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L2M2AS1 - Part C (b) - "Cloudy, dark evening outdoors using long exposure" - Canon 6D, manual mode, no flash, tripod, f20, 100sec, iso100, 51mm, awb. In the dark overcast conditions I took this image using Bulb Mode to allow as much light into the camera as possible capturing the light trails in the process. The path and light trails in the foreground provide leading lines which guide the viewer into the image. Using a remote shutter with IS turned off, I was able to remove any vibrations.

L2M2AS1 - Part C (b) - "Cloudy, dark evening outdoors using long exposure" - Canon 6D, manual mode, no flash, tripod, f20, 100sec, iso100, 51mm, awb. In the dark overcast conditions I took this image using Bulb Mode to allow as much light into the camera as possible capturing the light trails in the process. The path and light trails in the foreground provide leading lines which guide the viewer into the image. Using a remote shutter with IS turned off, I was able to remove any vibrations.

L2M2AS1 - Part D (a) "Gradual filter" before - Canon 6D, manual mode, tripod, no flash, f9, 1/4sec, iso100, 24mm, auto white balance

- Part D (a) "Gradual filter" before - Canon manual mode, tripod, no flash, auto white balance

L2M2AS1 - Part B (c) - "blurred movement" - Canon 6D - manual mode, no flash, tripod, f18, iso100, 6 sec, 34mm, awb. Usinf the street lights behind me and the glow of the Eiffel Tower to illuminate the sky to show the storm clouds brewing. Used remote shutter release with IS off to reduce camera shake. Light trails from the cars acting as leading lines into the image

L2M2AS1 - Part B (c) - "blurred movement" - Canon 6D - manual mode, no flash, tripod, f18, iso100, 6 sec, 34mm, awb. Usinf the street lights behind me and the glow of the Eiffel Tower to illuminate the sky to show the storm clouds brewing. Used remote shutter release with IS off to reduce camera shake. Light trails from the cars acting as leading lines into the image

L2M2AS1 - Part A (a) "Compensation" - Manual Mode - Canon 6D, no flash, tripod, f11, 1/5sec, iso400, 80mm, auto white balance. I took this image zooming in on the old town in Dubrovnik so it was correctly exposed, then recomposing my shot whit what I wanted in the frame. Using a tripod, remote shutter and IS switched off reduced camera shake.

L2M2AS1 - Part A (a) "Compensation" - Manual Mode - Canon 6D, no flash, tripod, f11, 1/5sec, iso400, 80mm, auto white balance. I took this image zooming in on the old town in Dubrovnik so it was correctly exposed, then recomposing my shot whit what I wanted in the frame. Using a tripod, remote shutter and IS switched off reduced camera shake.

L2M2AS1 - Part A (C) AEB - Manual Mode - Canon 6D , no flash, f22, 1/30sec, iso1600, 105mm, awb. This image was taken using Automatic Exposure Bracketing and is correctly exposed so the shadows were not too black and the highlights were not blown out. Using iso1600 meant there would be some unwanted noise in the image which I removed in LR. The shot was taken on the pier at Lake Geneva, with a tripod and remote shutter release.

- Part A (C) AEB - Manual Mode - Canon , No flash, tripod, remote shutter release, awb. This image was taken using Automatic Exposure Bracketing and is under exposed. The faster shutter speed didn't allow enough light into the camera.

L2M2AS1 - Part A (C) AEB - Manual Mode - Canon 6D , No flash, tripod, remote shutter release, f22, 1/15sec, iso1600, 105mm, awb. This image was taken using Automatic Exposure Bracketing and is over exposed. The slower shutter speed allowed too much light into the camera and the highlights blew out losing some detail.

L2M2AS1 - Part A (C) AEB - Manual Mode - Canon 6D , No flash, tripod, remote shutter release, f22, 1/15sec, iso1600, 105mm, awb. This image was taken using Automatic Exposure Bracketing and is over exposed. The slower shutter speed allowed too much light into the camera and the highlights blew out losing some detail.

Framing, Depth of Field, Leading Lines, Background

Framing, Depth of Field, Leading Lines, Background

L2M2AS1 - Part B (e) - "Darkened subject with bright background using rule of thirds" - Manual Mode - Canon 6D, no flash, hand held, f10, 1/100sec, iso100, 87mm, awb. I used exposure compensation techniques by metering away from the subjects and reframing my shot using rule of thirds.

- Part B (e) - "Darkened subject with bright background using rule of thirds" - Manual Mode - Canon no flash, hand held, awb. I used exposure compensation techniques by metering away from the subjects and reframing my shot using rule of thirds.

L2M2AS1 - PART A (b) "Metering on sunset composition" - Manual Mode, Canon 6D, no flash, f22, 1/3sec, 24mm, auto white blance, iso100. I used Evaluative metering mode as this provided the best exposure settings based on the entire frame. This sunset image of Dubrovnik was taken using a tripod and remote shutter to reduce camera shake.

L2M2AS1 - PART A (b) "Metering on sunset composition" - Manual Mode, Canon 6D, no flash, f22, 1/3sec, 24mm, auto white blance, iso100. I used Evaluative metering mode as this provided the best exposure settings based on the entire frame. This sunset image of Dubrovnik was taken using a tripod and remote shutter to reduce camera shake.

L2M2AS1 - Part C (c) "Dark indoors with reflected light" - B Mode - Canon 6D, no flash, tripod, f16, 57sec, iso100, 105mm focal length, auto white balance. Waved an ipad back and forth above and had a iphone stationary on the right side to illuminate the subject. Having the shutter open on Bulb for 57secs allowed enough light to make the crystal sparkle. Using the lines on the wooden surface guiding viewer into the photo

L2M2AS1 - Part C (c) "Dark indoors with reflected light" - B Mode - Canon 6D, no flash, tripod, f16, 57sec, iso100, 105mm focal length, auto white balance. Waved an ipad back and forth above and had a iphone stationary on the right side to illuminate the subject. Having the shutter open on Bulb for 57secs allowed enough light to make the crystal sparkle. Using the lines on the wooden surface guiding viewer into the photo

Subsea crane: This RL-K 7500-250 subsea crane was installed on a pipe lay vessel for ultra-deep water operates at the Santos Basin, Brazil. Did you know that this crane can operate in a depth of up to 3,600 meter?

Subsea crane: This RL-K subsea crane was installed on a pipe lay vessel for ultra-deep water Lift Operator Training OSHA & ANSI Compliant www.

Daniella Zalcman, a photographer who parallels the cities of London and New York through these unique double-exposures.

Daniella Zalcman, a photographer who parallels the cities of London and New York through these unique double-exposures.

David Leventi photographs the interiors of world famous opera houses, capturing the ornate design of the architecture found inside. Using 4x5" and 8x10" Arca-Swiss cameras, Leventi captures each opera house from the vantage of an operatic singer, photographing the space from the very c

David Leventi photographs the interiors of world famous opera houses, capturing the ornate design of the architecture found inside. Using 4x5" and 8x10" Arca-Swiss cameras, Leventi captures each opera house from the vantage of an operatic singer, photographing the space from the very c

L2M2AS1 - Part B (e) - "Darkened subject with bright background using rule of thirds" - Manual Mode - Canon 6D, no flash, tripod, remote shutter release, f22, 1/100sec, iso100, 24mm, daylight white balance. I used exposure compensation techniques by metering away from the subject and reframing my shot using rule of thirds. I love the sun-burst effect created with this setup.

L2M2AS1 - Part B (e) - "Darkened subject with bright background using rule of thirds" - Manual Mode - Canon 6D, no flash, tripod, remote shutter release, f22, 1/100sec, iso100, 24mm, daylight white balance. I used exposure compensation techniques by metering away from the subject and reframing my shot using rule of thirds. I love the sun-burst effect created with this setup.

Here's a tutorial on how you can create fake depth of field blur in the background of photos using something known as "Z-Depth Pass." I'm not saying that t

Here's a tutorial on how you can create fake depth of field blur in the background of photos using something known as "Z-Depth Pass." I'm not saying that t

Autumn Beauty | LOLO❤︎

The focus of this one is the autumn leaves, but the line of benches along the path works perfectly to add to the depth of field seen between the sharp and blurred leaves on top.