Timelapse Videos

Timelapse photography is something I’ve enjoyed making for years, ever since I got my first SLR camera and started digitally splicing scans of the photos together in iMovie.

An early video saw me attempt to document the construction of multiple outside broadcast commentary huts in a freezing warehouse with an old white MacBook’s webcam. Moving the laptop from corner to corner proved a challenging way to shoot and the edit is painfully long but it’s nice to look back and remember humble beginnings of my video editing work. I’m still a sucker for editing to the beat. 

I’ve used timelapse video in the past to document the construction of theatre sets at the Young Vic Theatre, London. 

Two designs that stand out are 2017 productions of The Jungle and Life of Galileo. The Jungle saw an incredibly authentic-feeling replica of an Afghan cafe which was in Calais in 2015-17 inside the YV’s main house, designed by award-winning designer Miriam Buether, alongside Good Chance Theatre, Stephan Daldry and Justin Martin.

Life of Galileo saw the YV’s production team raising the roof for Lizzie Clachan’s stellar theatre design. Joe Wright’s production incorporated a domed ceiling that was flown up inside the Main House where projections by 59 Productions transported audiences between night skies and ornate church ceilings, eventually shooting them across the galaxy for a visually stunning experience.

I’ve also used timelapse a lot for personal projects, such as capturing climbing trips to the Peak District.  It’s great to look back and enjoy the clouds flying overhead on turned out to be a changeable weekend, adding something you don’t appreciate whilst you’re trying to focus on your footwork and not on the imminent meeting of your face and a cold hard wall of millstone grit. 

Other times I’ve simply wanted to capture different landscapes whilst traveling. Rarely do the videos do the real landscapes justice but sticking a go pro on timelapse mode gives me a great excuse to take things a bit slower, to chill out and enjoy the new surroundings.

Hope you enjoyed some of Youtube’s most ‘ambient’ and ‘bright’ sounding tracks on a few of these.

Central America with the Pixel 3

In February 2019 I set out on a trip through Colombia, Panama and Costa Rica armed with a Pixel 3 and a Go Pro Hero 6. In the past I’ve always taken a DSLR or a film camera with me to mess about with and I was a little hesitant to not take something bigger and more trustworthy than a new phone. However, the ability to travel light and have less to worry about on the road was hugely appealing, as well as the fact I’d just invested in ‘the best camera phone on the market’ (citing basically everywhere in Dec 2018) and I wanted to put it through its paces.

Last time we visited this part of the world in 2009 we didn’t have a smartphone but did have an entry level Sony DSLR. Every week or two we’d settle into our local internet cafe, pop the Compact Flash card into my usb card reader and upload as many photos to Picasa/Flickr as my hour would allow me, whilst firing off emails with a few shots attached to emails to vaguely interested friend and family back home. Travelling in 2019, armed with a usb charger and Instagram is a bit of a different prospect.


We started our trip in Bogota, exploring this vast and busy city on predominantly on foot. If you are headed out onto the streets of Bogota, do be wary of post-downpour puddles and large vehicles. I learnt the hard way. The scale and vibrancy of city life was a huge part of our trip and capturing some of that to share with family and friends via WhatsApp when we were on the move was really important. Whilst the Pixel doesn’t have a wide angle lens on the main camera, we were in spots where it excelled in getting a lot of detail. A wider view on the view of Bogota or in the market for instance is something that other smartphones or a DSLR with the right lens wouldn’t have had a problem with, but the family still got a real sense of where we were. In bright environments the Pixel does really well, picking out lots of detail. Unsurprisingly, the HDR or Night Sight modes used when there’s a little less natural light also gets you through most situations. The times I found the exposure or colour to be off were usually when it was really overcast and you’d lose the clouds to a white blanket and it’d often throw the colour off a little. I quickly got used to processing the photos in Google’s Snapseed app, to offset these and edit these to match my mood at the time. It’s fair to say my photos got moodier the closer I got to coming home 😘

View over Bogota with massive amounts of detail. Processed with Snapseed.

Fruit market in Bogota. Light processing with Snapseed

Balcony views from Medellin. Processed with Snapseed

Graffiti in Cartegena. Light processing with Snapseed


Exploring new and different landscapes was one of the reasons for taking this trip and we were not disappointed. Colombia’s natural beauty was unlike anything we’d seen before and it was great to see such a variety from the Cocora valley and coffee farms near Salento, to the man made lake near Guatape and it’s stunning beaches in the north. The Pixel did great with the mix of landscapes and often I felt shots needed very little processing, more often than not correcting for exposure given it was often so bright, or to address colour but often that’s down to my taste rather than it being necessary. I learnt to trust that the Pixel would pick out a huge amount of detail in landscapes (just look at the waterfall image below) - a really incredible amount given the size of the lens.

Arenal waterfall, Costa Rica. No processing with lots of detail captured.

Cocora Valley, Colombia. Light processing with Snapseed to regain some detail in clouds.

Really nice gradient to the blue sky on Costa Rican beach. No processing

Views from El Peñol de Guatape. Light processing with Snapseed - mostly boosting blue

Portraits & Front Facing Camera

I’d not had a phone with a portrait mode before and given I normally travel with a DSLR and a 50mm 1.4 lens, it was something I’m most sceptical about on smartphones. And to be fair I’m still pretty sceptical but given my experience with the Pixel’s portrait mode, but it’s pretty unfair to compare a phone’s software performance against a DSLR lens. The shots are nice enough but the choice in what the Pixel decided to blur was often a little confusing but if there’s enough space behind the subject and it’s a fairly plain background it normally produces a nice enough image. Often it just felt a little too stark between focus and the blurred effect - something you can play with in the built in blur effect (in the built in camera editing software, not Snapseed). The front facing portrait mode was really impressive, just as much as the back camera with very little difference between the two when it was well lit. Given the wider angle of the front facing lens too you can create some fun effects with the slight distortion and warping too. 

Straight out the camera portrait. No Processing.

Front facing camera in portrait mode. Light colour processing with Snapseed. Ignore the wonky glasses please and thank you.

Playing with movement on portrait mode. Processed with Snapseed.

Night Sight

One of the most talked about features on the Pixel and as someone who often works in dark performance spaces, Night Sight was bit of a draw, although most of the work I’d do would involve movement - so not ideal for a longer exposure. I often used Night Sight in lower light situations; under a canopy or a lot of times outside of direct sunlight and always enjoyed the results.

Post sunset shot of a stunning sky

Straight out of the camera shot from a street in Cartegena.

Through the trees at sunset. Processed with Snapseed

Early morning photo of trekking before sunrise.


Throughout the trip I predominantly edited on the go with Google’s Snapseed, often getting a bit more out of a photo and changing the image to suit the look I was going for. I had been used to editing with VSCO for quite a few years but there was more to play with in Snapseed given it has been optimised to make the most of Google’s camera and I preferred the results more often than not.

In hindsight there were very few times when I wished I had a DSLR to hand instead of the Pixel 3. Most of those times occurred when I wanted to get a wide angle shot of a landscape or location or play around with some long exposures. I had my Go Pro to capture a few timelapse videos and other video clips as the Pixel’s video mode feels a good way behind what I’d been used to with an iPhone’s always impressive video quality, even in comparison to my previous iPhone 7. 

What most impressed me is what this camera can do with a single lens whilst most other competitors have multi-lens setups. More proof building on what iPhones have done so well for so long, knowing that the camera software is just as important as the hardware. The added security of knowing my photos were being backed up to google photos at full res (a free offer when I originally purchased the Pixel) was a real benefit. As long as I continued to find wifi strong enough to allow me to upload them. One. Photo. At. A. Time. Again, easier than the worry of losing an SD card on a local bus 🙈

Whilst it was liberating to just have a phone to hand for most moments I missed having the comfortable chunk of a camera attached to me and the lack of adaptability and experimentation to play with give the small amount of toying with settings you can do in stock camera apps. 

Given the capabilities of the incredible phones we’re all likely to have in the future I’m much less likely to carry a stand alone camera with me on a trip, unless I plan to add to my licensed photography on PicFair. It’s safe to say I won’t be using a phone camera for professional performance work any time soon though.

Young Vic Photography showcase

After three and a half years of being the Young Vic Theatre’s (unofficial) in house photographer, I’ve left London and moved out west.

I was lucky enough to work with some amazing and talented people, both YV staff and the artists who visited the building and I’ve been given the opportunity to shoot some memorable moments and faces. Here are some of my favourite shots from over the years…


Rehearsal photos

In rehearsals for Yellowman

In rehearsals for Twelfth Night

In rehearsals for Yellowman

In rehearsals for trade

In rehearsals for The Mountaintop

In rehearsals for My Name is Rachel Corrie

In rehearsals for My Name is Rachel Corrie

In rehearsals for My Name is Rachel Corrie


Young Vic Artistic Director Kwame Kwei-Armah

Life of Galileo director, Joe Wright

The Brothers Size cast photo

Jane Horrocks portrait in rehearsals for If You Kiss Me Kiss Me

Living with the Lights On writer and performer Mark Lockyer

John R Wilkinson portrait in rehearsals for Winter

Production photos

Life of Galileo


The Jungle

The Jungle

And of course, photos from the YV’s Taking Part outreach team’s productions workshops and events…

I’m now freelancing as a photographer and have continued working as a digital producer, working out of Bristol. Get in touch if you have a project you want to discuss.

All photos © Leon Puplett
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