimenting the one that comes out is easily worth the ten that didn't. (I haven't shown you those!)
Regards,
David Beilby
On 17 Nov 2012, at 08:07, MARTIN BRAY wrote:
> David, These pictures are some of the most inspiring I've ever seen at night. The only thing I can't get my head around is the shutter speed of 1/160 and 1/50 which should have all the hallmarks of softness which I don't see upon very close scrutiny of the pictures. They're razor sharp. Dare I suggest that the driver stopped the vehicle for you? The only other issue is, they weren't Stagecoach vehicles.
>
> I wonder if our Mr Perry can help me out?
>
> Regards
>
> Martin Bray, Swansea, UK
>
> Stagecoach Cymru... http://www.stagecoach-cymru.co.uk/
>
> Welcome to Margam Depot...http://www.margam-depot.co.uk/
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AJ
Nov 17, 2012, 10:00:33 AM11/17/12
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Hi david,
Would be great to see your edit, I uploaded it directly from my phone. I had a 10 minute layover there and saw Barrie's excellent photo of the First dart, thought i'd test out my phone camera at night!
Alex
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David Beilby
Nov 17, 2012, 10:06:15 AM11/17/12
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I'd have the curry first to keep warm (unless you are aware of side-
effects).
I hope you're successful. Watch out for headlights, they can be a pain.
Regards,
David Beilby
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effects).
I hope you're successful. Watch out for headlights, they can be a pain.
Regards,
David Beilby
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Ian Kirby
Nov 17, 2012, 10:11:29 AM11/17/12
to welsh-bus-photographs
It was worth doing too.
Ian
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David Beilby
Nov 17, 2012, 11:24:16 AM11/17/12
to welsh-bus-...@googlegroups.com
As a serious camera user I'm afraid I've been a bit snobbish about
phone cameras, but you've proved how far they've progressed too! And
a bit more portable than my heavy lump allowing you to grab
opportunities like this.
It was more of a play in Photoshop, just to satisfy myself about the
colours, but it did brighten up a bit, so I've attached an edit.
Apart from brightness and contrast I've crudely filtered the 'sky' for
noise, although I expected the edges of that filtering to be more
obvious than they seem to be. I've also sharpened slightly, but you
tend to aggravate noise if you do that too much.
Cardiff's livery is a bit of a challenge under sodium lighting. The
second colour (which I'm not going to make a fool of myself by naming)
comes out basically as black and orange under sodium lighting is a bit
odd too.
Regards,
David Beilby
phone cameras, but you've proved how far they've progressed too! And
a bit more portable than my heavy lump allowing you to grab
opportunities like this.
It was more of a play in Photoshop, just to satisfy myself about the
colours, but it did brighten up a bit, so I've attached an edit.
Apart from brightness and contrast I've crudely filtered the 'sky' for
noise, although I expected the edges of that filtering to be more
obvious than they seem to be. I've also sharpened slightly, but you
tend to aggravate noise if you do that too much.
Cardiff's livery is a bit of a challenge under sodium lighting. The
second colour (which I'm not going to make a fool of myself by naming)
comes out basically as black and orange under sodium lighting is a bit
odd too.
Regards,
David Beilby
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