Stopper

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Drilled Rubber Stopper 6 Set of 3. See more product details. Add all three to Cart Add all three to List. These items are shipped from and sold by different sellers. Buy the selected items together This item: Ships from and sold by Hobby Homebrew. Customers who bought this item also bought. Page 1 of 1 Start over Page 1 of 1. Star Sans Sanitizer 4 oz. Customers also shopped for. Stella Artois 40 Centiliter Glass. Don't see what you're looking for?

There was a problem completing your request. Please try your search again later. Compare with similar items. This item Drilled Rubber Stopper 6 Set of 3. Product features Drilled rubber stopper 6 Tan color Drilled to accept airlock or tubing. This is a drilled tapered rubber bung for a better seal and holds the airlock securely in place. Product details Product Dimensions: See questions and answers. Is this feature helpful? Thank you for your feedback. Share your thoughts with other customers. Write a customer review. See all customer images.

Read reviews that mention gallon glass glass jugs carlo rossi mason jar rubber stoppers good quality works great airlock easy to clean works great fit perfectly fits 1 gallon fits 1 gallon worked great right size wine jugs home brewing gallon carboys airlocks drilled rubber. Showing of reviews. Top Reviews Most recent Top Reviews. There was a problem filtering reviews right now. Please try again later. The 3 piece airlocks fit easily into these stoppers as well. This makes a stopper a vital element in the medication method. Now, these 5 th generation machines belong to the world fastest inspection systems for Pharmaceutical rubber stoppers inspections.

It is a complete quality control system within clean-room conditions ISO class Human Machine Interface, presents all the machine functions on screen. The vision terminal shows all the vision inspection results. The bowl feeder is automatically fed from the supply bunker. In the bowl feeder the stoppers are correctly positioned and lined-up. Form the line-up the stoppers then go one by one into a separation wheel.

With the stopper in the separation wheel an inspection camera on position D inspects the inside of stopper. After the inside inspection of the stopper, oked stoppers continue on to a non-metal transport ring for further inspection. After the stopper has passed the inspection in F it goes through a metal detector. He is a much sought after lecturer and has spoken in many countries as well as photographic societies throughout the UK. Paul runs landscape photography workshops in the UK and around the world for his company Aspect2i.

He has received many commissions from organisations such as the Environment Agency and the BBC and his work has been used extensively by Epson, Ilford and Permajet to name a few. The Big Stopper has helped to simplify the photograph by calming the texture of the water. The warm colour tones in the photograph are also very special.

My feeling is that the photograph is printed too dark. The light on the foreground boulders is wonderful and to reveal more of this would be hugely beneficial. Also a slightly paler sky would reveal more of the beautiful cloud structures, again leading the eye into the distance. Having been to this location many times I can see that Feliksas has made a wonderful photograph of the place and captured its grandeur and drama perfectly. The use of the Super Stopper and 0.

Using the Super Stopper can make an image that is slightly blue and I would recommend warming the image up a little to bring out the foreground rock colours. The moment I saw the low contrast and soft tones in this image I was drawn in and fascinated. The use of the Polariser and Big Stopper together were essential to the photograph, the Polariser enhancing the colours and the Big Stopper creating the white waterline against the foreshore.

The one thing I would alter is the strong greens, I feel they need warming a little as they look too vibrant and unnatural. I think the wooden posts are positioned superbly in the square frame and I love the subtle suggestion of something beneath the foreground water surface which can be seen which has been made possible by the use of the Big Stopper cutting out water textures. My recommendation would be to burn the sky evenly as opposed to a vignette effect that has been used.

I feel an even sky would lead the eye into infinity beyond the posts. The combination of the Big Stopper to capture the subtle cloud reflections with the Polariser saturating the colours and allowing the viewer to see beneath the water surface is perfect. This photograph has everything from subtle calming colours to staggering detail throughout.

The plateau of rock gently lit by the evening sun serves perfectly to guide the eye to the castle. The one thing I think would strengthen this composition even more, is to crop a little of the left edge of the image to lose the protruding rock and dark shadow that seem to be vying for attention. Lizzie Shepherd kindly made the selections this month. Lizzie is a professional landscape photographer, speaker, teacher and writer, based in North Yorkshire, specialising in landscape, nature and travel; she also does some commercial photography and commissions.

She exhibits her work on a regular basis and a selection of her prints are on permanent display at the Joe Cornish Gallery in Northallerton. She offers a number of small group workshops and tuition in the UK and further afield. Lizzie enjoys working in all kinds of conditions, adapting her approach accordingly. She believes instinct is every bit as important as planning in photography.

As rewarding as it is to spend hours working a particular scene, she also enjoy that adrenaline rush of having to work quickly to make the most of any fleeting opportunities that come her way. You can learn more about her work at her website: A beautifully crafted image — the composition is balanced, the edges are very well placed and it has a wonderfully inviting, warm glow about it — it really makes you want to be there.

Use of a Big Stopper and polarising filter has allowed a long exposure of 60 seconds. Not so long as to lose all texture in the water, but enough to smooth out both sea and sky, so emphasising the gritty textures of the mountainous backdrop. The time of day is also well chosen, with warm light on both the wooden cabins and the ridges beyond, drawing you into the scene. The only thing I might try would be to lighten very slightly the top section of sky — it feels just a little too dark to me. This can sometimes happen with the softer ND grad filters, given the strongest filtration is at the top of the frame.

A delightful and graphic image, minimalist in many respects but with a little twist. These are the kind of scenes for which the Super Stopper is made but the success of the end result depends upon a really good composition. This feels just right to me — the relative heights of horizon and top of the lighthouse sit very comfortably and the very long exposure of seconds has produced the silky smooth tones that work so well here. I also feel a square crop was an excellent choice.

The fact that the reflection of the lighthouse is slightly off centre just lends a little bit of tension to the image — one that adds to my enjoyment of it. The light reflecting off the boulders is wonderful. The 13 second exposure, courtesy of a 2 stop ND filter, has retained the lovely texture in the sea, though possibly a few seconds less might have been even better. The sweep of the shoreline takes you out to sea and that warm horizon, although the hole in the cliff does also fight for your attention. Again, I think this could be addressed with a bit more detail in the surrounding cliffs, so giving less emphasis to the hole.

The way in which we respond to a picture is a very personal thing but this immediately took me back to a visit to a shadow puppet play in Indonesia, many years ago. The hazy and pareidolic form of the clouds on the horizon is the key here — providing intrigue and a sense of mystery. They are perfectly positioned in relation to the rotunda on the pier and I also really like the use of negative space across the image. A mist filter has been used to create the hazy effect but, without such careful positioning of all the different elements here, the end result would not have been so compelling.

A 4 second exposure courtesy of a Little Stopper has rendered the water reasonably smooth but, crucially, has not allowed the clouds to lose their wonderful shape. This is a very bold and complex composition and I enjoy it for that very reason. By using an ultra wide-angle lens and getting so close, the photographer has given great emphasis to the foreground plant.

The mirroring of the fallen branch below and above the waterfall is a really nice touch. John Miskelly kindly made the selections this month. John is a Fellow of the British Institute of Professional Photography and is a multi-award-winning photographer, specialising in stunning fine art landscapes from around the world. He has a life-long passion for the wilderness and a keen eye for the many moods of nature.

His landscape photography is an exploration of time, often using very long exposures to give a sense of time passing. His work often explores the relationships between the natural elements around our coastline and the structures that have been created by man. He creates simple, strong compositions capturing the muted palette found at the beginning and end of the day.

Add to this the atmosphere, light, weather and movement that he is drawn to and you start to get the essence of his personal style you can explore on his website johnmiskelly. The delicate tones in this image, along with a strong composition make it stand out.

Champagne Stopper

The fact that the ice covered wooden stumps lead the eye in to the old structure in the background, whilst retaining separation between the two elements is an excellent use of composition. Normally I would prefer the simplicity of the image without the sand, but in this case, I think it may even add to the image. The only thing I would have done differently would be to take this as a portrait format shot, thereby giving me more sky and height to the image.

So often photographers only think of the landscape format for landscape subjects, yet the portrait format, along with cropping of the image is part of the compositional decisions. This image has a lovely quality of light, which gives a sense of atmosphere. The use of the Big Stopper has given the sky a quality of tone and the radiating cloud effect balances the image nicely, particularly with the lighter part of the sky behind the mountain.

The detail in the ice in the foreground contrasts with the majesty of the mountain in the background. In terms of improving the image, I would have liked to see a stronger lead into the image in terms of foreground. Ideally, I would have found a stronger and more obvious curve or diagonal line in the ice that would have led my eye to the mountain in the background.

Maybe moving to the left would have given this opportunity? An image from my own part of the world, so I know it well!

MedStopper

I love the tones and textures in the image. The fact that the image was taken with a foreboding sky means the tones are well matched between the sky and the dark rocks of the Giants Causeway. The long exposure gives the breaking waves the white line that separates the rocks from the sea. The curve of the rocks is compositionally strong and the image is what I would call, well balanced. In terms of improvements, I would just lift the shadows a little, particularly in the bottom left corner and also increase overall exposure by say, 0.

I would do this without losing the moodiness of the image. This image just exudes mood and atmosphere. The author has used a polarizing filter, a Little Stopper and a Chocolate Hard Grad, a great example of how one can combine filters to create a super image. I can see where the author has worked on the image on the mountains on both the right and left hand sides in post production and has lightened parts of the mountains that look unnatural, which takes away from the image. Another very strong composition and use of light.

The wooden stumps starting from the bottom left hand side lead to the horizontal stumps further out from the shore. The use of a hard graduated filer was a perfect choice for this image along with the Big Stopper. One thing that would improve the image in my opinion is a square or tighter crop. Sarah Hatton kindly made the selections this month. Sarah is a passionate, driven landscape adventure photographer based in Melbourne, Australia.

Inspired by nature, and fuelled by the fires of creative endeavour, she is ever-searching for that next level in her photographic work. Sarah holds local workshops in her home city of Melbourne, as well as a series of International photography tours to places such as Patagonia, Canada, New Zealand and much more. Between all that, she does international tourism photograph, as well as brand photography and social media promotion. Be sure to follow Sarah on Instagram.

What an absolute ripper of a scene! This one really caught my eye for many reasons: I do not have many things to suggest to improve such a powerful scene; the only thing I would adjust is removing the power poles from the background scene, and tidying up the minor imperfections in the foreground. This is a super clean image, simple and well balanced with a beautiful symmetrical composition.

It really conveys a sense of peace and calm to me though its simplicity and pastel tones. Improvements to compliment such a scene would be ensuring the horizon is horizontal, it appears to be dipped a little on the left of frame. The highlights are also substantially clipped in the middle of the frame, using a 0. Love the rocks in this shot. Excellent scene with such movement and power conveyed from the breaking waves and rocks. Absolutely love the dynamic foreground in this scene, the streaks in the sand create such drama.

The mix of steely tones complimented by such interesting textures makes for a powerful image. Suggestions for improvements would be attempting to focus more on the composition, I find myself second guessing what the subject is within the scene. Foreground textures, mountains or the leading line to the human element on the left of frame?

Grandness of scale and a well-balanced scene… and showcased in black and white to add to the overall hard-hitting impact of such a scene. The only minimal suggestions for improvement to such a powerful image would be to take more time with the dodge and burning of the scene. Coupled with the rather dark edges in the upper corners of the frame, it puts a little too much drama into an already punchy scene.

Antony Spencer kindly made the selections this month. Antony has always had a keen interest in photography and started taking photography more seriously in with the purchase of his first digital SLR. His short time with a digital camera makes his win of the coveted Landscape Photographer of the Year award all the more remarkable. The prize allowed him to leave his day job and concentrate full time on landscape photography.

He is based in Dorset and has a passion for capturing the landscape in the best available light wherever and whenever possible. Having lived his whole life in the South West, he is very passionate about the varied landscape there. Antony also spends a great deal of time in the Arctic chasing Aurora Borealis and arctic winter landscapes. We see a great deal of long exposure photographs now and more often than not the photograph doesn't benefit from the use of dark ND filters.

Here though, the dragging clouds enhance the depth and compliment the line of the meandering track through the foreground. The balance of light and tones between the sky and the foreground is very believable and the colours created by the low sun angle have been captured beautifully.

The composition looks very good to me although I feel that a slight crop in from the side would make this composition stronger and focus more attention on the areas of interest within the frame. This a view I know very well and what an amazing one it is too! This is a very challenging image to pull off, the light has to be balanced perfectly with the lights from the village and this has achieved that.

The snow-covered mountains coupled with the cold tones of blue and white make the warm street lighting and the warm coloured houses feel very safe and inviting. It is very easy to lose control of the highlights in an image like this but this has been executed perfectly.

The emotions captured in this photograph are stunning. The drama of the light and passing storm is very subtle and very believable. I really like the processing and how this photographer has pulled out the details of the storm clouds without going too far. The choice of filters here was perfect, quite often in a situation like this the sky is rendered a great deal darker than the foreground, something that rarely happens in reality and is a major give away that too strong a graduated filter has been used.

Here, the tones are perfectly balanced producing this beautiful image. This is a lovely composition. The sense of depth created by the photographer here is perfect. I love how the composition makes my eye meander gently through the rocks, picking up the river or road in the distance and all the way through where I'm held in the sky with the gentle glow of the diffused sun.

The processing is very delicate and the gentle colours are really beautiful. This would suggest that the choice of graduated filter was perhaps one stop too strong. This is only a very slight niggle though and something that is easily remedied in post. I really enjoy the depth created by the converging lines into a central point towards the horizon. Those lines really pull the viewer into the distance of the image and that incredible thunderstorm which is of course, the star of show.

The balance of light here is perfect, as is the mood, absolutely nothing to pick fault with here in any way at all. Mark Bauer kindly made the selections this month. Having cut his teeth on medium-format transparency film, he switched to digital in Mark supplies three leading image libraries and his work has been published around the world in books, magazines and newspapers. He is a regular contributor to the UK photographic press and the author of four books, including The Landscape Photography Workshop and his latest book, Photographing Dorset.

This image caught my eye, because by coincidence, I lived in Aveiro where it was shot in the early 90s. It was here that I first became seriously interested in photography and used to shoot scenes like this. To be honest, Paulo has done a much better job than I did back then. Being picky, there are a couple of little niggles. A faster shutter speed could have frozen the movement.

With careful focusing, it would still be possible to get enough depth of field. But overall, a great image. Exposure and flare can be a problem, so Dave has done a good job of getting the former right and avoiding the latter. Some careful digital dodging might help. Finally, a word about composition. It looks simple, but all the elements are perfectly positioned in the frame, creating a strong line taking the eye through to the background and the setting sun.

This is a really interesting shot and the contrast of warm tones in the sky and cool tones in the foreground works really well. The textural contrast between the soft, smooth textures in the foreground and the rugged, jagged peaks of the mountains complement this. Florian has filtered the scene well - the 0. This is a lovely Big Stopper image, with a bold, minimalist composition.

I love the smooth texture in the water and sky and the splash of light on the end of the row of wind turbines. The image has the characteristic cool cast of the Big Stopper and I think this really adds to the atmosphere. I like the negative space in the composition, but I wonder about the crop; for me, a squarer aspect ratio - 4: These cropping options are very likely possible from the original frame. With landscape, the usual approach is to try to show the whole vista, perhaps including the boat as foreground interest for the wider view.

The tight crop might have been from necessity - perhaps the rest of the scene was cluttered or ugly - or it might have been simply that the photographer chose this crop for pictorial effect. Either way, it works really well. The elements are arranged really well in the frame. The rock is perfectly placed and I love the strong diagonal of the oar coming into the frame from the right; this contrasts really well with the horizontal lines of the boat. The Little Stopper has been put to excellent use here; with moving water, the temptation is often to blur it until completely smooth, but the shutter speed of 0.

Finally, the mono conversion has been very well executed. Colin Prior kindly made the selections this month. 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. 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. 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: 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. 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.

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. 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. 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. Jeremy Walker kindly made the selections this month.

Stoppers - Wheaton

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. 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. 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. 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 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.

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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. 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.

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? 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.

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 LEE Big Stopper increases the exposure by ten stops, this allows the slight motion of the sea and sky to be captured.

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 LEE Little Stopper increases the exposure by six stops, this allows texture and detail to be retained in the sea and sky while still giving a sense of time passing. 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. All the Stopper filters can be used in conjunction with other filters such as Neutral Density Graduated Filters. 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. We invited respected photographers David Noton and Joe Cornish to discuss all things photographic over a pint.

Here they chat about light as the central subject of much of their photography. This fascinating conversation continues over a series of videos that give a revealing insight into the technical, aesthetic and practical considerations that inform their work. Our ND Standards reduce the exposure equally across the frame. This increases shutter speeds and blurs movement.

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. Our new app makes it easier than ever to calculate the correct exposure when using a Big, Little or Super Stopper. 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. 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. More info Precision glass ND Standards reduce the exposure across the frame. Our Latest Innovations More choice, greater flexibility. Snowdonia, Wales UK Workshops.

Little Stopper 6 stops Big Stopper 10 stops Super Stopper 15 stops Our range of Stopper filters greatly reduce the light entering the lens so enabling very long exposures and many creative options. Watch the Stopper Video. Little Stopper 6 stops Big Stopper 10 stops Super Stopper 15 stops Stoppers are available in different strengths, each increasing exposure by different amounts and effecting the scene in different ways. Little Stopper 6 stops Big Stopper 10 stops.

White balance Use of Stopper filters may result in a slight colour cast. Shooting tips When making long exposures always use the sturdiest tripod you can, and take care not to knock the camera or tripod. Free download for iPhone and Android. The Right Stuff We select the right filter substrate for the right results. Super Stopper 15 stops. The Super Stopper Made from high quality optical glass. User images reviewed by Tom Mackie Submit your image now Send us your best work. Next month's images will be selected by Rachael Talibart In , Rachael left a career as a solicitor in the City of London, and after obtaining two more degrees, she now works full-time on her photography.

Submit your image now Send us your best work. Please ensure images are at least pixels on longest side. Please only submit one image per month. User images reviewed by Karl Holtby Submit your image now Send us your best work. User images reviewed by Carla Regler Submit your image now Send us your best work. User images reviewed by Wilco Dragt Submit your image now Send us your best work. Alberto Perer Sunset light on the Marmolada. User images reviewed by Pete Bridgwood Submit your image now Send us your best work.

User images reviewed by Robert Canis Submit your image now Send us your best work. User images reviewed by Sarah Howard Submit your image now Send us your best work. User images reviewed by Craig Roberts Submit your image now Send us your best work. User images reviewed by Joe Cornish Submit your image now Send us your best work. User images reviewed by David Noton Submit your image now Send us your best work. User images reviewed by Jonathan Chritchley Submit your image now Send us your best work. User images reviewed by Mark Gilligan Submit your image now Send us your best work.

User images reviewed by Ross Hoddinott Submit your image now Send us your best work. User images reviewed by Adam Burton Submit your image now Send us your best work. User images reviewed by Justin Minns Submit your image now Send us your best work. User images reviewed by Steve Gosling Submit your image now Send us your best work.

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User images reviewed by Chris Ceaser Submit your image now Send us your best work. User images reviewed by Paul Gallagher Submit your image now Send us your best work. User images reviewed by Lizzie Shepherd Submit your image now Send us your best work. User images reviewed by John Miskelly Submit your image now Send us your best work. User images reviewed by Sarah Hatton Submit your image now Send us your best work. User images reviewed by Antony Spencer Submit your image now Send us your best work.

User images reviewed by Mark Bauer Submit your image now Send us your best work. The image is nicely processed, too, with vibrant but believable colour. User images reviewed by Colin Prior Submit your image now Send us your best work. Santana Zumaia Nikon D with 14mm lens 1. User images reviewed by Jeremy Walker Submit your image now Send us your best work.

Sean Foster Chicago, IL. Before the Cubs won the World Series. Big Stopper 10 stops. The Big Stopper Made from high quality optical glass. Jeremy Walker The LEE Big Stopper increases the exposure by ten stops, this allows the slight motion of the sea and sky to be captured. Little Stopper 6 stops.

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