Sunset Seascape

Regardless of how much you plan, when it comes to landscape photography, things don’t always go according to plan.

In this landscape photography class Karl shows you the apps and websites he uses for planning and research and why it can be valuable to take the time to recce potential locations beforehand.

When it comes time to shoot, Karl is faced with strong winds and clear skies — not exactly ideal conditions for landscape photography. However, using a combination of filters, he’s able to make the most of the situation and captures a stunning image nonetheless.

Here you’ll learn about some of the most useful equipment for landscape photography, Karl’s lens choice, how he uses different filters to control the available light and how you can capture a great shot even when the conditions aren’t at their best.

In this landscape photography class we cover the following:

  • Landscape photography: How to photograph a sunset seascape
  • Useful apps for landscape photographers
  • Useful equipment for landscape photography
  • Lenses for landscape photography
  • Using filters for landscape photography
  • Identifying strong compositional elements for landscape photography

If you have any questions about this class please post in the comments section below.

NOTE: This photography class is available with English subtitles.

Comments

  1. Hi Karl
    This video was just what I needed as I’m off to Tasmania on Tuesday 21st November for some landscape, seascape and waterfall photography. I’ve never used a 10 stop ND before and have just bought a Hadia Nano Pro filter system.

    Dave Creasy (Australia)

  2. Nice tutorial, good to hear about preparations too!
    I do have a question on ND grads though. It looked like you were using soft grads in that video. Is there a particular reason why you specifically chose soft grads? I was always under the impression that when the horizon is fairly straight, a hard grad would be fine, and that a soft grad is especially well suited when the horizon isn’t very smooth (eg lots of buildings, trees or mountains).
    In the past I struggled seeing the gradations using soft grads.

    1. Hi Kryn, yes you are right but you may have noticed the slight rising headlands, left and right of this shot, but a hard grad would have probably still coped. One thing to consider is the DOF and small apertures. If using a grad then its graduation will become more pronounced as DOF increases, in the same way dust specks do to. Often a soft grad can be useful in seascapes as you commonly have light bouncing off the surface of the sea too and it allows you to reduce this without imposing too much on irregularly shaped rock formations in the foreground.

  3. Something to work with… are you kidding me 😉
    Especially the picture you picked up above is just lovely.
    As you can see I’m still working through first stages of your program, but I’m learning soooo much

  4. Hi Karl,

    I’ve tried making a similar sunset/late evening photo using Cokin filters looking across a loch up here in Scotland, and although I didn’t have sea spray to contend with I had lens flare instead! There doesn’t seem to be any in your photo even though it appears that you were shooting straight into the sun.

    Is there a clever way of avoiding lens flare when shooting straight into the sun when it’s low on the horizon?

    1. Hi Graham, when shooting directly into the sun this can be very difficult to control and when flare appears or doesn’t can often be down to the characteristics of the glass and internal elements of the lens, so one lens may flare more easily than another. There is also the angle of incidence of the light to the lens. I often use my hand to shade my lens if the sun is slightly off to one side but filters can often add unwanted flare if you’re not careful. On the Lee system I use they make a concertina style lens hood that fits at the end of their filter holder.

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