right shutter speed

Week 34: Artistic Red

Showing a little bit of patriotism this week. I love watching flags snap and wave in the wind.

Looks like I lost a bit of clarity as the sky was a bit hazy and I think I could have benefited from a faster shutter speed, but overall I’m pleased with this image, and glad I zoomed in enough to crop out the flag pole.

I had a couple of outtakes I’ll put on my blog.

ISO125 • 140mm • F8 • 1/250
Edits in Lightroom CC

Fabulous shot @mrspage and what a great subject for this week!  You are right about the shutter speed by the way.  If you are using a zoom lens, the more you zoom in, the faster a shutter speed you need for sharp images.  The composition of this image is really nice too.  The angled lines add interest and the lighting angle you chose resulted in very nice contrast.  Great shot!

- RK  

You’ll Understand [a Barry Allen AU]

Request: OMG THE ONE WHERE BARRY STEALS YOU IS GREAT (anyway there could be a pt where your orgional barry tried to rescue you because he does love you and stuff because like e4 barry said its always you two and then the barrys fight and you pick which barry)

a/n:  wow people liked that?

Part 1

It didn’t take long for Barry to notice you were gone. When he went to your apartment and you weren’t there, he did a quick sweep through of the city. Nothing. Immediately, he flashed to S.T.A.R. Labs, telling Cisco and Caitlin to check every security camera, every cell tower, everything, for you. Luckily, between the two genius’, they got a video of you and…Barry?

“Guys, that’s not me.” he gulps, watching the doppelgänger scoop you up in his arms, vanishing into a sparkly purple mist. They went to a different earth. “Cisco, I need you to vibe me to another earth.” he orders, latching his pale hands on the engineer’s wrinkled pink tinged button down, but not squeezing his shoulders.

Cisco’s lengthy hair whips around his tan nose as the speedster changes into his super suit, holding his vibe glasses. He tilts his head, smiling nervously, pointing to his glasses, “Yeah, see, about that, that kinda, yanno, is hard to do… and, not to be an ass, but, how do we know what earth they’re on?” he asks, looking into Barry’s pleading eyes. “Okay, okay, but I can only hold the portal open for an hour, maybe two, if we’re lucky.” he sighs, bringing the glasses to his eyes and turning them on.

He holds his hand out, focusing on creating the similar purple mist they saw in the video. Barry gives him a silent thank you before springing through the portal. His gut drops in his stomach and he feels the speed force bounce inside him.

When he’s spit out, his ears pop; he shakes his head, fixing his cowl so it sits on his nose just right, before speeding off. Shutters wrack his body, seeing the dirty streets of this Central City; they aren’t necessarily bad, just a little more gritty. His whole body stops, hearing the all too familiar giggle of you, and he creeps behind a building, poking his head out.

Sure enough, there you are, on…his back? Barry blinks, rubbing his eyes through the mask. A tinge of jealousy surges inside his skin and he frowns. He’s jealous of…himself? That’s a crazy sentence, even for him. He watches your crimped hair bounce up and down, drifting in front of your smiling face, while baggy gray cardigan hangs off one shoulder, exposing you white stripped shirt.

Your ring-clad fingers tangle in earth four Barry’s dark sweatshirt, muttering something in his ear, causing him to smirk. Barry fumes, leaning against the brick wall; stupid…him! Squinting at his gloved hands, he wiggles his fingers. He hasn’t picked up two people at once, but it can’t be that hard, right? Worth a shot.

He gets a running start, grabbing the both of you and hiding in an alley. You clutch your boyfriend tighter, black rimmed eyes wide. “Flash.” earth four Barry gumbles, gripping your thighs protectively. No, The Flash isn’t going to take you away from him. Not again.

Barry flings his cowl off his head, gazing at you with teary green-brown eyes; they were almost like your Barry’s, only his held darkness, something The Flash doesn’t possess. “Y/N, I found you! You can come home now!” he grins, stepping forward; the other Barry glares, stepping back. “Y/N?” his voice cracks, eyebrows furrowed in confusion.

“This is my home.” you whisper, hiding your face from him. Your nose brushes against the back of Barry’s neck, his cotton beanie nuzzling on your cheek. “I’m happy here. Here I have Barry and he loves me and I love him.” you mumble, voice muffled by his pale skin.

This shatters Barry’s entire being. “But - I love you, Y/N. I love you more than anything! Please, you can be happy with me.” he pleads, eyes begging you to listen to him. He knows now what he didn’t before. He knows that he belongs with you, not Iris, that you two are destined to be together.

A scoff erupts from earth four Barry’s chest and he readjusts you. “Weren’t you with Iris though? What happened to her, huh?” he challenges, watching Barry look down in embarrassment. “Move your feet, lose your seat, I guess.” he shrugs, “Just go back to your earth, like the good little superhero you are. Y/N and I - we need each other…” he sighs, gazing back at you, “She’s tired and her feet hurt, I’m taking her home. You should go too.” he whispers, frowning and zipping off.

Tears streak down Barry’s cheeks as he sobs, throat becoming dry. He speeds to the portal, going through it. Cisco frowns, seeing no Y/N with him. He thinks it will be better to ask what happened later.


(I will keep reminding people that those photos were taken using a 1971 lens and focused manually. Reblogging is very welcome and if you’d like to use the photos, contact me either on Tumblr or Twitter.)

Those two are from my first day of shooting 105mm manual lens (157mm equivalent) in Barcelona and I did get skaters my lens wasn’t following at that moment into the frame from time to time.

Other than that, I reckon at that stage I was massively struggling with the right shutter speed and ended up accidentally slowing it from time to time. But I do like how different the two shots turned out and how the second shot has captured the motion, so I’m posting them together.

Spectator [Myungsoo]

O 3O Taking a break from some other stuff. Mostly because I took Nell off of loop…All for this song because, man, do I love his voice. The song is just too gorgeous and it goes with my comfy writing mood and all of that jazz~ [This song has been on loop for two days, mind you.] This is just a really short something I wrote up in the heat of the moment ; 3; It might, now, be my favorite Myungsoo scenario. But I don’t think I’ll change my personal recommendation from Parting to this one. I mean I poured my heart and soul in to Parting……we’ll see though ; 3; I do really like this one OTL So I hope you enjoy? Even though it’s short ; 3;


He always enjoyed watching you when you thought he wasn’t. He was sure people thought it was creepy, but when he brought it up with you all you did was laugh. You told him it didn’t bother you. So he continued doing it.

Right now, he sat, fascinated, as you read your book in the corner of the room. You had ear buds as you listened to something. He was dying to know what you were listening too. But he was in spectating mode.

You turned the page in your book and he let his eyes fall to your hands. He could see small chips in your nails and the skin that peeled due to the cold weather. He loved the way he could fit his hand into yours.

He wanted to hold your hand. But he refrained.

Keep reading

Summer to Fall.

I’ve been wanting to put together a picture where one half of it shows one season, and the other half shows another. So I decided to use two pictures of this bridge that I took and put them together.

It took me quite a while to match them up properly and this was about as good as I could get it. I’m pretty pleased with how it came out! I just love how it goes from summer to fall in one image. 

Nikon D3200- 

Left-18mm, ISO 400, f/5.6 & 1/500 shutter speed. 

Right-18mm, ISO 400, f/3.5 & 1/800 shutter speed. 


Handheld Macro
[Skill Level - Intermediate]

Shooting small subjects without a tripod can be a challenge, but sometimes you don’t have a choice. You don’t have as much control as you would in a studio environment, so you have to take a few special considerations when shooting. 


I recommend aperture priority mode or manual mode. Set your aperture to something small. If you have enough light, f/8 to f/16 would be ideal. When you are working at such short distances, your depth of field will be tiny. It will be very hard to get your entire subject in focus. Shooting at a small aperture will help. I don’t recommend going beyond f/16 because lens diffraction will start to soften your images beyond that. 

Next, you must consider shutter speed and ISO. 

How long is your macro lens? Does it have stabilization? If it does not, remember your shutter speed needs to be 1/[focal length]. So if you have a 100mm lens, your shutter speed needs to be 1/100. If you have stabilization, you can usually do 2-3 stops slower. So you might be able to shoot handheld at 1/20 if your subject is super still. Remember that image stabilization removes motion blur from camera shake. It cannot remove motion blur from movement of your subject. If it is windy, you may have to crank that shutter speed right back up. 

So, what if you have your camera at f/16, but your shutter speed is too slow? This is where ISO comes into play. Meter your scene, look at your shutter speed. Bump up your ISO until that shutter speed is fast enough to eliminate motion blur from camera shake and subject movement. If your ISO starts getting crazy high, then you might consider opening up your aperture and sacrificing a bit of depth of field. 

It’s all a balancing act between priority and compromise. 

Auto Focus

The next big challenge is focus. There are two main approaches. Locking in an autofocus point and manual focus.

Using autofocus is best when you aren’t going for extreme magnification. For the photo of the wasp nest above, autofocus did okay. For the toothpicks, I had to focus manually.

I recommend framing up your subject, and then picking a single focus point that is suitable for your photo. Your camera may not guess very well at close distance, so locking in a focus point can solve that. It will also focus much quicker. Remember that the center focus point on most cameras is best, especially in low light.

The trick to this technique is being fast. Once your camera locks in focus, you have to snap the photo immediately. The smallest movement of your camera or subject will cause you to lose focus. If you wait too long, you won’t get the shot. Turning on your focus beep is very helpful. Hear the beep, hit the button. Fast as you can. 

Hear the beep. Snap.
Hear the beep. Snap.
And so on. 

And don’t take one picture and hope you got it. Take dozens. This will ensure that a few of them will be sharp.

Manual Focus

Most experienced macro photographers will use manual focus, but the technique is a little different than for normal photography.

First, you get the framing you desire. Figure out the basic composition of your shot and how far away you plan to be.

Next, you want to turn the manual focus ring to get your subject in approximate focus. Don’t worry about getting it exact, just get it in the ballpark.

The final step is where practice comes in handy. To get the subject in sharp focus you are going to physically move your camera back and forth in almost infinitesimal increments. I suggest a very slight rocking motion. Get a sense of where the focus is. Half press your shutter button and be ready to snap the shot. The rest is timing. Hitting that button at the exact moment you have focus. This may take several tries, so be patient.


Many think lighting is only for indoor studio work. But even on a sunny day, adding a little of your own light can be quite helpful. There are tons of macro lighting solutions. Adding a light can get you faster shutter speeds, smaller apertures, and the lowest ISO possible for a nice clean image. 

Here are a few lighting solutions, moving down the list from simplest and least expensive to most complicated and expensive.

LED Video Light

Advantages: An LED video light is a cheap but powerful resource. It is easy to carry around and will fit in most camera bags. When lighting your subjects, it’s easy to maneuver. Since it’s a continuous light source, you can see what your picture will look like when you look through the lens, and the extra light will help you get better focus.

Disadvantages: It’s hard to hold the camera in one hand while holding the light in the other. Sometimes that can make it hard to get a steady shot with the camera. However, you can attach it to GorillaPod (plus cold shoe) so that you can use both hands on the camera. The other disadvantage is that an LED light is not nearly as powerful as a regular camera flash, so it will only give you a few extra stops to get a faster shutter speed, smaller aperture, or a lower ISO.

Recommended products:
NEEWER ($28)
Yongnuo ($137) <– larger but more powerful

Speedlight with Mini SoftBox

Since macro subjects are so close in front of your lens, you can’t mount your flash on top of the camera as you traditionally would. This means you have to take the flash off the camera and point it at your subject from another angle.

The cheapest way to do this is to get a TTL cord and attach it to your speedlight so you can hold the flash and aim it however you like. By adding the mini SoftBox, you can diffuse the light and create softer shadows to keep the image from looking sterile and blown-out.

Advantages: A speedlight is much more powerful, and you can choose any combination of aperture, shutter speed, and ISO.

Note: Because of the quick flash duration of a speedlight, you do not need a fast shutter speed to freeze your subject. The flash will do that for you. The only factor shutter speed will control is the amount of ambient light in the picture. Slow shutter speed for more ambient light, or a fast shutter speed to black out the background. (Check camera manual for your camera’s highest flash sync speed and do not set shutter faster than that.)

Disadvantages: Once again, you have to use the camera with one hand and hold the flash with the other. The TTL cord can be awkward to maneuver. You can try using wireless TTL with a gorillapod.

TTL Speedlights
Yongnuo ($102)
Canon ($299)
Nikon ($326)

Vello TTL cable for Canon ($20)
Vello TTL cable for Nikon ($20)
Wireless TTL ($78)
LumiQuest SoftBox ($50)

Macro Ring Light

A macro ring light attaches to the front of your lens. It shines light directly on your subject.

Advantages: A ring light allows you to use both hands to operate the camera, plus you can get as close as you want to the subject without having to worry about shadows interfering. The continuous ring light also makes it very easy to get accurate focus because you get a very bright view of the subject in your viewfinder.

Disadvantages: Since it projects all the light directly in front of the subject instead of coming from the sides, it can make for a flat picture that lacks dimensionality.

NEEWER Ring Light ($35)
Stellar Lighting Systems Ring Light ($230) <– much more powerful

Macro Ring Flash

A ring flash is similar to a ring light, only it is not a continuous light source. It is essentially like using a speedlight on the front of your lens.

Advantages: It’s much more powerful than a continuous light source. It allows you to choose any aperture, shutter speed, and ISO for your image.

Note: Some ring flashes or ring lights allow you to light up only one hemisphere of the light at a time to try to achieve a more three-dimensional photo. However, due to the closeness of macro subjects, it is not always successful.

Sigma Ring Flash ($350)

Canon Macro Twin Lite & Nikon Close-up Speedlight Kit

The Canon Macro Twin Lite and Nikon R1C1 flashes are considered by many to be the ultimate portable macro lighting solution. They have two small speedlights attached to your lens.

Advantages: The lights can be rotated, and angled inwards and outwards for optimal lighting positioning. You can create different lighting ratios to help create dimensionality. They also allow you to angle them to light your subject with one light and light your background with another. They have small, incandescent focusing lamps that allow you to light your subject and get good focus before you take the picture. Essentially giving you a preview of what the shot will look like. 

They use TTL metering, so your camera can automatically determine the correct exposure. You can also get small diffusers to go over the flashes and create softer light. They are some of the most powerful, portable macro lighting solutions available. In most situations, you can shoot all your macros at ISO 100 and the smallest aperture possible with no problem.

Disadvantages: The only disadvantage to this lighting solution is that it costs about $800.

Canon ($830)
Nikon Variant ($720)


  • Use aperture priority or manual mode and choose the smallest aperture you can to increase depth of field. Try to avoid going above f/16 to prevent soft images. 
  • If your lens does not have stabilization, raise your ISO until your shutter speed is 1/[lens focal length]. A 100mm lens would need a 1/100 shutter speed.
  • If using autofocus, remember to turn on the focusing beep. You must take the picture the moment you hear the beep. Take dozens of shots to make sure you get a sharp one. 
  • If using manual focus, get your subject in near focus and then move your lens back and forth. Time when it is in focus and take your shot. This requires a great deal of practice but can often get you consistent results. 
  • Even if outdoors, adding your own lighting can help you achieve smaller apertures, faster shutter speeds, and lower ISOs.