More choice, greater flexibility.
Our Stopper filters are used for extending exposure times which has the effect of making anything that is moving become blurred or ghost like, for example clouds, waterfalls, rivers or the sea.
Used creativity they can change the way we look at moving objects and capture a real sense of time passing in your images.
Stoppers are not limited to landscapes and can be used to blur crowds of people, traffic, or anything in motion.
Stoppers are available in different strengths, each increasing exposure by different amounts and effecting the scene in different ways.
Here the Little Stopper is used by Jeremy Walker to retain texture in the sea and sky while still giving a sense of time passing.
Use of Stopper filters may result in a slight colour cast. This is easily corrected in post-production, usually with a simple click of the auto white balance button..
Alternatively using auto white balance in the camera may help, but it is always best to do some tests.
When making long exposures always use the sturdiest tripod you can, and take care not to knock the camera or tripod. If possible use a cable release or remote shutter release.
Cover your viewfinder before releasing the shutter to avoid light encroaching onto the sensor or film and causing flare.
The new Super Stopper works well in harsh midday sunlight - traditionally considered an unfavourable time to shoot. However, with this filter the softness that arises from any movement contrasts pleasingly with areas of bright light, creating an effect rarely seen before now.
The Super Stopper
Made from high quality optical glass.
Every month we ask a respected professional photographer to select and review five of the best user images we have received that month that use a LEE filter. Take a look at this month’s selections.
Send us your best work. Be original. Surprise us!
Colin Prior 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.
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. Colin Prior
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. Colin Prior
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. Colin Prior
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. All good. Colin Prior
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. Colin Prior
Send us your best work. Be original. Surprise us!
Jeremy Walker 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 workshops extremely popular for all levels of enthusiast. He is also a respected writer, guest speaker and lecturer.
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. Jeremy Walker
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. Jeremy Walker
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. Jeremy Walker
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. Jeremy Walker
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. Jeremy Walker
Mark Bauer is one of the UK’s leading landscape photographers. Having first become interested in photography while living abroad, he is now renowned for his evocative images of his home county of Dorset, and other locations throughout the South West of England.Submit your image now
Every month we ask a respected professional photographer to select and review five of the best user images we have received that month. Selected images are featured in this gallery along with the pro's comments. It's a great opportunity to show your best work to the world.
Next month's images selected by: Mark Bauer
By greatly extending exposure times the Big Stopper blurs anything that is moving in your image, for example clouds, waterfalls, rivers, and the sea.
The filter can also be used on cityscapes to blur people or on roads and motorways to blur traffic.
The Big Stopper
Made from high quality optical glass.
The Little Stopper can give increased flexibility with exposure lengths in the lower light at the start and end of the day. This often means that detail and texture can be retained in areas of movement such as the sky and water, while still conveying a sense of time passing.
The Little Stopper
Made from high quality optical glass.
First compose your image before fitting the Stopper.
Take a meter reading without the filter in place, and set your desired aperture and shutter speed.
Use the exposure tables to find the correct exposure. Your filter will have come with a printed exposure table.
With the Stopper inserted into the slot nearest the lens, attach the filter holder as usual and make your exposure.
Always use the sturdiest tripod you can when making long exposures, and take care not to knock the camera or tripod. Cover your viewfinder before releasing the shutter to avoid light encroaching onto the sensor or film and causing flare.
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All the Stopper filters can be used in conjunction with other filters such as Neutral Density Graduated Filters.
This gives an even greater level of control and creative possibilities.
Other filters should be set up and positioned in the filter holder as normal before using the Stopper filter.
Remember to keep the slot nearest the camera free for the Stopper. Ensure the foam seal is facing the backplate to prevent light getting behind the filter and causing flare.
Get up to speed fast with our videos that explain the LEE Filter System and how to use it
Our ND Standards reduce the exposure equally across the frame. This increases shutter speeds and blurs movement.
Our range extends from the 0.3 ND (1 stop) all the way to the new Super Stopper (15 stops).
ND Filters can be stacked together, or used with other filters, so you can respond to almost any lighting situation.
When shooting digitally, light at the infrared and ultraviolet ends of the spectrum can be problematic. The ProGlass range of filters has been designed with this in mind, absorbing more infrared and ultraviolet light than traditional ND filters. With digital cameras the result is a punchier image, with less discolouration in adverse lighting conditions.
Join leading landscape photographer Jeremy Walker for a day or weekend at our photographic workshops around the UK.
Reimagined for tablets these new eBooks take you through stunning landscape photos and the exact filters and techniques used.
screws onto camera lens
attaches to the adaptor ring
slides into the filter holder
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