A selection of the best photos from Facebook group members
I have been out of the photography game for a few years, but I saw this location and was inspired to start shooting again. My photography back story. I got into photography while stationed in Japan back in 2009-2012 mostly doing street shots and other various touristy things. After my tour in Japan, I got more involved when I moved to Hawaii from 2012-2015. I started shooting a lot of landscape and the occasional event or model. A guy named Tony Zerga owner of Pro Camera Hawaii got me hooked on Lee filters, and I have been all about long exposure landscape waterscape photos since. From there, I moved to Illinois and lost all aspiration due to the weather and mundane scenery which was a hard contrast to what I was used to. Thinking back, if I put in some effort I probably could have found some worthwhile shots, but it is too late for that now. The other night my family and I stumbled across this park and I just knew I needed to start shooting again. I ordered a new tripod and went out to the Little Jetties in Mayport to test out the tripod, and I made plans to get out to El Faro Memorial park this weekend to get some shots.
I used a Nikon D810
Lee big stopper but probably should have kept the little stopper on since light ran out pretty quickly
Lee .9 soft grad ND
Lee CP which I probably should have left off
80 f6.3 iso 125
Photo Credit: Shod Williams from the Jacksonville Photography Group
Location: El Faro
Enjoying winter sunsets with all the explosion of colors, using long exposure capturing silhouette and reflections. Beautiful low light reflection photography of silhouettes. Mount your camera on a tripod and try to lengthen the shutter speed.
Thanks for sharing your beautiful image Christina.
Photo Credit: Christina Duncan from the San Diego Photography Group
Location: Imperial Beach, Ca
The remains of an 18th century fish trap can be seen along the beach at low tide.
Move around the sea stack to look at the position of the sun. You can create a nice Sunstar to bounce the light off the sides or top of the sea stack. This can make for a nice focal point in your image. Get down low to the ground if you can. Take a look through your viewfinder and see if you can include other elements within your frame. As Paul has done in his image, take the time to create something worthy of hanging on your wall. A beautiful landscape image. Thank you for sharing it.
Photo Credit: Paul Murphy - P D Murphy Photography from the Cardiff Photography Group
Location: Porthkerry Beach, Barry
Location: Kuitpo Forest
capturing the beautiful gold tones during Adelaides Golden hour up in one of Keo's favorite spots for portraits, Kuitpo Forest. While walking down the road he noticed how the sun was lighting up the wheat growing around and thought it'd make a great frame for my subjects face! Props are an ideal and quick way to make color happen in your frame. Props are an ideal and quick way to make color happen in your frame.
Photo Credit: Keo Encinas from the Adelaide Photography Group
Location: Kuitpo Forest
An impromptu photographic session with a local model in a small street in Downtown Charleston. The weather was a mix of brief periods of sunshine and light sprinkles of rain. This particular image was taken at the George Eveleigh House, built in 1743, and the Sun was lining up almost perfectly down Church Street behind the model. Don't let cloudy or rainy days get in the way of taking amazing pictures. Cloudy days give photographers the all-time biggest natural soft box for diffused light.
Photo Credit: Michael Butrovich from the Charleston Photography Group
Location: Charleston, South Carolina
Eric's original plan was to take a sunset photo at Kirribilli, however he was sidetracked by the reflection of the Harbour Bridge. Using reflections in photography can completely alter the image from something fairly straightforward to something richer or abstract or otherwise more artistic. Using reflection in the photograph can create an amazing effect and a beautiful image.
Eric had to get his camera close to the water, so he placed a piece of cardboard under the camera so it doesn't touch the water. He was then able to take a photo of the Harbour Bridge as a whole.
Photo Credit: Eric Huang from the Sydney Photography Group
Location: Kirribilli, NSW
Location: Pin Mill Ipswich
This photo was taken on a cold foggy December morning
at Pin Mill in Ipswich during high tide. Black and white has a pure and timeless quality.
It was a 119 second exposure using a 10 stop ND filter. It has had some post production carried out to bring out some of the detail on the boats and to remove some debris from the water on the left of the picture. The best black and white landscapes have a strong range of tones. From almost pure white through to deep, rich black and everything in between. Jamie has made good use of textures in this image.
Photo Credit: Jamie Smith from the Ipswich Photography Group
Location: Pin Mill Ipswich
Scouting and planning are often key to capturing great landscape shots.
On this occasion, I was lucky. I'd stepped outside to see what the cloud cover was like and whether there might be a chance of some long exposure astro later, when I noticed a sliver of the Moon rising above the hill.
Dashed back inside for my camera, coat and the brew I'd just made and the clouds held off long enough for the Moon to be clear in that position.
Shot handheld at 400mm f8 1125s. Cropped and exposure tweaked in Lightroom.
Using a telephoto brought out the Moon Illusion effect, in which the Moon appears bigger when close to the horizon
Photo Credit: Wayne Smith from the Manchester Photography Group
Over the past few years, I have developed my own particular style with Photography, I call it Day to Night my wife calls it the Harry Potter Effect. This image of Elm Hill, Norwich uses this technique.
The starting point is to try to capture a low contrast image of the location be photographed, this means an overcast 'grey day' is best, generally in the middle of the day so the street lights are not on, however, I still need to find the right composure, an image with depth and if possible leading lines, I love architecture, particularly the 'old English' look. Once I have found the right location and hopefully the right conditions bright blue skies bring high contrast, so not preferred, I normally shot f8 and iso100 and a shutter speed selected to achieve 1 stop underexposed, almost always from a tripod with a 10 second delay to reduce any camera shake and always RAW. For me the taking of the photograph is only half of the journey, the post-processing in Lightroom and Photoshop is just as important to achieving the right look. Once in Lightroom I start by reducing the highlights and raising the shadows, correcting the blacks and whites, and re-cropping to the preferred border position. I also generally correct any perspective issues. After this stage I transfer the image to Photoshop and start by removing any unwanted objects in the image, such as litter, cigarette butts, road signs, alarm boxes and ariels, etc, using the spot healing tool, once complete I then use the colour range tool to mask the low contrast sky and then replace it using a previously photographed sky, such as the sunrise in this images which was shot in Norwich on a previous day, with the sky replaced, I then balance the colours between fore, mid, background and sky. At this stage I will return the image to Lightroom where I will lower the overall image exposure by 2 stops and then in detail re-light the image using a combination of radial and gradient filters, plus selective brushes, this includes the lighting of the streetlights and the ambient light that would be projected but these lights. The inside of the shop and the sky are treated the same way. The reason for lighting the image in this way, is that I have control over where the light is seen, but most importantly I have control over the contrast. and colour As you know when you shoot at night or in dark conditions, street lights can be extremely difficult to manage as highlights, plus the shadow areas of your image can really struggle with noise, using my style I am able to maintain full control over all aspects of the light, contrast and colour. This is how I create these types of images.
Photo Credit: Jamie R. Mathlin from the Ipswich Photography Group
Location: Elm Hill, Norwich
I was taking a friend who had never seen a wild turtle snorkeling at Mudjimba Island when a rain storm came in, we were there alone so it was a little surreal. I had been trying to get a shot of her with a turtle when I realised a shot of the boat could be interesting, what I didn't realise is that the strobes for the underwater setup would freeze the rain in the foreground whilst keeping the background naturally lit which has really added to the drama in the shot.
Nikon D750 with 20mm f2.8 lense
Ikelite housing and dual Ds51 strobes
1160th, F8, ISO 200
Photo Credit: Josh Peake from the Sunshine Coast Photography Group
Location: Mudjimba Island, Qld
Stephen visited Stockton with the intention of shooting the Infinty Bridge lit up, on leaving the house it started raining so he thought a decent shot would be unlikley, but when he arrived at the south side of the bridge it had cleared up. It was cold but there was no wind and the river was so calm.
Time to look for a decent composition.
After a few shots of the enitre bridge he went for a more intimate composition as the reflection of the bridge legs caught his eye and the colours looked amazing.
Camera Canon 80D with the EF 24-70L f4 lens on a Novo T20 tripod
Settings ISO100, f13 53mm 30sec exposure.
Small edits in lightroom slightly lowed the highlights and slight increased the shadows and exposure and slightly lowed the texture.
Photo Credit: Stephen Innes from the Newcastle Photography Group
Keo wanted to capture the beautiful gold tones during Adelaides Golden hour up in one of his favourite spots for portraits, Kuitpo Forest. While shooting the sun was lighting up the wheat growing around and Keo thought it'd make a great frame for his subjects face! Using props in your photography will help you think and shoot more creatively. It's a simple way to create a strong point of interest in your image.
Keo used his portrait Sigma 105mm at 1.4 lens.
Photo Credit: Keo Encinas from the Adelaide Photography Group
Location: Kuitpo Forest
Gary took this image of the Snowy Egret at the Orlando Wetlands just East of the city. The best thing to do is to pick a background that is not too busy and distracting. If this can not be avoided while shooting your subject then you can enjoy removing the distracting background and replace it with a dark tone in Photoshop. Gary added all the lighting and effects in Photoshop for this image.
Photo Credit: Gary Shaver from the Orlando Photography Group
Location: Orlando Florida
This image was taken on a photography flight over the Peak District at approximately 4000 feet.
We were flying back over the peaks from Manchester as the sun was starting to set when I saw the formation of some lenticular clouds over the ridgeline of Mam Tor and Winnats pass. We flew around to the other side and were met with some absolutely stunning colours as the sunlight hit the clouds and the snow reflecting the orange hue made it even better. Lenticular clouds are always very interesting to photograph as a subject and the combination of the snow and sunset makes this one of my favourite images I've taken to date!
Date 1546pm 29122020
Location Peak District from aerial platform 4000 feet.
Camera Canon EOS R5
Lens Canon RF 24-70mm f2.8
Exposure time 1320
Focal Length 67mm
Photo Credit: Thomas Chan
From the Sheffield Photography Group
Location: Peak District
The LDS Oakland Temple with Christmas lights.
Michael visit's every Christmas to see the decorations and the lights. He always takes pictures, but this time he decided to try to capture the car lights streaming. The camera was sitting on the railing, for a more steady result a tripod should have been used. Although, Michael has done a good job using the railing instead.
Camera settings Aperture priority
Aperture value F16.0 Shutter speed 6.0 seconds ISO speed 160
Post production: cloned the telephone wires out, as best as he could and used Nik collection color efex pro 4 to enhance definition.
Think about adding other types of lights into your shots as well. On busier streets, you may want to shoot a wider point of view and include the light trails of passing cars, just as Michael has in his image.
Photo Credit: Michael Hernandez
From the Palm Bay Photography Group
Location: Oakland , Ca.
This is a composite image edited with HDR and painterly effects. Gwen, photographed the girl in the photo by placing her on a brick wall in the backyard. The background was purchased through Meg Bitton's site and credit for the background would go to her and her team.
Composite images are made up of two or more photographs, which are combined to create one image. Even if the term is new to you, you’ve absolutely seen composite images every day - in ads, on websites, in the news. The best composite images will look real, while others will look intentionally surreal. Gwen has done a very good job with this composite. The purchased background has added some creativity to the main image.
Photo Credit: Gwen Neutgens
From the Las Vegas Photography Group.
On a brick wall in Gwen's backyard
At the end of an 8 day photo group trip to the Isle of Skye, our party was back on the mainland for a stop-off at Glen Etive on our journey home. At the inland end of the Glen the river has a small gorge, with a mountain backdrop that was lit by a perfect sunrise. Stood in the wet and boggy river's edge, tripod in a foot or so of water I was pleased to capture the beauty and splendour. I took the shot with my Canon 5D MkIII on the tripod, with my L series 16-35mm telephoto at 20mm. Shooting in RAW for 32 seconds at f11 on 100 ISO slowed the water flow and using Photoshop 2019 I was able to recreate the beauty and tranquility of the location.
Water is a hugely versatile photographic subject. From tiny droplets to vast oceans, it offers unlimited creative potential and plays its part in virtually all natural world images in some way, shape or form. Cascading waterfalls are a classic subject to practise on – the longer the exposure, the more the water appears as a smooth cotton wool-like blur.
Thank you for sharing your story, settings and image David.
Photo Credit: David Shelton
Location: Glen Etive, Scotland
From the Nottingham Photography Group.
Charley has spent lockdown watching these little birds in her garden, and setting up different types of feeders in different areas. She knew where the sun was going to be, as well as the hummingbirds, so had her camera in hand to take the shot.
Hummingbirds lend themselves to many different photographic techniques— they lend themselves to many different photographic techniques—close-up, telephoto, high-speed, low-speed, video, remote-controlled, even time-lapse.
Hummingbirds are wonderful to photograph for many reasons. They are inherently beautiful subjects that require flattering lighting and good fieldcraft.
Photo Credit: Charley Wraight Photography
From the Sacramento Photography Group.
Location: Roseville, CA.
Arizona's wild burros are a wonder to watch and especially when a little one is feeling frisky. You could almost see the joy he was feeling as he ran circles around the rest of the band.
High-Key Wildlife Images is a technique that we don’t see very often, because few situations allow for it, but the high-key style can set a photo apart from others. High-key photos use light to blow out shadows and create a white background to a photo. Isolating the subject from the scene completely, giving the photo an artistic touch.
Photo Credit: Robert Rinsem
From: Phoenix Photography Group.
Location: Wichita mountains and wild life refuge
I take this photo early morning at the Quanah lake at the Wichita mountains by Lawton OK, was the perfect condition for the shoot...
Photo Credit: Alvaro Ramirez from the Oklahoma City Photography Group.