Three
Locks.

Photograph the same moving or changing subject at three clearly different shutter speeds. Adjust the other controls only as needed to keep the files usable.

Compare what remains still, what begins to move and what becomes a trace as the duration changes.

Choose the duration that best serves the photograph and state why that amount of time is necessary.

Make one frozen version and one deliberately blurred version of the same movement. If possible, add a panned version that follows the subject.

Look at direction, edge definition, energy and whether the movement feels abrupt, controlled, calm or continuous.

Decide how movement should exist in the final image: stopped, flowing, extended or partly held.

Keep aperture and ISO fixed. Make a short sequence that changes shutter speed by full stops so you can see the light change caused by time alone.

Compare brightness and highlight/shadow behaviour, then compare those changes with the amount of motion each duration introduces.

State the longest or shortest duration the photograph can accept before either light or movement stops serving the image.

Keep the framing and focus distance consistent. Make a wide-aperture version and a narrower-aperture version, compensating exposure with shutter speed or ISO.

Compare the relationship between subject, foreground and background. Note what separates and what becomes connected.

Choose whether the photograph needs separation or continuity through depth, and explain the aperture decision that supports it.

Make three versions that place focus in different parts of the same scene. Then repeat your preferred focus point at a wider or narrower aperture.

Identify where your eye lands first, what remains readable around it and whether the background competes with the subject.

Choose the focus placement and depth of field that holds attention where the photograph needs it.

Make two purposeful versions of the same subject: one that isolates and one that connects it to its surroundings.

Compare what each version communicates. Note what context is lost, what context is gained and how visual emphasis changes.

State what the photograph needs the viewer to understand, then choose the spatial treatment that makes that intention clearest.

In the same light, photograph one scene at low, medium and high ISO while adjusting shutter speed so the exposure remains broadly comparable.

Compare how the files respond as ISO rises: noise, colour, tonal flexibility and any change in usable shutter speed.

Choose the ISO range that lets Time and Space remain possible in the conditions you are working in.

Photograph a subject with fine texture, shadow detail and a highlight at three ISO values. Inspect the files at normal viewing size and close-up.

Identify what information disappears first and what remains acceptable. Judge the picture as an image, not only at 100% magnification.

State which details, tones or colours must survive for this photograph to work, and choose an ISO limit around that requirement.

Work in a lower-light situation. First protect shutter speed, then protect aperture, then make a balanced version using ISO to hold both as far as practical.

Compare motion, depth, noise and exposure. Identify which compromise changes the meaning of the photograph most.

Name the priority you will protect first and the compromise you are willing to accept so the image can still be made.