SUNRISE AND SUNSET PHOTOGRAPHY

Planning

Pick a location that is out of the way of road and foot traffic, where you’re unlikely to be disturbed. Go to the location in broad daylight before the shoot, and ensure your view of the horizon will be unobstructed and free of any hazards. Look for interesting forgrounds.

 If you are in a new location, ask around about great locations for sunrise.

The most important part of planning a sunrise shoot is pre-visualization. This is the act of looking at a scene and imagining it at the time of sunrise. There are a number of apps to help with pre-visualization. They can point directly to where the sun will rise and help you decide camera angles and compositions.

The most important factor after the location is time of the day. Obviously, this will vary depending on whether you’re capturing a sunrise or a sunset. Is there a storm coming? If your shooting time coincides with an approaching or recently-ended storm, the results can be staggering. Rain and storm clouds can add a dramatic layer of dimension to the scene.

Being well organized and knowing your bag front to back by touch is valuable when the sun hasn’t yet risen. Depending on your latitude and cloud cover, it may be quite dark until just before sunrise so it is important to not be fumbling with gear or hunting for your flashlight.

Arrive Early 

Often the best show of colours comes before the sun breaches the horizon if you have decent cloud cover. Arriving 30 minutes before sunrise might mean you miss this colourful show or are scrambling to get set up and shoot before the colours are dashed.

Photo: Sue Whiteman

Being prepared and planning ahead is a great way to enjoy sunrise photography without the rush. Take the time to scout and plan ahead by having your gear ready. 

Clean Your Lens

When we take our photo gear out into the elements, it gets dirty.  Nothing seems to attract dust as much as the front element of a lens.  Just take a look at it after you've been outside shooting for a while.  Point that dirty lens toward the sun and even the tiniest specks of dust will be accentuated in the resulting images.  

 Sunrise, or Sunset?

There is a slight difference in the appearance of light at sunset versus what you’ll see at sunrise. Early morning light tends to be cooler (higher blue) than light in the late evening, which leans toward more warm colour castings consisting of orange and red.

Blue morning

Orange evening

Since we know there are differing colour temperatures at work here, you might need to adjust for this, depending on what feel you’re going for, either through warming or cooling filters, or adjustments in post-production to add or remove warmth into the colour profile of the final photograph.

Gear

Obviously you can’t capture the right shot without the right gear; so make sure you have it all ready to go before you head out. First and foremost, you’ll want to bring your tripod. Sunrises and sunsets are potentially low-light situations (depending on what part of the sunset you’re trying to capture), so you want a steady base for your camera.

Secondly, you’ll want to determine what lens to use for the shot.  Even though beautiful landscapes can be captured using a 35mm or 50mm focal length (for sensors with a 1.6 crop factor – 56 to 80mm on a full frame system), a wide angle lens is preferred, including any zoom lenses that can capture a length of 25mm and below (40mm on a full frame system).  If you have a prime lens at these lengths, you will have a better chance of catching an even sharper image.  Using a wide angle lens will allow you to capture a more vast, sweeping portion of the scene.

wide angle

Although using filters can degrade image quality a bit, due to the addition of another obstacle for light to pass through between your subject and your camera’s sensor, there are some that could be useful here, such as a GND (graduated neutral density) filter, to darken the upper portion of the sky a bit. Filters such as UV (ultraviolet) or polarizing filters may actually be a hindrance in these situations, and should be avoided. These filters reduce the amount of light coming in to the sensor, further increasing the required exposure time, which may not be idea if you’re trying to freeze any motion in the shot.

Use a tripod

Use a tripod because as the sun goes down, especially with sunrises but with sunsets the light will quickly diminish and then a tripod is necessary.  That means your shutter speed could get too slow to hand-hold the camera anyway.  With the camera on the tripod, the shutter speed can be longer without the worry of camera shake. However, be aware of moving foreground objects, such as blowing trees.  A slower shutter speed could introduce motion blur, which may not be the desired effect.

Settings

It’s best not to use automatic settings. Unfortunately, automatic shutter speed can cause shots to be underexposed or overexposed depending on whether the camera is using the dark foreground or the lighter sky to set the speed and aperture.

The aperture will need to be set to a large number, such as f/11, f/13, or f/16.  The lens opening gets smaller as the f-number get larger.  A larger f-number is also what is needed to give the sun the starburst effect.   A lower ISO setting usually means less grain (noise) and results in a cleaner image.  Set the ISO to the lowest setting for your camera, usually either 100 or 200.  Try to keep the ISO at the lowest setting, if possible. 

 If you're shooting in Aperture Priority mode, the shutter speed will be set automatically by the camera.  However, you still need to keep an eye on the shutter speed to make sure it doesn't get too slow for the situation.  You may need to increase the shutter speed to prevent motion blur of foreground subjects or camera shake if you happen to be hand-holding the camera.

After shooting a few images, it's a good idea to review the photos on the camera's LCD and to also look at the histogram.  If the exposure is not what you want, a quick and easy way to make an adjustment is to apply exposure compensation.  If the image looks a little too dark, apply some positive exposure compensation.  Conversely, if it's a bit too bright, a bit of negative exposure compensation should tone down the image.  Experiment with it to see how it works and the amount of exposure compensation you need.

Sunset photography, especially when including the sun in the frame, is a very high dynamic range (HDR) in which to shoot.  In other words, there is a huge difference in tonal values between the brightest and darkest parts in the image.  A lot of times, the dynamic range is too high for our cameras to capture everything in a single image.  If you expose for the brightest parts, then the shadows become black.  When exposing to bring out the shadows, the sky will likely be blown out and that detail will be lost.  This is a situation where shooting multiple exposures of the same scene may help.

Shooting bracketed exposures is usually pretty easy to do.   Most all modern DSLRs and mirrorless cameras have automatic exposure bracketing.  Check your manual to see how to do this with your camera.  The default is typically set to shoot 3 exposures.  One will be the correct exposure, one underexposed, and one overexposed.  The amount of under- or over-exposure can be set in-camera.  Some cameras even allow for 5, 7, or even 9 bracketed exposures, but 3 is generally enough.  After the bracketed exposures are captured, they can be combined into a single image using Lightroom's Photo Merge HDR feature or other HDR software.

normal camera setting

over exposed

under exposed

merged three photos

Auto Exposure Lock is another trick to use. It allows you to point the camera at the dark area and return to your composition and the shot will be lighter. I prefer the other way. Point at the light part and press the shutter half way down then move back to the sunset. This will make the sky darker and more colourful.

Don’t use automatic white balance, it makes it too cool looking. Use ‘cloudy’ or ‘shade’ , which will bring out the warm colours.

Use manual focus and set it to infinity. In automatic  focus the camera has difficulty finding something to focus on in the sky.

Use vivid mode for high colour and contrast.

Vary focal lengths

For sunset photography, and landscape images in general, wide, sweeping vistas are typically what you will want to capture.  A focal length range of 14 mm to roughly 24 mm is a good starting point to compose the image and get everything in the photo that you want.  Shooting at a wider angle will also accentuate the starburst effect for more dramatic sunset images. 

After getting that wide angle shot, try switching lenses and zooming in.  Try different focal lengths. The only limitation should be your own creativity. There's no rule about what focal length is right.

zoom

narrow DOF Photo: Karen Larsen

Compose for Interest

A sunrise or sunset can actually be pretty boring. That is when there is a lack of compelling subject matter in a photo of a sunrise or sunset like for example an empty beach with just the setting sun.

“While sitting on a beach and seeing a sunset can seem like a wonderful experience, unfortunately, the camera cannot replicate that. Most successful photos of sunrises or sunsets have a point of interest in them, in that there is a subject that is the main story and the sunrise or sunset is providing the light and the atmosphere.

That story doesn’t necessarily have to be a person or an object in the frame. The story could be the beautiful scenery or the crashing waves against the coast. But the key point is that there is something that gets the viewers’ attention. So, don’t just rely on the sunrise or sunset, try to build your composition using it as an addition rather than the story.” Kav Dadfar

All photos need a point of interest e.g. palms, pier, person, mountain, boat, animal or a crashing wave. 

Once you have identified that, simply compose the shot to include more of the most dramatic scenery. If you have an angry, cloudy sky that accentuates the sunlight, let that occupy the upper 2/3 of the scene. If you have an interesting foreground or landscape below the sun, and a less-intriguing sky, let that occupy the bottom 2/3 of the image. You want to draw the viewer into the horizon, and then let their eyes drift to the most dramatic part of the image.

2/3 sky

2/3 foreground

The most common error in shooting sunsets or sunrises is composing the horizon exactly in the middle of the photo. While this can work in some cases, it normally causes a bit too much symmetry and can make the picture uninteresting.

Use the rule of thirds and place the sun, silhouette, or the point of interest off centre.

Use the LCD to Compose and Shoot

Sunset photography may involve pointing the camera/lens directly at the sun.  You don't want to look through the viewfinder because of the possibility of damaging your eyes.  Therefore, take advantage of the LCD to frame up your shots.  If your camera happens to have a tilting LCD, it is awesome for getting low angle shots without laying on the ground.  All cameras should have that feature!

Be Patient Don’t Leave too Early

After the sun goes down below the horizon, don't leave right away.  Keep watching the light and colours in the sky and keep shooting.  Quite often the best colour will happen well after the sun has set.  This is especially true if there are a few clouds in the sky near the horizon. Also remember to look behind you to see what the sun is hitting.

Don't worry too much about keeping all the info in your head. Just have have a passion and have fun practicing and practicing.

COMPOSITION

Instead of looking at composition as a set of ‘rules’ to follow – look at it as a set of ingredients that can be taken out of the pantry at any point and used to make a great photograph.  Here are some ingredients:

1.Rule of Thirds

Break the image into thirds, horizontally and vertically. Find the grid in your camera. Eyes need to rest on something.

Ask yourself, “What are the points of interest?”

Place points of interest, (focal point, subject) on the intersections or along the lines 

Place eyes on the intersections

Place vertical objects along the lines.

Once you’ve learnt the rule, you can break it, which can result in striking shots

Place horizons along the lines. Don’t usually put the horizon in the middle. The viewer can’t rest their eyes on one part of the photo but continually flick from top to bottom.

Keep Rule of Thirds in mind when post processing (editing/cropping/reframing) images with editing software.

2. Lines

Lines are a powerful element that adds dynamic impact to the image. They can lead the viewer’s eye into the photograph. This doesn’t just happen it needs practice. Look at old photos and find where lines have worked or not. Next time shooting, consciously ask yourself, “What lines can I see and how might I use them? Ask yourself, “Are lines forming a pattern that might add interest?”

Horizontal Lines

Landscape (wide) horizontal lines give calming and stability

Portrait (narrow) horizontal lines create emphasis

Horizons are the most common horizontal line to be found in photographs and they often act as a dividing point in a photograph – in effect an anchor that the rest of the image is formed around.

An unbroken horizon can lead to a static/boring image. Break it up with other shapes, point of interest, mountains, trees and buildings

Keep the image square and the horizon straight; use the top and the bottom of the viewfinder; use the focal points or the focusing rectangle in the viewfinder; use the grid in the camera; use editing software’s straightening tool.

Not only should horizons be straight but any lines within the image should be straight for example lines behind a portrait and lines in a building etc.

If you are purposely changing the angle always make sure that it is severe not just a little bit crooked.

Vertical Lines

Adds mood, power, strength, growth e.g. Trees, buildings, 

They are accentuated if you shoot in vertical framing (portrait)

Keep in line with the sides of the image but when looking up it is not possible so keep the centre line straight or move further away and use wide angle.

Look for patterns with other lines

Remember the Rule of Thirds try not to cut the image in half with a vertical line

These rules can be broken with strong lines for impact

Diagonal Lines

It generally draws the eye of the viewer through the photograph

It adds action and gives a dynamic look and feel

Studies show people usually look from left to right when viewing an image so put the diagonal line from the lower left to the higher right but not corner to corner splitting the image in half.

Create points of interest at the intersection of other lines

Repeated lines can create pleasing patterns e.g. wind-blown lines on sand dunes, plowed fields, rows of chairs etc

Intersect lines to create a pattern but be careful not to make it too chaotic

Converging Lines

Multiple lines that converge or come close to one another can lead the viewer’s eye into the shot e.g. Bridges, roads, fences, pathways, power lines, railway tracks, any lines running parallel into the distance.

Experiment with positioning by standing in the centre to give a symmetrical shot. Step to the side to get a diagonal line but not from corner to corner. You can hold the camera at an angle for different positions. 

Use a wide-angle lens; it makes the beginning of the lines look wider when standing in the middle.

Position the convergence so that the subject will be where the lines converge and this becomes the focal point. 

Keep in mind the Rule of Thirds. Be aware that the convergence could be outside the shot. 

Converging lines can lead the eye out of the shot but it can create intrigue as to where it is going.

The “s” curve is a strong way to lead the viewer’s eye into the shot.

3. Different Perspectives

Make your images more interesting by changing the angles
Instead of standing and shooting straight on, crouch or lie down and shoot up, this creates impact and a feeling of size. It makes patterns more pronounced. Put the camera on the ground and chance it

Climb above and shoot down. 

When photographing children get down to their level and with babies lie on the floor

Hold your camera at an angle creates added interest.

Using a wide-angle lens or a zoom gives different perspectives too.

Some LCD screens can swivel, use it. 

4. Focal Point (Point of interest, subject)

The focal point is the central point of interest. You have to think what will draw the eye of the viewers, what is in the image that will make it stand out, and what is the subject. When you look at an image your eyes need a “resting place” a point of interest to hold the eye. Without it people will glance and move on. A focal point can be a person, a building, a mountain, a flower etc.

Position - place the focal point in a prominent position, start with the Rule of Thirds

Focus - learn to use Depth of Field to blur out things in the background and/or the foreground

Blur - play with shutter speeds especially if things are moving around the focal point

Size - make the focal point large

Colour - use contrasting colour to make the focal point stand out

Shape - contrasting shapes and textures can make the subject stand out

Repeated patterns - putting patterns around the subject makes it stand out

Keep in mind a combination of these elements. Don’t have too many focal or secondary points. Don’t clutter.

In action photography or where anything is moving you need to create space in front of the subject to move into. This is called the active space. The space behind the subject is called dead space. The reason is, when someone views the moving subject his/her eyes naturally move in the direction the object is moving.

5. Active Space 

Working with the way the image is viewed will create balance, drama and anticipation. The types of subjects are; people running, cycling, swinging, cars and moving animals

Active space is also used in portrait photography. A person should be given space to look into. Leave space on the side of the image where the person is facing or looking.

6. Backgrounds 

Backgrounds can enhance the subjects and put them in context (tell a story) or they can overwhelm subjects and be distracting. 

Watch out for protruding elements from the subject’s head 

Watch out for lines in the background that will compete with the subject. 

Don’t cut heads off with horizontal lines like the horizon, window ledge, picture frame etc.

Look for light patches and lines that clash.

Check the background before hitting the shutter release. Look for things that don’t belong. 

Dealing with Distracting Backgrounds

Use a wide aperture to blur backgrounds and make a shallow Depth of Field.

Fill the frame with the subject. Move in or zoom in. 

Filling the frame is also important with still life shots e.g. food at a restaurant or at a market. Use your legs and get close. Crop your shots but be careful major cropping causes noise and you lose quality

While it can be appropriate to take shots that put people in context, don’t let them get lost. Faces disappear when you are a few meters away. So it is important to get as close as you can.

 Shots come alive with facial expressions like grimaces or laughing.

Move distracting objects like bottles, furniture
Move the subject or move yourself

Watch out for someone else walking into the photo or behind the subject
Use post processing to remove distractions.
Change the angle, landscape to portrait.

Pan with the moving subject to blur the background

Place the subject a long way from the background it will make it blurry. Use a narrow Depth of Field.

It is best to place the subject in an open field not up against a wall

Use editing software to remove distractions, to blur, and to change the background to B&W


Make your own backgrounds with coloured card or fabric.

7. Figure to Ground
Figure to ground is the relationship between the subject or figure to the background. It gives a 3D effect. It is a powerful ingredient and once you learn it, it will become a part of every picture you take, no matter what type of camera you use. Figure to ground acts like an anchor in a photograph, holding the viewer’s eye inside the frame. Basically it means have a light figure on a dark ground or a dark figure on a light ground. The opposite to figure to ground is camouflage.

8. Framing

Framing your shots draws attention to the subject by blocking other parts of the image. Use something in the scene to frame the shot. 

Benefits of framing

It leads your eye to the main focal point. It draws your eye into the picture and keeps it there longer. It forms a barrier between the subject and the outside of the shot

You can use branches, windows, tunnels, arches, doorways and even people by shooting between heads or over shoulders.

It gives the photo context e.g. archways in a city, foliage for outside

You can blur the frame by using a large aperture or keep it sharp by using a small aperture. 

It gives sense of depth and layers if you use something in the foreground to frame the shot

It intrigues the viewer, it makes them wonder a little what is behind the frame but if you get it wrong it can be annoying. Be careful not to let the frame clutter the photo or distract from the subject.

Now that you have learnt the rules feel free to break them and still make stunning photos. All you need is a passion, a good imagination and practice, practice, practice.

Remember:

A good photo should engage the viewer,

 evoke emotion and tell a story.