Example Letter For Community Hours

7 Points System

Scott Kelby is one of the gurus in the world of Photoshop.
Learn more about digital artwork
I was inspired to his book "7-Point System" (Adobe Photoshop).
Here I have translated the seven main points.

THE SEVEN KEYS TO TAKE A PICTURE OF FLAT A FANTASTIC

POINT FIRST

• Adobe Camera Raw

• If you go with working in Camera Raw (TIFF, JPEG or Raw) set before the white balance (white balance), exposure (exposure) when seven workers to bring brightness to your liking with "recovery". We look forward to working on the shadows to your liking and to make this work with blacks (blacks) until they are to your taste.
• Now bring the photo to zoom to 100% for clarity and use .... say bring a sharper focus.
• If your photos we need more contrast to work on the panel and the Curves Point Curves presets and add contrast. If we need to increase the focus going in the details pane (details). If we have a panoramic view we increase the detail. For portraits are Women and children increases the mask (masking) instead. Then we can open the image in Photoshop.

POINT TWO

• Working with curves

• Probably at this point we do not have color problems if we have worked well in the preceding paragraph. But we can use curves to add more contrast.
  
• We can use the level curves to work with the brush to increase the contrast in selected areas, in this case we will work with the mashers of the level ... that we will see later.
• Remember that we can also use the blending mode and opacity (Blend / Opacity)
  

POINT THREE

• lights and shadows

• If our subject is backlit or an important part of our picture is in the shadow the first thing to do is change the method from RGB to LAB we pass in the panel of channels (Channels) and select Lightness channel. Duplicate the Background (Background), choose Convert for Smart Filters from the Filters menu and then choose "Lights and Shadows" (shadow / highlight) from the Image menu (Image / Adjastments) and select "Show more options".
  
• now to make a shade more realistic (bearing in mind that this filter can do very advanced things), "lower the value (amount) up a bit more tone and position the radius (radius) between 250 and 300 . Here's an image in RGB.
  

POINT FOUR

• Drawing with light

• If there are areas of your photo you want to brighten or darken, add a Curves layer, we place a central point on the line of control and we move up (to the right of the line) if we increase the light at the bottom (to the left of the line) if we want to darken. Let's ok and we go out from the processing of the bends.
  
• Now press "Command + I for Mac and" Ctrl + I "to win, to invert the layer mask (it will be black).
  
• Brushes now above the Mask with white to reveal the light or dark sides Pià where you'd like.
  

POINT FIVE

• Channel Adjastments

• To ensure that the colors are really nice to be back as LAB.
• choose "Apply Image" (Apply image) from the Image menu (Image). We have the Merger (Blending) to "Soft Light" (Soft Light). Then choose the channels that seem best of: The channel "a" - "b" - "L". But we were to find that the colors are too intense lower the opacity (opacity).
  

POINT SIX

• Level Mode Level Fusion and Masher

• To illuminate your subject, or to darken the sky, or generally to control the tonal balance of the photos: Duplicate the background, choose the blending mode screen (Screen Blend) to make the picture brighter, or with Multiply (Multiply) to darken, then add the layer mask and brush over the black mask to hide the effect, or reverse the form with apple + i (Win: Ctrl + s) to conceal the effect of strokes and white discover the effect where you want it.

POINT SEVEN

• Technique contrast
  

• Use the filter "Unsharp Mask" (Unsharp Mask) to counter megliko your photo, then choose the "fade" in the edit> fade> .... (Edit> fade unsharp) and also here you will find the blending (blend) and the ability to control the opacity from 0 to 100%. Generally use the blending Brightness (luminosity) to correct color problems. Try the Unsharp Mask with Amount: 85% Radius: 1 threshold: 4 for a medium contrast ....

GOOD JOB

------------------------

Example Letter For Community Hours

7 Points System

Scott Kelby is one of the gurus in the world of Photoshop.
Learn more about digital artwork
I was inspired to his book "7-Point System" (Adobe Photoshop).
Here I have translated the seven main points.

THE SEVEN KEYS TO TAKE A PICTURE OF FLAT A FANTASTIC

POINT FIRST

• Adobe Camera Raw

• If you go with working in Camera Raw (TIFF, JPEG or Raw) set before the white balance (white balance), exposure (exposure) when seven workers to bring brightness to your liking with "recovery". We look forward to working on the shadows to your liking and to make this work with blacks (blacks) until they are to your taste.
• Now bring the photo to zoom to 100% for clarity and use .... say bring a sharper focus.
• If your photos we need more contrast to work on the panel and the Curves Point Curves presets and add contrast. If we need to increase the focus going in the details pane (details). If we have a panoramic view we increase the detail. For portraits are Women and children increases the mask (masking) instead. Then we can open the image in Photoshop.

POINT TWO

• Working with curves

• Probably at this point we do not have color problems if we have worked well in the preceding paragraph. But we can use curves to add more contrast.
  
• We can use the level curves to work with the brush to increase the contrast in selected areas, in this case we will work with the mashers of the level ... that we will see later.
• Remember that we can also use the blending mode and opacity (Blend / Opacity)
  

POINT THREE

• lights and shadows

• If our subject is backlit or an important part of our picture is in the shadow the first thing to do is change the method from RGB to LAB we pass in the panel of channels (Channels) and select Lightness channel. Duplicate the Background (Background), choose Convert for Smart Filters from the Filters menu and then choose "Lights and Shadows" (shadow / highlight) from the Image menu (Image / Adjastments) and select "Show more options".
  
• now to make a shade more realistic (bearing in mind that this filter can do very advanced things), "lower the value (amount) up a bit more tone and position the radius (radius) between 250 and 300 . Here's an image in RGB.
  

POINT FOUR

• Drawing with light

• If there are areas of your photo you want to brighten or darken, add a Curves layer, we place a central point on the line of control and we move up (to the right of the line) if we increase the light at the bottom (to the left of the line) if we want to darken. Let's ok and we go out from the processing of the bends.
  
• Now press "Command + I for Mac and" Ctrl + I "to win, to invert the layer mask (it will be black).
  
• Brushes now above the Mask with white to reveal the light or dark sides Pià where you'd like.
  

POINT FIVE

• Channel Adjastments

• To ensure that the colors are really nice to be back as LAB.
• choose "Apply Image" (Apply image) from the Image menu (Image). We have the Merger (Blending) to "Soft Light" (Soft Light). Then choose the channels that seem best of: The channel "a" - "b" - "L". But we were to find that the colors are too intense lower the opacity (opacity).
  

POINT SIX

• Level Mode Level Fusion and Masher

• To illuminate your subject, or to darken the sky, or generally to control the tonal balance of the photos: Duplicate the background, choose the blending mode screen (Screen Blend) to make the picture brighter, or with Multiply (Multiply) to darken, then add the layer mask and brush over the black mask to hide the effect, or reverse the form with apple + i (Win: Ctrl + s) to conceal the effect of strokes and white discover the effect where you want it.

POINT SEVEN

• Technique contrast
  

• Use the filter "Unsharp Mask" (Unsharp Mask) to counter megliko your photo, then choose the "fade" in the edit> fade> .... (Edit> fade unsharp) and also here you will find the blending (blend) and the ability to control the opacity from 0 to 100%. Generally use the blending Brightness (luminosity) to correct color problems. Try the Unsharp Mask with Amount: 85% Radius: 1 threshold: 4 for a medium contrast ....

GOOD JOB

------------------------

Cream Of Tartar In Juice

Depth of Field Aperture priority

The depth of field is one of the basic principles of photography . When allows you to focus an image, only a specific subject will be really focused. Anything that is in front of or behind the object will be phased out of focus, the areas closest to the plane of maintaining a sharp focus are the acceptable depth of field.

There are two factors that influence the depth of field: Aperture 1.1



The amount of light reaching the sensor is determined by the diaphragm and is designated with a value of "f" (eg, f2 .8, F16, F32 ...).
High values \u200b\u200b(eg, F16, F32) correspond to apertures and shutter speeds then longer and greater depth of field.
Low values \u200b\u200b(eg f2.8, f4) correspond to apertures and shutter speeds then shorter and shorter depth of field, ie aperture priority f/2.8






f/11



The images above show clearly that the first was taken with an f 2.8 aperture in fact both the foreground and background are blurred out, but in the second image (f 11 ) everything is in focus.
Close the diaphragm to obtain a large depth of field, however, has two disadvantages: 1) the amount of light reaching the sensor is decreased, and therefore require slow shutter speeds 2) the image quality is worsened by the diffraction, a phenomenon that becomes evident at smaller apertures. Focal Length 1.2



If you increase the focal length, keeping the camera-subject distance, depth of field becomes more limited.

50mm to 200mm f4.8 to f4.8



If you take a picture of a relatively large proportion will have more depth of field. For example, if you photograph a mountain at f5.6 you will have an extensive depth, but if you photograph a butterfly with the same aperture depth of field will be much reduced.

So we can summarize that ....

The depth of field is the area that once assicuratisi an acceptable focus, the frame will be sharp. The size or depth of this field is precisely determined by the value that is assigned to the diaphragm. In fact, using a short focal length (eg 35mm) and a small aperture (f11 then) you will get a maximum depth of field, so a total sharpness over the entire frame. If you take a long lens (like a 210mm) and an aperture wide open (f2.8) will create a shallow one that will lead to almost complete blurring of the background.

This scheme is summarized:

Cream Of Tartar In Juice

Depth of Field Aperture priority

The depth of field is one of the basic principles of photography . When allows you to focus an image, only a specific subject will be really focused. Anything that is in front of or behind the object will be phased out of focus, the areas closest to the plane of maintaining a sharp focus are the acceptable depth of field.

There are two factors that influence the depth of field: Aperture 1.1



The amount of light reaching the sensor is determined by the diaphragm and is designated with a value of "f" (eg, f2 .8, F16, F32 ...).
High values \u200b\u200b(eg, F16, F32) correspond to apertures and shutter speeds then longer and greater depth of field.
Low values \u200b\u200b(eg f2.8, f4) correspond to apertures and shutter speeds then shorter and shorter depth of field, ie aperture priority f/2.8






f/11



The images above show clearly that the first was taken with an f 2.8 aperture in fact both the foreground and background are blurred out, but in the second image (f 11 ) everything is in focus.
Close the diaphragm to obtain a large depth of field, however, has two disadvantages: 1) the amount of light reaching the sensor is decreased, and therefore require slow shutter speeds 2) the image quality is worsened by the diffraction, a phenomenon that becomes evident at smaller apertures. Focal Length 1.2



If you increase the focal length, keeping the camera-subject distance, depth of field becomes more limited.

50mm to 200mm f4.8 to f4.8



If you take a picture of a relatively large proportion will have more depth of field. For example, if you photograph a mountain at f5.6 you will have an extensive depth, but if you photograph a butterfly with the same aperture depth of field will be much reduced.

So we can summarize that ....

The depth of field is the area that once assicuratisi an acceptable focus, the frame will be sharp. The size or depth of this field is precisely determined by the value that is assigned to the diaphragm. In fact, using a short focal length (eg 35mm) and a small aperture (f11 then) you will get a maximum depth of field, so a total sharpness over the entire frame. If you take a long lens (like a 210mm) and an aperture wide open (f2.8) will create a shallow one that will lead to almost complete blurring of the background.

This scheme is summarized:

Pain In The Side After Sleep

addition to the maximum brightness value indicated on the lens, we discover that our camera can operate on several other increasing values. That is, the diaphragm can be closed gradually to reduce the light reaching the sensor. The opening and closing movement of the diaphragm are automatically created when the camera calculates the correct exposure and goes hand in hand with the calculation of the exposure time, which is also automatic. Theoretically possible values \u200b\u200bare 1, 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22, 32, 45, 64.

In practice, most of the cameras on the market value does not exceed 16 and, in the case of digital is around 8. This means that the objectives of these cameras can not restrict the diaphragm and so much more than offering a small range of possible values \u200b\u200bcompared to their cousins \u200b\u200bor analog to digital SLR cameras, which assemble professional goals.

What does it mean? That under conditions of bright sunshine the goal will not be able to close enough to filter the outer glow and the machine will dramatically reduce the shutter speed, which also can be done since, in particular, comes at a speed of 1 / 4000 of a second. So, given that still managed to produce a proper exposure, why should we bother to know the aperture and its values? The fact is that although the exposure is correct, however, the result will be very different depending on whether you shoot with an aperture of f2.8 and a time of 1 / 250 of a second, or with an aperture of f8 and a time of 1 / 30. The amount of light that passes will be exactly the same and therefore the exposure will be correct in both cases, however, the focus of the objects will not be the same. In fact, a lens with wide aperture will tend to limit the focus on the subject, blurring what is around him and a target iris will also burn very close objects that are close to us and further away from the subject. The extension of the ability to focus is called "depth of field." The broader, the better the chance to see all objects in focus in the image, regardless of their distance from the target and a point which we have centered the focus of our recovery.

In sports photography, you may need to manually control the shutter speed abandoning the fully automatic mode to switch to a semi-automatic mode where the work is set by the desired time and let the camera calculate the opening correct. This mode is called shutter priority and is usually identified by the letter S (shutter priority) in the programmable cameras. There is also a way of working with each other, which is set by hand in the aperture and let the camera automatically calculates the exposure time. This mode is called aperture priority and is strongly marked by A (aperture priority)

Pain In The Side After Sleep

addition to the maximum brightness value indicated on the lens, we discover that our camera can operate on several other increasing values. That is, the diaphragm can be closed gradually to reduce the light reaching the sensor. The opening and closing movement of the diaphragm are automatically created when the camera calculates the correct exposure and goes hand in hand with the calculation of the exposure time, which is also automatic. Theoretically possible values \u200b\u200bare 1, 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22, 32, 45, 64.

In practice, most of the cameras on the market value does not exceed 16 and, in the case of digital is around 8. This means that the objectives of these cameras can not restrict the diaphragm and so much more than offering a small range of possible values \u200b\u200bcompared to their cousins \u200b\u200bor analog to digital SLR cameras, which assemble professional goals.

What does it mean? That under conditions of bright sunshine the goal will not be able to close enough to filter the outer glow and the machine will dramatically reduce the shutter speed, which also can be done since, in particular, comes at a speed of 1 / 4000 of a second. So, given that still managed to produce a proper exposure, why should we bother to know the aperture and its values? The fact is that although the exposure is correct, however, the result will be very different depending on whether you shoot with an aperture of f2.8 and a time of 1 / 250 of a second, or with an aperture of f8 and a time of 1 / 30. The amount of light that passes will be exactly the same and therefore the exposure will be correct in both cases, however, the focus of the objects will not be the same. In fact, a lens with wide aperture will tend to limit the focus on the subject, blurring what is around him and a target iris will also burn very close objects that are close to us and further away from the subject. The extension of the ability to focus is called "depth of field." The broader, the better the chance to see all objects in focus in the image, regardless of their distance from the target and a point which we have centered the focus of our recovery.

In sports photography, you may need to manually control the shutter speed abandoning the fully automatic mode to switch to a semi-automatic mode where the work is set by the desired time and let the camera calculate the opening correct. This mode is called shutter priority and is usually identified by the letter S (shutter priority) in the programmable cameras. There is also a way of working with each other, which is set by hand in the aperture and let the camera automatically calculates the exposure time. This mode is called aperture priority and is strongly marked by A (aperture priority)

How To Stop My Desmume Emulator From Lagging

time priority

The setting speed of progression following sets designed to allow the passage of a double amount of light each time you double the or half the time when the light is halved. The values \u200b\u200bthat
will find in all the cameras in circulation and are still the most commonly used, ranging from 1 / 250 second to 1 / 15 of a second.
However, to capture some very swift action, you must go up to the thousandth of a second or more, while in night shots can happen to set the pose for several seconds.

Progression full shutter speeds available on medium-high end machines is as follows: 1 / 4000, 1 / 2000, 1 / 1000, 1 / 500, 1 / 250, 1 / 125, 1 / 60, 1 / 30, 1 / 15, 1 / 8, 1 / 4, 1 / 2, 1 second, 2, 4 and 8 seconds.
The smaller the number the more light will enter and vice versa. Since it is difficult to view the
fractions on the tiny display of cameras, the machine returns only the denominator, ie 8 to indicate 1 / 8 of a second and 60 to indicate 1 / 60 of a second.
So be careful! The value 60 indicates a time which is half of 30, not twice as would be natural to think. To further complicate things, when it comes to long poses, measured in seconds, using the same numbers of fractions, with the addition of the symbol of a second. So if you see "2" means that the shutter will remain open for half a second but if you see 2 "means that will remain open for two seconds (four times longer).

But how do you force the camera to reduce the time pose below what it considers the minimum acceptable value?
must act on the sensitivity of the sensor, measured in ISO. The result is identical to what is achieved through changing from the classic film and ISO 100, used for photos of all days, a greater sensitivity to 200, 400 or 800 ISO. In digital cameras do not need to change film, but it is sufficient to order an increase in sensitivity, if the camera has not already increased automatically. You will get shorter, the price of images "grainy", that is, with more visible imperfections, just as also happens in the films.

Try to play with the times and discover the effects that your camera allows you to get.
When you set the shutter speed manually, the selected value flashes can happen when you press the shutter release button half means that it is a time too short or too long, as appropriate, and to be amended .
With a little 'practice find the right values \u200b\u200band you will find your creative streak to a photograph of impact.

How To Stop My Desmume Emulator From Lagging

time priority

The setting speed of progression following sets designed to allow the passage of a double amount of light each time you double the or half the time when the light is halved. The values \u200b\u200bthat
will find in all the cameras in circulation and are still the most commonly used, ranging from 1 / 250 second to 1 / 15 of a second.
However, to capture some very swift action, you must go up to the thousandth of a second or more, while in night shots can happen to set the pose for several seconds.

Progression full shutter speeds available on medium-high end machines is as follows: 1 / 4000, 1 / 2000, 1 / 1000, 1 / 500, 1 / 250, 1 / 125, 1 / 60, 1 / 30, 1 / 15, 1 / 8, 1 / 4, 1 / 2, 1 second, 2, 4 and 8 seconds.
The smaller the number the more light will enter and vice versa. Since it is difficult to view the
fractions on the tiny display of cameras, the machine returns only the denominator, ie 8 to indicate 1 / 8 of a second and 60 to indicate 1 / 60 of a second.
So be careful! The value 60 indicates a time which is half of 30, not twice as would be natural to think. To further complicate things, when it comes to long poses, measured in seconds, using the same numbers of fractions, with the addition of the symbol of a second. So if you see "2" means that the shutter will remain open for half a second but if you see 2 "means that will remain open for two seconds (four times longer).

But how do you force the camera to reduce the time pose below what it considers the minimum acceptable value?
must act on the sensitivity of the sensor, measured in ISO. The result is identical to what is achieved through changing from the classic film and ISO 100, used for photos of all days, a greater sensitivity to 200, 400 or 800 ISO. In digital cameras do not need to change film, but it is sufficient to order an increase in sensitivity, if the camera has not already increased automatically. You will get shorter, the price of images "grainy", that is, with more visible imperfections, just as also happens in the films.

Try to play with the times and discover the effects that your camera allows you to get.
When you set the shutter speed manually, the selected value flashes can happen when you press the shutter release button half means that it is a time too short or too long, as appropriate, and to be amended .
With a little 'practice find the right values \u200b\u200band you will find your creative streak to a photograph of impact.

Nipples On American Apparel

Any camera is based on the fundamental principle to allow the controlled passage of the light that is hitting the sensor, creating a framed copy of the lens.

Such control is entrusted to a device called a shutter, remains open as long as necessary in relation to available light and the sensitivity of the sensor. The period
aperture is called "shutter speed" and its length is proportional to the amount of light striking the sensor. A double time will give us twice as much light and therefore a more vivid, vice versa for a shutter speed halved.
I will not even a minute on the technique that adopts the sensor, shutter, etc.. whatever the system adopted, when we press the shutter release button, we are controlling the shutter which closes automatically after leaving to spend a short time, calculated from the camera or set manually.
The correct combination of amount of light and shutter speed produces a natural, where the colors and their densities are close to the original visible to the naked eye.
The shutter speed is becoming a key element to control the exposure (the amount of light that reaches the sensor), as well as to capture moving objects.
If we use the pre-selected by the camera this time will tend to use intermediate times that fit in most cases, but that would be unsuitable to capture moving objects.
To capture an object in the middle of the action, you need very quickly. Conversely need a shutter speed longer than the standard to generate indistinct boundaries and trails around the object that moves, so as to create an illusion of speed and color drawings in night pictures.

Nipples On American Apparel

Any camera is based on the fundamental principle to allow the controlled passage of the light that is hitting the sensor, creating a framed copy of the lens.

Such control is entrusted to a device called a shutter, remains open as long as necessary in relation to available light and the sensitivity of the sensor. The period
aperture is called "shutter speed" and its length is proportional to the amount of light striking the sensor. A double time will give us twice as much light and therefore a more vivid, vice versa for a shutter speed halved.
I will not even a minute on the technique that adopts the sensor, shutter, etc.. whatever the system adopted, when we press the shutter release button, we are controlling the shutter which closes automatically after leaving to spend a short time, calculated from the camera or set manually.
The correct combination of amount of light and shutter speed produces a natural, where the colors and their densities are close to the original visible to the naked eye.
The shutter speed is becoming a key element to control the exposure (the amount of light that reaches the sensor), as well as to capture moving objects.
If we use the pre-selected by the camera this time will tend to use intermediate times that fit in most cases, but that would be unsuitable to capture moving objects.
To capture an object in the middle of the action, you need very quickly. Conversely need a shutter speed longer than the standard to generate indistinct boundaries and trails around the object that moves, so as to create an illusion of speed and color drawings in night pictures.

Krusteaz Instead Of Bisquick

ISO 100 Shutter Speed \u200b\u200b/ Speed \u200b\u200b1 / 2 Sec / 22 Opening

Many new cameras have the shutter speed up to 30 seconds or more
which is more than enough for most of the exposures at night or in low light. Besides the fact that they will also have the bulb, setting that will keep the shutter open as long as you keep your finger on the shutter button.
Some cameras can be equipped with bulbs of a system with locking cable release so that possimao way and also do not hold down the shutter button for esposizioni.Se you do not have cable release, you can use the timer option that is on most cameras. This eliminates the vibrations of your hands on the camera.

A tripod is essential because the camera must be anchored to the ground during the time the shutter is open.
If you want a picture of a moving car and highlight the headlights or the rear red lights, 1 / 20 of a second will do, you'll see the display if the picture is as you wanted. If you want to photograph the stars ... first identified the North Star and point the car in that direction, lock the car on the tripod epreparatela exposure to B. .. this picture could take to the sky all night. If your
esppsimetro is unable to recognize the correct opening especially in low light then it would be better to adopt the braketing. That means taking more pictures of the same subject, by changing the speed of capture or by modifying the opening to every shot. In this way we will have different results and we "obviously" choose the best. In a general release "slow" allows for plenty of light inside the camera, which means that we will use a very small aperture (eg 1 / 22) to overexpose the shot.
If you click into the full light we would need a very low ISO (eg 50 to 100) and a neutral density filter to reduce the entry of light.
could try these effects:
Stars on the move: a few hours of shooting
machinery in motion: 5-15 seconds
Falls: 4 / 2 with neutral density filter.

Krusteaz Instead Of Bisquick

ISO 100 Shutter Speed \u200b\u200b/ Speed \u200b\u200b1 / 2 Sec / 22 Opening

Many new cameras have the shutter speed up to 30 seconds or more
which is more than enough for most of the exposures at night or in low light. Besides the fact that they will also have the bulb, setting that will keep the shutter open as long as you keep your finger on the shutter button.
Some cameras can be equipped with bulbs of a system with locking cable release so that possimao way and also do not hold down the shutter button for esposizioni.Se you do not have cable release, you can use the timer option that is on most cameras. This eliminates the vibrations of your hands on the camera.

A tripod is essential because the camera must be anchored to the ground during the time the shutter is open.
If you want a picture of a moving car and highlight the headlights or the rear red lights, 1 / 20 of a second will do, you'll see the display if the picture is as you wanted. If you want to photograph the stars ... first identified the North Star and point the car in that direction, lock the car on the tripod epreparatela exposure to B. .. this picture could take to the sky all night. If your
esppsimetro is unable to recognize the correct opening especially in low light then it would be better to adopt the braketing. That means taking more pictures of the same subject, by changing the speed of capture or by modifying the opening to every shot. In this way we will have different results and we "obviously" choose the best. In a general release "slow" allows for plenty of light inside the camera, which means that we will use a very small aperture (eg 1 / 22) to overexpose the shot.
If you click into the full light we would need a very low ISO (eg 50 to 100) and a neutral density filter to reduce the entry of light.
could try these effects:
Stars on the move: a few hours of shooting
machinery in motion: 5-15 seconds
Falls: 4 / 2 with neutral density filter.