Archive for the ‘Equipment’ Category

Review of Indra 500 TTL Battery Powered Flash

Monday, January 4th, 2016

Using flash outdoors and on location can be challenging. For most photographers the two main challenges are either the size/weight/bulk of the equipment, or the general technicalities of using flash. Balancing ambient light with flash can be daunting. Many find that using only available light is so much easier because you can “see the light” compared to using flash which you can’t see until the picture has been taken. However once you understand camera flash and how to use the light you’ll be able to shoot in any possible lighting condition and come away with amazing photos.

Many photographers start off trying to use speedlights for outdoor shoots, but unfortunately these small flashes do not have anywhere near the strength to overpower the sunlight. If you are using any light modifiers with them, the light output is even further reduced.

Recently I started using and working with the Phottix Indra 500, which is a 500 Watt TTL portable Studio Light featuring High Speed Sync. This flash is able to overpower the sunlight and when using High Speed Sync (HSS) or Hyper-Sync I can control the lighting completely and achieve amazing results I can set my camera’s exposure mode to manual, aperture or shutter speed priority and the flash to either manual or TTL and have complete technical and creative control I cannot believe how much this has changed location lighting for me, opening up a whole new door of creative possibilities.


The features and tech specs for the Phottix Indra 500 TTL flash are:

*500Ws Studio Light with LED Modelling Light
*TTL Auto, Manual and Stroboscopic (1-100Hz) Modes
*High Speed Sync – 1/8000s shutter speeds, Second Curtain Sync
*Hyper-Sync – 1/8000s shutter speeds – higher power output than using HSS
*Manual Power 1/128 to Full Power in 1/3 Stop increments
*4-Channel Wireless Radio Control with Phottix Odin and Mitros+ systems
*Phottix Odin for Canon and Nikon Receivers Built in, Phottix Strato II Receiver Built in
*Large TFT LCD display, 3.5mm Sync Port and USB Port for Firmware Upgrades
*Battery Powered (400 full-power shots using 5Ah Indra Battery Pack, 0.1s to 2s recycle times)
*Weight: 2.1kg, Dimensions: 267mm L x 140mm Dia x 190mm H

These are powerful flashes. They are around nine times stronger than my Canon 580 EXII flash, which is Enough to overpower the harsh mid-day sun. They also come with a built in LED modeling light, not overly bright, but it definitely works. We used this modelling light with an 80cm Octobox for a night time, totally dark, outdoor shoot, and the modeling light gave enough light to see and also focus with.

The Indra 500 can be used in either TTL (which uses Through The Lens metering) or in complete manual mode. It has 8 stops of power adjustments, ranging from full power to 1/128, which gives you the ability to overcome the midday sun or add just a hint of light. You can also shoot wide-open with large apertures and fast shutter speeds up to 1/8000s with HSS and Hyper-Sync. The Odin receivers for Nikon and Canon are built into the flash, however you will need a Phottix Odin TCU (transmitter). Using the Odin I have full control of the flash from the camera position, with the ability to adjust the output and switch from manual to full TTL. The range for the Odin is rated at 100 metres, great for sports and action photographers. While I don’t require such a huge distance from the flash what I do need is the reliability of the trigger/flash. It hasn’t disappointed me.

Setting up the Hyper-Sync is very simple. Everything is done right from the camera using the Odin TCU. Basically all you have to do is take a picture. If a black band appears you just change the timing setting on the TCU. It took me less than one minute to get the settings for each of my cameras to sync up to 8000th sec. Hyper-Sync is different than High Speed Sync (HSS). Hyper-Sync is a calibrated time delay that ensures the camera shutter is open during the moment when the flash pulse fires. This gives you an extra stop or two more than HSS.

Using the indra as fill flash @ 1/2000 sec

Indra 500 TTL using HSS
Canon 5D MKIII – Sigma 24-105 ART Lens
Lens (mm): 74
ISO: 250
Aperture: 4.5
Shutter: 1/2000

The Odin TCU has four wireless channels and three flash control groups. The Indra can be controlled in TTL ratio modes A:B with EV +/- adjustments of three stops. You can also adjust the flash EV from the camera’s built in flash exposure compensation dial. A fantastic and unique feature of the Odin is the ability to designate groups in different modes TTL/Manual. The individual groups, A, B, C, can also be controlled in TTL mode with EV +/- adjustments that can be adjusted in +/- 3 EV levels. Groups can also be set to Manual mode, adjusting power levels remotely, or turned off. The Phottix Odin system will also trigger compatible non-TTL flashes and studio strobes. The Indra can also be used with any wireless Transmitter and receiver  (Pocket Wizard, Cactus, Yongnuo) however the flash is in complete manual mode.

Indra 500 TTL using HSS Canon 5D MKIII - Sigma 24-105 ART Lens Lens (mm): 62 ISO: 160 Aperture: 6.3 Shutter: 1/400

Indra 500 TTL using HSS
Canon 5D MKIII – Sigma 24-105 ART Lens
Lens (mm): 62
ISO: 160
Aperture: 6.3
Shutter: 1/400

The Indra 500 is quite compact. Part of the reason for that is because it has a separate battery pack. The Profoto B1 which is a similar unit has a built in battery, which some people like. Personally, I prefer a lighter weight head with a separate battery pack, that distributes the weight so it’s not all on top of the light stand. While working outside I have found out, the hard way, light stands that are top-heavy blow over a lot easier. Using a lighter weighted head and the battery to weigh down the bottom of the light stand helps a lot, having sand bags is a good idea as well. The battery pack has 2 outlets for strobes or a flash each which can be connected and powered at the same time. The recycle times for the flash are very quick, I never find that I have to wait for the flash to recycle to take the next picture. It has a LED display to show the remaining power. I haven’t gauged it but the charging time to recharge the battery is fast, my guess would be somewhere around 3 hours when it’s completely drained. The battery is permitted as carry-on baggage for airlines, which is a big plus me as a travel and location photographer.

Indra 500 TTL using HSS Canon 5D MKIII - Sigma 24-105 ART Lens Lens (mm): 57 ISO: 200 Aperture: 5.0 Shutter: 1/1600

Indra 500 TTL using HSS
Fill in Flash in late afternoon.
Canon 5D MKIII – Sigma 24-105 ART Lens
Lens (mm): 57
ISO: 200
Aperture: 5.0
Shutter: 1/1600

Indra 500 TTL using HSS Canon 5D MKIII - Sigma 24-105 ART Lens Lens (mm): 68 ISO: 320 Aperture: 5.6 Shutter: 1/1000

Indra 500 TTL using HSS The flash was set to -1.3 EV for slight fill using a shoot through umbrella
Canon 5D MKIII – Sigma 24-105 ART Lens
Lens (mm): 68
ISO: 320
Aperture: 5.6
Shutter: 1/1000

The flash is well constructed and has a solid feel to it. The size and weight makes it easy to carry and set up. The head uses the Bowens “S” mount quick release. This mount is very easy to attach and remove light modifiers, it is also the most readily available mount for accessories.


As a studio shooter I use manual settings for my camera and flash. I can still do this with the Indra 500 but I also have the option of setting the camera on manual exposure and setting the flash on TTL. I can also use aperture priority and TTL, this would be great for shooting events and weddings where you don’t have a lot of time to set up and take exposure readings. I have to confess since I have been using the Indra 500 I have been using the TTL setting on practically all of my outdoor shoots, it is amazingly accurate. When shooting in harsh sunlight I can use shutter speeds that are higher than the sync speed (usually 1/200 or 1/250 sec) by using HSS or Hyper-Sync, it is so easy. When the Odin is set to HSS the flash seamlessly switches into HSS when needed or uses slower speeds depending on my aperture settings and ambient lighting – I no longer have to think about what shutter speed I’m using. This is pretty amazing for me, because I am one of those photographers whose main objective is the photo, not the technology. When I don’t have to worry or think about any of the technical settings I am free to concentrate on creativity.

Indra 500 TTL  and a Phottix Mitro+ behind model on camera left Canon 5D MKIII - Sigma 24-105 ART Lens

Indra 500 TTL and a Phottix Mitro+ behind model on camera left
Canon 5D MKIII – Sigma 24-105 ART Lens

At nearly half the price and with more features and almost double the battery capacity of the Profoto B1, the Indra500 is an exceptional value. It makes using flash simple, it has lots of power, it’s reliable, well built, very portable and easy to set-up on location shoots. This light is just amazing!!! It definitely is a great choice and tops my list of recommendations for flash lighting gear.


Indra 500 TTL   Canon 5D MKIII - Sigma 24-105 ART Lens

Indra 500 TTL
Canon 5D MKIII – Sigma 24-105 ART Lens


* Exceptional value – half the price of the competition with more features and almost double the battery capacity
* Opens up a whole new door of possibilities to be creative on location
* 500w/s = 9 times more powerful than my most powerful speedlight, allows me to do full length body shots while overpowering the sun
* Seamlessly switches into HSS when needed – I no longer have to think about my settings or limit my creativity
* Full control of the flash from the camera position using the Odin, from manual to full TTL
* Hyper Sync gives me more light to freeze the action at super-fast shutter speeds
* Can fully trust the TTL system to give me exactly what I need
* Consistent light output even at high shutter speeds
* Very portable and easy to set up
* Very well made, solid construction, not a cheap “plastic” feel
* Uses the Bowens “S” mount – the most universal mount available
* Very fast recycle times and battery charging time
* I found that it was more than fast enough in the studio, it never slowed me down
* Can be used with existing Phottix flashes and receivers


* I only have one, I’m going to have to purchase a second.


Available at the following dealers:

L.L. Lozeau
Don’s Photo
The Camera Store
Lord Photo



Sigma F1.4 Lenses

Monday, February 24th, 2014

In the current issue – Feb/Mar of Photo Life magazine this ad for Sigma F1.4 lenses is running. It’s my photo that is in the ad, and as a result of that I’m now receiving messages and emails from people wanting to know which one of the three lenses I would recommend. They are all great lenses and depending on your shooting style that would probably influence the lens that I would recommend for you. I took this photo with the Sigma 85mm F1.4 which is probably my favourite of the 1.4 lenses, my next preference would be the 50mm and then the 35mm. But these choices are for my personal style of shooting, if you like the way I shoot then go for the lenses in that order. If your shooting style is different then maybe the 35mm or 50mm might be best for you.

As a result of the ad, I am also getting lots requests from people asking who the model is – her name is Gina. And this was one of the photos from an outdoor location photo shoot workshop in Ottawa last September.

 Sigma F1 4 Lens Ad_Photo Life_FebMar2014

Review of the Sigma 24-105mm F4 ART Lens

Thursday, January 30th, 2014

This is the third of the new Sigma “Global Vision” lenses that I have used and tested in the past year. The other two were the 35mm F1.4 DG ART (review here) and the 120-300 F2.8 DG SPORTS lens which I took on my trip to Namibia, Africa in September. To say that these lenses are unbelievably good, would be a huge understatement. And now after testing the 24-105mm, I truly impressed with the quality of the >Sigma Global Vision Lenses.

In testing the Sigma 24-105mm lens, I used it on both a full-frame Canon 5D MKIII and Canon 7D APS-C sensor cameras. The 7D with the APS-C sensor which has crop factor of 1.6x effectively makes this lens the equivalent of a FF 38.4mm to 168mm.

I do own the Canon 24-105mm F4L lens, the zoom range makes it a very versatile and useful all purpose or walk around lens. However I was disappointed with it’s performance from the start. It is not as sharp as other Canon L-series lenses, the distortion at 24mm is huge, the AF sometimes “searches”, it doesn’t lock in right away – this could be a result of the lens being an F4 and I am use to shooting with fast lenses with apertures of F2.8 and faster. Aperture really does make a big difference in the speed and accuracy of focusing as does the auto-focus motor and the camera itself.

The criteria that I use in evaluating any lens is based on the following factors. Yours might be similar, but maybe in a different order.

  1. Sharpness.
  2. Distortion, Chromatic Aberration and Vignetting, if these can be easily corrected in post-processing it’s not really an issue.
  3. Construction, Lens Design and Ergonomics.
  4. Price.

In testing the Sigma 24-105mm I was fortunate enough to be able to use it for several weeks, before having to return it to Sigma Canada.  That gave me the opportunity to use it on many of my photo shoots. In fact, after reviewing the results from the first test shoot with it, I was confident enough in the image quality to use it on all of my commercial shoots.

For me the most important factor to consider is the lens’ performance, is the picture quality high enough to meet the demands of the publishing industry. What I found with the Sigma 24-105mm is that it is an extremely sharp lens and definitely far surpasses the high standards for publishing. On the Canon 5D MKIII  the sharpness is excellent in center, and while corner sharpness was not quite as sharp, it was still very good.  When comparing it against the Canon 24-105mm f4L, the Sigma outperforms it in every aspect. Overall it is sharper at every focal length and aperture setting,  including corner sharpness and wide open at F4.

On both the Canon EOS 5D Mark III and 7D, I found that the focusing was very quick, accurate and is unbelievably quiet.  And although I didn’t use it very often,  you can also use manual focus at any time to over ride the auto focus.  The lens also has a very effective four-stop image stabilization, as opposed to three-stops in the older technology of Canon’s.

A design feature that I think is a very good idea was placing the zoom ring, which is very large at the front of the lens as opposed to the Canon 24-105mm which is quite small and located closer to the camera body and it’s focusing ring is towards the front of the lens. I definitely prefer using Sigma’s configuration, it is better balanced making it easier to hold the camera/lens and also easier to operate.  It has an 82mm front filter compared to 77mm on the Canon, although after using for a day I didn’t notice any difference physically between the two.  Adjusting the focus and zoom does not change the length of the lens, as well the front element does not move or rotate, so using a filter holder or polarizing filter isn’t any problem. The minimum focusing distance is 45 cm (17.7″) I had to look that up, Canon and Nikon’s 24-120mm is similar.

The combination of rugged construction and the high quality of materials give the overall build of the lens is a  and high precision.  The lens mount is made from brass and when it is attached it to the camera goes on smoothly and fits tightly. The lens does not have a rubber weatherstripping seal, so don’t stand in the poring rain with your camera and this lens. If fact most people use a raincoat for their cameras/lenses since most cameras are not weather resistant either. A new accessory for the Global Vision Lenses is the Sigma USB dock which allows you to calibrate the lens and update the lens’ firmware.

There are many technical reviews, charts and scores about this lens on the internet, however I find that reading them is like reading an an instruction manual. I don’t read instructional manuals from cover to cover very often.  What I’ve heard about these other reviews, is that basically they have come up with the same results that I have discovered by using this lens in my day to day work. And that is, Sigma has once again designed and manufactured another lens which is producing outstanding results. A lot of thought has gone into designing this new series of Sigma lenses. I have been using the EX series of lenses for the past 2 -1/2 years and my opinion of them is that they very good, now with the new series of Global Vision  lenses,  all I can say about them is they are incredible and an excellent value.

I had almost completely given up using the Canon 24-105mm and had forgotten how useful that zoom range was. Now given the superior image quality from the Sigma 24-105mm I am hooked on that zoom range again. After using the Sigma 24-105mm F4 I will buying one and will be selling my Canon lens, although I’m probably shooting myself in the foot by writing this review.



24-105mm F4 DG OS HSM

24-105mm F4 DG OS HSM

Sigma 24-105h

24-105mm F4 DG OS HSM

Sigma 24-105g

24-105mm F4 DG OS HSM

Sigma 24-105f

24-105mm F4 DG OS HSM

Sigma 24-105e

24-105mm F4 DG OS HSM

Sigma 24-105d

24-105mm F4 DG OS HSM

Sigma 24-105c

24-105mm F4 DG OS HSM

Sigma 24-105b

24-105mm F4 DG OS HSM

Manfrotto Pro Photographer

Thursday, January 23rd, 2014

Today, Manfrotto Canada officially launched the Manfrotto Pro Photographers and Videographers Program. I am pleased to be one of the top professional photographers in Canada who have been chosen to be part of this program. It was over 30 years when I bought my first “real” tripod, a Manfrotto #055, before that I had a flimsy poor excuse for a tripod.  Over the years I bought other Manfrotto tripods, the #190 and the HUGE/HEAVY #075 that I used for a Pentax 6×7 medium format camera.  Today the tripod that I use is Manfrotto 055CXPRO4 Carbon Fibre Tripod which is so much lighter!!! And if you have seen any of the behind-the-scene photos taken in my studio, you know that it is jam-packed full of Manfrotto light stands, poles, clamps, arms and brackets. I’m looking forward to testing and reviewing more Manfrotto equipment in the future, I’ll keep you updated.


Manfrotto Pro Promo Sheet_Eng

It’s Been Awhile

Tuesday, September 24th, 2013

In fact it’s been a LONG time since I have posted anything here.  I have been extremely busy with work – photo shoots, workshops and editing/processing photos. So unfortunately I haven’t had a spare minute to post anything here. I do however do post many of my pictures on my Facebook Page and Garry Black Photography Facebook Page, please add me or “Like” my page if you haven’t already.

Here are two images from recent shoots, one in Ottawa and the other in Namibia, Africa. Somehow they seem rather similar to me.

Virginie in the grass

Virginie in the grass



Lion in the grass

Lion in the grass


For the Africa trip I used the new SIGMA Sport 120-300 mm F2.8 DG HSM OS lens. I used it with a Canon 7D which has a 1.6x cropped sensor, which made the lens effectively a 192-480 mm which was incredible. I had bought the 7D especially for this trip and to use with this lens. Once I have the opportunity to process some more of the images from this trip (and some time) I will post more images taken with the lens and a review of it.  But I can tell you right now – I loved using this lens!



Thursday, April 18th, 2013

For the past several weeks I’ve have been using and testing Sigma’s new 35mm F1.4 DG HSM lens and every time I mention it or post one of the photos, everyone asks “what do you think of it?”  The short answer is…..Stellar results and performance!

 So what makes this lens so great?

This is one of the newly designed lenses from Sigma’s new Art line, one of the three new lines that also includes Contemporary and Sports categories. When I first saw this lens several months ago at a trade show I was quite impressed with the solid feel and mechanical  quality/construction.  As soon as you see and start handling it you realize the quality of this lens, it has a feel to it of being a superior  professional lens – which it is.  There are many well thought out and designed features, one which I really thought was very well done is the large and well placed manual focusing ring, which is a full-time manual override.  Since the depth of field at F1.4 (as it is with any F1.4 lens) is only a very thin plane of focus, I sometimes find myself fine tuning the focus manually. I’m old school and this approach works for me. That being said, the majority of the time I use the auto focus and with this lens I found it to be quick, accurate and there it almost completely silent. Just take care where you place your focus point(s), as you would with any F1.4 lens. The minimum focusing distance is about 12 inches, which allows you to get in really close to your subject, an added bonus.

So what about image quality? The sharpness and colours are amazing. The resolution/sharpness wide open is excellent, and shooting at F1.4 – F2 is one of the main reasons why you are buying this lens.  The in-focus details are razor-sharp and the bokeh, background blur, is very soft and diffused. For low light photography this lens is 2 stops faster compared to my 24-70 F2.8 and with my Canon 5D MKIII it focuses incredibly quickly and accurately. Plus there is the additional advantage of the 1.4 aperture for bokeh, which is way better bokeh than f2.8.  There is practically no chromatic aberration, fringing and distortion. On a cropped sensor camera it would be a fantastic normal field of view lens, as it would be approximately the equivalent of a 50mm lens. Before getting this lens, I already had the Sigma 85mm F1.4 EX DG HSM a lens that truly impresses me with it’s image quality. The new Sigma 35mm F1.4 DG HSM actually surpasses the build and image quality of the 85mm.

 Below are some of the photos that I have taken using a Canon 5D MKIII and the Sigma 35mm F1.4 DG HSM lens.

Canon 5D MKIII - Sigma 35mm 1.4 DG HSM @ F7.1

Canon 5D MKIII – Sigma 35mm 1.4 DG HSM @ F7.1


Canon 5D MKIII - Sigma 35mm 1.4 DG HSM @ F2.0

Canon 5D MKIII – Sigma 35mm 1.4 DG HSM @ F2.0


Canon 5D MKIII - Sigma 35mm 1.4 DG HSM @ F2.0

Canon 5D MKIII – Sigma 35mm 1.4 DG HSM @ F2.0


Canon 5D MKIII - Sigma 35mm 1.4 DG HSM @ F4.0

Canon 5D MKIII – Sigma 35mm 1.4 DG HSM @ F4.0


Canon 5D MKIII - Sigma 35mm 1.4 DG HSM @ F1.4

Canon 5D MKIII – Sigma 35mm 1.4 DG HSM @ F1.4


Canon 5D MKIII - Sigma 35mm 1.4 DG HSM @ F1.4

Canon 5D MKIII – Sigma 35mm 1.4 DG HSM @ F1.4


Canon 5D MKIII - Sigma 35mm 1.4 DG HSM @ F11

Canon 5D MKIII – Sigma 35mm 1.4 DG HSM @ F11


Canon 5D MKIII - Sigma 35mm 1.4 DG HSM @ F1.4

Canon 5D MKIII – Sigma 35mm 1.4 DG HSM @ F1.4


Canon 5D MKIII - Sigma 35mm 1.4 DG HSM @ F1.4

Canon 5D MKIII – Sigma 35mm 1.4 DG HSM @ F1.4




Given the high optical quality and the excellent build of this lens, I have absolutely no hesitation in recommending it. The lens sells for a very reasonable price, which is also substantially less than the camera manufacturers’ equivalents. It also comes with a 7 year warranty from Sigma Canada. Bottom line – I would definitely recommend this lens, it is probably the highest quality lens that I have ever shot with!



Sigma 70-200 F2.8 EX DG APO OS HSM

Tuesday, April 16th, 2013

My go to lens is the Sigma 70-200 F2.8 EX DG APO OS HSM, this lens is incredible! When I first got it, I did a serious comparison test with the Canon EF 70-200 F2.8L IS USM lens that I owned at that time….which I have since sold. Which should tell you which lens I thought was better.


 Canon 5D MKIII – Sigma 70-200 F2.8 EX



(Click to see large version)

Here is a 100% close up of Natasha’s eye from the photo below




Sigma 35mm 1.4 DG HSM – A

Wednesday, March 20th, 2013

On Monday I received the newly redesigned Sigma 35mm 1.4 DG HSM Lens , it is one of Sigma’s new ART Series lenses part of the Contemporary line of lenses.   It was last November when I first saw this lens at the Henry’s Exposure Show, but I didn’t have an opportunity to take any photos with it at that time other than of the trade show area. What I did notice and was extremely impressed with, is the design and the high quality of construction of the lens.

Yesterday I took a few test photos around the house, we had a huge snowstorm in Ottawa, so I stayed inside.  So far I’m impressed! The auto focus is quick and very smooth and there is also a full-time manual focus override using the large and easy the reach focusing ring. Over the next couple of weeks I will try to put this lens through various shooting situations and will write a review giving you my honest and  objective thoughts about this lens. Here are a few of the images from yesterday.



Sigma 35mm F1.4 DG HSM lens

Sigma 35mm F1.4 DG HSM lens



Sigma 35mm F1.4 DG HSM lens

Sigma 35mm F1.4 DG HSM lens


Sigma 35mm F1.4 DG HSM lens

Sigma 35mm F1.4 DG HSM lens



Sigma 35mm F1.4 DG HSM lens

Sigma 35mm F1.4 DG HSM lens

 Our poinsettia is still flowering, 3 months after Christmas!


Masterclass Studio Lighting and Post Production Workshop

Sunday, January 27th, 2013

Canon 5D MKIII - Sigma APO 70-200 F2.8 EX DG


Masterclass Studio Lighting and Post Production Workshop – Due to a cancellation a space has become available


Sunday February 3, 2013  –  10am to 4pm
Wednesday February 6, 2013  – 7pm to 10pm

What Does It Mean?

Thursday, January 24th, 2013


As a professional photographer and one of the Sigma Pros, a lot of people write to me asking all sorts of questions about lenses and cameras and well just about everything imaginable about photography. One of the common questions is about lenses for Full Frame and Cropped Sensor cameras. A full framed lens will work on either camera while the cropped sensor lens will only work on a cropped camera.

With the Sigma lenses there are 2 different designations in the name, which specify the camera they are to be used with. DC, which is only for cropped sensor cameras, or DG which are lenses for full frame or cropped sensor cameras.

Here are two lenses, do you know which one is only for cropped sensor cameras?

Sigma 24-70mm f/2.8 IF EX DG HSM

Sigma 17-70mm f/2.8-4 DC Macro OS HSM


So what does everything else mean?

IF stands for internal focus – the front of the lens doesn’t rotate when focusing, this is a good feature if you are using a polarizing filter. It also allows for the lens to focus faster.

EX stands for the professional top of the line lenses – optically and mechanically.

HSM stands for Hyper Sonic Motor. It is a new type of motor used for auto focus in some of Sigma’s newer lenses.

OS stands for Optical Stabilization which helps to keep the camera steady when handholding with a longer shutter speed.