Chaos in the Magic Kingdom(and other Disney Parks too!).
I’ve hiked by this waterfall many times, usually in the dark or too tired at the end of a long hike to give it much thought.
A couple of weeks ago I decided it was time to pay it a proper visit. So with workshop client in tow we made the short and easy hike to this spectacular White Mountain waterfall. One of 13 waterfalls we visited and photographed over a two day period.
I’m glad I finally took the time to stop.
One of the questions I’m most often asked when it comes to photographing waterfalls is what camera settings I use, particularly what shutter speed.
And my answer is always the same, “It depends.”
It depends ~ On the look I’m going for. If I’m trying to capture the shapes and swirls created by bubble caught in an eddy, I know I’ll need a longer exposure time. The image above required 8 seconds to achieve the look I was after.
It depends ~ On how fast the water is flowing. The stronger the flow the shorter the shutter speed required to capture the silky smooth look on the water.
A few weeks ago Mossy Glen was flowing very quickly due to recent spring rains, therefor I only needed a half second exposure time when making the above photo.
It depends ~ On the amount of ambient light you’re working with. This next photo, of Middle Ammonoosuc Falls in New Hampshire’s White Mountain National Forest, was made well after the sun had gone down. It was getting quite dark in the deep gorge the falls flows through so I knew I was going to need a very long exposure. The exposure time on this photo is 180 seconds.
So as you can see there is no one set rule I follow when deciding on what shutter speed. Generally speaking I do try for at least half a second, but if the light is right or I really want to capture bubbles or leaves swirling on the currents I’ll experiment until I’ve captured the look I want.
Give me water cascading over rock ledges and I’m in photographer’s paradise. Over the last few weeks I’ve been spending as much time as I can scouting out and photographing waterfalls. All in preparation for my upcoming White Mountains Waterfalls Photography Workshop.
If so, join me June 17th thru the 19th for 2+ days of waterfall photography adventure and instruction.
Over the course of the weekend we’ll head out bright and early each morning to capture a few of New Hampshire’s most spectacular waterfalls, followed by a mid day break for image review, some post processing tips, lunch and some much needed rest.
Then, it’s back out to do it all over again for the afternoon and into the evening.
I’ll be going over how I decide on composition.
Using long exposure to give en ethereal look to the flowing cascade.
Camera settings that I guarantee will make your life easier.
During the post processing sessions I’ll be going over my workflow from import to final image using Adobe Lightroom and the full suit of Nik Collection by Google creative plugins.
Your investment for 2+ days of waterfall magic in some of the most beautiful scenery imaginable is $725*
Space is very limited so I may provide the utmost in personalized attention to each attendee. Please use the Contact form for any questions or to reserve your spot today!
*Meals and lodging not included. Transportation during the workshop is included.
The Weekly Photo Challenge topic is Landscape, so rather than simply share a few landscape photos I’m going to talk about the one filter that should be in every nature and landscape photographers camera bag.
The one filter that cannot be duplicated in the computer, and the one filter I never leave home without.
You can duplicate graduated neutral density filters all day long in Lightroom.
You can even simulate the effect of a straight neutral density filter simply by photographing in lower light, using smaller apertures, or lower ISO settings, thus allowing you to get longer exposure times.
However when it comes to removing the glare on shiny reflective surfaces like wet rocks and leaves, or the reflections on the surface of a flowing stream to reveal the stream bed below, there is only one way to do it. And that is with a good quality Circular Polarizer filter, or CPL for short.
A circular polarizer is a filter that attaches to the front of your lens, usually by screwing onto the front filter threads. (Now you know why those threads are there 😉 )
What does a CPL do?
Notice how in the first image the colors are much less saturated and the details below the waters surface are much less visible. The is cause by glare. Notice how in the second image, shot using the same exposure settings,* the colors are richer, more saturated, and there is more visible detail under the water.
While a CPL can also help increase contrast and saturation in a photo, both of these can be duplicated in the computer, glare and reflection removal can’t.
*Note: The second image is darker due to the ability of the Circular Polarizer to reduce the amount of light by as much as 2-stops. This is an added benefit when trying to use longer exposure times to capture flowing water with that silky smooth look.
The better the image you get straight out of the camera the better the final image will be after post processing. The following are the above two images, processed as identically as I could. While this is totally subjective on my part the second image, the one where the circular polarizer was used, is the better final image.
1 – Buy the best you can afford.
Cheap CPL filters can cause image softness as well as impart a color cast on your photo. I’ve used CPLs from B+W, Lee, and Singh Ray with excellent results. Be forewarned, good filters are not inexpensive, though in my opinion you get what you pay for. For more budget friendly CPL filters, check out Tiffen, or Hoya. I have no experience with the latter two, but I have read good things about their line of filters.
2 – Avoid using a CPL when photographing wide scenes.
One thing polarizers do very well is darken blue sky. Too well if you over adjust the filter. BUT, and it’s a big but, the effect of a CPL is greatest at 90° to the light source, for a landscape photographer this is likely the sun. The effect is reduced more and more as the angle to the sun changes. This is a big problem when photographing wide scenic landscapes with a lot of sky. The result will be part of the sky will be noticeably darker when gradually fading across the frame. This is a royal pain in the backside – by that I mean darn near impossible – to correct in the computer.
3 – Don’t for get to readjust when you recompose.
You can adjust the amount of polarization on the image by rotating the filter. As mentioned above the greatest effect is at 90° to the sun. So once you adjust the amount of polarization you want in an image and then move the camera for another composition, don’t forget to readjust the filter. I find it to be much easier to see the effect in live view rather than looking thru the viewfinder, but that could just be my aging eyes.
4 – You only need one.
Some of you may be thinking, “I have more than one lens that I use for landscape/waterfalls. Do I need a filter for each lens?” The answer is no.
Buy a filter that will fit the lens you own with the largest diameter filter threads. The buy inexpensive step-down rings to fit the filter to all of your other lenses.
To the soft sweet music of the forest the water shall dance.