Sp Systems Landscapers Choice 2 Manual: Full Version Free Software Download
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Seven5 Micro Filter System (75mm Filters) For the first time the creative power of LEE Filters are available with the flexibility of go-anywhere compact system cameras. The Seven5 System hands photographers control of their images when it really matters - at the moment of capture. Comprising a lightweight, precision engineered filter holder, the Seven5 System is compatible with LEE's 75x90mm filter range - which includes a Polariser, Neutral Density Filters and now the Little, Big & Super Stoppers. SW150 Mark II Filter System (150mm Filters) The SW150 Mark II Filter Holder has been designed specifically to fit ultra-wideangle lenses. The design of the SW150 Mark II has been adapted from its predecessor and is now not only compatible with LEE’s range of SW150 neutral density graduated and standard filters, but also the new SW150 polariser and Little, Big & Super Stoppers.
Due to the size of the front element of ultra-wideangle lenses, these filters are larger than those in the standard 100mm range. Joe Cornish with LEE ND Grad (Resin) Resin Filters • Handmade to exacting standards • Subtle transitions with no harsh edges • Optically correct with reduced reflections Our resin are all made by hand in our UK-based factory, and our resin is an optically correct polycarbonate of the highest quality, which we also manufacture ourselves. The reason we use this substrate is because of its ability to ‘take’ the dye evenly and controllably. Also, thanks to the carefully selected organic compounds that give the resin its high optical quality, the filters have a very low reflectance that mean no additional anti-reflection coatings are required. Because of this ability to control every stage of the production process, we are able to ensure maximum consistency and reliability of our filters. Such a meticulous approach also means we are able to control the filters’ graduation lines with precision, giving subtle transitions without the harsh edges or density variations that can degrade a photographic image.
When dyeing glass filters, the manufacturing process necessitates a more ‘random’ approach. Such a process makes it virtually impossible to precisely control the transition lines, which is why our experience informs us that glass is an unsuitable surface for graduated filters.
Jonathan Chritchley with LEE Big Stopper (Glass) Glass Filters • Consistent density and opacity • Controls IR pollution for digital sensors • ProGlass for the ultimate in precision and neutrality When it comes to the original and hugely popular these long-exposure filters are manufactured using molten glass with an added colourant to achieve a suitably deep colour and density that reduces the amount of visible light that can pass through them. Part of their unique quality is the slightly blue colour cast they feature. This cast is added to the filter intentionally in order to reduce the problem of infrared light pollution – something that can cause issues with digital sensors.
As the dye is added to the molten glass, rather than coated onto the filter surface, a natural optical vignette is created in the corners of the Stopper filters. This is especially noticeable when they are used with wideangle lenses. This vignette gives images that ‘classic’ Stopper quality that is loved by photographers worldwide and has redefined the look of long-exposure digital photography.
As for our latest, these are vacuum evaporated onto glass, using ultra-thin layer technology to reflect unwanted light away from the lens. Quick Memo Lg G3 Скачать. This technology gives a clean, pure, clinical look, with neutral, vibrant colours and excellent control of infrared and ultra-violet light, and without colour casts or an optical vignette. Is one of the UK’s leading outdoor photographers.
A professional for over 20-years, Ross is a multi-award winner and the author of several photography books, including ‘The Landscape Photography Workshop’ and ‘Art of Landscape Photography’ (both with Mark Bauer), ‘Digital Macro & Close-up Photography’ and ‘Masters of Landscape Photography’. Ross is an ambassador for Nikon UK and Manfrotto and co-owns, who run landscape photography workshops across the UK. He also offers bespoke. He lives in North Cornwall with his young family and has been using Lee Filters since his teens. For more information please visit. I had to pick this shot.
First and foremost, it is a lovely image, but secondly it is a location I know and recognise, being just a short drive from where I live. As you may already know, I love simplicity – clean, uncomplicated compositions. Therefore, it is unsurprising that this photograph appeals to me. The use of a Little Stopper to prolong exposure to 5-seconds works perfectly in this instance, proving just long enough to creatively soften the water in order to highlight the shape and edges of the jagged rocks. However, importantly, Andrew has retained interesting detail within the water and waves – something he risked losing had he opted for a stronger ND. I like the water’s coolness, combined with the gorgeous warm tones in the sky. I also love the subtle implication of motion within the distant waves.
Overall, a lovely capture. I’ve long evangelised about the importance and effect of using filters, but confine myself to a Polariser, ND Grads and Stoppers. I probably shouldn’t be saying this, but I’ve always considered other filter types unessential, or even gimmicky. However, Frederico’s image is a good example of how a Mist Stripe can enhance certain scenes. You might disagree, but I don’t think it is immediately obvious that the filter was used in this instance. Frederico has used it appropriately and the filter has added atmosphere to the image.
Although I would consider applying some negative clarity (in Lightroom) to the foreground to help blend in the filter’s effect. The composition is simple, but compelling.
The track drags the viewer’s eye into the image, implying depth and vanishing into that lovely negative space. Just like Adam (Burton) last month, I’m not known for being a black and white fan – I much prefer colour. I rarely convert my own images, but it is a powerful, timeless medium and this shot really caught my eye while judging.
I doubt many photographers – myself included – would have seen the picture potential of this particular scene. Credit to Roger for having the ability to pre-visualise this graphic and striking result. His imaginative use of a Big Stopper has enabled him to blur the train’s motion and convey interest, motion and energy. This image owes is success to strong lines, shapes and flow. It is simple, yet effective. The timing is excellent, as is the post-production. Admittedly, it won’t be everyone’s cup of tea, but I do think Roger has produced a very classy shot here.
This is a lovely seasonal image. The warm autumnal colours, mirror-like reflections, and wisps of mist collaborate to produce the type of conditions that make landscape photographers go weak at the knees. The tight composition is effective and I like the way David has framed the main, central trees with the river bank either side.
The use of a polarising filter has really brought those seasonal colours alive, while enhancing the reflections. It is a shame that the reflection of the central trees is clipped – I would prefer to see the entire reflection. Processing – very much like composition – is a highly subjective and personal thing and there is no right or wrong. If this were my shot, I’d reduce the level of contrast slightly to produce a softer, lower contrast result.
As it is, I find the mist just a little too bright. Is one of the UK’s leading landscape photographers. A professional photographer, teacher and author with over fifteen years experience working within the landscape photography industry, Adam’s images are always in-demand; his client list includes many prestigious organisations such as National Geographic, Ford and The AA. Adam runs under his Discovery Tour brand, and also leads regular workshops both in the UK and overseas on behalf of Dawn 2 Dusk Photography, Tatra Photography and the Nikon School.
With an emphasis on in-camera technique rather than post capture manipulation, Adam’s photography records the landscape authentically and naturally in beautiful atmospheric images. For more information please visit. Anyone that knows me, knows that black and white isn’t my thing. However, when I see a good black and white photograph I can appreciate it, and this is certainly one of those images.
The old pier boasts some strong, simple shapes, which are well suited to a B&W conversion, so I think Les has definitely made the right choice here. This simplicity is emphasized really well by a long exposure, so it was a great decision to fit the Super Stopper to give such a long shutter speed. There is only one suggestion that I could offer to improve this composition, and it’s only a tiny thing. This kind of picture is all about symmetry, and time taken composing a completely symmetrical image pays dividends. I’m slightly bothered by the spacing between the two posts on the left of the picture, and the gap just beyond them, when compared to the posts and gap on the opposite side.
A small step to the left would hopefully have corrected this, and provided the finishing touch to a beautiful image. Tomasz has captured a fine photograph of a very beautiful building here. The warmth of the tangerine sunrise is incredibly appealing as is the softness thanks to the misty conditions. The soft ND Grad has done a fine job in subtly retaining those warm colours in the sky, leaving the viewer to admire the picture without noticing any filtration, just as it should be. The composition is simple, yet effective. The smallest hint of a footpath leads the eye towards the church, and attention is naturally drawn up to the windows in the tower, where that irresistible glow completes the picture. I don’t mind the central placement of the church; yet with the bush on the right hand side I feel a more balanced composition could be achieved by offsetting the building with a slight crop off the left and top of the picture.
Another black and white makes my shortlist! And this is another example of an image working really well without colour. I absolutely adore the wet mosaic tiles in the foreground; their shapes are incredibly appealing in B&W. In fact there is strong interest throughout the whole picture, yet the composition remains very balanced and uncluttered.
You can tell Gianluca has considered this composition very carefully, it simply works. This is another example of how a long exposure can be very effective in a coastal photograph, however; personally I think a 5 minute exposure was maybe a bit longer than was necessary to achieve this effect. I’m surprised to see a Little Stopper was used to achieve this shutter speed. Even with a polarizer, I wouldn’t have thought such a long exposure could be achieved at this time, so perhaps Gianluca used a Big Stopper instead? With such strong interest in the bottom half of the picture, I suggest a crop to a 16 x 9 aspect ratio, losing half the sky to strengthen the composition and focus more attention on the key elements of the image.
I’m often telling people that colourful sunrises and sunsets aren’t the be all and end all to landscape photography, especially at the coast, and this image shows that really well. I’m sure Emanuel would have happily accepted a colourful sunset sky, but the muted colours he has captured on this cloudy day work excellently.
The sea defences make wonderful subject matter for a seascape, and especially a long exposure, which Emanuel has achieved with a Big Stopper. I’m not sure I would have used such a strong graduated filter here; the 0.9 hard edge has made the sky very dark, which is appealing but possibly unnatural. I think a 0.6 hard edge grad would have done the job perfectly well here.
Composition wise, there is strong interest throughout the centre of the image, but I find the sand and rocks to the right distract from the overall appeal. I think a square crop would give the picture more balance and appeal. As soon as I first saw this photograph it grabbed my attention.
It’s such a simple composition, which also breaks some compositional rules, and yet it works magnificently. You could argue that the mountains are placed centrally in the frame and there isn’t any obvious foreground interest, but rules were made to be broken.
I simply love the black brooding mountains, broken up by the shards of light piercing the dark slopes. That green water captivates me, the colour is incredibly appealing, and despite using a Big Stopper to achieve a 20 second exposure the water remains nicely textured. Well done to Nils for spotting, and capturing such a special moment. With such a simple composition, I do find the rocks creeping in on the right a distraction. You could easily clone those out, although personally I would feel uncomfortable about this so would crop the image right and left to remove the rocks and retain a balanced composition.
Is a professional landscape photographer, his work is all about using the best light and conditions to capture the spirit of a location and he is known for his atmospheric images of East Anglia. Justin's landscapes are widely published and he is regularly commissioned to produce images for the National Trust.
His work has also been recognised in several major competitions, including Landscape Photographer of the Year with his images appearing on the cover of the accompanying book on two occasions. Justin’s first book, a guide to photographing East Anglia is due to be published in 2018. Justin has been running his in East Anglia for several years and also leads group workshops further afield with Tatra Photography. This one was first on my list, there’s just so much to enjoy in this calm image. From the contrasting textures in the rocks and grasses in the foreground to the softly lit, mist shrouded castle reflected in the water, all against the backdrop of those hills. The 0.6ND Medium Grad is one of my favourite filters and it has been used to great effect here to balance the sky and foreground without unduly darkening the mountains, keeping everything looking natural. The composition works well but I think it would benefit from a tighter crop.
Keeping the ratio the same I’d try cropping down from the top right to just above the mountains on the left to focus the attention on the castle more while also moving it off centre. This is a fascinating image with so much more going for it than the unusual conditions. The composition is excellent with the grass providing foreground interest while the patterns made by the water lead you gently into the frame towards the trees and of course the fogbow.
The combination of a Hard ND graduated filter and a Circular Polariser have worked well, the grad retaining contrast in the sky while the polariser has emphasized the effect of the fogbow as well as boosting saturation throughout. The soft lighting and the contrast between the warm light on the grasses and cool blues of the sky is very appealing, in fact here’s really not much I’d change here but (and I know I’m repeating myself) I think it would benefit from a slight crop from the right hand side to centre the fogbow in the frame. I love the power in this shot, you can almost feel the spray and hear the roar from the Dynjandi waterfall cascading down the rockface. The inclusion of a lone figure on the rocks gives us a sense of scale and they’ve been positioned perfectly to stand out against the background of the white water in the bottom right third of the picture. A Little Stopper has been used to slow the shutter speed, giving the water a soft silky appearance which contrasts nicely with the hard jagged rocks and the high contrast between those dark rocks and bright water has been handled well, with no blown highlights in the white water, but I’d like to see a bit more detail in the foreground rock. I also find the bright area of sky in the top left corner distracting and I’d be inclined to crop that out leaving just the waterfall and the figure, which I think would add further impact. I love dramatic seascapes and this one is superb.
It has been well composed using the streams of water coming in from the bottom corners to lead the eye into the image and the wide angle lens puts the emphasis right where it needs to be, on the swirling water in the foreground. It’s the choice of shutter speed that makes the image for me though, with just the right amount of blur to capture the motion of the water without losing too much detail.
The moody sky nicely compliments the drama going on below, but while the 0.9ND Medium Grad has kept most of the detail in the sky I can’t help thinking that with a nice clear horizon like that, perhaps a Hard or Very Hard Grad might have retained a little more detail in the brighter areas. Another fantastic seascape. I love the quality of light and the contrasts between the soft textures of the sea and sky against the harshness of the rocks, the subdued cool tones against the watery warm light. The slow shutter speed, courtesy of a Little Stopper is just right, softening the water but crucially leaving some texture to hint at the power in the waves while a 0.6ND Hard Grad similarly, balances the exposure without going too far. The composition has been well thought out, those foreground rocks full of detail and texture, pull you into the image towards the jagged rocks beyond, which look (to me anyway) like a sleeping dragon.
My only pause is that I feel it ends a bit abruptly on the right, I realise it might not have been possible but I’d like to have seen a little more of the foreground rocks and sea on that side. Is a professional photographer who specialises in producing creative & contemporary landscape and travel images. His work has won many awards - for example, his landscape images have been successful in the UK’s ‘Black & White Photographer of the Year’ competition and for the last 3 years he has had images shortlisted in the prestigious international 'B&W Spider Awards', achieving an Honourable Mention in 2016. He has run a successful for several years in locations across the world from Iceland to Antarctica, encouraging and inspiring photographers of all levels. As well as working closely with Phase One and Lee Filters Steve is an Ambassador for Olympus, Manfrotto/Gitzo tripods & Permajet inkjet papers. I love the simplicity and minimalism of this image – it’s a great example of the reductionist approach to composition that I advocate i.e.
Taking out everything that doesn’t contribute to the core message of the photograph. A Big Stopper combined with a 3 Stop ND filter have been used to good effect. The long exposure has emphasised the graphic composition and the movement & texture in the clouds gives a feeling of energy and dynamism. There’s also a lovely range of tones (important in a B&W image like this). The only change I’d make would be to crop out the industrial structures on the right side of the horizon line – they detract from the otherwise clean lines of the image. Overall, it's lovely and a photograph I would have been pleased to have taken myself. Again, this striking photograph demonstrates less is more – it’s the simplicity that gives this image its strength.
The light quality, tones and colours are superb – I particularly like the cool and warm colour contrasts – and the textures on the sand give a real strength to the foreground. One question I have is over the choice of a Big Stopper to extend the exposure to 243 seconds. This has given a sense of energy to the sky that I find at odds with the calm & peaceful feel of the rest of the image. In situations like this it's important to experiment if time allows – so as well as the Big Stopper try a shot without any ND, use a Little Stopper (which would have given a 15 second exposure here and may have been the choice I would have made). The use of a 17mm focal length has emphasised the foreground and shooting at f/11 has given great optical quality making the most of the textures on the structure. The use of a Big Stopper to extend the exposure has smoothed the water ensuring that it doesn’t distract from those textures.
Importantly the 480 second exposure has also allowed the hint of the rails under the surface to appear. The blue cast (common with the Big Stopper) has not been corrected and I think that adds a great mood to the image as well as giving a colour contrast to the warm light in the distance and the green in the foreground. My only concern with this photo is that the sky looks like it’s been over filtered – a 3 stop ND Grad with a Real Blue 2 Hard Grad may just have been too much.
A beautiful photograph that is well composed with the tree placed close to the centre of the image towards the top of the frame and the lines in the field leading up to it. The warm colours of the crop (a vital factor in the success of this photograph) have been enhanced by the use of a Polarising filter and an ND Grad has held detail in the sky. I like the colour ‘stripes’ in the image – the warm foreground topped by the grey sky, itself topped by a layer of warm clouds. I would crop out the top band in the sky – its lightness is drawing my eye out of the frame. The foreground also looks a little soft (for me this needs to be razor sharp) and I wonder if an aperture of f/11 or f/16 would have been better than f8 to give more depth of field.
I love the flowing, curving lines in this composition that sweep the viewer through the image. The attention to compositional detail has been good e.g. The separation of the top of the foreground on the right from the line of the river beyond is important. The exposure has been well handled to prevent the distant headland from recording as a featureless silhouette, helped by a 3 stop ND graduated filter to darken the sky and bring down the contrast range.
This was also aided by the timing – taking the photograph just as the sun starts to sink into the cloud below has reduced its intensity. A Little Stopper has given a 50 second exposure, just enough to record some cloud movement and provide some interest in the sky. Unfortunately, the close foreground is not razor sharp – more precise attention should have been given to securing adequate depth of field. Kindly made the selections this month. Chris is a professional landscaper who works out of his in the U.K, which he opened in 2012. He has been running photo courses for over 12 years in locations in the U.K and mainland Europe, offering small group workshops and holidays, 1-to-1 tuition and bespoke courses for those looking for something tailored to their own taste.
He is also an award-winning lecturer and gives talks on landscape photography at camera clubs across the country. Based in the north, his portfolio reflects the varied nature of the landscape that region has to offer, though you will invariably find him shooting further afield as he continues to explore major cities such as London, Venice, Prague & Rome. Like all landscapers, light is critical when it comes to making those precious images, and the LEE system has been his choice of filter throughout his career. This is a lovely image in the traditional landscape format. The composition is well balanced, and the eye is led from the leading rocks, with that lovely soft light, through to the dramatic clouds in the distance. The use of the more forgiving 0.9 ND Soft Grad has really balanced the exposure whilst not affecting the tower of the lighthouse.
One aspect I particularly like is the area of flowing water in the foreground. The use of the LEE Polariser has cut through the UV light, allowing the foamy areas to stand out. The Little Stopper has worked well here also, leaving just enough detail in the rushing waters to add impact. If I was to change anything, I might be tempted to crop a little from the sky, moving the horizon closer to a third, and perhaps a little from the right side, shifting the lighthouse slightly away from centre. I was drawn to the subtlety of the light in this rather mystical image. The Little Stopper has worked a treat here, creating enough of a sensation of movement without losing areas of detail in the water, detail which may have been lost with a longer exposure.
Cropping out the sky has eliminated the need for filters in that area. There is a nice flow to this composition with the viewer being led through the image, past the cascading waterfalls to the bridge and beyond.
The light on the bridge is what gives a little magic to this image, though I think those greens may need to be 'cooled down' just a little. Also, a slight crop from the left side would lose a little of that distracting rock wall, and make for a more powerful composition. This image really caught my eye. The composition is stunning.
There is a natural flow to everything, starting with the curved rocks at bottom of the image. From here the eye follows the curvature of the cliff edge to the lighthouse itself.
Deciding to frame the image at the bottom with the rocks themselves is very effective and provides a clean starting point for the viewer. This is a composite of 4 shots, the sky shot separately from the land. The land and sea were shot over a couple of frames and the Big Stopper has done its job well here, calming the water underneath the lighthouse, and helping the foreground to stand out with no distracting waves to draw our attention from the lovely colour and texture of those incredible rocks. The image has a wonderful warmth throughout and is one of my favourites this month.
A striking image of Lofoten in Norway. The letterbox composition works well here, with the image seemingly divided into a lighter and a darker half.
A 0.6 ND Soft Grad has helped balance the exposure, though there are a couple of overexposed areas on the mountains. Maybe a 0.9 ND Medium Grad might have been better in this case. A Big Stopper and a 0.6 ND Standard filter give around 12 stops of filtration and this has resulted in a beautiful sky and calm waters that allow the mountains to 'jump out' at the viewer, their sharpness contrasted starkly against the calmer waters. I like the inclusion of the rocks bottom left as they help to 'ground' the area around the old huts, which are positioned diagonally opposite the large mountain, giving balance to the image. I also like the slight blueish cast to this, presumably coming from the Stopper and the long exposure. This is an extremely vibrant image with lush colours throughout. The inclusion of the foreground rocks give the perfect opportunity to use the Big Stopper, as well as adding interest and balance in the lower left corner.
The calm waters allow the rocks and the grasses on the right to achieve prominence within the foreground, whilst the 117 second exposure has captured some lovely movement in those clouds. I like the flow in this image. The eye is led from the rocks, through the grassy mound and the heart of the woodland, and then back along the lines of the clouds to finish off. Vibrant images like this can sometimes polarise opinion but it certainly works for me. Beautifully balanced, it is hard to find fault.
Kindly made the selections this month. Paul has been a professional landscape photographer for over 30 years and is also regarded as a Master Printer dedicating his photography to Northern England, the Scottish Highlands and further afield around the world. Although Paul dedicated over 25 years to using large format cameras and wet dark room printing, he now mainly uses digital equipment for both capture and printing. He is a much sought after lecturer and has spoken in many countries as well as photographic societies throughout the UK. Paul runs landscape photography workshops in the UK and around the world for his company.
He has received many commissions from organisations such as the Environment Agency and the BBC and his work has been used extensively by Epson, Ilford and Permajet to name a few. I love the diagonals in Mathew’s composition, which lead the eye into the far distance where the sun is setting. The Big Stopper has helped to simplify the photograph by calming the texture of the water. The warm colour tones in the photograph are also very special. My feeling is that the photograph is printed too dark. The light on the foreground boulders is wonderful and to reveal more of this would be hugely beneficial.
Also a slightly paler sky would reveal more of the beautiful cloud structures, again leading the eye into the distance. Having been to this location many times I can see that Feliksas has made a wonderful photograph of the place and captured its grandeur and drama perfectly. The use of the Super Stopper and 0.9ND Soft Grad are perfect, the foreground rocks are superbly contrasted with the body of silky water and the grad has achieved lovely transitions of tones in the sky.
Using the Super Stopper can make an image that is slightly blue and I would recommend warming the image up a little to bring out the foreground rock colours. The moment I saw the low contrast and soft tones in this image I was drawn in and fascinated. The portrait format in Tevfik’s photograph is very important and works perfectly with the subject matter as the eye is guided along the rocky shoreline to the distant headland beyond. The use of the Polariser and Big Stopper together were essential to the photograph, the Polariser enhancing the colours and the Big Stopper creating the white waterline against the foreshore.
The one thing I would alter is the strong greens, I feel they need warming a little as they look too vibrant and unnatural. Having worked most of my professional career in black and white I was drawn to Brian’s beautifully simple coastal scene. I think the wooden posts are positioned superbly in the square frame and I love the subtle suggestion of something beneath the foreground water surface which can be seen which has been made possible by the use of the Big Stopper cutting out water textures. My recommendation would be to burn the sky evenly as opposed to a vignette effect that has been used.
I feel an even sky would lead the eye into infinity beyond the posts. I think Iain’s photograph of Bamburgh Castle is staggering in every way! The combination of the Big Stopper to capture the subtle cloud reflections with the Polariser saturating the colours and allowing the viewer to see beneath the water surface is perfect. This photograph has everything from subtle calming colours to staggering detail throughout.
The plateau of rock gently lit by the evening sun serves perfectly to guide the eye to the castle. The one thing I think would strengthen this composition even more, is to crop a little of the left edge of the image to lose the protruding rock and dark shadow that seem to be vying for attention. Kindly made the selections this month. Lizzie is a professional landscape photographer, speaker, teacher and writer, based in North Yorkshire, specialising in landscape, nature and travel; she also does some commercial photography and commissions. She exhibits her work on a regular basis and a selection of her prints are on permanent display at the Joe Cornish Gallery in Northallerton. She offers a number of small group workshops and 1-2-1 tuition in the UK and further afield.
Lizzie enjoys working in all kinds of conditions, adapting her approach accordingly. She believes instinct is every bit as important as planning in photography. As rewarding as it is to spend hours working a particular scene, she also enjoy that adrenaline rush of having to work quickly to make the most of any fleeting opportunities that come her way.
You can learn more about her work at her website. A beautifully crafted image – the composition is balanced, the edges are very well placed and it has a wonderfully inviting, warm glow about it – it really makes you want to be there. Use of a Big Stopper and polarising filter has allowed a long exposure of 60 seconds.
Not so long as to lose all texture in the water, but enough to smooth out both sea and sky, so emphasising the gritty textures of the mountainous backdrop. The time of day is also well chosen, with warm light on both the wooden cabins and the ridges beyond, drawing you into the scene. The only thing I might try would be to lighten very slightly the top section of sky – it feels just a little too dark to me. This can sometimes happen with the softer ND grad filters, given the strongest filtration is at the top of the frame.
A delightful and graphic image, minimalist in many respects but with a little twist. These are the kind of scenes for which the Super Stopper is made but the success of the end result depends upon a really good composition.
This feels just right to me – the relative heights of horizon and top of the lighthouse sit very comfortably and the very long exposure of 244 seconds has produced the silky smooth tones that work so well here. I also feel a square crop was an excellent choice. The fact that the reflection of the lighthouse is slightly off centre just lends a little bit of tension to the image – one that adds to my enjoyment of it. Another well-framed image – the elements are well balanced and, overall, there’s a good flow to the composition. The light reflecting off the boulders is wonderful. The 13 second exposure, courtesy of a 2 stop ND filter, has retained the lovely texture in the sea, though possibly a few seconds less might have been even better.
I’d have liked to see a bit more detail in the shadows of the distant cliffs and, likewise, I find the very dark boulder in the centre foreground a little dominant. The sweep of the shoreline takes you out to sea and that warm horizon, although the hole in the cliff does also fight for your attention. Again, I think this could be addressed with a bit more detail in the surrounding cliffs, so giving less emphasis to the hole.
The way in which we respond to a picture is a very personal thing but this immediately took me back to a visit to a shadow puppet play in Indonesia, many years ago. The hazy and pareidolic form of the clouds on the horizon is the key here – providing intrigue and a sense of mystery. They are perfectly positioned in relation to the rotunda on the pier and I also really like the use of negative space across the image. A mist filter has been used to create the hazy effect but, without such careful positioning of all the different elements here, the end result would not have been so compelling.
A 4 second exposure (courtesy of a Little Stopper) has rendered the water reasonably smooth but, crucially, has not allowed the clouds to lose their wonderful shape. This is a very bold and complex composition and I enjoy it for that very reason. By using an ultra wide-angle lens and getting so close, the photographer has given great emphasis to the foreground plant. A polarising filter can really help enhance the colour of wet leaves, although I’d be inclined to try reducing the saturation of the greens here to make the leaves a little less dominant. The mirroring of the fallen branch below and above the waterfall is a really nice touch.
I’d be tempted to crop the very top of the image, from just above the leaning tree, just to lose the brightest patch of white sky, which rather takes the eye out of the frame. I’d also have liked to see a little more detail in the brightest areas of the waterfall – although I can imagine this was not an easy scene in which to achieve an even exposure.
Kindly made the selections this month. John is a Fellow of the British Institute of Professional Photography and is a multi-award-winning photographer, specialising in stunning fine art landscapes from around the world. He has a life-long passion for the wilderness and a keen eye for the many moods of nature. His landscape photography is an exploration of time, often using very long exposures to give a sense of time passing. His work often explores the relationships between the natural elements around our coastline and the structures that have been created by man. He creates simple, strong compositions capturing the muted palette found at the beginning and end of the day.
Add to this the atmosphere, light, weather and movement that he is drawn to and you start to get the essence of his personal style you can explore on his website. The delicate tones in this image, along with a strong composition make it stand out. The fact that the ice covered wooden stumps lead the eye in to the old structure in the background, whilst retaining separation between the two elements is an excellent use of composition. I’m in two minds whether I like the sand at the bottom right hand corner of not.
Normally I would prefer the simplicity of the image without the sand, but in this case, I think it may even add to the image. The only thing I would have done differently would be to take this as a portrait format shot, thereby giving me more sky and height to the image. So often photographers only think of the landscape format for landscape subjects, yet the portrait format, along with cropping of the image is part of the compositional decisions. This image has a lovely quality of light, which gives a sense of atmosphere.
The author has resisted the urge that many fall for, in that he hasn’t over processed the image. The use of the Big Stopper has given the sky a quality of tone and the radiating cloud effect balances the image nicely, particularly with the lighter part of the sky behind the mountain.
The detail in the ice in the foreground contrasts with the majesty of the mountain in the background. In terms of improving the image, I would have liked to see a stronger lead into the image in terms of foreground. Ideally, I would have found a stronger and more obvious curve or diagonal line in the ice that would have led my eye to the mountain in the background. Maybe moving to the left would have given this opportunity? An image from my own part of the world, so I know it well!
I love the tones and textures in the image. The fact that the image was taken with a foreboding sky means the tones are well matched between the sky and the dark rocks of the Giants Causeway. The long exposure gives the breaking waves the white line that separates the rocks from the sea.
The curve of the rocks is compositionally strong and the image is what I would call, well balanced. In terms of improvements, I would just lift the shadows a little, particularly in the bottom left corner and also increase overall exposure by say, 0.25 stops. I would do this without losing the moodiness of the image. This image just exudes mood and atmosphere. The author has used a polarizing filter, a Little Stopper and a Chocolate Hard Grad, a great example of how one can combine filters to create a super image. It’s the combination of light, composition and subject that come together to give any image ‘emotion’.
In this case, the foreground stones at the edge of the lake give enough interest to draw the viewer’s eye into the reflections in the lake and then up to the mountains and the sky. I can see where the author has worked on the image on the mountains on both the right and left hand sides in post production and has lightened parts of the mountains that look unnatural, which takes away from the image.
Great care should be taken with any post production to ensure that the viewer can’t see the work that’s been done. Fix this problem and then it’ll be one to put up on the wall. Another very strong composition and use of light. The wooden stumps starting from the bottom left hand side lead to the horizontal stumps further out from the shore. These stumps are well below the horizon, so don’t spoil the ‘balance’ of the image. The use of a hard graduated filer was a perfect choice for this image along with the Big Stopper.
The smoothing of the water and the sky means that there are no distractions and the stumps stand out much more than if the Stopper hadn’t been used. One thing that would improve the image in my opinion is a square or tighter crop.
The main focus of the image is the wooden stumps, so losing some of the unnecessary space would ‘focus’ the viewers eye into the main part of the image. Kindly made the selections this month. Sarah is a passionate, driven landscape adventure photographer based in Melbourne, Australia. Inspired by nature, and fuelled by the fires of creative endeavour, she is ever-searching for that next level in her photographic work. Her signature is stunning landscape & long exposure work, where she turns minutes into moments through her use of ISO100 to slow the passing of time. Sarah holds local workshops in her home city of Melbourne, as well as a series of International photography tours to places such as Patagonia, Canada, New Zealand and much more.
Between all that, she does international tourism photograph, as well as brand photography and social media promotion. Be sure to follow. Waterfalls don’t get much more impressive than Skogafoss. Grandness of scale and a well-balanced scene and showcased in black and white to add to the overall hard-hitting impact of such a scene.
The only minimal suggestions for improvement to such a powerful image would be to take more time with the dodge and burning of the scene. On the direct left and right of the waterfall I notice some intense dodging, that doesn’t balance out. Coupled with the rather dark edges in the upper corners of the frame, it puts a little too much drama into an already punchy scene. Kindly made the selections this month. Antony has always had a keen interest in photography and started taking photography more seriously in 2007 with the purchase of his first digital SLR. His short time with a digital camera makes his 2010 win of the coveted Landscape Photographer of the Year award all the more remarkable.
The prize allowed him to leave his day job and concentrate full time on landscape photography. He is based in Dorset and has a passion for capturing the landscape in the best available light wherever and whenever possible.
Having lived his whole life in the South West, he is very passionate about the varied landscape there. Antony also spends a great deal of time in the Arctic chasing Aurora Borealis and arctic winter landscapes. We see a great deal of long exposure photographs now and more often than not the photograph doesn't benefit from the use of dark ND filters. Here though, the dragging clouds enhance the depth and compliment the line of the meandering track through the foreground. The balance of light and tones between the sky and the foreground is very believable and the colours created by the low sun angle have been captured beautifully. The composition looks very good to me although I feel that a slight crop in from the side would make this composition stronger and focus more attention on the areas of interest within the frame.
The emotions captured in this photograph are stunning. The drama of the light and passing storm is very subtle and very believable. I really like the processing and how this photographer has pulled out the details of the storm clouds without going too far. The choice of filters here was perfect, quite often in a situation like this the sky is rendered a great deal darker than the foreground, something that rarely happens in reality and is a major give away that too strong a graduated filter has been used. Here, the tones are perfectly balanced producing this beautiful image. This is a lovely composition. The sense of depth created by the photographer here is perfect.
I love how the composition makes my eye meander gently through the rocks, picking up the river or road in the distance and all the way through where I'm held in the sky with the gentle glow of the diffused sun. The processing is very delicate and the gentle colours are really beautiful. My only very slight criticism is that the frosty/snowy foreground looks brighter than the sky and the source of light it is reflecting. This would suggest that the choice of graduated filter was perhaps one stop too strong. This is only a very slight niggle though and something that is easily remedied in post.
Kindly made the selections this month. Mark's passion for photography began in the early 1990’s when he was living and working in Portugal and he has been a full-time professional landscape photographer since 2003. Having cut his teeth on medium-format transparency film, he switched to digital in 2006. Mark supplies three leading image libraries and his work has been published around the world in books, magazines and newspapers.
He is a regular contributor to the UK photographic press and the author of four books, including The Landscape Photography Workshop and his latest book, Photographing Dorset. This image caught my eye, because by coincidence, I lived in Aveiro (where it was shot) in the early 90s. It was here that I first became seriously interested in photography and used to shoot scenes like this.
To be honest, Paulo has done a much better job than I did back then. The composition is strong and the shot very striking, with the boat looking as if it’s being slowly reclaimed by nature - I love the reflections on the water inside the boat. Being picky, there are a couple of little niggles. First, I think the sky is slightly over-gradded - it is darker than the reflection - so I don’t think the 0.3ND Very Hard Grad was necessary.
Secondly, I find the swirling reeds/weed to the left of the boat slightly distracting. A faster shutter speed could have frozen the movement. Losing the Polariser would help - it’s not necessary if you don’t want to remove the reflections - as would opening the aperture a bit. With careful focusing, it would still be possible to get enough depth of field. Finally, and this is easily addressed, I’d pull back on the saturation slightly.
But overall, a great image. This is a very moody shot, which shows how important it is to shoot in light that suits your subject; imagine this same scene under a blue sky on a summer’s day. Results can be dramatic, but it’s not easy shooting into the sun. Exposure and flare can be a problem, so Dave has done a good job of getting the former right and avoiding the latter. For the most part, there’s good detail throughout the tonal range from shadows to highlights - using a 0.9ND Hard Grad has helped here. With the sun low on the horizon, a Hard Grad was probably the best option to control the bright tones there, but there is evidence of the filter’s transition line darkening the top of the barn.
Some careful digital dodging might help. This isn’t a criticism, but an alternative - a smaller aperture might have resulted in a ‘sunstar’, which could provide a very distinctive background focal point - maybe Dave shot an alternative version like this? Finally, a word about composition.
It looks simple, but all the elements are perfectly positioned in the frame, creating a strong line taking the eye through to the background and the setting sun. This is a really interesting shot and the contrast of warm tones in the sky and cool tones in the foreground works really well. The textural contrast between the soft, smooth textures in the foreground and the rugged, jagged peaks of the mountains complement this. Florian has filtered the scene well - the 0.9ND Soft Grad blends in with the mountain range and is completely unobtrusive - as graduated filters should be if used correctly.
The image is nicely processed, too, with vibrant but believable colour. Compositionally, I’m not so keen on the empty space in the bottom left corner - the eye tends to drift out of the frame there, so I’d tighten things up a little with a slight crop, so the hut on the far left is closer to the frame edge and the nearest hut a little closer to the bottom.
In the ideal world, Florian would have been able to shoot this from a slightly higher viewpoint, too, which would open up the middle distance slightly - but I imagine this wasn’t possible. This is a lovely Big Stopper image, with a bold, minimalist composition. I love the smooth texture in the water and sky and the splash of light on the end of the row of wind turbines. The image has the characteristic cool cast of the Big Stopper and I think this really adds to the atmosphere. Some people might feel that the sky is slightly over-gradded and that the use of the 3-stop grad was not necessary, but I like the stormy, moody effect it’s created.
I like the negative space in the composition, but I wonder about the crop; for me, a squarer aspect ratio - 4:3 or even 1:1 might suit the image better, as the main subject doesn’t stretch far enough across the frame to make the panoramic crop work. I’d also have placed the turbines lower in the frame; it’s hard to rationalise, but I feel the overall balance would be better. These cropping options are very likely possible from the original frame. Finally, to be picky, the horizon isn’t quite level and there are a number of dust spots visible in the sky - both easily correctible issues. This is a nicely seen image and it caught my eye because it’s something I probably wouldn’t have spotted. With landscape, the usual approach is to try to show the whole vista, perhaps including the boat as foreground interest for the wider view. The tight crop might have been from necessity - perhaps the rest of the scene was cluttered or ugly - or it might have been simply that the photographer chose this crop for pictorial effect.
Either way, it works really well. The elements are arranged really well in the frame.
The rock is perfectly placed and I love the strong diagonal of the oar coming into the frame from the right; this contrasts really well with the horizontal lines of the boat. The Little Stopper has been put to excellent use here; with moving water, the temptation is often to blur it until completely smooth, but the shutter speed of 0.3 second, as a wave washes around the boat and the rock is perfect for keeping the texture in the moving water, which adds a lot more interest to the composition. Finally, the mono conversion has been very well executed. Kindly made the selections this month.
He is one of the world’s most respected landscape photographers. Born in Glasgow, his proximity to the Scottish Highlands shaped his passion for the outdoors and fostered his interest in photography.
His photographs capture sublime moments of light and land, which are the result of meticulous planning and preparation and often take years to achieve. He is currently working on a four-year project in the Karakoram Mountains of Pakistan and nearer home on a new book entitled, Fragile. He is a Fellow of the Royal Photographic Society and President of the Association for the Protection of Rural Scotland. • • 7 Seconds Away • Canon EOS 5D Mark III with Canon EF 16-35mm f/2.8 L USM II lens • 180 seconds at f/16, ISO 50 • Big Stopper Strong compositional lines here hold the eye firmly in the turbulent amphitheatre and the photographer has been careful to lead the eye through the image from the bottom right hand corner of the frame. The Big Stopper has forced the long shutter speed turning the running water into a solid amorphous mass whilst in the sky, the opposite effect has been achieved with motion blur streaking the heavens.
Also the cool pre-dawn colour temperature enhances the feeling of the freezing conditions and plays to the overall mood of the image. Not much here that I would have done differently. • • Oahu, HI • Canon 1DX MarkII with Canon EF 16-35 f/4L IS USM at 18mm • 181 seconds at f/16, ISO 50 • LEE 0.9 ND Hard Grad • Big Stopper The strength of this image is in its simplicity and the fact that it juxtaposes the two colour opposites - magenta and green.
Personally, I would have considered cropping this to 3:4 - I find the 2:3 format on the upright orientation too long and thin. Whilst the colours are very appealing, we need to be judicial in the amount of saturation applied, either globally or in specific channels, to ensure that the scene we are experiencing remains believable. The use of the Big Stopper has helped create a dynamic between the glass-like nature of the sea and the motion blur in the clouds which are complimentary. • • Hollow Rock Winter Sunrise • Canon 5D Mk3 with Rokinon 14mm f/2.8 • 109 seconds at f/18, ISO 100 • Big Stopper This haunting image looks to have come straight from one of the fantasy landscapes in the Chronicles of Narnia.
Again, we have two colour opposites at work here - blue and yellow which have fused together harmoniously creating a feeling of peace and tranquillity. The warm backlighting picks up the icicles beautifully below the island, helping to create the ephemeral quality of the image. Had I been there I wouldn't have changed much - perhaps shot a little tighter to give more emphasis to the backlit icicles and probably let the sun drop below the island (which I'm sure you've done) - I feel that there's competition between the hotspots and as we know from experience - in photography, less is more. A lovely image.
• • Zumaia • Nikon D800 with 14mm lens • 1.6 seconds at f/8, ISO 1600 • Big Stopper Despite the Big Stopper being used in this image it has created a feeling of movement rather than tranquillity. When I look at this image I experience a feeling of perpetual motion. We are drawn into the composition with the two parallel water flows which exist in one plane and are juxtaposed by the sea meeting this convergence on another. Above in the sky and in yet another plane, the moving clouds also contribute to this sense of movement which I don't think would have been quite so pronounced had the filter not been used.
The low camera angle helps to create a powerful dynamic. • • Rainy morning at Hintersee (Bavaria / Germany) • Nikon D810 with Nikkor 14-24/2.8 at 16 mm • 62 seconds at f/11, ISO 64 • LEE 0.9 ND Soft Grad A strong composition in this image with the mountain peaks being framed by the two islands. A lovely airy and high key picture with a feeling of a pristine environment. One or two things I might have done differently here - I feel the saturation in the yellow/green channels has been increased beyond a point which looks (to me) natural and I would also have used the radial filter in Lightroom over the cloud on the mountain and in its reflection in the lake by removing some of the highlight values. This would have helped the viewer to navigate the image in the way intended and would help dissuade our eyes from moving instinctively to the centre of the image where the brightest portion of the image lies. Notwithstanding this, it's still a great image. Kindly made the selections this month.
Brought up in the world of film, chemicals and darkrooms but now fully embracing digital photography, his awe inspiring panoramic images have earned him a reputation as one of Europe’s top landscape photographers. He shoots regularly for global ad agencies and corporate clients and represents Nikon as a UK ambassador. His easy going personality, inspirational photographs and love of the landscape make his extremely popular for all levels of enthusiast. He is also a respected writer, guest speaker and lecturer. • • Chicago, IL. Before the Cubs won the World Series.
• Nikon D750 with 24-120mm f/4 lens at 24mm • 5 minutes at f/22, ISO 100 • Big Stopper • LEE Polariser An image with strong visual impact and it’s really refreshing to see a Big Stopper image that is not waves around a rock on a beach. A little thought has gone into the use of the Big Stopper and how it will impact on the final image and although some postproduction work has gone on it leaves the image with a unique look and feel. The composition is strong and I love the way the clouds take the eye toward the centre of the image. The use of the polariser although not immediately obvious will also have had a big impact on the look of the glass in the skyscrapers and water in the fountain. Perhaps not a ‘normal’ Big Stopper or cityscape shot but it certainly stands out as a dramatic image. • • Cayeux-sur-mer, France • Canon EOS 6D with EF17-40mm f/4L USM lens at 20mm • 136 seconds at f/8, ISO 100 • Big Stopper • LEE 0.6 ND Hard Grad A great viewpoint, I love the low angle, quirky composition (the thin slither of ocean is just perfect) and the muted colour palette. Some thought has gone into the use of the Big Stopper, the direction of the clouds and length of exposure playing a strong roll in the impact of the image by echoing the wooden boards in the foreground.
The Neutral Density 0.6 Hard Grad although essential for balancing the exposure has been used very subtly and the white cloud moving just off centre of the image breaks the sky up just enough to give a little interest in an otherwise grey sky. • • West Pier, Dun Laoghaire, Dublin, Ireland • Canon EOS 6D with EF24-105mm f/4L IS USM lens at 80mm • 1/25 second at f/10, ISO 50 • LEE Big Stopper • LEE 0.9 ND Soft Grad A very simple, clean and tidy composition that shows how well the ‘Rule of Thirds’ can work (it’s a guideline, not a rule!) Not only is the composition strong but the black and white conversion and tonality of the image is excellent.
An added bonus was the tide being out and so giving the pier the extra dark band at its base (or just good planning?) The 0.9 Soft Grad has worked well where a Hard Grad will have been too strong. The Big Stopper effect is subtle although the people on the pier still appear sharp, possibly a double exposure? Personally I think the image would be stronger with no people in it. • • Middle Earth • Nikon D7000 with Tokina AT-X 116 PRO DX (AF 11-16mm f/2.8) lens at 11mm • 30 seconds at f/11, ISO 100 • LEE Big Stopper A very strong, dark, brooding and moody landscape, that has plenty of depth and detail to it.
Rocks, water and Big Stoppers do seem to go hand in hand and here the Big Stopper has created a ghostly fog of the water without it going too misty and milky. Retaining some detail and texture in the sea has helped the mood of the image, too much blur and motion and the strength of the image would be compromised. The composition is also strong with the black boulders emerging from the sea with plenty of detail in them. Because of the strength of the foreground the mountains in the distance have become just background interest but this gives the image depth, often lacking in many landscapes. • • Ovar, Ria de Aveiro, Portugal • Canon EOS 6D with Canon EF 17-40mm f/4L USM Lens at 30mm • 2 seconds at f/5.6, ISO 250 • LEE Polariser • LEE 0.6 ND Medium Grad • LEE 0.6 ND Hard Grad • LEE Mist Grad I would normally start to worry if someone was using four filters to achieve their results but I do like the mood and feel of this shot. Possibly the clouds are very slightly over graded for my taste with both a 0.6 Medium Grad and a 0.6 Hard Grad and I’m not too sure how much effect the Polariser is having on the scene. However, as an image all the ingredients are there and it does still work, there is plenty of mood and atmosphere and the image has impact, what more could you ask for?
Finishing the scene off well is the use of the LEE Mist Grad (I have and use both the Mist Grad and the Mist Stripe.) These Mist filters used in the right conditions and used subtly can help create a mood or atmosphere in an image where none previously existed and this shot shows how well they can work. Get everything you need to get creative with your landscape photography and control a wide range of lighting conditions.* •.Assembled Filter Holder with two filter slots and the 105mm Accessory Ring for the Polariser •. Landscape Polariser - controls reflections and can be used as wide as 16/17mm on a full-frame camera.
The Big Stopper - reduces exposure by 10-stops for creative long exposure photography. 1.2 (4-stop) ND Medium Grad - ideal for controlling sunrises and sunsets •. 0.9 (3-stop) ND Hard Grad - renowned for the versatility it offers landscape photographers •. 0.6 (2-stop) ND Medium Grad - the perfect all round neutral density filter •.Holder pouch •.Polariser pouch •.Filter wrap and storage pouch •.Big Stopper storage tin. The LEE Stopper Range now includes three filters – the Super Stopper, Big Stopper & Little Stopper.
They all reduce the amount of light entering the lens allowing slower shutter speeds and the opportunity to explore creative long exposure photography. • Super Stopper 15 stops • Big Stopper 10 stops • Little Stopper 6 stops Each filter blocks a different amount of light with the Super Stopper being the most powerful. It will extend exposures by a massive 15 stops.
As an example, an exposure that would have been 1/60 of a second is extended to 8 minutes! These sort of long exposures allow anything that is moving in your image to become blurred or ghost like, for example clouds, waterfalls, rivers and the sea.