Shooting Video with your DSLR (Part 5)

Stanley interviewing James Dockery, senior editor for ESPN. photo by: Jeff Raymond

Two Cameras

When I do my interviews I try to always use two cameras. There are many benefits like:

Backup of the interview if one camera fails
Different looks using slightly wide shot and a tight shot
Helps with editing

Let me talk a little about how much two cameras can help with editing. Almost all the time you need to edit someone’s comments. This means you cut something out and when you do it the person’s head will jump on the video and give us the telltale sign that you just cut something.

Now if you have two cameras you can switch camera angles and it doesn’t tip the audience that you cut something. It will just look like you went to a different angle.

Now if you have a slightly wider shot that includes the hands then when the person is quite talkative with their hands and not just their mouth it is good to include the hands.

Besides cutting out a long comment that really doesn’t add to the storyline there are times you need to rearrange their comments. Maybe the last thing they said would make the strongest lead for the story.

Again having that second camera lets you change angles and it will look like they started with this thought.

In the end you will help the subject sound more coherent and look like this was just a straight take and easier for the audience to absorb.

Reasons to redo the interview

The first time you do interview someone be sure and tell them you may need to come back the next day or two for a second interview.

Unless you are a seasoned pro most people will not catch everything happening in real time and will notice missing information during the post processing editing time.

If this happens I highly recommend having the subject redo the parts that you liked for several reasons.

They often have changed clothes
Matching the lighting and camera angles is difficult
Matching the sound can be difficult as well

You may want to even play the video parts you liked and have them rehearse a few times before you redo it. I have found that often the person realizes they can even say it better now that they have heard themselves.

I must tell you this funny story about a seasoned photographer learning to do video for the first time. He thought of locations he wanted to use as the background for the interview his subject.

We realized that while teaching we failed to tell people to do their interviews in one place. While in a still photo that would make since to show your subject in the different locations when it came time for editing the sound didn’t match, the lighting was so different and when you finished editing the content and put the takes in the logical order of how it best told the story the guy was jumping all over the city back and forth.

It was so funny. Just imagine the evening news where instead of going to Washington to listen to the correspondent there and then to West Coast correspondent to maybe an East Coast correspondent as well it was the same person. That was what it looked like.

If you do a good job with the interview and have a well thought out storyline being told by the subjects you should be pleased with the results that if this is all the audience saw and heard it would work.

One strategy for editing most any type of production is to do a “radio” edit. Focusing your cuts and the assembly of your timeline on the dialog [AUDIO] places the content of the story as the highest priority.

Once you have this done you will then work on getting visuals to supplement the audio. More on that in the next part of Shooting Video with your DSLR.

Some more technical tips

I recommend a magnifier for your LCD. You need to be sure your shot is in focus.

Another option is using a video monitor. The advantage of external monitor is not just bigger picture for focusing and exposure control, but with some monitors like this Atomos Ninja Blade 5″ HDMI On-Camera Monitor & Recorder is recording for longer periods of time than the time limits on most DSLR cameras. You are only limited to the size of the hard drive you use.

Atomos Ninja Blade 5″ PRODUCT HIGHLIGHTS

Key Features
– 325DPI, 5″ IPS 1280 x 720 capacitive touchscreen monitor/recorder.
– Waveform RGB & luma parade, vectorscope with zoom, and test pattern generator.
– Adjustable gamma, contrast and brightness.
– HDMI input and output.
– Real-time monitoring, playback, playout to a PC or Mac with QuickTime, and edit logging.
– Focus peaking, 0-100% zebra, and two modes of false color monitoring.
– Records 10-bit, 4:2:2 in ProRes or DNxHD.
– S-Log / C-Log recording.
– Trigger REC/STOP from camera (Canon, Sony, ARRI, Panasonic, RED, JVC)
– Timecode from camera. [Nikon has no timecode]
– 2.5″ HDD/SSD media storage.

It records up to 1080 30p/60i resolution via HDMI to an available HDD or SSD using either Apple’s ProRes or Avid’s DNxHD codecs. Recording at 10-bit with 4:2:2 color sampling, this unit provides you a monitoring and recording solution in one compact battery powered unit.

Drawing with Light

Chick-fil-A Long Point Road FSU, Mount Pleasant, SC [Nikon D5, Sigma 24-105mm ƒ/4, ISO 400, ƒ/5.6, 1/6 – (3) Godox V860IIN + Godox X1NT]
I am really enjoying capturing some of the Chick-fil-A restaurant designs around the country. The designers are restrained in some ways to create a space that is an efficiently run restaurant as well as fit within a community.

The new restaurant in Mount Pleasant, South Carolina used a lot of landscaping to help with the building fitting within the community.

The palmetto has been a symbol for South Carolina since the American Revolutionary War when it was used to build a fort on Sullivan’s Island that withstood British attack. Putting these on the property help tying to the traditions of the state.

Chick-fil-A Long Point Road FSU, Mount Pleasant, SC [Nikon D5, Sigma 24-105mm ƒ/4, ISO 400, ƒ/8, 1/3 – (3) Godox V860IIN + Godox X1NT]
The second photo may do a better job of showing the design of the building, but when you eliminate some of the landscape architecture it loses a sense of place. Now the building could be anywhere other than in Mount Pleasant, South Carolina.

Chick-fil-A Long Point Road FSU, Mount Pleasant, SC [Nikon D5, Sigma 24-105mm ƒ/4, ISO 400, ƒ/8, 1/6 – (3) Godox V860IIN + Godox X1NT]
Now the thing about this view is even tho I am showing more of the landscaping it still could be almost anywhere in the US.

Chick-fil-A Long Point Road FSU, Mount Pleasant, SC [Nikon D5, Sigma 24-105mm ƒ/4, ISO 800, ƒ/5.6, 1/8 – (3) Godox V860IIN + Godox X1NT]
This last angle is where I started shooting before sunrise. I also was lighting just the building when I started. The trees and shrubs around the building were silhouetted. My first thought was since this is how the palmetto tree appears on the flag [silhouetted] then it would work. Well the trees were new to the location and had been trimmed and didn’t read as clearly as I wanted them to appear.

Chick-fil-A Long Point Road FSU, Mount Pleasant, SC [Nikon D5, Sigma 24-105mm ƒ/4, ISO 400, ƒ/5.6, 1/8 – (3) Godox V860IIN + Godox X1NT]
This is when I took the flashes and located them further back lighting up the foliage as well as the building before sunrise.

The only thing that I think would have dramatically improved the photo is if the flag was waving in a breeze.

Hopefully you are seeing here that it is not just setting a camera on a tripod and pushing the shutter release. You need to often add light to help accentuate and draw out the elements in the photo to help add to the photo.

Photography is the combination of two Greek words of Photo and Graph which together literally mean “drawing with light”. Sometimes the light is just perfect naturally and other times by the photographer adding or subtracting light in a scene makes a more powerful image.

Shooting Video with your DSLR (Part 4)

Chick-fil-A Kickoff
Georgia Tech vs Tennessee

Scoring a touchdown is about knowing where your goals are in the game.

Before the football team steps onto the field they will practice for many months together. When they execute a play they know what they are doing and trying to accomplish to win the game.

Alan Alda interviews Rob Michelson about the Aerial Robotics competition he oversees at Georgia Tech.

Before you turn the camera on and start your interview you need to practice. You need to interview your subject and from what you learn you then formulate your questions so that the responses help convince the audience what you want them to know just as a lawyer does to convince a jury what they want them to know about their client.

You do not want to sit down and just turn the camera on and ask the subject, “What is your story?” and expect them to give you a succinct well thought out presentation.

Get to know your subject

Even before you sit down and talk to the subject for the first time do all the research you can on the subject. Sometimes there have been other interviews done with the person that you can read or even watch.

Other than learning about the subject being the person, learn all you can about the subject of the story. If they are a coffee farmer then learn all you can about coffee.

The more you know the better questions you will ask. I like to say you are peeling an onion. Each question gets you closer to the core of the onion.

You are not just asking questions to find out everything about the subject. You are trying to find the thread that will keep someone interested in them as you reveal more and more about them to the audience.

The Bourne films are a series of action spy thriller movies based on the character Jason Bourne, a CIA assassin suffering from extreme memory loss who must figure out who he is.

To keep the audiences attention and pull them into your story you may often hold out on the juicy part of the story towards the end as they did in the Jason Bourne movies.

Your Goal

You know you are ready for the on camera interview when you have your storyline figured out from your informal interviews.

Like a lawyer who calls witnesses and interviews them to reveal in their own words the content that will help build the storyline so that the jury has no choice but to make the right call. Like a lawyer you may need to put different people on the witness stand to help build your story.

Now it is quite common that even when you have done all your homework that in the camera interview subjects can surprise you with new content that improves or even can complicate the story.

Be flexible and be sure you are listening to what they are saying.

Ideally it would be great if someone can just tell you what you need and leave out all those trails that lead no where. I have found time and time again that towards the end I have asked them to summarize what we just talked about and they often in one take say exactly what I need.

Georgia Bulldog’s Freshman Running Back #35 Brian Herrien Scores his very first collegiate touch down while UNC’s Safety #15 Donnie Miles was unable to stop him during tonights Chick-fil-A Kickoff Game September 3, 2016 at the Georgia Dome.

You see it can be just like the football game. The players have practiced so many times that often the coach just calls the play and you get the touchdown.


Shooting Video with your DSLR (Part 3)

When doing an interview there are a few things you need to do every time.

Fill the frame

When doing an interview you need to choose good composition and background carefully. Pay attention to everything inside the frame.

Get tight on the person you are interviewing.

Kill the Noise

Once you have put the microphone in place and have your headphones on you will be able to hear all the ambient sounds. This is where everyone is quite for a moment while you just listen.

Lets say you hear the ceiling fan or the air conditioner running. I would turn these off for the interview.

If you cannot turn off something like a water fall or water fountain, then move to a quite location.

Togo, West Africa

Steady the Camera

Use a tripod or put the camera on a table. Just keep your primary camera for the interview still. If you have a second camera to use then you can maybe do something like putting that camera on a slider or fluid head that will let you move the camera during the interview.

I believe you always need one camera that is locked and on a tripod for the interview.

Togo, West Africa

Light the Subject

My suggestion is to find a great place with light so you don’t have to use lights. I find the open shade on the side of a building works as well as porches as you see in these two photos of interviews we were doing in Togo, West Africa.

Audio is King

There are times for different microphones just as there are times for different lenses. You need to know the difference between a lapel, on camera & shotgun microphone.

Sharpness is Queen

Sharp focus is critical. I advise against shooting ƒ/1.4 for video unless this is your second camera perspective. Have a depth-of-field that is forgiving if the person moves during the interview.

Use manual focus and not Auto-Focus.

Lock Down the lens

Don’t zoom in and out on your primary camera. You can do some of this with a second camera, but be sure at least one camera is locked down and you have a solid framed shot that is in focus and has enough depth-of-field that the person can move a little and still be in focus.


Shooting Video with your DSLR (Part 2)

Nikon D5 Video Gear

In Part 1 I suggested the gear you need to use your DSLR/Mirrorless camera to do video. This post will do with some basic settings I recommend for the camera when doing a video.

Nikon D5 Video Settings

Camera Video Settings

On my Nikon D5 The Frame Rate, Resolution and Frame Size all show up in the upper right hand corner of the Live View on the LCD. We need to address all three.

Resolution – I recommend Full HD 1920×1080

While there are many other resolutions like 2K, 4K, 6K and even 8K I believe they are overkill for web distribution. Even my friend Ben Smallbone whose credits include the movies: Priceless, Taken, and Steve McQueen: American Icon to name a few of his movies told me that when it came to distributing their films to movie houses all over the country that they said not to give them anything bigger than 2K.

Now there are really two resolutions in video just as there are two resolutions with stills. You have the capture setting and the exported resolution.

While you can shoot say at 4k for the similar reasons you would shoot RAW your computer must be really top of the line to process the 4K files. Unless you want to crop in on your video in post-production I believe there is little to gain for the average project to shoot higher than the Blue Ray Full HD 1920×1080 resolution.

Frame Rate – I recommend 24 Frames per Second

Here is a good video showing why 24 fps is an industry standard for movies.


24 FPS is the Cinematic Look that is used in motion pictures. There are reasons to shoot other FPS and one worth mentioning is to shoot super high rate to then slow down for that “Slow Motion” affect.

Shutter Speed – I recommend 1/48 or 1/50

As a rule of thumb, you want the denominator of your shutter speed to be approximately double the number of frames per second that you are recording. For example, when shooting at 25fps, your shutter speed should be 1/50 of a second. If you have the 24fps and do not have a 1/48 then pick the closest frame rate like 1/50 or 1/60.

Manual Mode – Shoot this rather than Aperture, Shutter or Program mode

If anything on the camera is set to automatic your exposure can change when say something changes in the frame like your subject just moves a little. The camera may think the lighting has changed and it hasn’t. Shoot manual mode and manual focus as well.

Look – use Neutral

In video, just like stills, you can pick a picture color mode. There are modes on most cameras like: Standard, Vivid, Monochrome, Portrait and Neutral. If your camera doesn’t have a Neutral setting then pick Standard.

When later we cover your post production you can do more with a Neutral setting than with say Vivid. More on that in later posts on making videos with your DSLR.

Nikon D5 Audio Level

Audio Recording Settings

You want to have your recording levels set manually and not automatic for the same reasons for the video. When someone stops talking the Auto level will increase the volume and introduce noise.

Most levels on cameras or a separate recording device like the Zoom Digital Audio Recorders have a way to show you it is too loud.

Most video editors agree that the overall audio level of your audio mix (all of your audio combined) should normalized between -10db to -20db. I personally level my videos around -12db with occasional peaks to -8db.

What this means for me on my Nikon D5 is I want the level to peak right up to the last line before it goes red. I have a person talk for a while and then set the sound recording level before actually recording.

I recommend doing a test video for sound. Set your video settings to get a good exposure and audio levels for good sound. Record 30 seconds to a minute and then download to your computer and play using Quicktime or other video software that came with your computer.

For testing sound play something on your computer like music you downloaded. After you set your speakers for proper volume when listening to your music then play your video. If you have to adjust the volume to hear the recording then you need to adjust your recording levels. The biggest problem is if it is too quite or if too loud and giving you distortion.

Headphone Volume

Be very careful that you are not using the headphone volume as a way to see if the audio level is set correctly. Use the levels for audio the same way you use a histogram. Once you have those levels set then adjust your headphone volume to where you can hear properly.

Picking a location to do an interview

When picking a location you need to pay attention to two things: 1) Sound in the location and 2) lighting/visual.

My recommendation is to just turn on your microphone and put your headphones on and just listen to the environment. Are you trying to do a interview next to a waterfall or water fountain? That will prove to be difficult to impossible.

Finding a totally silent location would be “ideal,” but not always possible.

Make finding the perfect location weigh sound quality over visual.

Stay tuned for more.

Shooting Video with your DSLR (Part 1)

Nikon D5 headphone and microphone jack

I am breaking down the topics you need to cover to start shooting Video with a DSLR. Part 1 will cover the basic gear you need. My assumption is you are interested in Storytelling.

The interview of a subject on camera is the staple of most storytelling. The gear I recommend will help you get a good interview on video.

There are many levels of production you can do when recording video with your DSLR. I am taking the approach here to start you as a one man band doing the production all yourself.

The starting point for all video is sound. People will not watch a video with poor sound. Sound is the foundation for your production.

Nikon D5 headphone and microphone jack

I recommend not trying to do video unless you have a microphone and headphone jack. The microphones built into the camera would only really work for recording interviews in the selfie distance to the camera.

The basic understanding of recording sound for the video is the get the microphone as close to the sound as possible. I use a wireless lavalier system. The system I use costs $500.

Shure FP15/83 Combo Wireless System, H5

You can buy a wired lavalier for under $50. Buy one with a long cable for interviews.

The second principle to understand is you need to isolate what is being recorded and the best way to do this is with closed-back headphones. Here is what I use.

Sennheiser HD 280 Pro Circumaural Closed-Back Monitor Headphones

You need also a good tripod to keep the camera still. Having a Pan & Tilt Fluid Head on the tripod is better than basic head.

Google your camera using a microphone and headphones. Many cameras may have a microphone jack but not a headphone jack. There are some ways to work around that for your camera. Sometimes you will find you just need to upgrade your camera.

You can add more gear, but I believe this is the super basic kit necessary to create a video.

In other blog posts to come I will talk about other microphones, lighting and gear to help you move your camera during a shoot.

I will also cover the software you need to edit.

Stay tuned.


Headshots for Columbus State University Theater majors

Chelle Leary Headshot [Nikon D5, 85mm ƒ/1.8, ISO 100, ƒ/9, 1/160]
Here is the lighting diagram for the setup for you. I am only using the one Lasolight reflector and took the sides off.


I did some headshots for my daughter and other Columbus State theater students. Here are some of the photos and the setup I did inside my daughter’s dorm room.

Setup of (3) Alienbees, main light Beauty Dish, Lastolite Triflector MKII Frame + Silver/Gold Panels

Looking toward camera perspective. The model is in front of the two side strobes.

Setup of (3) Alienbees, main light Beauty Dish, Lastolite Triflector MKII Frame + Silver/Gold Panels

Cole Kiker headshot [Nikon D5, 85mm ƒ/1.8, ISO 100, ƒ/8, 1/160]
Here is the lighting diagram for the Cole Headshot.

I used the same setup for Chelle here as well.

Chelle Leary Headshot [Nikon D5, 85mm ƒ/1.8, ISO 100, ƒ/9, 1/160]
By turning the background lights away from the background toward my daughter I was able to rim light her. I put 30º grids on the lights to keep the light from hitting the lens and causing a flair.

Chelle Leary Headshot [Nikon D5, 85mm ƒ/1.8, ISO 100, ƒ/9, 1/160]
Chelle Leary Headshot [Nikon D5, 85mm ƒ/1.8, ISO 100, ƒ/9, 1/160]
Cole Kiker headshot [Nikon D5, 85mm ƒ/1.8, ISO 100, ƒ/8, 1/160]
This one shot here of Cole is with just the one Beauty Dish light only straight above him. It creates what we call “Butterfly” Lighting. The light casts a shadow under the nose that often looks like butterfly wings.

This helps you see why you want to have this as the main light for headshots. It helps create the shape of the face. The shadows created by the cheek bones help contour the face.

Cole Kiker headshot [Nikon D5, 85mm ƒ/1.8, ISO 100, ƒ/6.3, 1/160]
Here the beauty dish is off to the right of Chelle.

Chelle Leary Headshot [Nikon D5, 85mm ƒ/1.8, ISO 100, ƒ/9, 1/160]
Here is that setup of Chelle with the one light

I will be returning to Columbus State University to do more headshots for theater students in the next few years. Stay tuned to see more headshots.

What I am learning from being Audited

This year I got a notice in the mail from the IRS requesting documents. This is an Audit.

Every year when I file my taxes I have been using TurboTax.

For the past 10+ years I pay a little amount for their accounting service that helps you in the case of an audit. While working with them to get all my documents in order for the IRS I learned a few things that I think you need to know.

Three Documents for Expenses

I learned through this process that there are three things you are needing to document and have ready like a book keeper.

Invoice – Need to show what you were billed for from the provider
Payment – Need to show that it was paid
You Paid It – Besides showing it was paid, you must show that you paid it and not someone on your behalf.

I am using Quicken for Mac to track all my expenses. Here are a few of the ways I pay bills:

Check – Checking Account
Visa Debit Card – Checking Account
American Express Card

I am paid two ways


In the software Quicken you can attach to every entry documents. Before I can attach those receipts, invoices and statements I must have a digital file like a PDF or a picture. I bought a Neat Desk Scanner years ago and have been using their software, which is now an online system.

The Neat Desk scanner lets me scan a stack of receipts making things go much faster than a flat bed scanner would do.

After scanning documents I save them in a separate folder for the year they were created. Then I attach them in Quicken to the transaction.

In Quicken they have categories already for you to use and customize. The best part for working with your Taxes is they have all the Schedules included so that you can assign a category to a tax schedule like I have in this example with the Camera Repairs in Schedule C: Repairs and maintenance.

The Headache

While I have all my documents I quickly realized the problem was getting exactly what the IRS needed in a format that met their requirements was the biggest problem.

I had to go through my AMEX & Bank statements and circle every item related to a particular category showing that this was paid with my money.

You can also do this with a scanned receipt of each and every transaction.

It was easier for me to contact all the Doctors, Hospitals and medical providers and ask for a 2016 statement for all charges than providing scanned invoices. I was missing a few of the statements because I had thought I just needed to show I paid the bill not show the invoice as well.

Using Quicken I was able to create a spreadsheet of each category and payee for a particular topic that I was being asked to provide evidence to the IRS. I was mainly dealing with medical expenses due to a very expensive year for our family with medical issues.

I was misinformed

I had always been told you just need to put all your receipts in a box and if ever audited just show up and they can go through them if they want. WRONG!!!

My accountant informed me that the IRS on numerous accounts with her have said they are not their clients book keeper. You must have this in order. Also the box could only work when you are actually called in. You don’t want this to happen. You have opportunities to provide all this electronically to the IRS and handle without going for the face-to-face audit.


Spreadsheet – Be able to provide spreadsheet for any category which Quicken helps with this
Invoices & Statements – Scan all these or have them ready to scan if audited
Receipts – Scan all these or have them ready to scan if audited
Bank & Credit Card Statements – Keep all of them and have them ready if you need to scan them for the IRS during an Audit
Scanner – I recommend a scanner that is a sheet feed scanner capable of scanning multiple documents and software to help organize you documents.
Accountant – Work with an accountant to do at least your initial setup of how you need to gather documents for Taxes and for possible audit.

Tips on Invoicing

I wrote a blog early called “7 Tips for the financially struggling photographer“. In the post I talk about using the software FotoBiz for invoicing and pricing jobs. Check out that post if you need help with pricing and invoicing.

Shooting architectural dusk photo using Godox V860IIN + Godox X1NT

Chick-fil-A Sunnyvale FSU is located in Sunnyvale, California. [Nikon D5, 14-24mm. ƒ/5.6, ISO 800, 1/60–(3) Godox V860IIN + Godox X1NT]
The past few posts I have shown you how I use Alienbees B1600 studio strobes to light up buildings for architectural photo shoots.

When flying to San Jose, California for another shoot I decided to only take a smaller case of three Godox V860IIN hotshoe flashes + Godox X1NT transmitter.

Godox V860IIN + Godox X1NT

Now when I shot these I did change the ISO to 800 to let the flashes light up the building much easier than at ISO 100.


After I shot this photo a few times seeing about the change in the light as the sun sets the wind stopped blowing and the flag was no longer waving.

Just so you can see what the flashes are doing here is the photo without the flashes.

Chick-fil-A Sunnyvale FSU is located in Sunnyvale, California. [Nikon D5, 14-24mm. ƒ/4, ISO 100, 1/2.5]
So you can see that you can shoot at ISO 100 here you see this photo below. This was shot 30 minutes after sunset.

While I prefer the sky in this shot the waving of the flag I think made the other photo much better.

Chick-fil-A Sunnyvale FSU is located in Sunnyvale, California. [Nikon D5, 14-24mm. ƒ/4, ISO 100, 1/2–(3) Godox V860IIN + Godox X1NT]
I hope this shows that it isn’t how much gear you have, but knowing how to use it that will make or break a photo.

Writing with Light

Chick-fil-A @ Perimeter at Hammond Drive FSU [Nikon D5, 14-24mm, ISO 100, ƒ/8, 1/60 – 4 Alienbees B1600s] 8:21 pm
Getting a photo like this demands more than just a tripod and waiting for the right time of day.

Here is the result of doing just that in this photo below.

[Nikon D5, 14-24mm, ISO 100, ƒ/8, 1/13] 8:25 pm
To help light up the building I used 4 Alienbees B1600 strobes with 11″ Long Throw Reflector. This is what I call “Writing with Light”, which is the definition of photography. Sometimes nature needs some help.

Alienbees with 11″ Long Throw Reflector

For half of the photos I shot at ƒ/8 with the Alienbees on full power. Then I cut the power in half on the Alienbees and changed the Aperture to ƒ/5.6.

[Nikon D5, 14-24mm, ISO 100, ƒ/5.6, 1 sec – 4 Alienbees B1600] 8:47 PM
Sunset was at 8:26 pm. Pretty much you can bet on the best photos of buildings with lights to be 20 minutes after sunset as in this photo shot at 8:47 pm.  This is when the lights on the building and inside at matching the sky brightness.

[Nikon D5, 14-24mm, ISO 100, ƒ/5.6, 1 sec] 8:47 pm
Again here is that same scene without the Alienbees adding light to the side of the building.

Just so you know exactly the light at sunset at 8:26 pm here is that photo as well for you to see.

[Nikon D5, 14-24mm, ISO 100, ƒ/8, 1/13 – 4 Alienbees B1600] 8:26 pm
The problem is that the lights on the building are not showing up. We need to open up the exposure for the lights on the building by changing only the shutter speed from 1/13 to 1 second.

Tips for shooting buildings at Sunset

Arrive early and find best angle to shoot building
Use Strobes or powerful flashlights to light up building
Use a tripod and cable release with the camera
Start shooting 5 minutes before sunset
Stop shooting about 30 – 40 minutes after sunset
White Balance for Sun or Flash
Shoot in RAW