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Taking pictures in the winter presents the photographer with more challenges then just cold fingers not being able to feel the shutter release button. The white conditions also trick a camera’s light meter into thinking that the environment is brighter than it is. This results in underexposed photos that end up having a bluish tint, which is difficult (if not impossible) to eliminate in photo editing software. In response to these and other challenges, this article offers some advice regarding taking pictures in bright white environments. We divide the sections to address 1) technical considerations, 2) specific picture-taking techniques, and 3) a review of some practical equipment considerations.
Technical
All SLR and most point-and-shoot cameras provide the user with the option to manually adjust a number of settings. When taking pictures in the snow, it will be important to pay attention to three of these, notably the exposure compensation, the shutter speed, and the white balance.
Exposure compensation refers to the amount of light that is allowed to fall on a digital camera’s image sensor when the shutter button is pressed. It is measured in lux seconds, usually ranging from -2 to +2. When shooting in bright conditions, this setting should be set somewhere between +1 and +2. Begin with +1 and work up towards +2 while noting the color change on the picture via the camera’s LCD screen. Remember that the exposure compensation may need to be adjusted as the light conditions change (for example when the weather changes from sunny to cloudy, or as the sun starts to set).
When it comes to the ISO settings, the lower the number, the less time light is allowed to be exposed to the digital sensor inside the camera. Since snow is inherently bright, the photographer will want to reduce the amount of light entering the camera by using a low ISO setting. A setting of 200 is usually a good starting point. If this is too high, it can be adjusted down to 100.
If shooting in the RAW format, it will not be critical to worry about the white balance as it can be adjusted later on a computer. However, if not shooting RAW, or if using a point-and-shoot camera (which does not allow images to be captured in a RAW file format), it will be necessary to manually set the white balance. To get this done, find the white balance setting on your camera and point the camera towards the snow. Be sure to point the camera to a snowy spot that is in the shade as sunshine can throw off the setting. Also, make sure to point the camera to an area that has an even-shade of snow. If the shading changes due to shadows, the camera may misinterpret the correct shade of white.
Experiment and practice with these three settings in order to become familiar with them and to see what combination works best for your environment.
Techniques
Beyond the technical items just covered, taking pictures in the snow presents itself with plenty of aesthetic challenges. After all, photographing monotone white-colored subjects takes some creativity and experimentation to pull off well. But it can be done. Here are some tips. When setting up the shot, look carefully at the subject with an eye towards contrasting colors. In human subjects, this can be a red or even black hat; in a snowman, it can be a bright orange carrot nose; on a Pine tree, it can be the green in frost-covered branch.
Especially on sunny days it is advisable to shoot either in the early morning or late afternoon when the sun is low on the horizon. Not only will this ensure that the light hits the subject more horizontally then vertically, but the sky may also have attractive red-orange hues that can be included in the picture's frame. If shooting in the wilderness, remember that night falls quickly in the winter and one does not want to get caught outdoors after the sun goes down.
Another useful technique is to shoot close-ups with the camera’s macro mode. Close-up shots will make it easier to focus on color in the vast sea of white. Examples of macro shots are a snow covered brown pine cone or icicles as they form on buildings.
Equipment Considerations
From a purely practical point of view, a few equipment reminders may come in handy. First, batteries discharge faster in the cold so be sure to bring extras. Also, keep these extra batteries warm by placing them close to your body heat. An inside pocket usually does the trick.
Remember that snow is water and as such is no friend of electronic equipment. Especially if it is snowing, wrapping the camera in a zip-lock or other type of plastic is inexpensive and plenty effective. If nothing else, bring a dry, soft cloth with which to frequently wipe down the camera.
To prevent condensation and other damage to the camera, when returning indoors, let the equipment warm up gradually for a few hours. This can be accomplished by leaving the camera in its case after it is brought indoors.
Finally, for those chilled fingertip, consider investing in a good pair of leather driving gloves. These will not only provide some protection for the cold, but equally important, they are thin enough to provide enough sensitivity to feel and adjust the camera’s buttons and settings.
Good luck and as always Happy Framing!