In the Night In the Dark
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It took me a long time to capture the image above because I wanted the people spread out evenly throughout the entire scene and I also wanted something interesting within the foreground, which is the pose of the woman in the street and the man looking at her. It took some time, and a lot of captures for this to happen. Whether you want to try flash on the street is up to you, but keep in mind that it can easily lead to some confrontations.
I prefer to work with the constraints of the natural light on the street and I also get uncomfortable flashing strangers in the face in dark settings, but many prefer to photograph this way. It creates a fantastic look when done well.
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Using a flash means that you are freed from a lot of the constraints of photographing at night. You can use a faster shutter speed and include more depth of field in the photo and less grain noise. You can either have the flash do all of the work lighting the scene, where the foreground area within reach of the flash is lit and everything else is dark, or you can set the camera to expose for the scene, similar to what you would do without the flash, and then use the flash to add some fill light to your main subjects in the foreground.
That being said, even with the best settings, some of your images will be taken in areas that are too dark to be exposed correctly. For the occasional shots with excellent content that you want to save, you will have no choice but to raise the exposure when editing. For these photos, I will first ignore the noise and get the exposure and look correct in Lightroom.
Luckily, there are some keys to saving an image like this as long as you are photographing in RAW. What I do is to first remove the grain and then I add it back. I want the image to look grainy, but I want the grain to look pleasing. If the noise is still bad after noise reduction I will sometimes bring it into Photoshop and add a very slight Gaussian blur. This grain looks much more pleasing to the eye than brightened, extreme digital noise and it can further hide some of the technical deficiencies in underexposed images.
Into the dark: what’s it like working through the night?
Wookie View Profile View Posts. How dark is night time? You couldn't adjust things like gamma, Just some thing to bring the realism back. Showing 1 - 15 of 27 comments. Wonderwe1ss View Profile View Posts. For now 1 day in SCUM is 6h real time, and 4 is day 2 is night.
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We will see about the game adjustments regarding that. As if its too real it tends to be too bothersome. But we will look into it for sure. Last edited by Wonderwe1ss ; 20 Aug 4: View Profile View Posts.
‘I’m the outrageous colour at the party’: Maxi More, drag queen, London
Would be cool if you disable access to gamma when night time occurs to keep everyone on a even playing field default it to the default gamma amount at night. We finish around half-five in the morning. I drive home in silence, and get into bed fully dressed. Having someone live overnight is important. Our listeners depend on us. Some are struggling to sleep in the midst of depression. When I became a mum at 24, I was the first of my friends to have a child. Radio kept me sane on those lonely nights up feeding.
Photos Add Image Add an image Do you have any images for this title? Cekszizoltn View Profile View Posts. That can be the hardest part, especially after a really emotional conversation. Showing 1 - 15 of 27 comments. I prefer to work with the constraints of the natural light on the street and I also get uncomfortable flashing strangers in the face in dark settings, but many prefer to photograph this way.
It makes for quite a convoy — but we need it all to keep the roads and runways safe. Once the final plane has left the runway we come out of the shadows and get to work. Whatever time we get started — and there are often delays — we have to be clear by the time the first flight is due to land at 4. By 1am things tend to be a little quieter. Diet is important — I eat healthily, lots of protein. After dark, it can be a challenge to provide everything our guests might wish for. But you build a network of contacts in the city and in concierge teams across the world.
A couple of weeks back a member of a Middle Eastern royal family wanted Krispy Kreme donuts at 5am — long before any shop was open. The other day we were tasked with arranging a helicopter in a call that came in after midnight to pick up our guests at 7am. My contact book is a manual, a guide to the city at night. I grew up on a council estate in Islington.
The culture here was something of a shock at first. But serving in the army prepared me well for the job: To join the Golden Keys Society — an international network of concierges — you quite literally need to serve your time to earn your stripes. You can tell who else has worked the night — everyone has their head down. You experiment in search of the easiest way home. Anyone getting off the train with you at the end of the line has done a night shift as well.
A young woman wakes to a strange noise in the night and is quickly overwhelmed by the fear that someone or something might be in the bedroom with her. Emma Keane, Edward Kennedy. Emma Keane. In the Dark of the Night " is a song from the Fox Animation Studios film Anastasia. It is sung by Rasputin and serves as the villain song. Synopsis[edit].
Every call starts the same: My friend, who I volunteer with, picks me up in her car around 10pm — we have a happy playlist which we sing along to on the way in. Then we turn the phones on. I was surprised at first at how busy we are. Callers talk about loneliness, depression, suicide, grief.
It could be anything really.
That can be the hardest part, especially after a really emotional conversation. Doing the phones at night can make you feel quite isolated. At the end we drive home in silence. We give ourselves space to wind down. When I get into bed I cuddle my partner. I never called the Samaritans before I became a volunteer, but I know friends who did.
It also changes you. You learn the importance of checking people are OK.
Florists, midwives, bakers and others throw some light on the challenges of going nocturnal by Michael Segalov. Phil Fisk for the Observer Sun 11 Nov Edwin Martin, florist, London.