EX­PO­SURE 0.8 sec, f/14, ISO100 LENS 10-20mm f/3.5

NPhoto - - Over To You -

Our Ap­pren­tice says… Wan­der­ing along the wa­ter’s edge I found a scat­ter­ing of rocks, which pit­ted the oth­er­wise fea­ture­less shore­line. I orig­i­nally got down very low to the wa­ter, but found the rocks got lost be­hind one an­other. Car­men sug­gested I get a lit­tle height to let the rocks spread out in their own space, so I ad­justed my tri­pod to waist height and the scene came to life. There was a lit­tle move­ment on the tarn, though, so I wanted a longer shut­ter speed. I set an aper­ture f/14, which had the knock-on ef­fect of in­creas­ing my ex­po­sure time, but the shot wasn’t bright enough, so I di­alled in +1 2/3 stops of ex­po­sure com­pen­sa­tion, which ex­tended the ex­po­sure still fur­ther.

Ex­pert in­sight Sum­mer ther­mals

Car­men says… Adam no­ticed rip­ples on the lake, dis­rupt­ing the clear re­flec­tion he’d seen just a few mo­ments be­fore, but there was no wind to whip up the rip­ples. Car­men ex­plains: “You have to be­come a bit of a me­te­o­rol­o­gist in the Lake District. It’s ac­tu­ally ther­mals on the lake that cre­ate these rip­ples.” After wait­ing a few min­utes, the lake be­came clear and rip­ple-free again.

Go­ing ver­ti­cal With land­scapes, the fore­ground is just as im­por­tant as the main back­ground sub­ject. This se­ries of stones lead­ing into the lake pro­duced a dra­matic lead­ing line. The ver­ti­cal for­mat en­sures the stepping stones have more im­pact, draw­ing the eye to the moun­tains be­hind, while re­mov­ing any ex­tra­ne­ous de­tail left and right to sim­plify the scene. Turn­ing the cam­era, in­stead of crop­ping later, keeps max­i­mum res­o­lu­tion (and so de­tail) in the im­age. Live View Fo­cus­ing With Live View en­gaged, Adam moved the fo­cus point on the rocks a third of the way into frame, us­ing the back but­ton fo­cus­ing tech­nique Car­men showed him ear­lier. This en­abled him to po­si­tion his fo­cus point very pre­cisely.

Pro’s Killer Kit Grad­u­ated neu­tral den­sity fil­ter

Car­men says… The sky was bleach­ing out in Adam’s first at­tempts, so to avoid clip­ping in the high­lights I gave Adam a Lee Fil­ters 0.6 (two-stop) soft grad­u­ated neu­tral den­sity fil­ter. Plac­ing the dark por­tion at the top of the frame re­duces the bright­ness of the sky, mean­ing he could re­veal de­tail in the sky and clouds with­out dark­en­ing the fore­ground.

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