PhotoScapes

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Spotlight: D.C.

- Fireworks on the Mall - National Monuments $5.99 USA $8.00 Canada

Issue 001 September 2015

04 p. 21 p.

Clouds, Sunsets and Sky Shooting Lighting: Natural vs. Unnatural

Articles:

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Clouds, Sunsets and Skies What settings to use outside

Know & Protect Your Gear How to protect your investments

Fireworks on the Mall Washington, DC

National Monuments

Where to go on a self-guided walking tour

Lighting: Natural vs. Unnatural The basics of light

Photoscapes Picture Perfect Publishing Ltd 50 MM St Focus, MA 02228 +1.617.555.5309 www.pictureperfectpublishing.com

CEO, Editor, Publisher Joseph M. Wengloski

Resources How To:

Contributors

Stack Clouds

Subscriptions

Fireworks Shooting

Lee Frost The National Park Service subscriptions@photoscapes.com

Disclaimer:

The publisher cannot accept responsibility for any unsolicited material lost or damaged in the post. All text and layout is the copyright of Picture Perfect Publishing Ltd. Nothing in this magazine may be reproduced in whole or part and used specifically for the purpose of criticism and review. Although the magazine has endeavored to ensure all information is correct at time of print, prices and availability may change. This magazine is fully independent and not affiliated in any way with the companies mentioned herein.

If you submit material to Picture Perfect Publishing, you automatically grant Picture Perfect Publishing an irrevocable, perpetual, royalty-free license to use the images across its entire portfolio, in print, online and digital, and to deliver the images tp existing and future clients, including but not limited to international licensees for reproduction in international, licensed editions of Picture Perfect products. Any material you submit is sent at your risk and, although every care is taken, neither Picture Perfect Publishing nor its employees, agents or subcontractors shall be liable for the loss or damage.

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Extras: Letter From the Editor EXIF Data Photoscapes

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From the Editor I never anticipated becoming involved in the graphic design profession. My passion for design began in Philadelphia, where I studied Industrial Design for several years, fueled by a drive to one day become an automotive designer. After some consideration, my instincts told me to pursue the profession of graphic design.

While I was in Philadelphia, I had the opportunity to study abroad in Milan, Italy. Before departing, I invested in my first digital SLR camera, a Sony a230 fitted with an 18-55 mm and 75-300 mm lens. Having experimented with a point-and-shoot camera for several years before, I was enthusiastic and driven to learn more about the camera, taking as many pictures as I could while there.

In the coming years, I would become more involved with automotive photography, taking pictures at shows, setting up shoots, and even attending the 2015 New York International Auto Show as a press photographer. As I honed my skills and made connections in the automotive industry, I soon thought this might be my true calling - to photograph cars and build illustrations and concepts from the resulting imagery.

My passion for photography doesn’t end with cars. Living close to our nation’s capital, Washington, DC, has given me great opportunities to visit and shoot some of the most beautiful monuments and buildings around. It’s also given me the option to try out many experimental kinds of photography including long exposures and light painting, to name but two. My contacts in the photography world have expanded, allowing amateur photographers to approach me for advice, which I saw as a great opportunity.

I created this magazine, PhotoScapes, to showcase elements of photography. Many magazines are made to highlight individual photographers, though few highlight a specific geographic area in which people can visit and know exactly where to go to get ‘that shot.’ I wanted to help those just starting out by designing easy tutorials to follow, and include the ever important EXIF data for easy replication.

I hope you find PhotoScapes entertaining, enlightening, and informative. Those are our three main goals. Enjoy!

We would love to hear from you. Show us your take on our tutorials by sending an email to info@photoscapes.com.

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Clouds, Sunsets and Skies

By Lee Frost

Photography by Joseph Wengloski

A cloud stacked image comprised of roughly 75 images. Photos were taken in 5 second intervals and then layered in Photoshop. The photo location is less than a mile from the Delaware border in Landenberg, Pennslyvania.

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f every day was clear and sunny, the light would be predictable and photography very easy because you could plan your pictures down to the last detail.

For most of us, however, unpredictable and constantly changing weather adds a whole new dimension to the quality of natural lighting.

Clouds are the biggest culprit, coming in many shapes, sizes and densities, with each type having a different effect. If a fluffy white cloud decides to drift in front of the sun then you will notice an immediate change. Suddenly the light levels drop a good stop or two, shadows become much weaker, and the light itself is much softer. This is because the cloud acts as a diffuser, spreading the light and reducing its harshness. As the cloud cover increases, so the effect becomes more noticeable.

In overcast weather, clouds effectively turns the sky into one enormous softbox, killing shadows almost completely and

creating a gentle form of illumination. A similar effect can be produced in the studio by placing softbox over a studio flash setup.

Most photographers dismiss dull weather as boring and uninspiring, but it is perfect for portraiture, fashion, still life, detail and closeup photogra-

– dull days create perfect condition for producing moody black and white images. Stormy weather with ominous cloud coverage offers an even wider scope.

The prospect of being soaked may not fill you with excitement, but bad weather has a habit of breaking unexpectedly, and when it does you will be handsomely rewarded with shafts of radiant sunlight illuminating the landscape against black clouds, or a colourful rainbow arching across the sky.

“Of course, there is the sun itself, and in the right conditions it is pretty impossible not to take great pictures.”

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phy. Admittedly, the soft light does tend to make colours look flat and subdued, but for the subjects mentioned above this is often a bonus.

Alternatively, you could shoot images with the intention of converting them to black and white, and exploit the wonderful range of tones produced

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Perhaps the most photogenic time of day is the hour or so before sunset, when the world is bathed in a beautiful golden light and even the most ordinary scene is brought to life. The light is often much warmer than at dawn because it is scattered and diffused by the thicker atmosphere. And of course, there is the stunning sunset itself, and in the right conditions and camera settings it is practically impossible not to capture great pictures.

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1. The lower portions of the image will remain unchanged. Consider taking a base photograph with it exposed the way you want it to look.

2. Details of the overlapping cloud exposures.

3. Detail of the overlapped clouds.

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Once the sun has disappeared twilight transforms the sky into beautiful shades of blue, purple and pink, providing yet more opportunities to take successful pictures.

At sunset, contrast is high if you are including the sun’s orb in your picture so you have to decide how you want to expose the scene. The usual approach is to create silhouettes of key foreground details such as buildings, trees and people with the fiery sky behind. This is done by exposing for the sky and sun, which your camera will naturally do if you leave the exposure to its metering system. All you have to do then is bracket a series of exposures, up to around two stops over the metered exposure, and you are guaranteed several successful frames.

Where you want to record detail in the foreground without burning out the sky, use a strong ND grad filter – 0.9 is usually the best choice – to reduce the brightness between the sky and landscape. You can then expose for the landscape and the glorious colours in the sky will record as well.

If every day was clear and sunny, light would be predictable and photography very easy because you could plan your pictures down to the last detail. For most of us, however, unpredictable and constantly changing weather adds a whole new dimension to light.

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Clouds are the biggest culprit.

They come in many shapes, sizes and densities, with each type having a different effect.

If a fluffy white cloud decides to drift in front of the sun then you will notice an immediate change. Suddenly the light levels drop a good stop or two, shadows become much weaker, and the light itself is much softer. This is because clouds act like diffusers, spreading light and reducing harshness.

As the cloud cover increases, so the effect becomes more noticeable. In overcast weather clouds effectively turn the sky into one enormous softbox, killing shadows almost

derful range of tones produced – dull days are perfectly ideal for producing moody black and white images. Stormy weather offers the prospect of being soaked to the skin may not fill you with excitement, but bad weather has a habit of breaking unexpectedly, and when it does you will be handsomely rewarded with shafts of radiant sunlight illuminating the landscape against a bank of black clouds, or a colourful rainbow arching across the sky as the sun fades into the horizon.

The way light strikes your subject is important because it can make a profound difference to the quality of your pictures.

Side lighting is a far better option. Keep the sun to one side of the camera and shadows rake across the scene, highlighting texture in all but the flattest surfaces, emphasizing form and adding a strong sense of depth to your shots – particularly when the sun is low in the sky and shadows are long.

You need to be careful when shooting landscapes and buildings, though, because you can easily end up with large areas obscured by shadows. Backlighting can be used to create stunning results, although you need to expose very carefully to avoid problems. If you fire away with your camera on au-

“A strong ND (neutral density) grade filter – 0.9 is usually the best choice – to reduce the brightness between the sky and landscape.” completely and creating a very gentle form of illumination. A similar effect can be produced in the studio by placing a large softbox over a studio flash.

Most photographers dismiss dull weather as boring and uninspiring, but it is perfect for portraiture, fashion, still life, detail and closeup photos.

Admittedly, the soft light does tend to make colours look flat and subdued, but for the subjects mentioned above this is often a bonus. You could shoot images with the intention of converting them to black and white, and exploit the won-

Frontal lighting is created when you do keep the sun behind you so your subject is evenly lit and contrast is easily manageable. This approach can work well early in the morning or late in the day, when your subject is bathed in lovely golden light, but because the shadows fall away from the camera and out of view the results tend to look rather flat.

If you are taking portraits, your subject will also be looking directly at the sun.This may cause him or her to squint due to the excessive brightness.

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tomatic, anything between you and the bright background will record as a striking silhouette because it is in shadow – statues, trees, buildings, people and all sorts of other subjects make stunning silhouettes.

See Page 8 for a How To: Cloud Stacking Composite.

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HOW TO: Cloud Stacking Composite

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Set up your camera on a tripod and take a picture in a regular time interval.

Placing your camera on a tripod will do a few things. First off, it will steady your camera - even more so with a remote shutter enabled. Decide what time interval you want to do - a longer time (5 minutes rather than 1 minute) will yield a more dynamic result.

Import your photos to a specified folder on your computer.

Edit them before you begin the stacking process.

Make sure you copy all of your images to the computer before beginning the stacking in Photoshop or the layer capable photo editing software of your choice. You can edit the raw or jpeg files before, as it will be much harder to edit them once you start bringing them into the program and layering them. At this point you can weed out any pictures that you don’t want to use, in case there are any distractions in the way of your images.

Layering the images is the relatively easy portion of this tutorial.

Open the base image for which your cloud stacking will build upon. Have the folder open, so you can select the remaining images and drag and drop them into the composition. Because you used a tripod, each frame will fit seamlessly on top of one another. It may take a few minutes for all of the images to appear in the document and you may be prompted by the software to confirm the placement of the imported images.

You’re about to make some magic by simply clicking the mouse once.

Select all of the layers aside from the Background (or original image). Change the layer blending mode to Lighten. Presto! You have just created an exposure stacked image! Now you can save the file as both an editable file to return to and also a common image format to share.

Photoscapes

This is the final result of stacking 72 individual images using the exposure blending method described on Page 8.

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F i rewo rk s on t he M a ll: multiple exposures and timing Article and Photography by Joseph Wengloski

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he key to capturing effective and dynamic pictures of fireworks displays is to be able to adjust on the fly. Depending on how bright the bursts are, you may need to adjust your shutter speed as the show progresses. Be sure to be on site well before it begins, and dial in your shooting settings to be ready to shoot as the first firework is shot off. It may be helpful to research where the wind is blowing to minimize smoke covering the colorful explosions in your shots.

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fter living in Southern Maryland for over fourteen years, I decided this year to venture in to our nation’s capital to enjoy the fireworks display on Independence Day. It would be my first time attempting to photograph any kind of fireworks, and to be quite honest, I was nervous about messing it up and not capturing vivid, compelling shots of the event. Over the course of the week, I kept a close eye on the weather and grew anxious and nervous as the day drew close... there was rain forecast for almost the entire day in Washington, DC. Attending the Art Institute of Washington, located across the Potomac River from the District, gave me the opportunity to scout locations for optimal viewing of the show.

I decided after lots of Google Maps and driving around that I had picked a great place to go. Mount Vernon Trail, a jogging and biking path that snakes its way along the river, seemed like the best place

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to go. I parked my car in the school parking garage about two hours before the show was slated to start, and began my 25 minute walk down to my desired shooting location. The walk was beautiful, through the trees you can see different notable buildings of DC - the Kennedy Center, Georgetown and eventually the Washington Monument, the Lincoln Memorial and the Jefferson Memorial, too. It indeed had rained quite a bit that day so the path was still wet and a bit slippery in places.

I finally arrived at the clearing that I found online and much to my surprise, it wasn’t as packed as I had anticipated. I closed in on a spot that aligned me directly in front of the Lincoln Memorial with the Washington Monument bisecting it perfectly. I used several bags to place under my tripod, protecting the feet and metal from becoming immersed in the soggy ground and placed a few underneath my backpack which contained my gear. I

had about an hour and a half to attach several lenses that I brought and see which would be the best option for capturing the show. I ended up going with my Sigma 10-20mm.

After a few minutes, I noticed more and more people were starting to gather and set up lawn chairs and blankets. I look to my left and notice another photographer and his wife. We struck up a conversation and it turns out that this gentleman, Robert, has shot different fireworks shows in the past. I told him that this was the first time I was attempting this kind of shoot. We exchanged contact information and talked about what to expect in the coming minutes. Very graciously, Robert showed me some of his past work and explained his creative approach and style. I followed suit and explained that I was looking to eventually layer the images on top of one another to create one single composition that captured the entire display of beautiful intense fireworks display.

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I had done my due diligence beforehand, and this is a tip I suggest for beginners or any photographer trying a new technique for the first time.

During the week I looked up fireworks pictures on the popular photography website Flickr.

Most images posted contain what is called EXIF data which stands for Exchangeable Image File format.

This data proves helpful if uploaded because it contains settings used to capture the image which include exposure time, f-stop, focal length, lens used, etc. Finding compositions that captured the event well give you an idea of where to start with settings which allows for more time to adjust and tweak while shooting. In the time that Robert and I were talking and adjusting our cameras, trying out lenses and preparing for the show, over 200 kayaks started appearing in the clearing in front of us.

Most were coming from the north of the river. I was hoping that they would appear in my

images but due to the exposure length, they didn’t. Robert told me of an interesting technique he was going to use - a variable zooming method. After you hold the shutter to take a picture, you adjust the zoom while it is open, adding a psychedelic feel to your images. I decided to go the conservative route for my first attempt, using my Sigma 10-20mm f4-5.6 wide angle lens, allowing me to capture the fireworks and their reflections in the river in the same frame instead of multiple exposures. I had to test my focus to ensure everything would turn out perfectly. After assessing the location, we bent a few branches out of the way to allow for a more open and

distraction free composition and scene.

As we anticipated the beginning of the show, I stood ready, eyes glued to just above the Lincoln Memorial, behind which the fireworks would be launched from. As I saw the first shoot off, I fired off my camera. Oddly enough, the first shot I took turned out as my most powerful. Unfortunately the smoke from the launches and explosions were drifting in our direction, something that I had not researched that day prior to the show.

The show continued, with a decent spectrum of fireworks ranging from short, loud,

bright, banging ones to slow, flickering, trailing displays.

Each had its own personality and unique qualities to them.

After all was said and done, I felt I had successfully captured my first fireworks display.

Robert, his wife and I decided to all walk back together since it was rather dark out at this point. The walk back was dimly lit with little to no lamps illuminating the still slippery path. We discussed what processes we would use to digitally develop our photos. It was nice to have another photographer to bond with and talk about the nature of our work.

Even though we have two very different styles and makes

and models of equipment, the fundamental principles of photography we discussed at great detail are universal.

If you ever have a chance to check out a fireworks show, I highly suggest packing your tripod and gear and try your luck. Check out the how-to for basic fireworks shooting below and have fun! Remember, these are basis settings and suggestions for where to start.

Depending on your lens and camera setup, you may need to dial in your settings and tweak them as the first few rounds are fired off.

HOW TO: Fireworks shooting

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Set up your camera on a tripod and dial in your settings.

This is where you want to have researched beforehand.

Having a basic idea of what shutter speeds, f-stops and other settings to use is very helpful. Test shoot before the show starts to ensure that your camera is focused on where they will go off. A good number to start with is between 1 to 3 seconds to capture the entire explosion.

Take your photos with a remote shutter if at all possible.

Timing is everything with fireworks. Be sure to start your exposure slightly before it actually goes off. This way, your photo will capture all of the light emitted during each firework. Time the fireworks from shooting off until the embers fade out and adjust your shutter accordingly.

Edit your pictures and layer them into one composition using the Layer Blend Mode feature.

Editing will be much easier than the set-up and execution of the shoot itself. Using your program of choice, go through and edit the images as you see fit. Using Photoshop or similar program, open a base image (preferably one with the background in focus without fireworks). Add images on top of the base that include the bursts, setting the Layer Blend Mode to “Lighten.” You can mask any portion of these images and tweak opacity as you see fit.

When you are finished adding layers to your document, you now have one image to showcase the entire fireworks display.

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National Monum ents:

capturing the history a

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Photoscapes

Written by the Natio nal Park Service Photography by Jose ph Wengloski

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he Three Servicemen statue is the result of the controversy surrounding Maya Ying Lin’s design of the Vietnam Veterans Memorial.

Some veterans and their political supporters felt that The Wall was a “giant tombstone.” It was too abstract a design for others who wanted a more heroic, life-like depiction of a soldier. To meet these concerns, it was decided that a traditional statue would be added as an integral part of the Vietnam Veterans Memorial. The late Frederick Hart, who had won third place in the original competition, was selected to create a suitable work of representational sculpture to be added to the Memorial site.

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he memorial honors the “Great Emancipator” and 16th President of the United States, Abraham Lincoln. Designed by Henry Bacon in the style of ancient Greek temples, construction began in 1914, with the memorial opening to the public in 1922. Carving of the Lincoln statue took four years and was completed by the Piccirilli brothers under the supervision of the statue’s sculptor, Daniel Chester French. The murals contained on the inside of the memorial were painted by Jules Guerin. Many large gatherings and protests have taken place at this important memorial – Martin Luther King Jr. gave his “I Have a Dream” speech in front of it in 1963.

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he U.S. Congress approved the construction of the Korean War Veterans Memorial in 1986. Design and construction were managed by the Korean War Veterans Memorial Advisory Board and the American Battle Monuments Commission. Cooper-Lecky Architects were responsible for the design itself, as they oversaw collaboration between several designers.

The most notable of these designers was Frank Gaylord, who was responsible for the 19 stainless steel statues. The memorial broke ground on June 14, 1992 and it was dedicated on July 27, 1995, the 42-year anniversary of the armistice that ended the Korean War. Photography is permitted. Any footage taken must credit the artist.

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eorge Washington’s military and political leadership were indispensable to the founding of the United States. As commander of the Continental Army, he rallied Americans from thirteen divergent states and outlasted Britain’s superior military force. As the first president, Washington’s superb leadership set the standard for each president that has succeeded him. The Washington Monument towers above the city that bears his name, serving as an awe-inspiring reminder of George Washington’s greatness.

The monument, like the man, stands in no one’s shadow.

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ocated between the Washington Monument and Lincoln Memorial, this memorial honors the 16 million who served during WWII and those who supported the war effort from home.

The memorial features two 43-foot arches, a 17foot pillar for each state and territory from that period and a field of 4,000 gold stars honoring the more than 400,000 who died. A series of bronze sculpture panels depict Americans at war, at home and overseas. The sculptures visible at the World War II Memorial were created by a Maryland sculptor Perry Carsley through his studio, Kaskey Studio.

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L igh t i n g : natural vs. unnatural Article by Lee Frost Photos by Joseph Wengloski

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ou need to understand the fundamentals of photography so you are in control of the camera, rather than it controlling you. Creativity and imagination are the key factors that make great shots, not technical perfection – that part is easy to achieve. So learn about apertures and shutter, for both have great creative significance.

Your digital camera may be able to produce perfectly exposed photographs almost every time, but sometimes you need to step in. An intentionally overexposed or underexposed image will help you reach your creative destination.

The qualities of natural and unnatural light is one of the most important factors to consider when taking any type of photograph, but your camera can’t tell you what’s good or bad – only you can decide that. Similarly, the way a photograph is composed is totally down to you. There are no hard and fast rules here but there are things out there that will help you create better compositions. This is quite possibly one of the hardest aspects of photography to master, but the more you practice, the better you’ll get at it.

Whenever you take a photograph, two import-

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The key to a successful daytime shoot is finding a location where the lighting will enhance the subject of the shoot.

For example, with a vehicle, look for direct sunlight on one side to create dramatic shadows that bring out the body lines. For portraiture, look for even lighting to allow for faster shutter speeds and full lighting of the person.

A detail shot showing the artistic rust and cracking, showing the true age of the VW Beetle.

ant camera controls are used to ensure that correct exposure is achieved.

These variables are the aperture and the shutter speed. The aperture is basically a hole in the lens formed by a series of metal blades, known as the diaphragm or iris. The size of this hole can be varied using a series of f/numbers or f/stops, allowing you to control precisely the amount of light passing through the lens.

The shutter speed, measured in seconds or fractions of seconds, indicates the period of time the camera’s shutter stays open for so that light passing through the lens aperture can reach the film in the camera, or its sensor in the case of digital cameras, and make an exposure.

typical f/ number or aperture scale on a 50 mm standard lens would be as follows: f/1.8, f/2, f/2.8, f/4, f/5.6, f/8, f/11 and f/16. The smaller the number is, the larger the aperture, and vice versa. The first f/number in

much of your picture comes out sharply focused and how much does not. This ‘zone’ of sharp focus is called the ‘depth of field’, and knowing how to control it is vital if you want to get the most from your

the depth of field, and its size varies depending upon three particular things: 1. The aperture set on the lens, the smaller the aperture, the greater the depth of field.

“The shutter speed also controls the amount of blur and sharpness recorded in every picture you take, because the longer the shutter is left open the more likely it is of subject or camera movement.” the scale is known as the ‘maximum’ aperture, and the last is known as the ‘minimum’ aperture. The main task apertures perform other than admitting light is to help determine how

photography. Whenever you take a picture an area extending in front of and behind the point you focus on will also come out sharp, crisp and without noise. This area is

As well as helping you achieve correct exposure, aperture settings and shutter speeds also give you creative control over your photography and allow you to make sure each picture comes out exactly as you planned. You will see the change in results after just one time of shooting manually.

F/stops follow a set sequence which is found on all lenses. A

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Model Megan Pollard leans out the driver’s side window of the car during the photoshoot.

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2. The focal length of the lens – The shorter the focal length, the greater the depth of field is at any given aperture.

3. The distance between the camera and subject – The further away you focus the lens, the greater the depth of field for any given focal length and aperture.

If you want minimal depth of field so your main subject stands out and everything else is thrown out of focus, use a telephoto lens set to a wide aperture such as f/4 and keep your subject relatively close to the camera itself – this is standard practice in basic portraiture. Or, if you want to keep everything sharply focused from the immediate foreground to infinity, as you would when shooting landscapes use a wide-angle lens set to a much smaller aperture such as f/16 or f/12.

As well as determining how long light passing through the lens aperture is admitted to the film or sensor inside your camera, the shutter speed also controls the amount of blur/sharpness recorded in every picture you take, because the longer the shutter is left open the more likely it is of subject or camera movement.

The typical shutter speed range found on digital SLRs today is 30–1/4000 sec, which is more than adequate for all subjects. In addition, your camera will most likely have a ‘B’ setting (bulb).

This allows you to open the shutter for as long as you like so you can shoot at exposure times longer than the automated shutter

speed range is capable of, like shooting the sky at night.

For buildings, landscapes and still lifes it does not really matter what shutter speed you use. This frees you to concentrate on controlling depth of field by choosing the best aperture, then using whatever shutter speed is required to give a correct exposure. For general use, 1/125 sec is a decent speed. Outdoors, in average weather conditions at ISO 100, 1/125 sec will give you an aperture around f/11 which will provide sufficient depth of field for most subjects and camera shake won’t be a problem.

Left: underexposed images can be corrected by lengthening your shutter speed or adding artificial lighting. Center: finding the right balance yields a powerful image. Right: overexposed image due to slower shutter speeds or strong .

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Rig Shot

The Matthews PRO Mounting System uses the Matthews BH-20 ball head and 3 provided suction cups along with grip heads, rods and adapters to mount cameras weighing up to 26 lbs (12 kg) to a car. The perfect system for the perfect shot.

After Editing

http://www.msegrip.com/

EXIF D a t a EXIF data stands for exchangeable image file format. The information provided in these documents can help a photographer determine what settings were used when a picture was taken (shutter speed, f-stop, ISO, and even the lens used).

The next few pages provide EXIF data for the images contained in this issue of PhotoScapes.

It can be easily found in Photoshop by opening the file, then clicking File -> File Info.

Look under Camera Data to reveal the photo specific information.

cover,

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Lens: 10-20mm Focal Length: 20mm ISO: 100 F/5.6 Exposure: 2.0 sec

Lens: 10-20mm Focal Length: 11mm ISO: 100 F/5.0 Exposure: 1/500 sec

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Lens: 10-20mm Focal Length: 20mm ISO: 100 F/5.6 Exposure: 2.0 sec Lens: 10-20mm Focal Length: 20mm ISO: 100 F/5.6 Exposure: 2.0 sec

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Lens: 10-20mm Focal Length: 20mm ISO: 100 F/5.6 Exposure: 2.0 sec

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Lens: 10-20mm Focal Length: 15mm ISO: 200 F/5.0 Exposure: 15.0 sec Lens: 10-20mm Focal Length: 20mm ISO: 200 F/5.6 Exposure: 1.0 sec

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Lens: 10-20mm Focal Length: 20mm ISO: 200 F/5.6 Exposure: 2.0 sec Lens: 75-300mm f4.5 - 5.6 Focal Length: 135mm ISO: 200 F/5.6 Exposure: 6.0 sec

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Lens: 50mm f1.8 Focal Length: 50mm ISO: 400 F-Exposure: 1/3200 sec Lens: 50mm f1.8 Focal Length: 50mm ISO: 400 F-Exposure: 1/3200 sec

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Lens: 50mm f1.8 Focal Length: 50mm ISO: 200 F-Exposure: 5.0 sec Lens: 50mm f1.8 Focal Length: 50mm ISO: 400 F-Exposure: 1/500 sec

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Lens: 50mm f1.8 Focal Length: 50mm ISO: 400 F-Exposure: 1/3200 sec

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