Digital slow photography
The term “slow photography” is often associated with analogue photography. Film, by its very nature (cost, limited number of shots per roll, processing times), requires a calm and meditative approach, carefully evaluating the composition and exposure of each image. This is even more true as the format increases: while 35mm allows for a more relaxed operation, with medium and especially large format photography, one enters a completely different temporal dimension. Observing the image on the ground glass of the camera offers an entirely new experience, rediscovering the pleasure of dedicating more time to all preliminary shooting operations.
Digital photography, on the other hand, makes each photo virtually cost-free. An SD card can hold thousands of images, all instantly accessible. In certain situations (sports, events, photojournalism), this is a huge advantage, but in others (landscape, still life, architecture), it risks reducing attention to composition and exposure, encouraging the capture of many unnecessary images, almost relying on chance rather than on a conscious choice.
However, it is entirely possible to bring a calm and meditative dimension to digital photography, at least in photographic genres where one is faced with a relatively static subject. While it may be difficult to replicate the experience of shooting large-format film, one can certainly adopt the mindset that underpins slow photography, regardless of technique and equipment.
For this reason, I have compiled a list of simple tips for anyone accustomed to digital photography who wishes to explore the world of slow photography. These are not strict rules, merely suggestions that one can choose to follow in whole or in part, depending on the circumstances or the mood of the moment. This is also not meant to be a complete tutorial, as some points would need further expansion and discussion. The purpose of this article is simply to convey the idea that there is another way to approach digital photography. Happy reading!Sony A7II, 24mm, on tripod – © Maurizio Agelli, 2023
1) Do not rush
Take the necessary time to compose your image. If you are photographing a landscape or still life, you generally have enough time to study the framing and evaluate different shooting angles. The subject is not moving, so there is little sense in shooting a burst of very similar photos when you have the opportunity to carefully compose your image (but always be ready to act quickly: light can change suddenly, for instance, due to moving clouds, revealing a completely new scene for just a few moments).
Remember that the distance from the foreground subject determines its perspective relative to the rest of the scene. Zoom was not invented for the lazy who do not want to take a few steps to find the best position for taking a photo. If conditions allow, move closer or further away according to the perspective you wish to achieve and only then select the appropriate focal length.
2) Use a camera
Recommending the use of a camera may seem obvious, but we live in an era where over 90% of photos are taken on smartphones1.
Smartphones, though technologically advanced, are not designed for slow photography. They are built to accelerate the process of capturing and sharing images, catering to a culture that treats photographs as ephemeral content for social media consumption.
While it is not impossible to adopt a slow approach with a smartphone, it is still a device optimised to minimise human intervention through various automated processes at both the capture and post-processing stages.
A camera, on the other hand, grants the freedom to manually control the variables that contribute to image creation. Selecting the focal length, setting the exposure time and aperture, and deciding what to focus on are not tedious duties but fundamental decisions that have been part of photography since its origin.
If you do not already own a camera, choose one that allows for manual exposure settings. Even better if it has interchangeable lenses. A mirrorless or DSLR, even second-hand, will serve you well. If you can afford to invest a bit more, opt for an entry-level full-frame rather than a high-end APS-C model—sensor size matters more than megapixel count or the amount of automatic functions.
3) Shoot in RAW
In the era of analogue photography, post-processing was always part of the image creation process. Achieving a perceptually effective reproduction of a landscape’s tones and colours in a print has always been a complex challenge, often requiring long darkroom sessions.
This challenge remains unchanged in the digital age. Regardless of technology, the goal is to transform the vision of a real scene into a completely different and perceptually limited object (a printed photograph or digital display image) that still evokes aesthetic harmony.
It is fundamentally a matter of interpretation, relying on human desisions. In this process, technology can broaden interpretative possibilities but may also constrain them. Let’s explore why.
Most digital cameras allow images to be saved in either JPEG or RAW format. JPEG images are ready for immediate use, whereas RAW files require an additional development step via software before they can be converted into a standard format like JPEG.
The advantage of RAW images is that they retain all the information captured by the sensor, significantly expanding the possibilities for manipulation and interpretation in post-production. Converting to JPEG discards any information that is not directly visible in the final image, making subsequent editing more challenging. For instance, attempting to lighten the shadows in a JPEG image would not only reduce tonal gradation but also introduce noise.
Images captured by the sensor must eventually be converted to JPEG if they are to be used. You therefore have two options: (a) if you are in a hurry, allow the camera’s software to handle the conversion, perhaps selecting from the available presets in the menu, and save the image as a JPEG; (b) if you have time, save your image in RAW, enabling you to edit it thoroughly in post-production before exporting it to JPEG. Option (b) is the preferable choice, it takes longer but provides far greater flexibility and more powerful editing tools. Moreover, you can always reprocess the image should new software or updated versions become available. In “slow” photography, patience is key.
There is, in fact, a third option: saving both the RAW and JPEG files. However, this has two drawbacks—managing two files for each image and setting additional parameters before shooting, such as white balance, image dynamics, and various presets. These settings do not affect the RAW file but are used solely for generating the JPEG via the camera’s software. If you require an immediately usable image, this can be an acceptable choice. The important thing is to always keep the RAW file.
4) Avoid Program Mode
Correct exposure is the essential prerequisite for producing a good image. Correct exposure means allowing the sensor to receive enough light to accurately reproduce the tonal range of the scene being captured. There are three variables that determine exposure: the sensitivity (ISO) of the sensor, the aperture of the lens, and the exposure time. However, each of these variables has side effects that you should learn to understand.
Let’s say you’re photographing a landscape and the light meter indicates that the exposure you’ve set is insufficient. To increase the exposure, you could, for example, set a higher ISO sensitivity, but be aware that this may introduce noise, reducing the quality of the final image. Alternatively, you could widen the aperture, but this will compromise the depth of field (i.e. the range of distances at which the subjects will appear in focus). Or, you could extend the exposure time, but this carries the risk of obtaining a blurry image. The choice of ISO sensitivity, aperture, and exposure time must take these effects into account. It’s a decision-making process that becomes more intuitive over time and contributes to the experience (and enjoyment) of creating a photograph.
All digital cameras have the ability to automate the choice of these variables to varying degrees. The so-called “Program Mode”, for example, is an automatic exposure mode that automatically sets both the exposure time and the aperture based on the exposure meter and the focal length of the lens. Many cameras also allow you to automatically set the ISO, completely relieving the photographer of any decision. Although in certain cases such automatic modes can be useful, if you want to get closer to slow photography, forget about their existence and use the manual exposure mode, deciding from time to time which variables to intervene on.
If you truly value convenience, you can use the aperture priority exposure mode, where you choose the aperture of the lens, and the automatic mode adjusts the exposure time based on the light measured by the light meter. This is a form of semi-automatic exposure that can be acceptable, as it still requires you to make conscious choices.
5) Learn to use the histogram
The histogram is an incredibly useful graphical tool that can help you not only verify the accuracy of the exposure but also optimise the rendering of the tonal range.
The histogram is available on all cameras that allow you to view the scene captured by the lens in real time on a display, such as mirrorless and compact cameras. DSLR cameras, which offer a purely optical view, do not have the ability to display the histogram through the viewfinder. Only the higher-end models are capable of showing it when operating in live-view mode, i.e., with the mirror raised and the scene framed on the display (just like a mirrorless camera).
The histogram displays the tonal distribution of the captured scene. Reading it is not difficult. The first thing to understand is that it refers to the image displayed on the camera’s screen. This image is made up of many pixels, each with a brightness value expressed as an integer ranging from 0 (black) to 255 (white). The histogram shows how often each of the 256 values appears in the image. The left side of the graph represents the darkest areas (shadows), and the right side represents the lightest areas (highlights).
If the exposure is set correctly and the tonal range of the scene being photographed is not excessively wide, the histogram should fall between the two extremes of the scale, without touching either end (as shown in the figure). This is what typically happens in most cases.
However, in high-contrast situations, it may occur that the histogram rests against the right (or left) edge of the scale, risking the complete loss of details in the brightest (or darkest) areas of the image. In such cases, you will need to adjust the exposure to bring the histogram back within the two extremes of the scale or, if that is not possible, at least avoid blowing out the highlights, even if it means sacrificing some detail in the shadows.
It is also a good practice, even in cases where the histogram is comfortably between the two extremes, to slightly overexpose the image so that it is pushed as far to the right as possible, nearly reaching the right limit of the scale. This way, more values will be available to define the various tones, leading to improved tonal gradation in the image. The overexposure can then be corrected in post-production.
Effectively using the histogram cannot be reduced to these simple tips. However, the key point is to be aware of its potential.
6) Rediscover vintage lenses
Perhaps not everyone knows that it is possible to reuse lenses from the analogue era on many digital cameras. These are often high-quality lenses, built to last, and can be found at an attractive price on the second-hand market.
In the vast majority of cases, you will have to do without automatic focusing and some automatic exposure functions. However, in slow-motion photography, this is more of an advantage than a disadvantage, as it forces you to work manually.
Mirrorless cameras have the great advantage of being able to mount virtually all the lenses once used on analogue SLRs. This is possible thanks to the reduced distance from the lens flange back to the sensor, and to the wide availability of adapters. These adapters are completely lens-free and serve only to restore the lens flange back to the distance for which the lenses were originally designed. With this device, it is still possible to measure exposure through the camera and operate, if desired, in manual or semi-automatic mode with aperture priority. To focus, you will need to do so manually, preferably at full aperture, and use the features offered by the particular mirrorless model, such as focus peaking and focus magnifier.
As for SLRs, only Nikon and Pentax have maintained a certain compatibility with their respective vintage lenses, to be evaluated on a case-by-case basis. For example, on the cheaper Nikon APS-C cameras, in which the information on the aperture actually set is not transmitted to the body, the light measurement must be done using an external exposure meter. On the higher-end Nikon cameras, however, it is possible to use the measurement made by the camera and operate in manual or automatic aperture-priority mode. Particular attention must also be paid when using Nikon lenses prior to the AI series, which, with particular exceptions, are not compatible with digital SLRs. If in doubt, it is advisable to consult Ken Rockwell’s 2 to verify the actual compatibility between Nikon lenses and camera bodies.
As far as SLRs are concerned, only Nikon and Pentax have maintained some compatibility with their respective vintage lenses, though this needs to be evaluated on a case-by-case basis. For example, on the cheaper Nikon APS-C cameras, where the information about the aperture actually set is not transmitted to the body, light measurement must be done using an external exposure meter. On higher-end Nikon cameras, however, it is possible to use the camera’s internal light metering and operate in manual or automatic aperture-priority mode. Special attention must also be paid when using Nikon lenses from the pre-AI series, which, with a few exceptions, are not compatible with digital SLRs. If in doubt, it is advisable to consult Ken Rockwell’s 2 Compatibility Chart to verify the actual compatibility between Nikon lenses and camera bodies.
Focusing a vintage lens on a DSLR can be more challenging than on a mirrorless camera, as the focusing screen of digital SLRs lacks the features (micro-prisms and split-image rangefinder) that greatly assisted focusing on analogue-era SLRs. In these cases, live view can be a great help.
On the other hand, one advantage of many older lenses is the presence of depth of field markings, which are very useful for more accurate focusing when photographing scenes with subjects at varying distances.
7) When possible, use a tripod
The tripod is often considered a bulky and heavy accessory. Although it is indispensable for night photography and long exposures, in many other situations, it is possible to do without it, thanks to the stabilisation systems present in many digital cameras, which significantly reduce the risk of producing blurry photos.
However, the use of a tripod should be reconsidered, especially in cases where you have enough time, such as in landscape photography, still life, and architecture. With a tripod, you can create the composition of the image in successive steps. You begin with an initial composition, then take your eyes off the display to observe the actual scene, perhaps taking a few steps to look around. You observe the framed scene again and, if necessary, modify it, trying a new shooting position or angle. By making gradual adjustments, without haste, you can eventually create the desired composition.
Additionally, the tripod allows you to carry out the various manual operations necessary for optimal exposure and to adjust the focus accurately, without altering the composition of the image in any way.
Once again, thanks to the tripod, by using a remote control or the self-timer, you can eliminate any movements transmitted to the camera from pressing the shutter button. Similarly, the vibrations caused by the raising of the mirror in a DSLR can be eliminated by raising the mirror a few seconds before the shot (a feature available on mid-to-high-range digital SLR cameras).
8) Whatever happens, enjoy the experience
Slow photography cannot be reduced to technique and equipment alone. It is first and foremost a mindset, a desire to explore, observe, and learn before taking a photograph. So, enjoy the entire adventure, from preparing your backpack the night before to the pleasure of waking up early to arrive on site when the light conditions are most favourable. Don’t rush to take a photograph; instead, immerse yourself in the environment around you.
If you’re in a forest, rediscover the silence and solitude you may no longer be accustomed to. Enjoy the pleasure of walking amidst the solemnity of the trees, listen to the flow of streams, and learn to appreciate a landscape that could have been the same for centuries. If you’re on the seashore, perhaps in the middle of winter, take pleasure in the sound of the waves and the wind that hampers your walk. Breathe in the sea air, appreciate the shapes of the rocks, the undulations of the sand, and the patterns of foam on the shoreline. Set up your tripod and enjoy every step of the image creation process, from composing the scene to focusing, from selecting exposure settings to taking the shot.
Things don’t always go the way you expect. You may find yourself walking quite a distance only to discover unfavourable light conditions. But even then, you’ll have the pleasure and experience of having spent a few hours in nature, all while learning something new.
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