Waterfalls are particularly suited for slow shutter photography. I wanted to do something different with these waterfall photos, but it seems that slow shutter technique just works so nicely with waterfalls. Maybe that’s why its been done to death… But who cares, it looks nice… Real nice.
A word of warning, this session gets pretty technical. So if you are the type of a person who has the robotic lady that answers your cell phone because you can't set the thing up, I urge you to... read on anyway. But if you remember Ronald Reagan as the actor, you are exempt from the above derogatory remark.
Okay, I still haven't answer how to set the proper exposure yet. Here it goes. you close down the aperture so you can get that proper exposure. Look at the LCD as a ball park measurement. If it looks too bright, make the hole smaller so there is less light going through the lens (higher f-stop number). Keep playing with it where you can get a nice balance where either extreme of waterfall and the shadow is not lost (blown...clipped...washed...blocked...).
If you know how to use the histogram, use them. If you don't know how to use the histogram, stay tuned, I will explain in a later blog. Histogram is that graphic thing when you're in the "Info" preview. Here is a quick tip on reading the histogram: You don't want either left or right side of the graph to smash itself against the wall. Maybe lightly touch with its tips. Sometimes you can't help it, then you have to sacrifice one side (highlights or shadows). This is what I mean by you're smarter than your camera. Your camera will look at you like a confused boxer (dog breed) if you ask that question.
There is a good chance that even at the smallest aperture, your picture will still look too bright with light parts being blown. So now what do you do? You need to somehow stop the light coming in more. Neutral Density or ND filter is the answer. Think of them as Just dark grey sunglasses for your camera. They come in different strengths. I would recommend 6-8 stops of reduction. Multicoated ones are nice, but more expensive. They give better image quality, especially if direct light is hitting the front of the lens. Non-coated ones tend to lose contrast when direct light hits it. If that's the case just use your hand to shade the direct light from hitting the lens.
I don’t like to shoot with the lens stopped down to its minimum point (highest number like f22) because you lose contrast and sharpness when the lens is stopped down too much. Its just physics, diffraction, it’s called. Even the best lens in the world will lose some quality when the aperture is too small. So ideally I would like the shutter speed to be around 8-15 seconds and my f-stop to be around f11 or so, ISO at 50 (you may have to turn on ‘extend ISO' setting in the menu to get 50 ISO).
An added note. If you are serious about photography, shoot RAW, not JPEG. There are too many benefits by shooting RAW that it outweighs the issues like file size. One huge benefit is that you are able to extract so much more detail out of shadows and highlight areas using a software like LightRoom.
 |
| Canon 5d MKIII 135mm 2.0L lens 1.3 seconds @f13 with Genus Variable ND Filter Click here to see more photos from this session |
Technique
Here are some hints at slow shutter speed or long exposure techniques. It is very simple. The idea is to keep the camera as steady as possible during the exposure as the shutter remains open. So you'll need a sturdy tripod, foremost. Then you'll have to make your camera as least light sensitive as possible. That's the ISO setting. Lower number is less sensitive and high is more sensitive. We want low because we want to open the shutter for a long time, so if the camera sensor is sensitive, we will have hard time getting the "proper exposure".
Now the next question should be what settings should I use. Do I use the "Side Way Face" or the "Running Dude" or "P"... What about the "Mountain"? We're in the mountains, right? Wrong. I mean yes, we're in the mountains but you shouldn't use any of those settings. Make your Mama proud and get out of the "green box". We're switching to Manual! That's "M"
Let's start with what we NEED to do. We need around 10 seconds of shutter being open. So we set the shutter to 10 seconds or so. (This is not exact science. sometimes 1 second can work or 30 seconds can work. It depends on how bright the scene is. Test out what works. In this case I went for around 8 seconds).
We're not done yet. Now we need to set the aperture so we can get the "proper exposure". You're probably thinking, 'Hey, its not the 80's, I can have my smart camera do that stuff for me.' Yes, its true with fancy "metrix" and "evaluative" metering it should tell me what the proper exposure is. Bad news... your camera is not as smart as you are. Yes, even if you didn't break a 1000 on your SATs.
Now the next question should be what settings should I use. Do I use the "Side Way Face" or the "Running Dude" or "P"... What about the "Mountain"? We're in the mountains, right? Wrong. I mean yes, we're in the mountains but you shouldn't use any of those settings. Make your Mama proud and get out of the "green box". We're switching to Manual! That's "M"
Let's start with what we NEED to do. We need around 10 seconds of shutter being open. So we set the shutter to 10 seconds or so. (This is not exact science. sometimes 1 second can work or 30 seconds can work. It depends on how bright the scene is. Test out what works. In this case I went for around 8 seconds).
We're not done yet. Now we need to set the aperture so we can get the "proper exposure". You're probably thinking, 'Hey, its not the 80's, I can have my smart camera do that stuff for me.' Yes, its true with fancy "metrix" and "evaluative" metering it should tell me what the proper exposure is. Bad news... your camera is not as smart as you are. Yes, even if you didn't break a 1000 on your SATs.
The proper exposure is the “right” amount of light needed to show what you intend to show. The perfect exposure is going to be different from scene to scene. The modern DSLR's metering systems are good enough for 90% of subject matter, but its still an electronic device that doesn’t know what you deem as important in the composition. Any kind of light meter, the one built into your DSLR or hand held external meter needs a human brain to interpret the settings for that proper exposure.
So let's take this waterfall and start asking the little photographer inside you some questions. "Do you want the waterfall to be nice and bright?... yes. But you don't want it so bright that it becomes just a white streak, right?... no. What about the shadow?... I want it dark but it would be nice if I can see the moss on the dark area of the rocks... We'll se what we can do... " This kind of dialogue is encouraged and necessary as a photographer. Just keep it inside your head or people start to label you and ask strange questions in extra friendly voice.
So let's take this waterfall and start asking the little photographer inside you some questions. "Do you want the waterfall to be nice and bright?... yes. But you don't want it so bright that it becomes just a white streak, right?... no. What about the shadow?... I want it dark but it would be nice if I can see the moss on the dark area of the rocks... We'll se what we can do... " This kind of dialogue is encouraged and necessary as a photographer. Just keep it inside your head or people start to label you and ask strange questions in extra friendly voice.
 |
| Canon 5d MKIII, 24-105 4.0 IS 8 seconds @f18 with Genus Variable ND filter Click to see more photos from this session |
Okay, I still haven't answer how to set the proper exposure yet. Here it goes. you close down the aperture so you can get that proper exposure. Look at the LCD as a ball park measurement. If it looks too bright, make the hole smaller so there is less light going through the lens (higher f-stop number). Keep playing with it where you can get a nice balance where either extreme of waterfall and the shadow is not lost (blown...clipped...washed...blocked...).
If you know how to use the histogram, use them. If you don't know how to use the histogram, stay tuned, I will explain in a later blog. Histogram is that graphic thing when you're in the "Info" preview. Here is a quick tip on reading the histogram: You don't want either left or right side of the graph to smash itself against the wall. Maybe lightly touch with its tips. Sometimes you can't help it, then you have to sacrifice one side (highlights or shadows). This is what I mean by you're smarter than your camera. Your camera will look at you like a confused boxer (dog breed) if you ask that question.
There is a good chance that even at the smallest aperture, your picture will still look too bright with light parts being blown. So now what do you do? You need to somehow stop the light coming in more. Neutral Density or ND filter is the answer. Think of them as Just dark grey sunglasses for your camera. They come in different strengths. I would recommend 6-8 stops of reduction. Multicoated ones are nice, but more expensive. They give better image quality, especially if direct light is hitting the front of the lens. Non-coated ones tend to lose contrast when direct light hits it. If that's the case just use your hand to shade the direct light from hitting the lens.
 |
| Canon 5d MKIII, 24-105 4.0L IS 13 seconds @f13 with Genus Variable ND filter Click to see more photo from this series |
I don’t like to shoot with the lens stopped down to its minimum point (highest number like f22) because you lose contrast and sharpness when the lens is stopped down too much. Its just physics, diffraction, it’s called. Even the best lens in the world will lose some quality when the aperture is too small. So ideally I would like the shutter speed to be around 8-15 seconds and my f-stop to be around f11 or so, ISO at 50 (you may have to turn on ‘extend ISO' setting in the menu to get 50 ISO).
An added note. If you are serious about photography, shoot RAW, not JPEG. There are too many benefits by shooting RAW that it outweighs the issues like file size. One huge benefit is that you are able to extract so much more detail out of shadows and highlight areas using a software like LightRoom.
 |
| Canon 5D MKIII, 135mm 2.0L 1 second @f16. No ND filter Click to see more photos from this series |
Okay, now you want to set up the camera so you don’t shake the thing as you press the shutter button. If you have a live view mode (LCD screen), use it. That will ensure the mirror being at “up” position so the mirror will not slap up when you take the picture. If you’re shooting “point and shoot”, or micro 4/3 system, don’t worry about the mirror because you don’t have any. So now just set the camera to self-timer at 2 seconds (if your camera has one). If not you can use a cable release, either mechanical or electronic. I have a remote for my 5d mk3, but I don’t use it. I don’t like having extra things hanging on the camera. So what should happen is when you push the shutter, the camera waits 2 seconds (enough time for the vibration to die down) then exposes the picture.
Camera Support
Now that your camera is set up, you need to set up your tripod and head. Stability is key. Anything under 100 bucks will probably not do. Especially if you are using heavier lens/body combo. Carbons fiber ones are light and sturdy. Can be pricy but you can get one for under $200. What you are paying for is stability and lightness. If its very light and stable and a joy to use, it can be as much as $600. Think about how you will use the tripod before forking over the big bucks.
The tripod head needs to be sturdy too. Usually ball head is very easy to use and compared to other types (three way pan, or geared head) it is lighter and simpler. Try to get one that can support a bit more than your camera lens combo. I like to carry the tripod/camera on my shoulder (like a soldier carrying M-60 gallantly across a battle field) when I move from place to place. No way I'm packing and unpacking each time I see something I want to shoot. My camera is in horizontal position a lot so that can place more stress then what it was designed for (vertical support). But if you get a nice sturdy head, you won't have any problems.
If you are using telephoto lens (85mm and over) you have to be extra careful with vibration. If you are on wooden platform try not to walk around the camera too much during the exposure. If there is too many people walking around, conjure up the courage, and in most arrogant way possible tell others to hold still for the next 15 seconds because what you're doing is so much more important then what they're doing. I'm joking.
If there is a noticeable breeze, block the wind with your body. Its all about having the camera still as possible during the exposure. If your tripod legs are deep in running water, it can vibrate a lot, so try to place the feet on rocks.
The tripod head needs to be sturdy too. Usually ball head is very easy to use and compared to other types (three way pan, or geared head) it is lighter and simpler. Try to get one that can support a bit more than your camera lens combo. I like to carry the tripod/camera on my shoulder (like a soldier carrying M-60 gallantly across a battle field) when I move from place to place. No way I'm packing and unpacking each time I see something I want to shoot. My camera is in horizontal position a lot so that can place more stress then what it was designed for (vertical support). But if you get a nice sturdy head, you won't have any problems.
If you are using telephoto lens (85mm and over) you have to be extra careful with vibration. If you are on wooden platform try not to walk around the camera too much during the exposure. If there is too many people walking around, conjure up the courage, and in most arrogant way possible tell others to hold still for the next 15 seconds because what you're doing is so much more important then what they're doing. I'm joking.
If there is a noticeable breeze, block the wind with your body. Its all about having the camera still as possible during the exposure. If your tripod legs are deep in running water, it can vibrate a lot, so try to place the feet on rocks.
 |
| Canon 5D MKIII, 135mm 2.0L 8 second @f13. Genus Variable ND filter Click to see more photos from this series |
Composition
Okay, now we know how to set the camera up so it doesn’t vibrate during exposure, setting the exposer so you get that velvety gradation. Now, how do we compose?
We are venturing away from technical things and getting into the artistry aspect of photography. Photography is an art 'medium'. A medium is a substance that carries things or an intermediary between two things. What is it carrying? In between what? I believe photography has the ability to carry the emotional vision of the photographer, not just light reflecting off from things in front of the camera. Of coarse, cameras can be used for just that purpose too, but if you are reading this blog, somewhere in your past, you have felt that emotional vision through photography.
What does photography get in between? I also believe that photography is an intermediary between 'what is in front of us' and 'what we want to show'. I took the time and energy to place myself in a certain way and use a certain lens so I can fully control what I want to show. In "reality" the water flows on and there are candy wrappers on the rocks, or tourists walking by. But my interest was not them. My interest was how the water flowed around these rocks. The contrast of movement versus stability, the tranquil mood of the rushing water.
All my photographs are lies. Its just a small portion of reality. Who said that, "...Omission of truth is a lie..." Something to that effect.
If we are serious about art photography, its about interpreting what we see. Not replicating what we see. This interpretation is the 'vision'. We need to know what to use, how to use it so we can go after this vision single-mindedly.
When composing, keep in mind of the fact what you want to show. I will not get into the "Rule of thirds" or the "Golden rule" right now. That topic deserves its own chapter. For now let's keep it simple: Was the candy wrapper in your vision? If not don't included it. Do you want to see the full length of the waterfall? If yes, step back. But you don't want to show the bridge on top? Then close in and tilt the camera down a bit... Remember that dialogue with your inner photographer? Keep having that dialogue. More you talk to that inner photographer, more focused your images will be (not focused as in lens focus... you know what I mean). Look at EVERYTHING that is in your composition and ask your inner photographer if it belongs there.
The technical prowess can only take you so far in photography. The second part that makes it complete in the art of photography, is composition. The rule of composition is very simple: Just show what you want to show. Nothing more, nothing less. Everything in that composition should help your vision. If it doesn't, do something about it. Try a different angle, try a different lens... Keep in mind that we are still bound by rules of photography, physics, nature. So when it can't happen, accept it and move on to other subjects.
"How do I know what to shoot?" This is the question that will get the ball rolling. You'll have to answer some tough questions. "What really matters to you?", "What do you think its important?", "What do you think its interesting?" I encourage you to pursue this question if you want more out of photography. If you are asking this question, then most likely you will encounter some introspection and self realization, which can lead to true understanding about your life. Yes, photography can be very deep indeed.
Photography, like any art medium has the capacity to teach us about ourselves. Open yourselves up to it and you will be a happy photographer knee deep in water!
What does photography get in between? I also believe that photography is an intermediary between 'what is in front of us' and 'what we want to show'. I took the time and energy to place myself in a certain way and use a certain lens so I can fully control what I want to show. In "reality" the water flows on and there are candy wrappers on the rocks, or tourists walking by. But my interest was not them. My interest was how the water flowed around these rocks. The contrast of movement versus stability, the tranquil mood of the rushing water.
All my photographs are lies. Its just a small portion of reality. Who said that, "...Omission of truth is a lie..." Something to that effect.
 |
| Canon 5D MKIII, 24-105 4.0L IS 10 second @f14. Genus Variable ND filter Click to see more photos from this series |
When composing, keep in mind of the fact what you want to show. I will not get into the "Rule of thirds" or the "Golden rule" right now. That topic deserves its own chapter. For now let's keep it simple: Was the candy wrapper in your vision? If not don't included it. Do you want to see the full length of the waterfall? If yes, step back. But you don't want to show the bridge on top? Then close in and tilt the camera down a bit... Remember that dialogue with your inner photographer? Keep having that dialogue. More you talk to that inner photographer, more focused your images will be (not focused as in lens focus... you know what I mean). Look at EVERYTHING that is in your composition and ask your inner photographer if it belongs there.
The technical prowess can only take you so far in photography. The second part that makes it complete in the art of photography, is composition. The rule of composition is very simple: Just show what you want to show. Nothing more, nothing less. Everything in that composition should help your vision. If it doesn't, do something about it. Try a different angle, try a different lens... Keep in mind that we are still bound by rules of photography, physics, nature. So when it can't happen, accept it and move on to other subjects.
"How do I know what to shoot?" This is the question that will get the ball rolling. You'll have to answer some tough questions. "What really matters to you?", "What do you think its important?", "What do you think its interesting?" I encourage you to pursue this question if you want more out of photography. If you are asking this question, then most likely you will encounter some introspection and self realization, which can lead to true understanding about your life. Yes, photography can be very deep indeed.
Photography, like any art medium has the capacity to teach us about ourselves. Open yourselves up to it and you will be a happy photographer knee deep in water!
 |
| Canon 5D MKIII, 24-105 4.0L IS 6 second @f16. Genus Variable ND filter Click to see more photos from this series |
Comments
Post a Comment