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Night photography is a little trickier with a digital camera than with a 35mm SLR Don t get me wrong film has its own problems Reciprocity failure, for instance, is a phenomenon that affects 35mm film What it means is that film reacts somewhat unpredictably during very long exposures, such as at night Film is designed to be exposed to light for a fraction of a second; if you leave the shutter open for 10 seconds, the reliable relationship between the aperture size and shutter speed begins to fail That makes night photography for 35mm photographers something of a guessing game For digital photography, we have a completely different problem to contend with When you expose a CCD to light, it gets hot This heat manifests itself in the form of noise in your final picture After all, the light and heat are forms of energy, and the heat energy collecting on the CCD has a negative effect on the picture For short exposures, this is rarely, if ever, an issue You might see some noise in your picture if you set the camera s ISO value to a very high number when you re shooting in bright light, but usually the shutter speed is so short that there is little time for the CCD to generate noise in the final image When you are measuring the exposure in seconds, however, noise can build up quickly Take a look at Figure 4-8 Here you can see how digital noise affects a picture when the shutter speed is more than a few seconds long Some cameras, like the Olympus e-10, are designed to minimize this long-exposure noise The CCD is built directly onto a heat sink to carry excess energy away during long exposures Many digital cameras don t have that feature, however, and as a result you ll simply have to live with that noise The two ways to minimize this effect are to keep the shutter speed as short as possible to get the effect you re looking for, or to run a noise reduction or despeckle filter on your picture in an image editor after you transfer it to the computer.

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You ll find all kinds of things to photograph when the sun goes down, and each one requires a somewhat different technique Here are some suggestions to get you started:

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The Sunny 16 Rule (discussed in 3) may work for you in this situation, but I ve found that many cameras get confused by the dramatic variation in brightness with shots like this, so you may need to experiment a bit If you can get enough magnification out of your lens so that the moon fills up at least half of the frame, you ll need to shoot a fairly fast shutter speed or even set the EV value to underexpose the frame And be sure to use a tripod

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on the sky itself, not your subject or anything on the ground And take a few extra pictures, bracketing your exposure to make sure you get the shot

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Set your camera to its close-focus mode Close focus a manual-focus camera Ensure proper focus when shooting very close up Use the correction marks in the optical viewfinder Use optional close-focus lenses Interpret diopter numbers Configure a tripod for semi-steady macro shots Blur the background Maximize your depth of field for sharper pictures Eliminate reflections from glass display cases

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