image based on the current exposure settings, and
the screen will adapt in real time as you alter the
aperture, shutter speed or ISO. You’ll even see the
ű
Ǖǎ
\1Ǖ
handy visual aid shows exactly how your settings
ŰŲ
Ǖ\
MANUAL FILTERS
Your manual exposure isn’t the only way to control
the amount of light that hits your camera’s sensor.
3
ǔǕǕǕŕǔ
ű\
There are several reasons you might want to do so.
Fi rst , it a l lows you to leng t hen you r shutter speed,
which in turn opens the door to longer exposures
Ǖǔ
Ǖ
Ű
ǔ
ǕĨ
clouds or other objects in your scene.
Using ND filters
To achieve this, you need to use a tripod and a
ǕűŖǕŕ
Ňņŕ
ű
set is ideal for most daylight conditions, as it gives
you the option to drop your shutter speed to several
\%
ŕ
-*
ǓǕ
ǕǕŲ
outdoors in bright conditions. This is because your
Ǖ
ǎ
ǕǔǕ
ǔ
ř
ŇŮňņņŚĨ
ǕǔǕ
Ǖ
ű\
Graduated filters for skies
%ű
Ų
ǕĨ
-*űĨǕ
opaque to restrict it in one portion of the frame.
%ǓĨļ
Ǖ
almost always brighter than the land, so a graduated
ű
Ǖ
\&
ĨǕ
kind of balancing act can be achieved in similar
ways with exposure blending or post-processing
A neutral density
filter lets you create
wonderful motion blur
effects over moving
clouds and water.
Here a 13-stop ND
results in a two
minute-long exposure
in bright daylight.
MASTER MANUAL