| div class="googleright"> | | | | stops of positive exposure compensation to rectify |
| Shooting Buildings at Night | | | | the situation. Be careful though â dial in too |
| Shooting at night is a great way to inject more | | | | much compensation and you'll burn out the highlights. |
| pizzazz into your architectural photos. | | | | If overall scene metering proves problematic, switch |
| As an evening strolling through any town or city | | | | to Partial or Spot metering and meter off a mid-tone |
| centre will prove, brightly coloured floodlights can | | | | area within your subject. Noise is another potential |
| transform even lacklustre buildings into inspiring | | | | hazard with exposures often running into seconds or |
| photographic subjects. | | | | even minutes if you incorporating light trails from cars. |
| At this time of year, nocturnal shoots can also take | | | | To minimise the risk, shoot in RAW and choose a low |
| place at a more civilised hour because the sun is | | | | ISO setting, such as 100 or 200. In-camera noise |
| setting earlier in the evening rather than later. | | | | reduction is another good option if your camera |
| Probably the trickiest aspect of shooting buildings at | | | | offers it, but beware that this doubles |
| night is determining the correct exposure. Bright | | | | image-processing time. And finally, don't forget to |
| floodlights often fool in-camera light meters into | | | | stay vigilant. When you're concentrating on a shoot |
| underexposure, so be ready to dial in up to two | | | | it's easy to become unaware of your surroundings. |