Krka National Park – photographs of Skradinski Buk waterfalls and woodland cascades
I photograph Krka National Park in Croatia through its water and the greenery surrounding it. In this album I show the extensive Skradinski Buk cascades, smaller woodland waterfalls and quieter stretches of the river. Alongside broad views, you will find details of flowing water, underwater vegetation and wooden paths leading through the park.
I devoted most attention to the contrast between moving water and stationary rocks and trees. With longer exposures, streams form soft, bright streaks against dark greenery. The other frames allow a closer look at clear water, reflections of light and small landscape elements passed during the walk.
I took the photographs with a Canon EOS R6 Mark II. The settings recorded in EXIF include exposures of 6 and 10 seconds at ISO 100; parameters vary from frame to frame. This gallery is my account of photographing the Krka waterfalls, but also a record of quieter places between the main cascades.
See also my photographs of the waterfall in Ustroń, where long exposures emphasise the movement of water over small cascades.
Lake Garda – photographs of mountains, waterfronts and turquoise water
In this gallery I show Lake Garda in Italy through its mountain surroundings and lakeside towns. Steep rock faces, wooded slopes and clouds above the ridges provide a backdrop for the turquoise water. The photographs include views from above, harbours with boats, a shingle shore and colourful buildings standing right beside the lake.
While photographing, I paid attention to the changing light. Rays breaking through the clouds illuminate parts of the mountains while more distant ranges disappear into mist. Waves in the foreground, tree silhouettes and small sailing boats help convey the depth and scale of the landscape.
I took the photographs with a Canon EOS R6 Mark II, combining broad panoramas with closer views of rocky slopes and buildings. Detailed settings are available in the EXIF data alongside the photographs. This is my account of Lake Garda, focused on the meeting of lake, mountains and architecture rather than one view or one town.
See also my photographs of Desenzano del Garda, combining lake views with the harbour and urban architecture.
Desenzano del Garda – photographs of the harbour and town by day and night
Desenzano del Garda has two faces in this album: a bright harbour with sailing boats and an evening town reflected in the water. I photographed the stone lighthouse, boats along the waterfront, pastel-coloured buildings, squares and outdoor restaurant seating after dark. Views of Lake Garda and distant mountains beneath expansive clouds complete the series.
During the day, I was interested in the lines of masts, the colour of the water and the buildings surrounding the harbour. In the evening, I turned my attention to streetlights, illuminated façades and their reflections between the moored boats. The night photographs also show urban details: arcades, tables, a palm tree in the square and a lit fountain.
I took the photographs with a Canon EOS R6 Mark II; EXIF data with the settings is available alongside the images. This is my account of Desenzano, combining urban photography with the lake landscape. Rather than one representative view, I show different fragments of the town and how its atmosphere changes with the light.
See also my photographs of Lake Garda, showing broader landscapes of water, mountains and waterfront buildings.
Lightning over the sea – photographs of lightning and night storms
In this album, I present photographs of lightning over the sea: individual strikes, branching bolts and bright arcs stretching between clouds. Dark water, silhouettes of distant land and coastal lights form a backdrop to the stormy sky. In some frames, lightning also illuminates the sea surface, leaving a distinct reflection on the waves.
I am interested not only in the shape of a discharge, but also in the light that briefly transforms the entire landscape. Clouds take on violet or blue-grey tones, and the horizon alternately disappears into darkness and becomes clearly visible. I combine wide views of storms with tighter frames focused on individual lightning bolts.
I took these photographs with Canon EOS 6D and Canon EOS R6 Mark II cameras. The settings recorded in EXIF include exposures lasting 10, 30 and more than 60 seconds; the settings vary between photographs. I describe my approach in the guide linked below. The gallery shows the results of this work, from subtle flashes on the horizon to extensive, heavily branched discharges.
How do I photograph lightning? Discover my camera settings, exposure times and approach to working during a storm. Read the lightning photography guide →
Śnieżka in winter – photographs of the Karkonosze above the clouds
In this album, Śnieżka in winter means snow-covered slopes, frosted rocks and mountain ridges rising above a layer of clouds. I photographed views from the summit and its surroundings as the low sun illuminated the snow while the valleys remained hidden beneath a white veil. The gallery also includes the distinctive disc-shaped observatory buildings and the chapel on the summit.
What interested me most was the contrast between the rugged foreground and the soft clouds in the distance. Wind patterns in the snow, protruding stones and darker mountain ranges give successive frames depth. Warm light near the horizon, juxtaposed with cool whites, allows me to show the winter landscape without reducing it to snow alone.
I was very lucky that day — I was completely alone. I could quietly observe the space and choose the fragments of the view that moved me most. This album records that silence and my perspective on the winter Karkonosze: from small textures on the slope to broad panoramas above the clouds.
See also my photographs of the Tatra Mountains, where mountain panoramas and changing light reveal another side of the landscape.
Stawa Młyny in Świnoujście – photographs of the windmill, breakwater and Baltic
Stawa Młyny in Świnoujście draws the eye with its white tower and four openwork sails. In this gallery, I show it from different distances: from close-ups of the structure to wider frames in which the stone breakwater leads the eye towards the sea. People and a passing ship help convey the scale of this coastal landscape.
Light is the most important subject of these photographs for me. The white tower contrasts with the water, while the low sun and pink-orange clouds change the character of successive images. In some frames, the sails of Stawa Młyny draw attention; in others, the foreground waves and the line of the breakwater.
I took the photographs with a Canon EOS 6D, using both wide angles and longer focal lengths to isolate details. This is a small series devoted to one place and different ways of photographing it. You can find the EXIF data for individual photographs under the “More Info” button.
See also my photographs of Sopot in winter, in which the pier, beach and Baltic create a different, cooler image of the Polish coast.
Croatian mountains – photographs of Biokovo and the Makarska Riviera
I photograph the Croatian mountains above the Makarska Riviera alongside the Adriatic, green slopes and coastal buildings. In this gallery, I show landscapes around Brela and the rocky Biokovo massif. Pale faces and ridges dominate the narrow coastal strip, while houses, harbours and boats convey the scale of the mountains.
I alternate wide panoramas with closer photographs of rocks. In some images, the coastline and blue sea lead the eye; in others, gullies, slanting rock layers and shadows on steep faces draw attention. Green forests at the foot contrast with the pale parts of the massif. Evening frames show the same mountain landscapes in warmer, sometimes pink light.
I took the photographs with Canon EOS 6D and Canon EOS R6 Mark II cameras. I used both wide angles and longer focal lengths, reaching 200 mm, to isolate parts of ridges and rocky slopes. You can find the settings for individual photographs under the “More Info” button.
See also my photographs of Brela, in which I move closer to the coast, showing the Adriatic, coastal rocks and Kamen Brela.
Croatian coast – photographs of the Adriatic, rocks and coastal bays
The Croatian coast in my photographs is clear Adriatic water, pale rocks and pine trees leaning over pebble beaches. The gallery combines wide coastal landscapes with closer views of waves, stones and small bays. Brela and its distinctive rocky, pine-covered islet occupy an important place, photographed in daylight and after dark.
The photographs show turquoise shallows, rocky headlands, promenades and mountainous shores, as well as boats, a ferry and a distant sailing ship. Alongside sunny frames are pastel evening skies, luminous reflections on the sea and night photographs of the illuminated rock. Black-and-white images draw attention to the shape of the coast and the contrast between water and stone.
I show the movement of the sea in different ways: from splashing waves to a smooth surface created with long exposure. In some photographs, exposure times reach several dozen seconds, and in selected frames they exceed two minutes. These approaches give the same coastal subjects different characters.
I took the photographs with Canon EOS 6D and Canon EOS R6 Mark II cameras. This is my view of Croatia’s coast — its light, textures and changing water. You can find the settings for individual images in the EXIF data available beside the photographs.
See also my photographs of the Croatian mountains, showing the rocky Biokovo massif and views of the Makarska Riviera from a different perspective.
Polish fields – photographs of flowering rapeseed, crops and rural landscapes
Polish fields in my photographs are above all the intense yellow of flowering rapeseed, green expanses of crops and space beneath a broad sky. In this gallery, I show agricultural landscapes both in wide views and close up, when individual flowers become the most important part of the frame.
The photographs show fields beneath blue skies with white clouds, crops beside a forest edge and a road leading through fields and meadows. Alongside sunny views are frames with cloudier skies. In one image, rapeseed grows beside industrial buildings — a different view of a landscape in which nature and human activity meet side by side.
When photographing fields, I pay attention to colour combinations, the horizon and the arrangement of successive planes. Yellow flowers contrast with green trees and blue sky, while a field track leads the eye into the composition. Wide frames emphasise space, while tighter views bring out the rhythm and texture of crops.
For some of the photographs, I used a Canon EOS 6D, choosing the focal length to suit the breadth of the view or a selected part of a field. I invite you to explore the gallery — a record of colours and simple subjects found in the Polish landscape.
See also my photographs of Szczyrk and the Silesian Beskids, showing broad mountain panoramas and green slopes seen from Skrzyczne.
Łomnica Dam in Karpacz in winter – photographs of cascades and ice
The Łomnica Dam in Karpacz in winter is the subject of this gallery of my photographs. I show the stone structure, water flowing over its steps and snow-covered riverbanks. The photographs include wide views of the dam and close-ups of partly frozen cascades, icicles and streams flowing between stones.
In these frames, I contrast moving water with the still forms of ice and snow. Long exposures give the flowing Łomnica a soft appearance, while the texture of stones and overhanging ice remains distinct. Wider views show the dam in its winter surroundings in the Karkonosze Mountains; details offer a closer look at shapes created by freezing water.
I photographed with a Canon EOS 6D, using a tripod and an ND 0.9 filter. The album includes both landscape photographs and closer views of water cascades. You can check the settings for individual photographs in the EXIF data under the “More Info” button.
Discover also my photographs of the Wild Waterfall in Karpacz. Winter cascades, ice formations and flowing water captured with long exposures create remarkable landscapes of the Karkonosze Mountains.
Wild Waterfall (Dziki Wodospad) in Karpacz is one of the picturesque spots in the Karkonosze Mountains. It is especially captivating in winter, when water, ice and snow create striking photographic compositions.
I took these photographs on an overcast winter morning. I made myself get up earlier than usual that day, and it was worth it – I had the place entirely to myself. Much of the waterfall on the Łomnica River was frozen, forming beautiful icicles and frozen cascades.
I used a Canon EOS 6D, a tripod and long exposures. The recorded EXIF settings include ISO 100, apertures from f/16 to f/22 and exposure times ranging from 3.2 to 81 seconds. Long exposures allowed me to capture the movement of the water beside the still shapes of the ice.
This gallery presents my photographs of Wild Waterfall in Karpacz together with the settings used to take them. You can find the EXIF data under the “More Info” button next to each photograph. This is my personal photographic view of the winter landscape of the Karkonosze Mountains.
Szczyrk from Skrzyczne – photographs of Silesian Beskid panoramas and paragliders
Szczyrk and its surroundings seen from Skrzyczne are green slopes, broad valleys and successive mountain ranges on the horizon. In this gallery, I present my photographs of the Silesian Beskids, combining wide panoramas with closer views of parts of the landscape and paragliders soaring above the valley.
The photographs show wooded ridges, bright clearings and a patchwork of fields between buildings. Spruce trees in the foreground give the frames depth, while the blue sky with delicate clouds emphasises the open space. The surface of a lake is also visible in the distant background of one image.
The colourful wings of paragliders bring movement into the quiet panoramas and help convey the scale of the mountain landscape. I show both individual pilots against forests and towns, and groups of paragliders scattered across the sky. It is a photographic record of a day when landscape and sport met in one place.
I took the photographs with a Canon EOS 6D. Wide-angle views at 17 mm include slopes and an extensive sky, while longer focal lengths, up to 200 mm, allow me to focus on paragliders and selected parts of the valley. I invite you to see Szczyrk from this perspective and compare different ways of framing Beskid views.
See also my photographs of paragliders on Monte Baldo, presenting flights in mountain scenery above Lake Garda.
Tatra Mountains – photographs of mountain panoramas in light and cloud
The Tatras in my photographs are rocky ridges, wooded slopes and green valleys beneath a broad, cloudy sky. In this gallery, I present mountain landscapes in which light breaking through clouds plays a particular role. Bright streaks reveal parts of rocks, forests and meadows, leaving neighbouring areas in shadow.
Alongside broad panoramas, you will see closer views of mountain faces and successive bands of slopes. Spruce trees, fields and buildings at the foot of the mountains appear in the foreground. These elements convey the landscape’s distance and scale, while heavy clouds give individual frames a distinctive mood.
When photographing the Tatras, I focused on the relationship between the ridgeline, the arrangement of valleys and changing illumination. In some photographs, the breadth of the view matters most; in others, a bright rock face or a slanting ray of sunshine cutting across a dark slope. These are different views of the same mountain landscape.
I took the photographs with a Canon EOS 6D, using focal lengths from 27 to 105 mm. Broadly framed panoramas are therefore complemented by images focused on distant parts of the terrain. I invite you to explore the gallery and see how light and clouds change the appearance of the Tatra landscape.
See also my photographs of Szczyrk from Skrzyczne, showing green panoramas of the Silesian Beskids and paragliders above the valleys.
Polish seaside – photographs of beaches, waves and coastal light
I photograph the Polish seaside through shoreline details and broad coastal landscapes. In this gallery, I show the Baltic primarily in Gąski and Świnoujście: sandy beaches, wooden posts, stones washed by waves and a sky changing colour above the horizon. Alongside quiet coastal views are seagulls beside the water and yachts moored in the harbour.
In some photographs, the foreground matters most. Cracked wood, dark stones and footprints in wet sand lead the eye towards the sea. Gently blurred water contrasts with the clear texture of the posts. In wider views, the beach runs beneath a wooded shore, with blue sky and pale clouds stretching above it. I like this combination of simple forms and open space.
Photographs of the sun above the sea horizon and a pier against pastel clouds bring a different mood. Warm oranges and pink tones replace the cooler colours of daytime frames. Rather than a single image of the Baltic, I have brought together different views of water, light and the shoreline. This album is for people who seek both broad landscapes and the small details of a seaside walk in photographs of the Polish coast.
See also my photographs of Stawa Młyny in Świnoujście, in which the white navigation mark and stone breakwater become the main subject of the coastal landscape.
Mostar – photographs of the Old Bridge, Neretva and mountain landscape
In this gallery, I show Mostar in Bosnia and Herzegovina from the perspective of the river and the mountains surrounding the city. The main subject is the Neretva: its turquoise water, rocky banks and buildings standing right beside the current. The stone arch of the Old Bridge rises above the river, seen against houses, minarets and mountain slopes.
In urban frames, I am interested in the connection between architecture and its natural surroundings. Pale walls and red roofs contrast with green trees and the colour of the water. The line of the river leads the eye into the image, while the bridge organises the composition. Different viewpoints reveal both the crossing itself and the arrangement of buildings on either side of the Neretva.
The album also includes wider landscapes: extensive buildings in the valley, mountains partly obscured by low clouds and a green plain beneath a broad sky. These photographs leave more room for space and show Mostar in the context of its surroundings. I took the photographs with a Canon EOS 6D, using focal lengths from 17 to 36 mm. Wide frames allowed me to combine the river, architecture and mountain backdrop in one image. Detailed camera settings are available under the “More Info” button.
See also my photographs of historic Croatian towns, in which I show stone streets, squares and historic architecture from the perspective of a photographic walk.
Industrial sites – photographs of ports and cargo-handling installations
In this gallery, I show the industrial landscape of ports: cranes, conveyors, storage yards and ships alongside quays. The photographs include tanks at the LNG terminal in Świnoujście and extensive cargo-handling installations. Wide frames reveal the scale of these facilities, while closer views show the arrangement of steel structures and equipment.
In industrial photography, I look above all for rhythm, geometry and the relationship between a structure and its surroundings. The vertical silhouettes of cranes contrast with the waterline, while a network of conveyors organises the terminal space. Daytime and evening photographs show how light changes the perception of the same functional architecture.
I took the photographs with a Canon EOS 6D. You can check the settings for individual images in the EXIF data available beside the photographs. The album is also intended for people looking for illustrations of business, port and logistics topics. To use a selected image in a trade publication or another project, explore the photo stock and contact me.
See also my photographs of cranes in Gdańsk, showing shipyard structures and their place in the city skyline.
Landscapes – photographs of coasts, mountains and open spaces
The landscape photography in this gallery combines coastal views with mountain panoramas and quieter riverside scenes. I show white cliffs beneath heavy clouds, turquoise water beside a rocky cave, green fields and wooded slopes above a broad valley. Bridges appear alongside nature — the clear lines of their structures cut across the landscape and give it an additional rhythm.
The photographs include boats in clear water and a small pine-covered islet in Brela, a bridge in Dubrovnik and an autumn view of the Vistula in Ustroń. Each place shows a different relationship between water, the shore and the surrounding space. I contrast quiet scenes with a wave breaking against rocks, and wide views with frames focused on a selected part of the landscape. This is a collection of observations from different places, rather than a record of one journey.
When photographing landscapes, I am interested both in the arrangement of planes and in how movement is depicted. The photograph of the islet in Brela was taken with a 13-second exposure, while I captured the breaking wave at 1/500 second. These different approaches allow a comparison between a calmer image of water and frozen droplets and foam. You can find the settings for individual photographs under the “More Info” button.
See also my photographs of Brela and the Croatian coast, where clear water, coastal rocks and pine trees create further landscape scenes along the Adriatic.
Ustroń waterfall – long exposures of the Gościradowiec cascades
The photographs of the waterfall in Ustroń show cascades of the Gościradowiec stream in the Zawodzie district. In this small gallery, I focus on water flowing over a stone ledge, its uneven surface and the surrounding greenery. Bright streams stand out against darker stones, while plants along the bank form a natural backdrop to the photographed section of the stream.
The series contains six frames taken at different focal lengths. Wider views show the cascade and its surroundings, while tighter images focus attention on the flow of water itself. I wanted to contrast its soft streaks with the distinct texture of the stationary ledge. Changing the framing reveals the same subject first as a small landscape and then as an arrangement of lines, bright patches and surfaces.
I took the photographs with a Canon EOS 6D and a polarising filter. At ISO 100 and f/16, I used exposure times of 1.6 and 5 seconds and focal lengths from 19 to 85 mm. Long exposures give the flowing water a smooth, blurred appearance that contrasts with the stones. This is my quiet view of a small cascade and the possibilities of photographing moving water. You can find the exact settings for each photograph under the “More Info” button.
See also my photographs of the Wild Waterfall in Karpacz in winter, where long exposures contrast flowing water with icicles and frozen cascades.
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