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It also helps to build a sense of scale in the image. It took me a while to notice, but I love the hut or structure that is just visible at the top of the image being engulfed by the wave.
The use of the Little Stopper was just right for this image. If the exposure time was any longer, the waves would lose the definition I mentioned earlier, and this would have reduced the impact of the shot. Mark Cornick. As an abstract photographer myself, it was going to be hard for me to ignore this rather lovely ICM from Philip, taken on one of my bucket list locations Luskentyre Beach. What I particularly like about the image is the use of layers. There is interest in the foreground, with intricate patterns created by the retreating tide.
Then in the mid-ground we have the movement of the waves and ocean with the lovely subtle rip-curl, and then the beautiful mountains and cloud movement in the top layer of the frame. I also love the colour palette, with the various shades of blue from the sky, the aqua ocean, and the blues again present in the shallow pools of water on the sand. I would really like to see how this scene would change with a longer shutter speed, maybe 2 or 3 seconds.
I think that would create some even more abstract results, rendering the mountains and clouds to outlines. I have always been fascinated by images of shipwrecks, so this is a photo I have spent quite some time studying and enjoying. There is a real atmosphere to the image, and it almost has an eerie feeling to it.
I love the effect the long exposure has had on the light, it really balances the image and helps to hold the attention of the viewer as it shines above the wrecked boat, like a beacon pointing towards its location.
This is an image that really suits a square crop. It means we are totally focused on examining the somber beauty of the shipwreck and enjoying the wonderful atmosphere of the image. This is another image that really stood out for me during the selection process. A really beautiful, well balanced photo, and what a fitting title!
Everything does seem, well, measured! It is an image that really shows the power of using multiple filters. The square format was certainly the best way to present this image, with the sea stacks drawing the eye through the image, all the way up to the subtle textures created from the movement of the clouds.
This may sound strange as I am a colour photographer, but I would be really intrigued to see how this looks converted to black and white. I love images that contain a sense of mystery and intrigue, and this is exactly what is provided with this photo. It has me asking questions - I want to know more about this abandoned location, and what we are looking out of the window towards.
I really like the creeping vines sprawling across the frame as nature begins to reclaim this building. I also really love the colours and textures of the walls. I notice the use of the Polariser which will have done a great job at reducing any unwanted reflections and glare from the glass. I know it is always a personal choice, and photographers have the right to protect their images, but I find the inclusion of a watermark slightly distracting and prevents me from being fully absorbed into the great narrative of this image.
The author of several best-selling photography books and a multi-award winner, Ross is also a popular tutor and co-runs Dawn 2 Dusk Photography, who specalise in landscape photography workshops.
Next month's images selected by: Ross Hoddinott. Vince Lim is a landscape, travel, and lifestyle photographer based out of Honolulu, Hawaii. With over 7 years of experience, his work has been featured on the cover of Nat Geo Travel, Digital Photo Magazine, and many more.
Vince is currently a member of the Sony Alpha Imagine Collective. While his work centers around the beauty of the Hawaii Islands, he frequently works with various hotel brands and tourism boards which takes him to many countries around the world.
For more information please visit: vincelim. Instagram: vincelimphoto. The colors, and silky clouds brings this photo to life. The use of the stairway is amazing and it takes my eyes from corner to corner. A complete image in my opinion. Vince Lim. This shot is incredibly dreamy, and bonus points for using a long lens.
I love the separation between the subject and the mountain peak. Well done all around. Great job fully utilizing a foreground, mid ground, and background.
Beautiful macro shot. I'm a plant guy and have my own garden so this really speaks to me. Theres so many intricacies in how plants grow, and seeing these two leaves touch warms the heart.
You nailed the focus on this one. What I love about this is how you were able to show water in its different elements. The movement of the water gives a sharp contrast to the details of the ice. I find my self just staring at each icicle because they are all so unique in shape and texture. Incredible detail in this image. Viktoria Haack is originally from the UK and a resident of BC, Canada since where she is heavily influenced by the beautiful environment surrounding her.
A background in fine art and anthropology, combined with her love of the natural world, brings a unique perspective to her photography: her ethos is to tread lightly; observe and search out the subtle visual story. Her work covers the fields of landscape, portrait, wedding, event, promotion, editorial, stock and photography education. For more information please visit: viktoriahaackphotography. Instagram: viktoriahaack. I was immediately drawn to this image because of its beautiful textures and use of light and tone.
Mark has skillfully repeated the wave of the rock leading the eye down towards the centre of the frame, with the soft wave in the bottom portion of the image that leads towards that central point as well. Although there is light at the top left section of the image and towards the top of the dark rock, that light is softer and less bright than the area of light in the centre of the frame, so the composition still holds the viewer towards the centre.
Darkening that top left corner a touch, may even add to the feeling of containment within the image and help bring concentration even more to those beautiful rock and water textures towards the centre. Viktoria Haack. The vibrant colour of the scene and gorgeous foreground textures combine to make this a very interesting image.
The second exposure smooths out the clouds and sky to really allow the rock textures and patterns to take centre stage. The large rock is nicely positioned on one of the thirds in the frame and the brightest part of the sky is also central which helps prevent the eye from wandering out of the image. The focal point of the image is very clearly the white building with red roof on the rocks and all the elements within the scene emphasize that: The dark clouds rimming the scene with the slightly lighter section in the centre, help to keep the eye clearly within the frame.
The rocks dotted throughout the image act as boundary points, helping to point the viewer back towards the building. It would be interesting to see this image with a slightly higher tide and more ocean coming into the right-hand area of the frame, however the dark cloud on the top left balances well with this darker area of sand on the right-hand side. Paulo has captured some beautiful light and water texture in this image.
I love the movement in the water from the 4 second exposure and the light that is catching on the rocks. My eye is pulled slightly to the left-hand side of the frame where the majority of the warm colour from the sun is. I'm not sure whether darkening this area or cropping in a little might help to combat this. Overall, I really enjoy the dynamism and light captured here.
I really love the soft mood and tones in this woodland image. The details in the heather in the foreground contrast nicely with the receding softness of the background, helping the viewer to understand the three dimensionality of the scene. The eye naturally follows the path, however Ian has successfully kept the viewer's gaze within the frame by keeping the brightest part of the image towards the centre.
The texture and brightness of the roots in the foreground do draw the eye somewhat, so I might be tempted to try darkening them down a little to see if that helps to retain the focus on the trees. Lovely shot Ian! Owen Clarke is a Landscape Photographer based in Suffolk, specialising in capturing the beauty of the East Anglian coastline and local woodland areas.
Owen leads workshops in East Anglia where he teaches his clients about the fundamentals of filters and their creative uses in Landscape Photography.
For more information please visit: owenclarkephotography. YouTube: owenclarkephotography. The use of a short-long exposure works perfectly to give the image a real energy. The deep shadows contrasting against the colourful sky helps to isolate the distant lighthouse. Compositionally the image is flawless, the white wash of the sea nicely leads the eye up into the frame. Mark has taken great care to get the height of his camera spot on too, with each layer of rock never peaking higher than the rock behind.
Mark has used his shutter speed as the anchor for this exposure and pivoted both the aperture and ISO to help obtain the correct exposure.
A wide aperture of 5. Owen Clarke. This image has all the ingredients required to make a special photograph; a beautiful sunrise, calm waters for a perfect reflection, mist and a clear focal point to help construct a strong composition around. Raoul has done a fantastic job at making the most of what must have been an incredible sunrise to experience. Compositionally, this image is all about angles. The use of a 0. I love the challenge of piecing together a complex scene to create a composition that has both balance and clarity.
Petr has been able to achieve this admirably with his submission. The seemingly giant tree in the foreground has beautiful textures and leads up and across to the second tree atop of the rocks where a subtle hint of mist has given it just enough separation from the background.
I really like how Petr has approached the edit of this image with a soft colour palette and the use of a strong vignette. One minor recommendation that is purely subjective would be to remove the plane trail, eliminating any human element to the photograph. What a fantastic day to be out photographing along the coast. This image oozes drama. Typically you would never place a strong foreground such as the walkway leading out of frame. More traditional compositional rules are followed for the placement of the Chapel and how the wooden rails are lined up on the right of the walkway.
I think it is this mixture of both following and breaking these rules that have given this image its fantastic energy. Pedro has taken great care to pull the filter down slighter further than would be required if using a Medium Grad to ensure there is a smooth gradation along the horizon.
Miguel has managed to create a very calming image with this long exposure along the Portuguese coast. Compositionally it is the little things that he has got spot on here. The most obvious place to fail would have been to overlap the stack in the distance against the far outcrop of rock but Miguel has handled that perfectly, everything has been given space to breathe.
Layers help to lead the eye up through the image and the soft light illuminating the first stack helps to emphasise it as a key point of interest within the composition. His work is regularly featured on the cover of National Geographic Traveller, Lonely Planet and many more. When not on assignment Jordan can be found running photography workshops in the UK and abroad or at home with his kids. For more information please visit: jordanbanksphoto.
Instagram: jordanbanksphoto. The light, texture and colours work perfectly with the strong composition, as does the boardwalk to lead you through the image and into the powerful orange tones of the sunset. The use of ND Grads to control the exposure and retain the detail has been done perfectly. I personally recommend using as few filters as possible, so would recommend using a 1. Jordan Banks. The sharp detail in the rocks contrast brilliantly with the smooth sea and sky whilst also acting as great lead in line to guide the viewer into the scene.
Good use of the Big Stopper to obtain a shutter speed of 1 minute and give that soft and dreamy effect to the clouds and sea along with a Polariser to add some punch to the colours.
My suggestion would have been to shoot a little earlier when the colours were a little less pronounced to achieve a more neutral tone to the image. Stefanos has done a great job with this image. The composition is strong and works really well with the contrasting colours from the houses as they reflect in what I assume is a canal.
I think having lights coming from within the houses gives a real sense of place whilst adding a touch of warmth to the image. Great use of the Little Stopper to slow down the shutter to 20s and get a nice reflection. I personally would have used a Big Stopper to add a little more movement to the clouds.
The slower shutter speed would hopefully have given the water an even dreamier effect which in turn would have softened the motion lines on the water which detract slightly from the simplicity of the shot. Despite Arturs image breaking all the traditional rules of composition and framing I really like how he has approached the scene and produced a great fine art image photograph.
He has used the ProGlass 3. This image makes me want to be there. The soft light, pastel colours and idyllic scene has been beautifully captured by Nils to give a great sense of simplicity whilst creating a powerful image. The foreground adds a real sense of scale whilst the sweeping coastline draws your eye through the image towards the hills in the background in a very effective manner.
Good use of a Polariser to give a nice contrast to the soft tones and allow for a slightly slower shutter speed in order to achieve some movement in the grass, water and clouds. Nils use of 0. Richard has worked as a freelance photographer for over 15 years, specialising in location photography, hospitality and travel features. Richard also leads photographic tours to unusual destinations such as Kyrgyzstan, Uzbekistan and Burma, where he conducts workshops on improving creativity through the use of filters.
For more information please visit: richardjamestaylor. Instagram: richardjamestaylor. The composition is superb; the careful spacing to balance out the main elements and the empty spaces in the frame shows great attention to detail and allows the image to flow without interruption.
The panoramic format is also a great choice. The peak's reflection in the still waters gives the scene a strong sense of peace and quiet, which helps to communicate the isolation and remoteness of this location.
The image is well balanced through the use of the soft grad and the stillness of the water, critical to the success of the image, is down to the use of a Big Stopper. If I had one criticism it would be with the white balance. I feel that the warm tones are a touch too orange; perhaps this has been pushed too much in post, resulting in a slightly unnatural feel. Nevertheless, a cracking image… well done!
Richard James Taylor. I was really drawn to the quietness of this scene. The stillness accentuates the idea of the mirrored image, which works particularly well here. Wolfgang has used the simplicity of the elements to good effect and the framing is well balanced.
The choice to present this scene in black and white is a good one, allowing the shapes and textures to speak for themselves, and the decision to use a 0. The crop along the top of the image is a little tight, some extra space would allow the trees to breathe a bit more, but otherwise good work! What a corker Keith, a great scene! The rocks in the foreground lead the eye beautifully into the frame towards the stacks and the coastline marks a diagonal line straight across it, making for a very dynamic composition.
The use of a Big Stopper has resulted in an additional sense of movement in the clouds and given the foreground rocks that classic milky look without losing detail in the highlights. The colour balance in this image is lovely, very natural, and the detail in the rocks in the foreground is spot on.
The tips of the stacks look as if they have been dodged in post to draw attention to them, which has unfortunately spilled over into the sky. Perhaps use a mask to ensure you only affect the elements of the image you want to change. Other than that, a wonderful image! I really like the simplicity of this scene. Azhar has found a location with very few natural elements to work with and through the use of filters has created a compelling image.
The composition is good, with the curved path created by the sea stones drawing the eye around and into the focal point of the shot, the Whyte Isle.
What marks this image out though is the contrast created by the dynamic movement of the clouds with the stillness of the sea in the foreground. Great use of the Big Stopper to control the scene and reverse the effects of nature! Good job Azhar!
I was drawn to this image for its subtle sense of quiet and mystery. Framed by the darker trees on either side, the central tree makes for a fantastic subject.
It is beautifully proportioned, and the graceful limbs look even more extraordinary reflected in the pond. The layer of mist has softened the landscape and added to the mysticism of the scene. Justin has used a 0. He has also done well to avoid any unwanted lens flare! My only suggestion is that Justin could have employed a Reverse ND Grad on this shot, which would have allowed him to hold back the sunrise without darkening the sky at the top of frame, which I feel is a touch too heavy.
I can only imagine how Justin felt to be immersed in this location with the camera after making this shot! For more information please visit: veritymilliganphotography. Instagram: veritymilligan. Working in monochrome can simplify an image, but it can be rather tricky to balance the light in an appealing and competent manner.
This image jumped out at me because it completes this balancing act well, and the use of long exposure adds to the overall effect. There is a sense of size captured within the composition, and the angle of the shot only adds to the imposing nature of the structure. There is an ambiguity in the subject matter than allows the eye to linger, evoking an industrial narrative that is only enhanced by the movement of the clouds caused by the long exposure and the adept post-processing.
An excellent example of the fine art, architectural genre. Verity Milligan. I know and love this part of the world, and this image evokes so much of that Hebridean spirit. However, a sense of place does not always a good photo make, and this is a wonderful example of place, conditions and composition all working together in perfect harmony. Compositionally, the panoramic crop works well, especially with the rocks on the right-hand side.
The tonality of the image is sublime, with the sky and the sea complementing each other. Long exposures can be such a versatile medium, and the milky softness that this evokes demonstrates technical as well as artistic understanding. Overall, this is the kind of image that reminds me how wonderful the medium of photography can be. This image immediately jumped out at me as it had a different feel to many of the other submissions. This is also a wonderful example of how long exposures can be gentle and quiet in nature but still pack a punch.
This is really a masterclass in how layers in the landscape can give meaning and status to an image. Each layer links neatly with the next, tied together by the movement in the sea and the sky. Overall, a marvellous seascape. Traditional landscapes have a universal appeal, but a well-done urban landscape is right up my creative alley.
What initially stood out about this image was the reflection and the colours. Although the rule of thirds exists for good reason, rules were definitely meant to be broken, and the lure of calm waters is certainly reason enough to place the horizon in the middle of the composition.
This is helped by the complimentary blues of the sky and the water contrasting with the industrial reds of the harbourside.
The long exposure creates a sense of calmness that contrasts with the urgency of city living, the movements of the port. There is also a pleasant combination of horizontal and diagonal lines dissecting the sky which adds drama and symmetry of the image.
Most of my other selections have been more traditional long exposures, but this image is indicative of the way I tend to use filters for a lot of my landscape images. There is a certain power in the creative possibilities that can be afforded by the simple use of an ND Grad and Circular Polariser.
A pleasing image, with much atmosphere and heart. Michael Pilkington is a professional landscape photographer and co-founder of Aspect2i , the Landscape Workshop Photography Company, where he leads photography workshops in the UK and internationally. He is a great advocate of post processing, the digital darkroom and fine art printing, and he has extensive knowledge of Adobe Camera Raw, Adobe Photoshop and Lightroom.
Michael has exhibited his work in the UK and Europe and he frequently writes articles for photography magazines and web sites. He is currently writing several books: the first, co-authored with Paul Gallagher, is on infra-red photography and will be published in the coming months.
For more information please visit: michaelpilkingtonphotography. This is a really well executed image. I say that for two reasons. Firstly, the choice of graduated filter to manage the brightness of the sky against the dark foreground, and secondly the post processing.
The essence of light has been retained. Too often, sunrise and sunset images are processed to be brighter than they should be. This image has retained the subtlety of light present when it was taken. Michael Pilkington. A beautiful and simple image. Use of the Super Stopper has produced a very long exposure that has smoothed out every moving aspect of this image, helping to define its minimalist nature. Lastly, the cool toning brings all the elements together. An image to be proud of.
Taken at sunrise the photographer has used the Reverse Neutral Density filter to control the brightest part of the image - the horizon and the ascending sun. A Polariser has also been used that has increased the saturation of colours, controlled the foreground reflections and also acted as an ND to increase the exposure time just enough to smooth out any ripples that may have been present. Overall, a good combination and use of filters. This is a very simple and pleasing composition enhanced by the blues and oranges and complemented by the colours of the traditional fishing boat.
The position of the boat and anchor rope occupy the very heart of the image and beautifully interact with the light. I also love the way the colours of the boat emulate that of the warm sun and blue sky above.
A beautiful image with lovely colours and technically excellent. This is a dark and moody image that is well composed and balanced with a good flow from the bottom right of the image across to the left and onwards to the distant mountains. I particularly like the compliment of cool icy blues and the warm skies.
A couple of small comments: I would lighten the shadows in the very dark rocks to reveal some detail and calm the highlights in the snow in the foreground. The title of this image is very fitting. It is indeed very calming. The use of a Big Stopper is instrumental in creating the mood of this image by smoothing out the water and softening cloud forms.
A Polariser has also been used creating a darker foreground and more importantly revealing some textures beneath the surface of the water.
Lastly a Graduated Neutral Density filter has been used to manage the dynamic range of the image bringing down the bright sky. From a post processing perspective, shadow detail has been retained and there is plenty of texture in the rocks. Lastly take care that halos that may appear around the edges of the rocks are dealt with if introduced during resizing or sharpening.
This is beautiful black and white image that has been well executed and is pleasing to the eye. Carmen Norman is an award winning fine art landscape and portrait photographer and Nikon Professional who lives and works in the Lake District. Her work covers a wide range of landscapes, portraits, family lifestyle images and weddings.
She enjoys walking the fells and capturing the fantastic scenery the Lake District National Park has to offer. Carmen has intimate knowledge of the Lake District and knows lots of secret and quiet locations, as well as the best times to visit the popular spots to capture the iconic images.
Her work has been published in various magazines, she has been shortlisted for Outdoor Photographer of the Year and has had work exhibited in national and international salons and around the Lake District.
For more information please visit: carmennorman. The first thing that struck me about this image was the colour, such a beautiful tone which balances beautifully with the simple, but strong composition. The bridge leads the eye across the image, and it disappears into the strongest area of colour as the sun comes up.
Good use of an ND filter to smooth the whole image and a Reverse Grad to balance out the bright sunrise which is low on the horizon. The suspension cables take you on a journey up to the top of the bridge tower then down along the bridge and you glance down to the soft reflection. A very evocative and poignant image, the bridge leading us to a new dawn!
Carmen Norman. These ornamental cabbages make such a striking image. The colours, the shapes, the light and the composition are all very compelling. The portrait format suits the scene well and the sun burst is perfectly positioned in the mountains and leads the eye from the cabbages to the mountain line range.
The use of a Hard Grad has left a bit of an obvious filter line across the horizon, but that can be overlooked because of the strong foreground. The goal of minimalist photography is to convey a concept and provoke an emotional response or a unique visual experience. And this image of Clevedon Marine Pools is a lovely example of minimalism and a perfect use of the big stopper, which completely smooths out the water leaving us with an evocative and powerful image. It has been stripped down to the bare essentials focusing on only a limited number of objects and elements.
The perfectly simple composition and the use of negative space makes for a very pleasing picture. The shapes along the fencing on the main jetty lead the eye through the image allowing your eye to just make out a distant jetty in the fog.
There is some lovely light and wonderful shapes in this image of a small cascade of water. The 30 seconds is perfectly timed to allow the viewer to see the route the water takes through the pool and the shapes created by the long exposure of the bubbles leads the water beautifully out of the frame finishing at the rock which catches the light. The use of the Polariser means we can just see through the water enough to get a glimpse of the stones below the surface and it also gives a lovely warmth to the colour of the water and a glow to the mossy rocks.
Diagonal lines are important factors to add to images. They create tension and dynamics and lead the eyes in a particular direction. This image of the pier at Saltburn makes use of diagonals perfectly. You have the diagonals in the sand leading the eye one way, then the pier leading the eye across the image, yet the diagonal of the sky leads us in another direction. Then your eye is drawn to the light in the middle of the image that is reflected in the pool, the eye finally landing on the foreground rocks with beautiful light catching the sand.
Jon Gibbs is a professional landscape photographer and workshop leader from Norfolk, England. After running a photographic gallery for ten years his main focus is now sharing his enthusiasm for the landscape and landscape photography through his workshops.
Jon aims to produce landscape images with a very natural feel with the minimum amount of processing. For more information please visit: jon-gibbs. You could easily crop into the image and create many more images from it. For me one of the reasons this image is so pleasing is the wonderful sense of movement within the frame. Without it I doubt the image would be so pleasing. Great image, colour, chaos and movement but it all works really well, superb job Gianni. Jon Gibbs. A wonderfully evocative image from Piet.
I can imagine being there. The sweep of the inlet is very pleasing, coming in from the left of the frame leading us into the area where the reflected light from the beautiful clouds is at its most luminant. Good use of the Big Stopper here. Some viewers may have a problem with the footprints? This is a really nice autumnal image from Steve.
A perfect choice of shutter speed has made the small waterfall look very effective and the wispy areas of white water just below the falls are lovely, they add a nice sense of movement.
If they were not there, that area may have had too much dead space. This is a perfect place to use a Polariser and by doing so Steve has reduced all the reflections that would have possibly been a problem. Instead we have lovely punchy autumnal colour, and in the stream the hints of beautiful rusty colour beneath the surface of the clear water.
The use of a 10 stop ProGlass IRND has worked wonders on the sea, you get two separate areas of white water within that beautiful aquamarine colour which helps to accentuate that layered feel. This layered feel continues into the sky, the varying tones here work really well with this long exposure, I especially like the brighter area of the sky to the right, they act like framing devices, keeping the eye in the picture.
You also get little splashes of colour in the image that help to add areas of interest, namely the telescope on the pier, the yellow flag and the figure in the very bright coat, these are probably not so obvious at smaller size but viewed larger they would be a welcome element.
My only criticism here would be that there is too much sand included in the image, I think a more panoramic crop starting just below the area of slightly darker sand would work really well.
A quiet and subtle image from David. By using a long exposure the image has become simplified, there is no doubt that the stunning tree is the subject, framed perfectly by the tree lined distant shoreline, nothing else is needed. Talking of the background I love the soft recession of the distant hills. The calmness of the image is threatened by the rather moody sky, you can imagine what the conditions must have been like, probably quite challenging! My only criticism of this image is that my eye does get drawn to the building on the shoreline on the right, I do believe you could crop just to the left of it and the image would work well.
Alternatively the building could be cloned out. Neil Hulme is a photographer based in the North West of England. He prefers a simple minimal approach to his work, producing an air of calm and serenity that allows the viewer to feel a sense of solitude. Using a monochrome approach allows him to focus on tones, textures and shapes in his interpretation of the land and seascape.
For more information please visit: neilhulmephotography. What perfect conditions for minimal monochrome photography.
The fog has helped to isolate the pier from any background distractions. The use of the Big Stopper was a great choice from Andy; the 62 second exposure has flattened the water out, giving the image a Zen like quality. What I particularly like about this image is how Andy has managed some lovely separations in the bottom of the pier framework; this always leads to a successful pier image.
The long exposure technique has also enhanced the subtle reflections of this beautiful structure. Is there any way I could improve this image?
This is high quality long exposure mono work, which I would be proud to have in my own gallery of images. Neil Hulme. What a beautifully composed image by Kenny, I really like how the two corners lead in from both bottom edges.
I see you used the Little Stopper on this one with a 25 second exposure. This has added some great drama in the sky with some wonderful cloud movement. The long exposure has also enabled you to keep some lovely textures in that gorgeous coloured sea. The combination of colours and textures has made this a very successful image in my eyes.
Just a couple of little things that I would adjust. The horizon line appears to drop down to the left of the image, I think a slight adjustment in Lightroom or Photoshop would sort that out. And maybe I would have used a 0. All in all a very fine looking image with textures, colours and composition all working in perfect harmony. Very striking image Paulo, it has a dream like feel to it. I really like the textures in the water and sky, they add so much to the image giving it a feel of mystery.
I think under these conditions maybe a Little Stopper would have helped to keep the exposure time down a little as well as using a lower ISO.
The lead in line from the left hand bottom corner works well, taking the eye through the image very nicely into the emptiness that lies beyond the jetty. Quality work. The exposure is spot on with excellent use of the Big Stopper to give the waterfall a dream like affect. Colour wise, the autumnal colours of the rustic browns and the bright greens work really well. Editing wise, I really like the highlighted area of the green foliage above the waterfall; this is a masterstroke from Jonathon.
How would I improve this image, I am not sure I could in all honesty. A fine representation of a woodland waterfall scene. The beautiful Canadian Rockies in all its glory here. When you shop on eBay, you are opening the door to hundreds of Lee filter kits for a wide range of different cameras used by professionals.
Filters work by bending light as it makes its way to the camera sensor. The result is a higher aperture for an extended length of time. The ND filter allows you to eliminate the step of changing the opening for a reduction in light within your image. In this way, you can adjust the exposure in any way you like with the LEE filter.
LEE Filters has specifically manufactured these filters to cover ultra-wide angle lenses. If you want to capture images of reflections, dark skies, or maybe you wish to suppress a glared water surface, like the sea or lakes, then polarize. Polarized filters force light through a series of parallel slits; this can help to cut reflection and glare. After you place the polarizing LEE filter in front of the camera lens, you can adjust the rotational orientation to get the artistic look and feel in the image you desire.
Professionals also refer to the circular polarizer as the CPL filter. With this filter, the photograph results can come out with increased contrast and color saturation.
If you want to reduce the amount of light that comes into your lens, the Big Stopper is a density filter that is neutral.
With the screen, anything you capture will have a ghost-like or blurred look for anything moving, such as:. Before using this LEE filter, you want to first calculate the exposure time without it.
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