I need some time to pick my exact spot, set up my camera and sometimes fight the crowds that might be there. I always try and be at my location at least 45 minutes before the sun actually sets. I find shooting at sunset much more enjoyable than sunrise. The tones of glass structures tend to be less dramatic. What it does show in some of the marble structures is the beauty of the yellow colouring of the stone. I had the same feeling in Milan with the Duomo. I never really thought about the effect 'time slicing' has on the architecture until I shot the Gateway to India The vertical lines of sun, because of the other buildings, almost made some of my photos rectangular, with the lines of light going north to south and across the gateway. The light cast by the sunset on the Gateway was so linear to the structure that I needed to take extra photos so it would not interfere with what I was trying to accomplish. I never really thought about the effect "time slicing" has on the architecture until I shot the Gateway to India in Mumbai. I try to do a Time Slice photo from each city I go to, to build as large a portfolio as I can. Once I've chosen a place, I then figure out which building is iconic for the location I always do some research on how important the structure is to that place to make sure it is the quintessential building. ![]() Last year I visited 13 different countries. Although the project started in New York, I am now a travel photographer so I visit a lot of different locations. I've had a number of different jobs over the years – I've worked in computers and on Wall Street – but decided to go full time with my photography in 2011. Related story Abstract photography by Lewis Bush chronicles the "aggressive redevelopment" of London I liked the results so much that I've just carried on doing it. So I decided to slice up pictures of the same building at different times and with different light qualities to show the passing of the day from left to right. But I quickly realised that I wanted to try something more complicated, and find a way to capture the sunset in one final image. I originally decided to photograph iconic buildings in the city with the intention of producing a book of individual photos chronicling the progression of the sun in the evening as the pages turned. The project started in 2010 in New York, where most of my ideas start. The idea behind the Time Slice project was to photograph iconic buildings over the course of a sunset, and assemble them to capture the changing light from day to night in a single image. In this essay for Dezeen, Silver explains the lengthy process behind the creation of each image, which involves taking up to 60 identically framed individual shots over the course of an evening. Among the buildings he has "sliced" so far are Herzog & de Meuron's National Stadium in Beijing, the Marina Bay Sands hotel in Singapore by Moshe Safdie, and Istanbul's Hagia Sophia basilica. ![]() Import the images into Lightroom and colour correct them.Įxport the sequence of final images into After Effects.Silver's Time Slice photography series is an ongoing project that began in the photographer's native New York as an idea for a book and has evolved into a bigger project during his extensive travels for his job. This is a brief look at Marker-Moore’s post-processing workflow: It takes slices of the same photograph offset in time from several seconds up to a few minutes.” A time slice takes a series of photographs and combines them into one single image. But what’s time slicing? To quote photographer Dan Marker-Moore, The end results can be absolutely stunning Image courtesy of Image courtesy of So how is it done you may ask…? We have seen time lapse and we’ve also seen hyperlapse. This method of photography clearly requires so much patience and focus from collecting the images to organising them and then finally stitching them all together with software such as AE or Photoshop. ![]() The result is very interesting, take a look! Photographer Richard Silver has accumulated a series of time slice photography in which he slices a regular photo into many photos with Pentax K1000, all in a different time frame so the photo goes from day to night.
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