Rule

'i unlimited photography, but does not allow tripods because of the obstructions they can cause." His solution: Brace the camera on a bench.

Or you can ask for special permission to use a tripod. That's what pro photographer Kerrick James did for his view of New York's Grand Central Terminal (previous page), made on assignment for this story.

Regardless of your camera support, fire the shutter with hands off. You can use mirror lockup and the self-timer (no additional equipment necessary), or trigger the shutter using a remote (if you need to be more precise on the release).

Keep the noise down.

Take advantage of very low ISO—even when you're not looking for blur effects. "I use long exposures in very dark environments when I want a highresolution photo that is as noiseless as I can make it," Flâneur says.

Nonetheless, noise can still creep into long exposures, particularly

those with deep shadows. Several of our shooters recommend setting your camera's long-exposure noise reduction (you'll find it in the menus). If noise still gets out of hand, use software to tackle it in postproduction. Pop Photo editors have had good experience with nik Dfine; Marek Lambert, whose shoreline scenic appears at bottom right, recommends Noise Ninja.

"I also shoot in RAW," he says, "slightly clipping some highlights if need be—exposing to the right of the histogram—so that I can then

VIEW FROM BRIDGEWATER PLACE, LEEDS, U.K.: Paul J Holdcroft (www.flickr.com/photo/ bat-n-ball) availed himself of a friend's apartment to capture this panoramic view of his hometown. Tripod-mounted Sony Cybershot DSC-F828 with 28-200mm (equivalent) f/2-2.8 Carl Zeiss T* at widest focal length. Exposure, 5 sec at f/2.8, ISO 64.

METRO TRAIN, WASHINGTON, DC: Guy Flâneur (www.flickr. com/photos/flaneur) lives in the DC area and takes advantage of his commute to photograph Union Station and the Metro. "I was looking for the hint of the arriving train with a real sense of one passing by." Canon EOS 5D with 24-70mm f/2.8L Canon EF lens, supported on a bench. Exposure, 5 sec at f/7.1, ISO 125.

dial the exposure back down during postprocessing to reduce noise."

Add darkness.

This may sound funny in a magazine that keeps urging you to add light (Fill

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