It’s holiday time, which means gifts, big meals, treasured family moments, and lots lots lots of photos. Naturally, PicMonkey’s here to give you the gift that keeps on giving: knowledge. This time, it’s Christmas light photography! Specifically: sparkly, twinkly, interior and exterior lights. Make yourself some hot chocolate and snuggle up with our most essential Christmas light photography tips.
Make a shot list. The best thing you can do to get great holiday photos is prepare. We recommend shot lists. To state the obvious: a shot list is a list of the shots that you for sure want to capture. Make it in advance so you have a chance to think about the photos you want and how to get them just right. For example: serene photo of the house, family with snowmen, best friend opening your gag gift, reaction shots to a holiday light show, etc.
Twinky blinky holiday exteriors
Most pictures of Christmas lights look basically the same. There’s the house (probably too far away) with its teeny lights against a pitch black background. It sorta makes sense to wait until nightfall. You don’t want the sun hogging all the light and, after all, won’t lights look the best in the dark? Turns out: no. When it’s pitch black outside, your camera can either properly expose for the lights, or the lights’ surroundings. If the camera exposes for the lights, they’ll look like they’re floating in nothingness. If it exposes for the surroundings, the lights’ll be completely washed out, almost colorless.
Photograph around twilight/dusk. For a few minutes, the atmospheric light will perfectly complement the continuous artificial lights. You’ll pick up the beautiful ambient colors of the sky and surroundings, and get much more photographic texture than the flat blackness. Expose for the lights, not the sky. That way, the sky’s ambient light will come in to complement the lights, which can remain your focus.
Check your camera’s LCD after each shot, since your eye will adjust to the changing light and thus not perceive the differences as well as your camera.
Act fast. We’re serious about that few minutes part. Between sunset and nightfall, each minute will bring slightly different lighting conditions. This means that you have plenty of opportunity to capture a variety of scenes, but not a lot of actual time.
Use a tripod. Without it, you’ll probably end up sacrificing a lot of image quality (we’ll explain why in the settings section). So unless you’ve got superhuman steadiness, bust out the tripod. It’s the only way to guarantee a crisp shot for your long exposures.
For those blinking lights, make sure that you increase your shutter speed to capture the full light cycle (if you’re in Shutter priority mode, you won’t have to worry about adjusting your other exposure settings accordingly).
Fill your frame. Fill it with everything you’re trying to capture, including some negative space or reflective surfaces. Snow, water, or just wet concrete will take your photos up a notch by softly reflecting your lights.
Get your settings just right
Forget flash. You’re trying to capture the color of the lights, and even if they aren’t multicolored, your flash could interfere with the lights’ color profile. And that’s if your flash even shows up. Unless you have an incredibly powerful flash or are very close to your subject, the flash isn’t likely to contribute much to the exposure anyway. Bottom line: keep the flash off.
Start with the ISO at around 400. If your photos are too dark, increase it, but know that any increase to the ISO will degrade image quality. It may not be enough of a degradation to notice, but technical degradation nonetheless. Any time you’re on a tripod, you get to go all out with the lowest ISO possible. Low ISO means higher quality, evidenced by the grain you’ll get from a super high ISO.
If you need more light, increase the exposure time (slow shutter speed) instead of increasing the ISO. This prevents the grain that would’ve been introduced by the higher ISO, but does leave your photo vulnerable to blurry moving subjects (e.g. kids, pets, trees in the wind). Plus, long exposure captures the full glory of the light display.
Set your aperture for f/8. This is a good starting point if you’re following our previous suggestions. Remember: lower numbers let it more light, and higher numbers let in less.
Go for an incandescent white balance (your camera might call it Tungsten, but they’re the same thing). The lights that you’re photographing are likely incandescent bulbs, so the “Incandescent” setting will faithfully render the color of your lights.
Note: a bonus to the “Incandescent” setting is that it gives your ambient sky the gorgeous blue tones of the ever-popular blue hour.
Want your lights to look warmer? Incandescent lights shot with your white balance set to “Daylight” will make the lights look more orange. If your holiday lights are LED or full spectrum, and you set your white balance to “Incandescent,” then those lights in the photo will look more blue than your eye perceived them. LEDs can be weird and inconsistent, so we recommend trying the AWB setting (auto white balance).
Christmas trees, ornaments and interior lights
Photographing Christmas trees, menorahs, or any kind of interior light arrangement can be trickier. Your camera can get stuck between adjusting to the dark background and the actual bulbs, so automatic settings don’t really cut it.
Use a basic lamp, or other surrounding light source to brighten your shadows and decrease the contrast that might be confusing your camera.
Your shutter speed should be relatively low, just like with the exterior lights. Use your tripod (or table, mantle, whatever sturdy surface floats your boat) to compose your shots. Keep in mind that these are still life shots. Once people are involved, you’ll use different settings to stop the inevitable motion.
Shooting with a shallow depth of field is a staple of that warm, dreamy holiday photography that you know and love. (By the way, a shallow depth of field is just when you have a really narrow range of what’s in focus and what’s blurry. Even in the above image, the front of the first house is in focus, but by the time you get a couple inches behind it, you’re out of focus.) It’s easy; you just need to be pretty close to your subject, with a long focal length, and with the right aperture settings. If your camera has aperture priority mode, that means that, as you adjust your aperture throughout your shooting, the camera will automatically update the related settings (shutter speed and ISO) to get the optimal exposure value.
Bokeh’s not just about having glossy lightballs out of focus. Bokeh has a dappled, sometimes geometric look to it, and at its best it feels like a texture to your image. It’s one of our most popular effects in the photo editor, and here’s everything you’ll need to do it in-camera.
A wide open aperture is a must. The low end of your aperture window (aperture settings with larger numbers like f/11) just flat out won’t work because there’s an inverse relationship between the aperture setting and how much light it lets in. For example, f/22 lets in less light and f/2 lets in a lot of light.
Then your background will be thrown out of focus, and your lights should be little balls of light. You can make the bokeh balls bigger by increasing the distance between your subject and the lights. Plus! You can make your bokeh balls hexagons (or octagons or something, depending on the number of blades in your lens), by closing the aperture a bit. Play around. You’ll see 🙂