Tips for Successful Panning

by Natalie Norton


1. Panning requires a steady hand and a relatively slow shutter speed.

The actual shutter speed depends on the speed of the subject but generally it will be 1/200th or slower. 1/200th if your subject is really flying along, like a speeding car on a race track, and maybe as slow as 1/40th of a second if your subject is a runner on a track.

2. Keep in mind that the faster your shutter speed is the easier it will be to keep your subject crisp.

Especially as you’re learning the art of panning, don’t slow your shutter down too much. Just keep it slow enough to begin to show some motion. As your confidence increases and you’ve got the hang of things, go ahead and slow your shutter more and more to show even further pronounced motion and thus separation of your speeding subject from the background.

3. Make sure your subject remains in the same portion of the frame during the entire exposure: this will ensure a crisp, sharp subject.

4. Remember that the faster your subject is moving the more difficult it will be to pan.

This point goes right along with number 3. It’s harder to keep your subject in the same portion of the frame if it’s moving faster than you are able to. So again, start with something a little slower and then progress from there.

5. Have fun! and if at first you don’t succeed, give up for sure. Wait, er, try try again.



When I was trying to learn how to pan I sincerely found it difficult to match my speed to that of my subject. I’d plant my feet firmly in the ground, pull my elbows in tightly to my sides to avoid camera shake, wait wait wait for my subject and then zoom right along with them. I was having the most difficult time! I’d normally move faster than my subject ending up with an image that was nothing short of a blurry mess. Then I had an idea. I took my son with one hand, held my camera to my eye with the other, and spun him in a circle.

Slow Sync Flash

by Darren Rowse

Low Light Photography Options


When shooting with a subject in low light situations you generally have two options; either to shoot with a flash or to shoot with a slow shutter speed.


1. Flash – When shooting in low light with a flash in auto mode your camera will choose a relatively fast shutter speed. This means that your subject will be well lit and that if it is moving it will be frozen and as a result will be sharp. The problem with this is that it can also leave your subject lit up too brightly and can leave it’s background looking very dark as there is not enough time for the camera to collect any ambient light.

2. Slow Shutter Speed – The other option is to turn your flash off and shoot with a longer shutter speed in order to collect enough available light from the image to get a well exposed shot. This can be an effective technique if you’re shooting landscape or environmental shots where everything is nice and still – however if you’re shooting a moving subject it means you’ll get motion blur which could ruin your shot.

Both of the above options are legitimate technique but both have their weaknesses. Another options to consider is slow sync flash.

What is Slow Sync Flash?


Slow Sync Flash is a function found on many cameras that tells your camera to shoot with both a longer shutter speed as well as firing the flash. This means you get the best of both worlds above and can both get a relatively sharp shot of your main subject as well as get some ambient light from the background and foreground.

Some cameras allow you to access slow sync flash manually and set exposure length and flash strength but on many compact cameras there is a little less control given and it’s presented as an automatic shooting mode, often called ‘night mode’ or even ‘party mode’ where the camera selects the slower shutter speed and flash strength for you.

Rear and Front Curtain Sync

If your camera gives you some manual control when it comes to slow sync flash you might find yourself presented with two options called ‘rear curtain sync’ and ‘front curtain sync’.

These two modes sound a little technical but to put it most simply they are the way in which you choose when to fire your flash during the longer exposure.


Rear Curtain Sync – this tells your camera to fire the flash at the end of the exposure. ie when you press the shutter your lens opens up and starts collecting light and just before it closes the flash will fire to light up and freeze your main subject (see the card shot to the left for an example where you’ll see the card trail ending in a nice crisp shot of the card).

Front Curtain Sync – this tells your camera to fire the flash at the start of the exposure. ie when you press the shutter, the flash will fire immediately and the shutter will remain open afterwards capturing ambient light.

You might not think there’s much difference between these modes but when you’re photographing a moving subject it can have a real impact. You’ll find many action/sports photographers will use Rear Curtain Sync when shooting with a panning technique.



Tripod or Handheld?


When using either slow synch in either mode (or in the automatic ‘night mode’ you will want to consider whether or not to use a tripod. Traditionally when shooting with longer shutter speeds it is accepted that a tripod is essential in order to stop any camera movement. Even the steadiest of hands will not be able to stop a camera moving over even a 1 or 2 second exposure. So if you want to eliminate blur from your cameras movement definitely use a tripod (and consider a shutter release cable).

However in some circumstances hand holding your camera while using slow sync flash can lead to some wonderful effects. For example if you’re at a wedding or party and are out on the dance floor the results can be great at capturing the mood of a night with those you’re photographing largely frozen by the flash but the lights on the dance floor blurred from you moving your camera during the shot.

Of course hand held techniques won’t work with every situation so experiment with both methods at different shutter speeds and by using both rear and front curtain sync and find the best methods for your particular situation.

Tips for Photographing Stunning Sunsets

by Darren Rowse


Think Ahead - While sometimes wonderful sunrise and sunset shots can be taken spontaneously without any forethought it’s often the case that the best ones come out of planning. Scope out places that might be good for sunsets in the day or two before your shoot. Look for interesting places where you might not only be able to see the sun track all the way down but where there will be opportunities for shots that include foreground elements and silhouettes. Sunsets only take half an hour or so so you want to think about these elements before they start or you might miss the shots you’re after.


Find out when the sun will set or rise and get there at least half an hour before hand as it’s often in the lead up to and the time after the sun appears or disappears that the real magic happens.

Keep an eye on the weather also. There are a variety of different types of sunsets that produce a range of different types of lights and patterns in the sky. Don’t just go for clear days for these shots – while they can produce some wonderful colors it’s usually the times where there is cloud around that the real action happens! Also be aware of days when there is dust or smoke in the air as they can produce amazing results also.

Consider ahead of time what equipment you might need. Include a tripod, lenses that will give you a range of focal lengths, extra batteries etc




Composition Techniques

Shoot at a variety of focal lengths – wide angle can create sweeping landscape shots but if you want the sun itself to be a feature of the shot you’ll want to be able to zoom right in.

Keep in mind that the sun is just half a degree across so when you shoot with a wide lens it will only be taking up a reasonably small part of the photo. If you want it to be a feature of your shot you’ll need to zoom in on it using anything from a 200mm lens upwards. This will increase your need for a tripod!

Also be aware that when you look at the sun at the best of times it can be dangerous but when you look through a magnifying lens it can be quite dangerous is the sun is still too high in the sky.


Silhouettes as focal points - As with all photos, sunsets need a point of interest and one of the best ways to add one to a picture is to try to incorporate some sort of Silhouette into the shot. This could be something large like a mountain range, something that is part of the environment like a palm tree or a pier or could even be a person.

The great things about Silhouettes is that they add mood and context to a sunset or sunrise shot. I’ll write more on silhouettes in a future article.

Rule of thirds – Remember the rule of thirds in your photographing of sunrises and sunsets. While you can always break the rule it’s often a good idea to place elements like the horizon, sun, silhouettes etc off centre.



Exposure Techniques
Shoot at a variety of exposures - if you let your camera decide what shutter length to shoot at you’re likely to get a shot that doesn’t really capture the beauty of the light. Quite often the shot will be under exposed because the sky is still reasonably light.

Instead of relying upon the camera’s auto mode a sunset is an ideal time to switch your camera into aperture or shutter priority mode and to take a variety of shots at different exposures.

The great thing about sunsets and sunrises is that there is no one ‘right’ exposure and that you can get stunning results using a variety of them. Also keep in mind that different exposures (aperture and shutter speeds) will produce a variety of different results so it’s worth taking more than just a few shots – the key is to experiment.

I tend to switch into shutter priority mode and start with a relatively quick shutter speed and then slowly work down to slower ones.



Bracketing – Another technique to try to get the right exposure is ‘bracketing’ where you look at what the camera suggests you take the picture at and then take a few shots at both under and over that mark. ie if your camera says to shoot at 1/60th of a second at f/8 you would shoot off a shot at 1/60 at f/5.6 and then at f/11. In doing so you end up with a series of shots at different exposures which will all give you slightly different results and colors. Most DSLR’s and some point and shoot digital cameras have a built in bracketing feature so you don’t need to do this manually – learn how to use it!



Auto Exposure Lock - Another exposure trick, if you don’t have a bracketing mode or don’t feel confident in using it is if your camera has ‘auto exposure lock’ which allows you to point your camera at a darker place and lock in exposure for that spot (ie you could point it at the ground in front of you and lock in that exposure) and then reframe the picture looking at the sunset. This will mean you get a more over exposed shot.

Take camera out of Auto White balance mode – when you set your camera to ‘Auto’ in it’s white balance mode you run the risk of losing some of the warm golden tones of a sunrise or sunset. Instead try shooting in ‘cloudy’ or ’shade’ which are usually used in cooler lights and tell your camera to warm things up a little. Alternatively – if you’re shooting a sunrise and DO want a cooler moody shot you can experiment with other white balance settings.



Tripod – If you’re shooting at longer shutters speeds and with longer focal lengths then a tripod or some other way of ensuring your camera is completely still is essential.

Manual Focus – sometimes when shooting in extreme lighting conditions some cameras can have trouble focussing. If this is the case for your camera consider switching to manual focus to ensure you get nice crisp shots.

Look around you – The wonderful thing about sunsets is that they not only create wonderful colors in the sky in front of you but they also can cast a beautiful golden light that is wonderful for other types of photography. As the sunset progresses keep an eye on other opportunities for shots around you (not just in front of you). You might find a great opportunity for a portrait, landscape shot, macro shot etc behind you in the colden light.

Keep Shooting – A sunset or sunrise constantly changes over time and can produce great colors well after the sun goes down or appears so keep shooting at different exposures and focal lengths as I’ve mentioned above until you’re sure it’s all over.