Photographing the Bay of Martyrs

About Bay of Martyrs

Bay of Martyrs is a dramatic section of the Bay of Islands Coastal Park on Victoria's Great Ocean Road, approximately 2 km west of Peterborough.

It is characterised by:

1. Offshore limestone stacks.
2. Low red and ochre-coloured coastal cliffs.
3. A sweeping sandy beach.
4. Rock platforms and reefs.
5. Dense coastal vegetation.
6. The constantly changing Southern Ocean.

Bay of Martyrs is often considerably quieter than the better-known Twelve Apostles and Loch Ard Gorge areas farther east.

This makes it particularly attractive for photographers who want time to refine compositions without constantly working around large crowds.

The strongest feature photographically is the relationship between the offshore stacks and the broad curve of the coastline.

The lower, more scattered rock formations can also be easier to separate visually than the tightly grouped Twelve Apostles.

Official Great Ocean Road tourism information specifically identifies sunset as one of the best times to view the rock stacks and Massacre Point.

Viewpoints

1. Main Bay of Martyrs Lookout

   The principal lookout is only a very short walk from the car park and provides the classic elevated view across the bay.

   From here it is possible to photograph:

   1. The main offshore rock stacks.
   2. The sweep of Bay of Martyrs Beach.
   3. The cliffs extending west towards Massacre Bay.
   4. Low coastal heath in the foreground.
   5. The wider Southern Ocean.

   Recommended lenses: 16-35mm, 24-70mm and 70-200mm.

   A wide lens works well for establishing the full coastline, but I would not restrict the session to ultra-wide photographs.

   The 70-200mm can be particularly useful for isolating individual stacks and compressing the layers of offshore rock formations.

2. Lookout with Coastal Vegetation Foreground

   Low coastal shrubs around the lookout can provide an excellent natural foreground.

   Rather than photographing above the vegetation, try positioning the camera lower so that the plants create:

   1. Foreground texture.
   2. Colour contrast.
   3. Depth.
   4. A natural frame around the sea stacks.

   This can work particularly well under overcast skies when the vegetation retains strong colour.

3. Telephoto Rock-Stack Compositions

   The offshore formations at Bay of Martyrs work extremely well with longer focal lengths.

   Using a 70-200mm lens, look for:

   1. Single isolated stacks.
   2. Overlapping rock formations.
   3. Waves breaking around the base of the stacks.
   4. Small sections of cliff against open water.
   5. Abstract relationships between rock, sea and sky.

   Longer focal lengths also help simplify what can otherwise become a visually busy coastline.

4. Bay of Martyrs Beach

   Beach access provides a very different perspective from the main lookout.

   From beach level the surrounding cliffs appear substantially higher and the offshore stacks become more dominant.

   Look for:

   1. Curving surf lines.
   2. Reflections on wet sand.
   3. Rock formations framing the beach.
   4. Cliff textures.
   5. Long-exposure wave patterns.

   Recommended lenses: 16-35mm and 24-70mm.

   The beach is not patrolled, and Southern Ocean conditions can change quickly, so keep a generous distance from waves and rock platforms.

5. Clifftop Walk towards Peterborough

   The Peterborough clifftop walking track passes through coastal heathland and provides a sequence of changing coastal viewpoints.

   The complete walk from Peterborough to Bay of Martyrs is approximately 4 km return.

   For photographers, it is not necessary to complete the entire walk.

   Short sections from the Bay of Martyrs end can provide:

   1. Alternative angles across the bay.
   2. Foreground cliffs.
   3. Coastal heathland.
   4. Views towards Halladale Point.
   5. More isolated rock stacks.

   A 24-70mm lens is probably the most useful choice while walking, with the 70-200mm worth carrying if weight is not a concern.

6. Massacre Bay Area

   The coast west of the main Bay of Martyrs viewpoint contains additional bays, headlands and rock formations.

   These areas can provide compositions that differ substantially from the principal lookout.

   Use established tracks and viewpoints and remain behind fences.

   Coastal cliffs in this region can be unstable and undercut.

Other Things to Look Out For

How I would photograph Bay of Martyrs

I would carry a wide-angle zoom, a standard zoom and a 70–200mm lens. The 24–70mm is the most useful starting lens at the main lookout, while the telephoto is important for separating individual stacks and recording wave action. A tripod, polariser, 3-stop or 6-stop neutral-density filter, remote release, rain cover and several lens cloths are all worthwhile.

Read the coastline before choosing a composition

Begin without the tripod and study how the stacks overlap. Small changes in position alter the separation between formations. Make a clean establishing image first, then simplify the coast into smaller groups with the telephoto lens.

Use changing water as part of the design

Once the framing is settled, keep it fixed and photograph a sequence of waves. Try a fast exposure to freeze spray, approximately 1/15–1/4 second for textured movement, and one to several seconds for flowing white water. The most successful shutter speed depends on swell, wind and the spacing of the rocks.

Balance sky, stacks and foreground

Coastal heath can add depth, but it should lead into the formations rather than obscure them. If the sky is featureless, reduce its area. When broken cloud or sunset colour develops, lower the horizon and allow the sky to become a major component.

Protect highlights and bracket difficult light

White surf clips easily against dark cliffs and storm cloud. Expose for the brightest water and review highlight warnings. Around sunset, bracket frames when the sky is much brighter than the land, blending conservatively so the result still resembles natural coastal light.

Respect wildlife and fragile cliffs

Hooded Plovers nest in this coastal park. Obey temporary fencing and signs, keep well away from birds and use a long lens. Remain on formed tracks and behind barriers; the cliffs are undercut and unstable, and no photograph justifies approaching an edge.

Hooded Plovers

Bay of Martyrs Beach is an important nesting area for Hooded Plovers.

These small shorebirds are nationally threatened and can be extremely difficult to see against the sand.

Watch for:

1. Temporary fencing.
2. Nesting-area signs.
3. Birds feeding near the waterline.

Keep well away from marked nesting areas and use a long lens rather than approaching wildlife.

Breaking Waves around the Sea Stacks

Larger swells can produce excellent wave action around the offshore formations.

A shutter speed around:

1. 1/500 second or faster can freeze breaking waves.
2. 1/4 to 1 second can create visible water movement.
3. Several seconds can simplify the ocean considerably.

Photograph several versions rather than committing to one water effect.

Cliff Colour

The cliffs and stacks contain strong red, ochre and pale limestone tones.

Late-afternoon light can intensify these colours dramatically.

Reflections

At lower tide, wet sand can produce reflections of:

1. Cliffs.
2. Sky.
3. Rock formations.

These are particularly useful during blue hour or after rain.

Storm Light

The Bay of Islands coast can be especially effective under rapidly changing weather.

Dark cloud, shafts of light and bright surf can produce considerably more dramatic photographs than completely clear conditions.

Coastal Heath

Do not overlook the low vegetation around the cliff tops.

In suitable light it can provide both foreground colour and an important sense of place.

Nearby Locations

Bay of Islands

The Bay of Islands is one of the strongest companion locations to Bay of Martyrs.

It contains a larger field of offshore stacks and provides excellent opportunities for telephoto compositions.

The two locations should ideally be photographed separately rather than regarded as interchangeable viewpoints.

At Bay of Martyrs I would emphasise:

1. The sweep of the beach.
2. Foreground vegetation.
3. Individual stacks.

At Bay of Islands I would concentrate more heavily on:

1. Layered stacks.
2. Telephoto compression.
3. Large-scale coastal patterns.

Peterborough

Peterborough is only a few minutes away and provides additional photographic opportunities around:

1. Curdies River.
2. The river mouth.
3. Coastal cliffs.
4. Beaches.
5. Fishing activity.

The Grotto

The Grotto is one of the most unusual limestone formations on the Great Ocean Road.

Its enclosed viewpoint, rock arch and ocean beyond provide a very different composition from the open coast at Bay of Martyrs.

London Bridge

London Bridge provides another excellent limestone subject a short drive east.

Late-afternoon and sunset light can be particularly effective.

Port Campbell

Port Campbell provides:

1. A sheltered harbour.
2. Clifftop views.
3. Beach photography.
4. Blue-hour opportunities.

It is also a useful alternative base if Peterborough accommodation is not available.

Location

Bay of Martyrs is located in the Bay of Islands Coastal Park on the Great Ocean Road, approximately 2 km west of Peterborough in south-west Victoria.

Approximate lookout GPS:
-38.5995, 142.8596

Apple Map – Location and Nearby Photographic Locations

This interactive Apple Map shows Bay of Martyrs’ principal photographic subjects followed by selected nearby coastal locations. Select a numbered marker or an entry in the list below.

How to Get There

From Peterborough

Bay of Martyrs is approximately 2 km west of Peterborough on the Great Ocean Road.

The drive takes only a few minutes.

From Port Campbell

Travel west along the Great Ocean Road through Peterborough and continue to the signed Bay of Martyrs turn-off.

The total drive is approximately 15 minutes under normal conditions.

From Warrnambool

Travel east through Allansford and Nullawarre towards Peterborough.

Allow approximately one hour depending on traffic and stops.

From Melbourne

Peterborough is approximately 247 km south-west of Melbourne via the inland route.

Allow substantially longer if following the entire Great Ocean Road via Torquay, Lorne, Apollo Bay and the Twelve Apostles.

Parking and Large Vehicles

A visitor car park is provided close to the main lookout.

For a normal photographic visit I would leave a large caravan at Peterborough and drive to Bay of Martyrs in the tow vehicle only.

Although the lookout is close to the Great Ocean Road, this avoids:

1. Having to manoeuvre a long rig in a sightseeing car park.
2. Difficulty parking during busy periods.
3. Restricting your ability to move quickly between lookouts.

This is particularly sensible if combining Bay of Martyrs with Bay of Islands, The Grotto and London Bridge on the same photographic session.

Driving from the State Capital

The state capital is used as a consistent reference point. Apple Maps calculates the automobile route to this location; your actual route may vary with your starting point, traffic, roadworks and temporary closures.

Current Access / Conditions

Conditions checked: September 2026. The Bay of Martyrs lookout, visitor parking and principal formed access remain available. The lookout is reached by a very short path, while the beach and longer Peterborough–Halladale Point walk involve uneven natural surfaces and greater exposure.

Remain on tracks and behind barriers. Limestone cliffs can be unstable and undercut, and the beach is unpatrolled. Keep well clear of rock platforms and the waterline during large swell, high tide or rapidly worsening weather.

Bay of Martyrs Beach supports nesting Hooded Plovers. Dogs are not permitted on that beach, and photographers must comply with seasonal fencing and wildlife signs. Do not approach birds for a closer image.

Check Parks Victoria and the Great Ocean Road Coast and Parks Authority before travelling because storm damage, fire danger, maintenance or wildlife protection can alter access.

Check current Bay of Islands Coastal Park conditions

Best Time to Visit

Sunset

Sunset is the highest-priority time for Bay of Martyrs.

The offshore stacks and Massacre Point can become strongly backlit by the setting sun.

Depending on the season, this can produce:

1. Warm edge light on the stacks.
2. Silhouettes.
3. Colour behind the formations.
4. Reflections on wet sand.
5. Long-exposure surf patterns.

Late Afternoon

Arrive well before sunset.

The hour or two before sunset can produce better direct illumination on the cliffs than the actual sunset itself.

Sunrise

Sunrise is generally less obvious photographically than sunset because of the orientation of the coastline.

However, soft pre-sunrise light can be excellent for:

1. Long exposures.
2. Muted coastal colours.
3. Quiet beach photographs.
4. Cloud structure.

Overcast Weather

Overcast conditions can work particularly well.

They allow:

1. Longer shutter speeds.
2. More saturated foreground vegetation.
3. Reduced glare.
4. Balanced exposure between cliffs and sea.

Stormy Conditions

The most dramatic photographs may occur before or after a storm rather than during perfect weather.

Large Southern Ocean swells combined with broken cloud can create spectacular wave action around the offshore stacks.

Always remain behind fences and well away from exposed cliff edges.

Winter

Winter can produce:

1. Large swells.
2. Dramatic clouds.
3. Low-angle light.
4. Fewer visitors.

It is one of my preferred periods for landscape photography here.

Accessibility

Bay of Martyrs is one of the more accessible major coastal viewpoints along this section of the Great Ocean Road.

Current regional tourism information identifies:

1. One designated accessible parking space.
2. A very short route to the principal lookout.
3. A crushed-rock surface.
4. A slight incline.
5. Suitability of the main lookout route for wheelchairs.

There is also a good view of the offshore formations from close to the parking area.

This makes Bay of Martyrs a strong photographic location for visitors who cannot undertake long coastal walks or extensive stair descents.

The beach itself is considerably less accessible.

Reaching beach level involves steeper and less formal access and should not be considered wheelchair accessible.

Cliff edges, sand and uneven coastal terrain also require care.

Where to Stay

Where to Stay

Peterborough

Peterborough is the most convenient photographic base for Bay of Martyrs.

It also provides quick access to:

1. Bay of Islands.
2. Massacre Bay.
3. Halladale Point.
4. The Grotto.
5. London Bridge.
6. Port Campbell.

Great Ocean Road Tourist Park

Great Ocean Road Tourist Park is located at the corner of the Great Ocean Road and Irvine Street in Peterborough.

It offers:

1. Powered caravan sites.
2. Unpowered sites.
3. Some riverfront sites.
4. Camp kitchen.
5. Dump point.
6. Disabled bathroom facilities.
7. Direct access to the Curdies River.

With a large tow vehicle and caravan, contact the park directly and provide the complete rig dimensions when booking.

I would request the easiest available site for a large rig rather than relying on automatic site allocation.

Port Campbell

Port Campbell is another very useful photographic base approximately 13 km east of Peterborough.

It provides more dining and accommodation options and very quick access to the major eastern Shipwreck Coast locations.

Photography Recommendations

16-35mm

Useful for:

1. Wide coastal panoramas.
2. Foreground vegetation.
3. Beach-level compositions.
4. Large sky.

Avoid placing the sea stacks too close to the centre of a very wide frame, where they can become visually insignificant.

24-70mm

This would be my principal lens at Bay of Martyrs.

It offers enough width for the bay while allowing individual stacks to remain visually important.

Focal lengths around 35-60mm may be particularly useful from the main lookout.

70-200mm

The 70-200mm is highly recommended.

Use it for:

1. Individual stacks.
2. Wave action.
3. Compressed cliff layers.
4. Small groups of formations.
5. Hooded Plovers and other birds from a respectful distance.

Tripod

A tripod is useful for:

1. Sunset.
2. Blue hour.
3. Long exposures.
4. Exposure blending.

Keep the tripod entirely within formed lookout areas and do not block the track.

Polarising Filter

A circular polariser can reduce glare from the sea and increase colour saturation in the water and coastal vegetation.

However, maximum polarisation can sometimes make the ocean unnaturally dark.

Rotate the filter while watching the effect rather than simply applying the strongest possible setting.

Neutral Density Filters

A 3-stop or 6-stop ND filter can be useful for creating smoother ocean movement before sunset.

Once light levels fall, an ND filter may no longer be necessary.

Shutter Speeds

Different shutter speeds can completely change the character of the sea.

1. 1/1000 to 1/500 second
   Freeze breaking waves and spray.
2. 1/15 to 1/4 second
   Retain texture while showing movement.
3. 1/2 to 2 seconds
   Create flowing white-water patterns.
4. 5-30 seconds
   Simplify the sea and emphasise the static rock stacks.

I would deliberately photograph at several different speeds because it is difficult to predict which version will work best until the images are compared later.

Use the Foreground

The main lookout provides enough coastal vegetation to create a strong foreground.

Try:

1. Low camera height.
2. Foreground vegetation in the lower third.
3. Sea stacks in the middle distance.
4. Sky occupying only as much space as conditions justify.

Do Not Ignore the Beach

The elevated lookout provides the obvious composition, but a good Auspano gallery should also show the bay from sea level.

Beach photographs help communicate the actual scale of the cliffs and rock formations.

Suggested Photographic Sequence

For a late-afternoon session, I would use this sequence:

1. Scout from the main lookout: identify clean separations between stacks and note where the sun will move.
2. Make the establishing frame: use the 24–70mm to include the bay, beach and offshore formations.
3. Add coastal heath: lower the camera and use vegetation to build foreground depth.
4. Switch to the 70–200mm: isolate individual stacks, wave impacts and overlapping coastal layers while light remains strong.
5. Walk towards Massacre Bay or Halladale Point: look for alternative alignments, shipwreck context and quieter clifftop scenes.
6. Visit beach level only when conditions are safe: photograph reflections, curving surf and the scale of the cliffs.
7. Return to the main lookout before golden hour: do not risk missing the best light while away from the principal composition.
8. Sunset: alternate wide and telephoto frames as the stacks become backlit.
9. Blue hour: remain for 15–25 minutes if the path and weather are safe, using longer exposures to simplify the water.

How Long Should a Photographer Stay?

Allow 45–60 minutes for the main lookout alone. That is enough for a wide establishing view, several telephoto studies and a short wait for useful wave patterns.

Allow 2½–3 hours for a serious session incorporating the lookout, a section of clifftop trail, safe beach-level work, sunset and early blue hour.

A half day is appropriate if Halladale Point and the Peterborough Walk are priorities. For Bay of Martyrs and Bay of Islands at their best, stay two nights in Peterborough so each location receives its own sunset and there is some insurance against poor weather.

My Priority Photographs

1. The classic wide view across Bay of Martyrs from the main lookout.
2. Coastal heath leading the eye towards the offshore stacks.
3. A telephoto compression of several separated limestone formations.
4. A single isolated stack surrounded by breaking surf.
5. Warm late-afternoon light revealing ochre and limestone colour.
6. Backlit stacks at sunset, with both silhouette and highlight-preserving exposures.
7. A blue-hour long exposure after the strongest sunset colour.
8. The same wave composition at fast, medium and slow shutter speeds.
9. A beach-level image showing the scale of cliffs and stacks.
10. A curving surf line or wet-sand reflection at lower tide.
11. A vertical composition combining heath, cliff, sea stack and sky.
12. A telephoto geological study of cliff colour, strata and erosion.
13. Halladale Point or the Falls of Halladale landscape with historical context.
14. Storm-clearing light or a shaft of sunlight crossing dark water.
15. A Hooded Plover or other coastal bird photographed with a long lens from a respectful distance, only if encountered naturally.