Travel photography does not have to end with the setting sun, even less so now that digital photogra- phy helps solve the old difﬁculties faced by ﬁlm in taking pictures by artiﬁcial light . The potential prob- lems are the much lower light levels and the often wild variation in the colour of light. Digital overcomes these two ﬁrst, by allowing you to dial up the ISO sensitivity on demand to match the lower light levels, and second, by allowing you to neutralise colour casts using the white bal- ance setting. Even when there are two or more differently coloured light sources, you can selectively alter them in any good image processing software, such as Photoshop or Lightroom. Increased noise, as we have seen, is the downside of increasing the ISO sensitivity, but there are constant improvements in camera sensors and in processing software, so that unless you are tackling extreme darkness, it is no longer a major issue. The diﬁerent colours of artiﬁcial light can be surpris- ingly marked, and the reason for this is that our eyes are just so etﬁcient at compensating. Tungsten lighting is actually much more orange than daylight, but after a few minutes in a room lit by ordinary incandescent lamps, we simply see it as normal. Fluorescent striplights and compact fluorescent lamps (CF Ls) that are replacing tungsten for ecological reasons, work better for the eyes than they do for the camera; unfortunately they have broken spectra which make it difﬁcult to re- store a feeling of full colour. Digital processing can help in this, but be warned that the results can never be perfect.
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