We kicked off our se­cond day of the scav­enger hunt by ex­per­i­ment­ing with Big Stop­pers and mul­ti­ple ex­po­sures

YOUR PHOTO CHAL­LENGE: GO SHOOT… A long ex­po­sure

NPhoto - - Contributors -

After spy­ing a few promis­ing lo­ca­tions on the jour­ney home after day one, we hit the road with con­fi­dence as day two dawned. The first card out of the hat re­quired us to take a photo us­ing a long ex­po­sure, and we knew where to find a field of round bales that would work a treat as the es­sen­tial sta­tion­ary in­ter­est in a long-ex­po­sure cloud­scape. The only prob­lem was that we didn’t have time to seek the farmer’s per­mis­sion to en­ter the field, which meant hav­ing to shoot from the road, re­strict­ing our com­po­si­tion and fram­ing op­tions.

The bright con­di­tions and low wind meant that the move­ment of the clouds wasn’t reg­is­ter­ing as an ex­ten­sive blur, even with a Lee Big Stop­per fil­ter at­tached to the lens. To solve this we ex­per­i­mented with the mul­ti­ple ex­po­sure fea­ture on our D500, tak­ing be­tween three and five long­ex­po­sure frames as the clouds moved across the scene, which we then au­to­mat­i­cally com­bined into one fi­nal mul­ti­ple ex­po­sure. To en­sure the cam­era didn’t move be­tween each frame and to record the bales in the same po­si­tion in each shot, we used a heavy-duty Gitzo tri­pod, with an even heav­ier Tam­rac back­pack sus­pended un­der the cen­tre col­umn to add bal­last.

light and blur The base ex­po­sure of six sec­onds recorded the chang­ing light pat­tern as well as the smear­ing of the clouds

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