Crystal Waters by Marc Adamus

The view at sunrise from a raft on a lake overlooking an especially polished iceberg. The fifth image from my summer travels through Alaska and BC. All of my 2018 and 2019 trips to Alaska and BC that were announced September 13th filled up that same day, but you can still contact me to get on the wait lists in case any more dates are announced.

Marc Adamus: Photos

Ponytail falls with autumn foliage by William Lee

Waterfall and streams with autumn foliage

William Lee: Photos

Norway. by Johannes Hoehn

Johannes Hoehn: Photos

The Realm of Mystics by Ole Henrik Skjelstad

Ole Henrik Skjelstad: Photos

Hopefall by Max Rive

Patagonia Tour
Greenland Tour
Giants of the North tour
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Another photo I took last autumn in Patagonia with the d800e on 21mm and the 14-24mm with CPL. Instead of waiting on a certain location with my camera trapped on a tripod, I was running around and shooting handheld – trying to make the most out of the continuously changing conditions with full control over the composition. I will soon launch my Greenland 2017 Tour page and brochure – even though all 3 tours are almost full for next year – with one of my new favorites.

Max Rive: Photos

Under the sky 苍穹之下 by 美熹/Mei Xi

美熹/Mei Xi: Photos

FIND YOUR WAY by Raul Weisser

Beautiful landscape sunset over Grassland

Raul Weisser: Photos

Iceland year by Juan Pablo de Miguel

www.juanpablodemiguel.com
Fine Art Prints
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Juan Pablo de Miguel: Photos

Wanaka tree by Ronnie Li

Ronnie Li: Photos

Get Ready To Rumble by Timothy Poulton

Think of a landscape photograph as a jigsaw puzzle, with dozens of different pieces demanding your attention. If you arrange all those pieces in the right order you’ll end up with an organised, structured image that makes sense and looks good. But if you put them together any old way, the end result will be a muddled mess of shapes, colours and details that’s difficult to make sense of. That, in a nutshell, is what composition’s all about – arranging the elements of a scene in your camera’s viewfinder so they form something visually interesting to look at; something that will hold the attention of the viewer and take their eye on a journey around the frame from the immediate foreground to the distant background. Shooting panoramic images is significantly more difficult because you have to apply this technique over multiple images without the final image in the viewfinder for reference. Personally I’ve been sitting on this image for over a year because it just didn’t feel right, love to get your opinion.

Timothy Poulton: Photos

This Is Tree Country by Kilian Schönberger

@kilianschoenberger I N S T A G R A M L A N D S C A P E P H O T O G R A P H Y facebook

Kilian Schönberger: Photos

Last Light in the Dolomites by Daniel

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Daniel: Photos