The combination of a Big Stopper to deliver a long shutter speed and the use of multiple exposures serve to capture not only the beauty but also a sense of the wind and elements. The sense of depth is enhanced by the warm foreground tones contrasting with the distant blues. I might be tempted to consider a crop on the image to take a small slice of the bottom of the frame away; to my eye the image would then balance more comfortably.
Harris is a magical place and this image captures the essence of that magic. These places are all about the rocks, the water and the weather and we find all aspects contributing here. The use of a Polariser and ND Grad both serve to give a desired shutter speed and attempt to balance the very bright sky against the foreground rocks.
Opinions vary on the ideal shutter speed for coastal waters but for me this combines a pleasing amount of movement with enough detail and texture to define the sea water. One must always remember however that the photographer represents how the scene looked and felt to them at that moment. A superb image that demonstrates excellent technique.
All the necessary ingredients are present: a fine location, great composition and delightful light. The light landing on the tops of the basalt columns is sublime. The use of the Big Stopper allows the long shutter speed which creates the delightful contrast between the solidity of the basalt and the fluidity of all the other elements.
An ND Grad holds the exposure in the sky allowing the details of the rocks to take centre stage. The aperture of f14 and careful choice of the point of focus ensures that there is front to back sharpness and every detail of the columns is preserved impeccably. The more you look the better this image becomes as each layer of details emerges from the standing water on the columns to the appearance of weed down the right hand side. Purely subjectively, I tried this as a crop so that the edge tailed off into the bottom right hand corner and felt the overall composition was improved.
This is however subject hair splitting in the extreme, a really outstanding image. Chris Prescott is an adventure filmmaker and photographer living in the mountain town of Chamonix in the French Alps. Through the production company Dark Sky Media Chris specialises in shooting climbing, skiing and mountain biking and enjoys shooting in remote and inaccessible locations where just getting the camera out of the bag can be a challenge.
For more information: darksky-media. I really like this shot for a number of different reasons and not just because Val Badia is one of my favourite parts of the Dolomites. Photographing mountains when the weather is poor and the light is flat can sometimes be challenging but the creative use of the Big Stopper and an over exposed image work really well in this case.
In a lot of ways it reminds me of the work of mountain artist Tessa Lyons who uses paint, pencil and charcoal to achieve a similar effect. Chris Prescott. I find this image really striking and when I first glanced at it I thought it was shot at night with the colour in the sky coming from the northern or in this case southern lights.
I really like the monochrome nature of the lower half of the image which contrasts really well with the richer blues and yellows of the sky, the single green leaf really draws the eye too. The image might have benefited from an increase in exposure by a stop or two as it overall feels a little dark and an increase would have made the green leaf pop a little more, having said that the underexposure is understandable given the dark and brooding nature of the image.
It would also have been nice to see what the image would have looked like by taking a step to the left and reframing with the curve of the tree potentially drawing the eye towards the leaf a little better. Having grown up by the sea but now living in the mountains I was instantly drawn to this image.
I love the layers of waves leading out to the horizon and the colours created by the setting sun coming through the spray from the waves is sublime. Getting the exposure right can be challenging when shooting directly into the sun but the use of the 0. This image is really eye catching, not only because of the richness of the sunset colours but also the small details which take a while to notice and keep your eye drawn to the image.
I particularly like the way the neon cross is reflected in the water as well as the people sat on the rocks to the left. Using a Big Stopper to create an even longer exposure would have resulted in a little more movement in the clouds which would have made the upper and lower halves of the image more uniform and made the church even more striking and ethereal looking. It would also have been nice to have the people standing up as they would have been a little more noticeable, although getting a group of people to stand still for 25 seconds can be challenging!
Autumn is my favourite time of year and this image sums it up perfectly for me. My eye was instantly drawn to the waterfall and trees in the upper third of the image before slowly being drawn down to the single leaf at the bottom. I love the way the Little Stopper has created a silky smooth texture to the water and the use of a Polariser gives an extra level of richness and warmth to the autumn colours.
It would have been nice to bump up the exposure by a couple of stops in the upper third to give a little more richness to the colours of the trees, this could be easily achieved in post-production or through using an upside down ND Grad.
Mark Cornick is a Surrey-based photographer currently working on creating abstract images using the techniques of Intentional Camera Movement and Multiple Exposure. When not photographing, his time is split between looking after my 18 month old daughter, and working in the Broadcast Industry. Mark's portfolios and details of print options can be found on his website: markcornickphotography.
Having visited Saunton Sands only last week whilst on holiday, this image appealed to me greatly. The mist is what makes this photograph a success and doubling up on filters with the Little and Big Stopper for a second exposure has created a superb atmosphere in the image, with the mist floating through the frame.
It has also created three distinct layers which I like a lot: the bridge in the foreground, the mist rolling through the centre of the frame, and then the city skyline in the background. I also think that presenting the image in black and white was a great decision and really adds impact to the shot. Scrolling through the thumbnails, this was a 'must see larger' image! The colours and clouds are what drew me into this photograph - it really is like fire pouring out of the mountains and into the sky.
The use of the ND Grad has meant that the details in the sky have been preserved and the Polariser has enhanced the colours beautifully. A five-second exposure has flattened out the water and enabled some lovely colour and light to be reflected - a really nice touch. The only thing I would change is not about the image itself, but of the use of the watermark. I do find them very distracting. I know that in this age of social media, image theft is a concern, but for me, it takes away from the final presentation, which is a beautiful landscape.
There are a lot of elements in this image from David that I really like, and which help to make it a really successful seascape. Firstly, shooting from a very low angle makes me feel like I am almost in the scene myself and about to get my feet wet! I have made a few mistakes myself shooting this close to water, so I hope none of your kit got a soaking! For me the Little Stopper is one of my most frequently used filters and is used in this image for a two-second exposure.
I find the two to three-second range on moving waves creates a really pleasing result and looking through the comments you received on this image on Instagram , I agree - It looks like the water has been painted onto the scene. I love the leading lines created by the sea defences, drawing my eye from right to left into the image, with the small stump on the left really completing the composition.
The colour palette is also very pleasing, with subtle muted colours. I might perhaps have moved the camera slightly more to the left when framing, but that is nit-picking.
A superb image from David. A beautiful and calming landscape image captured here by Victoria. I am particularly drawn to the purple sunset colours and that crisp white frost and snow covering the ground and mountain tops. What I also enjoy about this image is the element of storytelling. What an incredible house located at the foot of the mountains - who are the people that live here, with this stunning landscape literally on their doorstep?
The use of the Little Stopper has given a four-second exposure here. Also, the use of the Soft ND Grad has controlled the light beautifully and balanced the scene. I would be very intrigued to see what the results of a longer exposure would have been using a Big or Super Stopper - it could have created some very ethereal effects with the clouds. There is a great use of the rule of thirds, with the frozen bank providing a nice leading line. This is an image I have really enjoyed taking in over a cup of tea.
Fantastic work Victoria! Helen Storer is a self-taught professional photographer specialising in the landscape of the Broads National Park and the North Norfolk coast.
She is the Lead Photographer for the Broads National Parks and believes that Norfolk should be on the wish list for all creative photographers; with its big skies, unique wildlife and diverse landscapes. Helen really enjoys sharing her tips and ideas with others to enable them to go out and experiment and create their own ideas and style. As well as Norfolk Photography Tours , she also runs other photography workshops throughout the year, from beginners "Get off Auto" to advanced level Impressionism and Abstract Photography.
Helen enjoys achieving a soft, painterly effect in-camera, and her aim is to portray the essence of a time and place. She loves experimenting with in-camera techniques such as varying shutter speeds and selective focusing in order to capture feelings and emotion.
Since , Helen has been published in several international magazines and has gone on to earn further awards for her images. For more information please visit: norfolkphotographytours. Streetley Pier in Hartlepool is a great UK location for seascape photography, and yet for many photographers it remains unheard of. With its derelict buildings, and relics of the steel industry, there are many unique images just waiting. Martyn has captured this huge wooden pier at sunset really well.
I also love the colours in this image and using the Soft Grad has given definition to the sky. The submerged posts for me are too tight to the right hand side of the frame.
I do love the receding tidal lines and the moody sky, with the dark clouds holding the viewers eye to the details. I would be happy to have got this one in the bag Martyn. Well Done. Helen Storer. This waterfall can be found in Ontario in Canada and, at a cracking feet drop, it has to be on the list of many travel photographers.
I have seen this image many times on social media, but never this view from the river. Jose has captured some great highlights on the green, lush foliage. The Little Stopper gave Jose a 4 second exposure and, together with good use of a Polariser, the natural colours have been enhanced beautifully.
In my opinion, the image would be stronger with a squarer crop, thus losing some of the brightness and boldness of the foreground water. At the moment this pulls the eye away from the waterfall which I am assuming to be the main subject matter. A very exciting and unique image, and a what great experience visiting this location!
Thank you for sharing. Ah, my home turf! Norfolk and Caister-on-Sea. Costas has made great use of the Big Stopper with a 67 sec exposure, any longer and the North Sea would have been featureless. This image is all about shape and the "S" works really well for me, simplifying the elements.
I have photographed this myself and it's always difficult to get that balance in the background. Great work. I have never done cityscape photography myself, preferring the country life. I love that this image leaves me wondering whether it's actual or imaginary.
However, the more I look at this image, I am a little distracted and confused as to why the sky is such a pale daytime blue and not a night time dark blue? I also wonder if a ratio aspect would help reduce it to the essential elements such as the light trails of the cars and skyscraper horizon? Isaac has used a very low ISO of 80 Nikon which has minimised image noise.
The challenge of any long exposure is mitigating the risk of noise. Shooting in RAW makes it possible to reduce any noise when you convert to jpeg using processing software such as Lightroom.
Looking though Isaac's website , I can see he enjoys really long exposures, and as such, this aspiring creative photographer is pushing the boundaries of exposure times up to several hours.
I recommend having a peek at his website at your next coffee break. And just look what 25 seconds can get you! Wonderful lines, textures and feeling like you are on top of the world!
This dreamy scene of fog in the Bay Area of Nicasio, USA is quite some phenomenon, creating abstract patterns as it "waves" over the top of Mount Tamapaisi. I can appreciate that preparation is key with local knowledge of the area paramount.
As for the image I love the colours and how the foreground tree line grounds the moving fog. I would love to see this in a landscape orientation, in order to show more freedom and draw attention to the direction and movement of the fog. Another cracking image and one to be proud of Giancarlo so please do print it and display on the wall for all to enjoy.
He became a full-time professional photographer in For more information please visit: drewbuckleyphotography. A very lovely landscape image on first glance. Conventional composition techniques used here with the large sea stack sitting near to the top right third intersection. The overall scene is generally well balanced, and the bowl-shaped foreground together with the jut of land, does help to project the eye around and towards the sea stack.
Still though only a very minor observation. Use of filters has been done well and the warm pastel colours of the sky and landscape contrast well with the blue tones of the sea, made calmer by use of a Big Stopper and a four-minute exposure to really flatten the sea. Drew Buckley. A very interesting image and goes to show that any image can benefit from the use of filters to help obtain the right result.
I love photographing in woodland in varying conditions, but rarely would you see something like this. Absolutely amazing conditions and I guess a mixture of heavy snow blizzards and rime ice on the bark of the trees.
Compositionally it works as the trees lead the eye to the left third of the scene providing depth and balance. The colours work nicely as the image from left to right goes from warm yellow to cool blues. I imagine the ND Grad used here was probably positioned with the grad on the left part of the scene fading to the right, perfect use to help keep the exposure constant across the frame.
Then the Polariser helping to cut down any shiny reflections and boost the sky colour. A very unusual but well executed image. The uniform, yet differently shaped, wave cut platform as it recedes away into the frame is a nice touch. Coupled with the long exposure made possible by using the Big Stopper creates an almost seamless transition between landscape and sea. The four-minute exposure has created lovely cloud motion, so the overall scene is very calming, made even more so by the cool blues tones of the sky, which in turn are reflected in the foreground rock pools.
Composition is simple, with the horizon on the top third and the remaining two thirds filled with the interesting rocky foreground. I love long exposures on the coast, having the ability to calm down raging oceans using filters and extending the shutter speed is a big win for me. Finally, any coastal scene is boosted by using a polariser to cut down those surface reflections helping to keep the natural colours of the ocean.
The split-tone processing is an interesting affect and works with the limited colour palette of the scene. This is a great example of if you get the right light and use it correctly. With side lit scenes generally, the overall exposure is pretty even, so just the simple use of a Soft Grad here to keep the sky in check has worked well.
The light and shade of the curved bank adds real depth to the scene and the use of a medium telephoto lens helps to compress the pinnacle with the surrounding and distant landscape. Erik McRitchie is a Canadian photographer based out of Calgary, Alberta who spends most of his time capturing the incredible Rocky Mountains in all of their glory!
Having grown up in the foothills of the Rockies, Erik finds incredible joy telling the stories of the people, the places, and the adventures that can be found in his own backyard.
For more information please visit: erikmcritchiephoto. Good call on using a really long exposure of s. This worked perfectly to capture the drama in the sky and to smooth the water. I also really love how you placed the huts on a lower third for a more minimal feel, excellent work! Erik McRitchie. Great choice going with the black and white for this image, it works perfectly! I also really enjoy the mystery in the background with the fog, the railing captures my attention, draws me into the image and the fog stirs my imagination, well done!
I really love the composition on this frame using the rocks, and the pier as a leading line into the frame, the crop also suits this image perfectly! The use of negative space on the left side of the image really captivates me and adds a lot to the image overall. The railings draw my attention into the frame and are so pleasing to look at!
The water texture, combined with the texture of the cement and of the sky works perfectly to pull this image together for me. I love the fact that you placed the rock where you did in your composition as an interesting foreground element. The movement in the clouds, the haze in the background and the layers of the hills all add strength to the overall image. The texture of the rocks in the water are also quite interesting. Best known for his travel and landscape photography, he also has a particular love for equine photography.
He has photographed every corner of France and has an extensive knowledge of travel locations in over 60 countries. His work is represented by some of the best stock libraries worldwide and he regularly has images published in the media.
He has popular Facebook and Instagram pages where he publishes interesting images from his travels. This is a clever shot which makes me smile. Your choice of the Big Stopper is spot on. The 5-minute exposure works really well to create a smooth, milky look to the water.
The image is bright and full of impact. I like the vignette which draws attention to the chair, which is well placed in the frame. It would be even better if the top of the black material was perfectly aligned with the horizon.
Next time! Normally, I try to avoid having 2 subjects next to each other because it can create a sense of duality. However, the position of the landscape in the distance balances the shot and means there are 3 components to the image. The mute colour tone of the sea and the sky is soothing to the eye and adds to the tranquillity of the scene.
Great stuff Emanuel. Tim Mannakee. What a beautiful scene. The soft morning light and thin layer of mist give this image an ethereal look. The 2 stop Soft Grad does a great job on the sky and was the perfect choice. The gentle hue of pink running through to blue in the sky is lovely and compliments the milky water. Standing in the water may have helped although this would change the perspective. More elevation is another possibility.
Either way James, I think you did the best job possible given the terrain and available light. You absolutely nailed the light trails in this shot Dan. The S-curve is fantastic thanks to the Big Stopper, which allowed you to have a 15 second exposure. The dark sky above the power station balances the dark foreground and encourages the eye to focus on the main subject.
The light trails also lead the eye to the chimneys. Clever stuff. What I particularly like is the way the power station sits neatly within the pink sky. I look forward to seeing more. I was in this location last year when it was blowing a hoolie. By the look of the sea and the stormy sky, you had similar conditions. So, to come away with an image like this is impressive.
I like the way you managed to include the elevated lake as well as the cliffs. The Little Stopper was a good choice. When I first looked at this shot Adam, I thought it was a bit dark but actually the strong contrast of the dark cliffs and stormy sky really works and is probably quite near to reality. Very Game of Thrones!
The composition is spot on, the light is wonderful, and the choice of exposure is perfect. The Little Stopper gives you just enough length of exposure 1 second to add interest to the waves which are smooth, but not too smooth. The detail in the moody sky is held in by the 3 stop soft grad and balances the image perfectly. I also like the colour tones throughout the image, which are harmonious and really add to the flow of the shot.
Andrew Marr is an Australian landscape photographer capturing images from around the country and abroad. Driven by a keen interest in exploring the outdoors, Andrew captures the beauty of the natural world, from expansive vistas to unique and intimate perspectives. His photos evoke the mood and emotion of a moment in time, connecting the viewer with the landscape. Andrew shares his enthusiasm through his YouTube channel. His videos take the viewer on a 'behind the scenes' journey to the locations he visits, from the initial camera setup to the final photograph.
These candid and entertaining stories provide a captivating insight into his complete process. Andrew combines his extensive experience in photography with his background in teaching to provide a range of workshops to suit the needs of any landscape photographer.
A variety of other educational material is also available through his website. For more information please visit: andrewmarr. This image captured my attention and held it right away.
It has so many elements that engage the viewer and help to retain their first glance. From interesting framing in the foreground, the perfect reflection that Alexander has captured in the mid-ground to the impressive mountain range which serves as a grand backdrop to the scene.
I think the layers of texture and colour throughout this image creates interest and encourages the viewer to explore the scene. There is a comforting balance to this image that is very calming that is matched by the stillness of the water and complements the general feel I think the photographer was trying to achieve. Andrew Marr. I would love to one day visit Yosemite, with its waterways, unique forests and majestic mountain ranges. This image has each of these elements, expertly composited to guide the viewer through the scene.
Snow can be difficult to expose correctly. However, Derick has captured detail in the bank of snow along the edge of the water, that helps guide the eye in the midground of the scene, and has also retained detail in the darker shadows amongst the trees.
The falling snow or mist drifting in front of the mountains adds to the mood. By using a shutter speed of 6 seconds, through the use of a Big Stopper filter, Derick has managed to capture more of the fog. This approach also provides separation between the trees and the mountains in the background. The image leaves me in no doubt that Yosemite should stay high on my list and I think winter would be an excellent time to visit.
This image stands out because Ian has made the main subject of the photo obvious to the viewer, placing the castle in the centre. He has then used a few techniques to emphasise the castle and ensured it has an impact.
The texture of the grass in the foreground effectively draws the eye in, and it's balanced nicely with the branches at the top of the photo that cleverly frames the building. Using a combination of filters he has managed to capture the shot with a second exposure, flattening any ripples in the water and softening the clouds.
This approach enhances the contrast in textures that further helps the castle command attention. The choice to edit this image as a black and white intensifies the effect of these compositional techniques, resulting in a strong image. The only thing I would change, if it were possible, would be to move the camera slightly to ensure that blades of grass aren't overlapping the reflection and to avoid the small branches that can be distracting on the left-hand side.
Paulo has managed to capture so many elements in this scene in a way that shares a beautiful narrative that has enticed me back to this image many times, that's a pretty good sign that a landscape, or in this case a seascape, works.
The photo has texture in the sand, details in the rocks, strong composition and a scene that is bathed in gorgeous, warm light. He has pieced these elements together to convey the story of what looks like a stunning evening. Getting the right exposure can be challenging when capturing seascapes. However, a shutter speed of 2 seconds has effectively picked up the colour but retained the detail in the clouds.
The 4-stop Reverse ND has helped even the light out across the scene. This image inspires me to go and visit my local beach, explore the rocks and water pools and enjoy the warmth of the sunset. Cliffs are always great locations to explore for landscape images, and Pointe du Van in France is clearly no exception.
The details in the cliff walls and the power of the waves crashing up against the rocks all make for interesting elements to this narrative. Jerome has included some of the grass and flowers in the foreground which adds context for the viewer.
I think it's a nice touch that the patterns in the clouds provide some leading lines to the church, this emphasises it as a focal point of the image. The church adds interest to the scene that attracts the eye.
I get a sense that I'm sharing this view over the cliffs with the church, which helps to connect me with the scene and the experience of being there. There is a strong gradient of colour and light in the sky that is a little distracting to my eye. This effect could have happened as a result of the hard grad filter not being positioned close enough to the horizon, or perhaps it was created during post-processing. Matthew Cattell is a UK based outdoor photographer with a passion for promoting the natural world through photography, from panoramic vistas down to the finer details of our landscapes and the behaviour of the wildlife on our doorstep.
He has found success in a number of photographic competitions and was named Landscape Photographer of the Year in His work has also been featured on front covers including the Sunday Times and National Geographic Traveller magazines.
As well as producing fine art prints and writing the odd article for photography magazines, Matthew also runs and group workshops which are kindly supported by LEE Filters.
Jose has made great use of the wooden groyne as foreground interest, as its roughness and materiality contrasts beautifully with the sleek metal and glass of New York City. I also particularly enjoy how the shape of the groyne is mirrored by the diagonal line in the clouds above.
It has also blurred the movement of some, but not all, of the gulls, which I find adds further interest. I also would have raised the camera so that there was water between the posts at the end of the groyne and the distant shoreline.
Matthew Cattell. This is a thoughtfully composed study of a small section of coast, which serves as a reminder that sometimes less is more. The use of a square crop allows the feature rocks to be located centrally without the composition becoming unbalanced. A Little Stopper has been used to lengthen the exposure to 3 seconds, which is about right in this instance as some detail has been retained in the sea.
This contrasts nicely with the detailed texture recorded in the rock. The use of a hard graduated filter is also the right choice for photographing coastal scenes, however I do find the top right corner of the frame a little dark and wonder whether a 0. The use of a Super Stopper has removed all texture from the water and has rendered the clouds as dynamic, diagonal streaks. This has worked particularly well because the clouds are moving towards the viewer.
The simplicity of the composition works well, however perhaps next time be even more daring and locate the breakwater closer to the bottom of the frame to really maximise the impact of the cloudscape.
I find colour to be the main draw-back of this image and wonder whether converting it to black and white would remove this distraction and add to the abstract nature of the shot. This is a beautiful example from a popular location being well composed and full of autumnal atmosphere. I particularly love how the road bends off to an unknown destination. By using a telephoto lens, Pawel has compressed the scene to emphasise the rows of trees that line either side of the road.
This recession has been further accentuated by the morning mist, so well done for setting an early alarm! Using a polarising filter was the right choice as it's given the colour saturation a real boost. Sarah Alsayegh is a landscape and cityscape photographer based in Kuwait.
Over the last 7 years she has mixed her love of landscape photography with a newfound passion for storm chasing. To pursue this passion, she often visits the USA to photograph storms with her friend Mike Olbinski on one his storm chasing tours, as well as capturing images of sand storms in her home city of Kuwait.
Sarah attended the first LEE Filters weekend workshop in Wales over 10 years ago at the start of her photography journey. Since then she has travelled the world and visited many locations developing and honing her skills as a landscape photographer. A beautiful capture from the well-known Isle of Skye. This was the first image that caught my eye as I have it on my bucket list as a place to visit. The use of the Little Stopper with a 58 second exposure was a great choice from Darryl.
I particulary like the mixture of textures and colours in the sky. The processing of the image is also really nice, giving it a gentle relaxed feel. The only slight criticism is the mountain on the right side of the image.
Apart form that, I really love with this image. Sarah Alsayegh. I do love long exposure fine art images. This second exposure with a Big Stopper is very eye catching.
I can see that Kenny shot the image at 16mm and then cropped it to get rid of the distortion, which was the right choice. I really like how the building aligns with the clouds moving above it, giving a dramatic feel.
A very simple composition. The light from the sun reflected on the grass and mist is gorgeous. Very often with conditions like this you have to be patient to capture just the right moment. The use of the 0. I believe Mark made the right choice in using a Polariser along with the 0.
I also really like the simple processing Mark has used on this image; it has a lovely feel. I love the calm winter feel in this image that Matthew has taken. I also really like the way the buildings align, giving a real sense of depth to the scene. It would be great to see how the image would look after a black and white conversion and a little contrast boost in post production.
Rachael Talibart is a professional photographer specialising in the coast. She is best known for her Sirens portfolio, critically acclaimed photographs of stormy seas, named after creatures of myth and legend. This portfolio has won numerous awards and been published globally. It is also the subject of a fine art photobook. Rachael has exhibited in major London galleries, Brighton, Barcelona, New York and Massachusetts and her limited edition prints appear in private collections.
She owns f11 Workshops through which she runs photography workshops in the South East of England and she leads tours for Ocean Capture, an international fine art photography business. Rachael writes for magazines, she is an experienced public speaker, a judge for Outdoor Photographer of the Year and was named Black and White Photographer of the Year A beautiful capture of this well-known landmark. The Little Stopper was well chosen as the 13 second exposure time has softened the clouds without sacrificing their texture.
It has also captured a pleasing sense of movement in the water. Colin has very wisely used a 0. The lovely blue and pink colours are vivid without feeling unnatural. There is only a small gap between the post and the horizon but at this location it is hard to get the camera high enough to expand the gap and Colin has done rather better than most! A central horizon can risk unbalancing an image but in this case the diagonals in sky and foreground are the dominant feature and create balance.
The only change I might try is to remove the two sharp white areas in the cloud above the horizon on the right. Rachael Talibart. What a dramatic picture. Using a Big Stopper, Carl has kept the shutter open for a minute, creating bold stripes from the passage of clouds across the sky.
The streaky clouds partially disguise the wires coming into the frame from the right. High contrast black and white accentuates the bleak atmosphere.
Just a couple of small things would polish the image. While the slightly converging verticals in the farmhouse are quite effective, the verticals nearer the edge of the frame start to slope distractingly. A global adjustment of verticals would risk straightening the farmhouse too but it is possible to do it selectively in Photoshop.
If in process, he happened to push the tree on the far left out of the picture, all the better! This is an effective, simple composition. Crucially, mist or drizzle has allowed Alan to separate the old well from the trees behind. He has carried that simplicity through in his choice of a Big Stopper. The 4-minute exposure has smoothed out the water and allowed the shadow of the well and trees to bleed down towards the bottom of the frame, adding depth. I like the way the frost on the roof carries that same tone into the middle of the picture.
The blue tint adds to the wintry feel. I just wonder whether it might have been possible to adjust the angle of the grad to allow the far trees, to the left of the well, to be lighter. Either way, it ought to be fairly straightforward to give them a lift in post-production.
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Get Started Systems Light and portable, designed for smaller bodied cameras. More info. Created especially for ultra-wideangle lenses. Neutral Density Grads Balance the exposure between the bright sky and darker land. More info Reverse ND Stronger density in the center to control exposure at sunrise and sunset.
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