than it does to your eye. Pretty soon the sky goes from black to royal blue, and artificially lit trees take on an otherworldly glow. Jolyn Hecht, 31, of Chicago (, shot the image above on a windy night. She knew that the swiftly moving clouds would make for a dramatic blur, so she framed the trees to balance the sky. •THE TRICK: Because longexposure nighttime images transform reality, they are surprisingly forgiving and easy to make—just be careful not to wiggle the camera. If you have a tripod, use it. If not, any flat surface will do. Set your camera on manual and start with a low ISO to minimize noise.

Use a remote trigger if you have one (if not, set the camera's self-timer), trip the shutter, then wait. Start by exposing for a minute, and if that's not enough light, keep adding more time.

If your camera won't expose for more than 30 seconds or so, set it on Bulb and use the remote to keep the shutter open while looking at your watch. Don't rely on your meter—

because the look is subjective, trial-and-error is your friend. •TECH SPECS: TRIPOD-MOUNTED NIKON D80 WITH 10-20MM F/4-5.6G SIGMA LENS. EXPOSURE, 228 SEC AT F/4, ISO 100.

Urban Canyon

•THE PHOTO: Images of the concrete jungle rarely surprise, but Tom Haymes (www.haymesimages. com) of Katy, TX, found a way to make this shot of Pennzoil Place in Houston truly cool. In photographing Houston's 25 tallest buildings, Haymes challenged himself to find creative ways to depict the city. This one works because the negative space is strikingly small, transforming a skyscraper into an abstraction. •THE TRICK: Counterintuitive perhaps, but when shooting g architecture, don't spend too %

much time looking at buildings. d Instead, try to find interesting S shapes between them. If your |

meter reading for the architecture | is very different from that for the s sky, expose for whichever takes ¡r: up the most space in the frame. S •TECH SPECS: NIKON D70S £ WITH 18-70MM F/3.5-4.5G i




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