How to Photograph Waterfalls

Camera & Equipment selection

You can easily take a picture of a waterfall with almost any type of camera by pointing & clicking, results may vary. To create a photograph of a waterfall and achieve your intended results you should learn to control whatever camera you have.

Cameras

While a camera that allows manual control of shutter speed and/or aperture is best, rudimentary control can be set through a camera that operates in and automatic mode that allows you to “shift” the shutter speed & aperture settings in unison.  Almost any 35mm SLR film camera will allow you to select from up to 3 program modes.  An error light/sound will normally indicate settings that the camera guesses will not be a successful exposure. Many cameras will not take a photograph until this indicator is remedied by changing aperture, shutter speed or film speed (ISO/ASA).

Some professionals may cringe that I almost always shoot in one of these program modes.

Shutter Priority Mode - You select the shutter speed and camera will attempt to select suitable aperture for *“correct” exposure.

Aperture Priority Mode - You select the aperture and camera will attempt to select suitable shutter speed for *“correct” exposure.

Program Mode (Automatic Mode) - Camera will attempt to select both aperture and shutter speed for *“correct” exposure.

Some cameras have various flavours of each of these 3 modes like “program landscape mode” & “program night mode”.  Camera makers seem to have forgotten “program waterfall mode”.

Why do I normally work in a program mode?  Well I prefer to work in shutter priority mode to give me full control over the critical shutter speed.  The camera tries to set the aperture for the *correct exposure.  I alter the final exposure value by using “exposure bias” available on most digital cameras, you can also “bias” the exposure by fibbing to the camera about your film speed (ISO/ASA).  Entering a plus or minus “exposure bias” will adjust your finished images if you wish for a brightness level different than the “correct” exposure.

* “correct” exposure is not an exact science and includes your desire to interpret the scene.  Most cameras set to any “Automatic” or “:Program” mode will attempt to capture the scene as if it was a neutrally light vs dark image which is normally set to 18% grey. In manual modes they will normally recommend exposure values to achieve this same 18% grey.  If your scene is not an “average” scene then your preferred exposure could be as much as 2 exposure stops brighter or darker than what the camera’s best guess is.

Lenses

Which lens is the elusive “perfect waterfall lens”? 

Every lens in your bag!

Possibly not a good answer but basically correct.  You can really use any lens quality or focal length providing that the waterfall or composition you wish to create fits in your frame, from a safe access point. Zoom lenses allow more choices while carrying less equipment, often zoom lenses are claimed to be not as crisp as a “prime” or fixed length lens.

Zoom lenses are integral to our style of work as I often will “scan” a waterfall or other subject searching for compositions while often changing focal length to suit each potential image.

Wide angle lenses (15-30mm) allow you to show a lot of a subject that is close to you.  On the downside they can also make objects in your image appear to be tiny and many are bad for collecting unwanted reflections/refractions and degrading your image.

Medium lenses (35-70mm) are the most versatile for shooting waterfalls and in fact most subject sin general.  A 35mm camera’s original lens was often a fixed 50mm lens, being roughly equivalent to perspective of human vision.

Medium Telephoto lenses (70-210mm) are great for waterfalls far away or capturing specific features of a waterfall.

Telephoto Lenses (200+mm) are often the best lens choice for creating “abstract” waterfall images. With a long lens you can reach right into a waterfall and highlight a specific portion or feature.

Digital Multiplication Factor

Most Digital SLR’s (D-SLR) use a chip (CCD or other) that is smaller than the old standard frame size of 35mm film. This results in a “Digital Multiplication Factor” of roughly 1.5X or 1.6X depending on your camera model. If you are using a 50mm lens with a D-SLR your image will appear similar to if you had used a 75-80mm lens on a 35mm camera.

Teleconverters

For shooting “abstract” images or featuring small portions of a waterfall, you may use a Teleconverter to approximately double the focal length of your lens and reach right in and grab a waterfall feature.

Lens Filters

Filters modify the light entering your camera. Commonly made of round glass or plastic disks in a metal ring that screws onto your lens threads. Filters can also be square/rectangular and slide into a filter holder or lens hood, either being screwed onto your lens threads. It’s a good idea to always have a clear class or UV filter screwed onto your lens to protect the lens. Consider that even simple glass in the optical path could degrade your image slightly, and buy the best quality filter you can afford for protection.

Polarizing Filters can be an odd animal. They are often adjustable by rotating a portion of the filter to increase or decrease their effect. They can be great for reducing reflections on water and darkening blue skies, with lots of other subtle uses.

Neutral Density Filters (ND)  reduce the amount of light entering the lens by 1, 2 or 3 exposure stops and are often used in combination to reduce the light even more. With ND filters you can shoot at shutter speeds of 1/20sec and even slower to allow the water to “blur” to look dreamy or like cotton candy.

Lens Hoods

Lens hoods can serve multiple purposes. Firstly when setting up tripod etc then lens hood, you may train yourself to slow down and truly examine your subject and re-examine composition and other details. On a less esoteric note they help keep out nasty side lighting, reflections, dust and the often present multi-directional waterfall mist. I use a Lee lens hood with 2 integrated slots for square filters.

2 caveats to lens hood are worth mentioning. If your lens or polarizing filter causes the lens hood assembly to rotate, your hood will now be askew and require correction. Once you begin to assemble this giant assembly, many curious onlookers will chat you up since it now looks like your rig is ready for a Mars mission.

Tripods

The ultimate tripod does not exist.  Select a tripod based on tradeoffs, primarily a triangle of weight vs stability vs cost.

Tripods are available in 4 common size ranges:

Micro tripods often fit in your pocket and are incredibly versatile. Most will only hold a pocket camera or something light.

Portable tripods are often great for hobbyist photographers or hiking & backpacking. Gorillapods are flexible lightweight pods that you can get in several different sizes.

Luggable tripods are often intended for studio use, though some of us wear ourselves out lugging these over the hill and through the woods for rock steady images.

Draggable tripods are not well suited to outdoor use though once again I have been known to drag these monsters to waterfalls or at least outdoors for night sky, moon or starscapes.

Monopods are like tripods missing 2 of the legs. Carry a monopod almost everywhere for improved camera support ready on the fly.

Tripod Heads

Smaller tripods will often include their own movable tripod head or threaded camera mount screw. Larger or higher end tripods will require a tripod head to pan, tilt and adjust the level of your camera. Some have 1-2 built in levels which are a tremendous help.

Pan/Tilt heads are very common on low to mid range tripods. They work great for video though can be difficult to adjust efficiently.

Ball & Socket heads use a ball & socket to support and quickly swivel the camera mount to a great range of positions, then lock in place often using a slide lever. These are great for action as you can leave the locking lever a bit loose and move the camera as you shoot with the head partially locked. Some have a pistol grip above the ball, they have a different feel.

Gear drive or geared heads are my preferred head for waterfalls and most of my work. They are superior for making tiny cropping changes without having to unlock anything. Usually you can deactivate a gear to quickly rotate to your desired position.

Panorama heads often use some kind of “click” system to easily line up images for improved stitching into panoramic images.

You can aid your tripod in several ways:

Look for natural pockets for each tripod leg where possible, put legs where they will stay instead of slide around.

Rocks stacked against tripod legs, especially the “upwind” leg in high winds.

If your center post has a hook on bottom end hanging a small amount of weight there is a great idea especially if that weight also touches the ground to prevent it from swinging.

If shooting over a fence use tiny bungy cords to thread through fence and support the 2 closest legs against the fence.  Make the third/back leg a little longer and make sure it’s got some (camera) weight on it.

Carry a small bag to hang items in or just hang your camera backpack.  We carry a superlight bag designed to carry water for camping that cost about $3. Some sand, rocks or even water makes the bag a great aid to camera steadiness with little carrying weight or size. Serves as an emergency rain hood too.

Other stability enhancing methods:

Handheld Bracing – lean against a tree, rock, fence railing or even a partner to brace yourself.

Monopod - Tripod reduced to only one leg.  Not great for long exposures but a monopod will improve most of your images.  We add a small ball & socket head and carry this almost everywhere.

Beanbag - Simply a bag full of beans.  That doesn’t mean they are lying to you but they are great for steadying your camera with minimal weight & hassle.  You can buy a “professional” beanbag often with ¼ inch threaded camera mount.  Better still take or make a small bag and fill it about 2/3 full of beans.  That’s it!

Clamp - Clamps like Manfrotto “C” clamp are perfect for clamping onto a metal fence post or top rail.  Clamps will mark wood so please don’t clamp onto a wooden railing for example.  When using a clamp keep your neckstrap on, or carefully attach your neckstrap to a fixed object for safety.

Levels

Shoe Mount Levels are my primary level. I carry 2 of them at all times to avoid having to swim after one. Keep in mind that what the level indicates as level is not always your preferred shot, especially when photographing waterfalls from a weird angle.

Handheld Levels are great to have in your pocket, I carry that measures 2 dimensions. I can hold it on almost any surface to check it’s level and it works in a pinch holding by hand on top of the hot shoe.

Tripod Levels are sometimes included in higher quality tripods and tripod heads.

Camera Batteries

Camera Specific Battery Packs are found in most modern cameras, usually NiMH or better yet Lithium Ion. Removable battery packs ore preferable to allow for spare batteries and recharging while using your spare battery.

NiMH Rechargeable Batteries are the best commonly available rechargeable batteries at this time. They have no memory effect so they can be recharged at any point without damage. Nimh batteries self-discharge though at a rate of about 1& per month. NiMH batteries that have been fully drained recharge very fast, often in minutes.

NiCad Rechargeable Batteries were the popular rechargeable before NiMH. They have a memory effect meaning that if you recharge them before properly draining them, your total battery capacity can be reduced.

Alkaline Rechargeable Batteries are available which are often a better alternative than disposable Alkaline batteries, they can be recharged 20-100 or more times before their capacity is reduced.

Lithium Batteries (non-rechargeable)

High Energy Alkaline such as Duracell or Energizer may power some cameras for a limited amount of time. Most cameras require more current than these batteries can provide.

Alkaline Rechargeable batteries are available which are often a better alternative than disposable Alkaline batteries, they can be recharged 20-100 or more times.

Battery Chargers

Be sure to charge each type of batteries in it’s appropriate charger to prevent damage and possible explosions. Modern chargers often charge each battery independently charging each battery to it’s best possible charge condition. Some chargers offer adjustable charge settings, batteries prefer slow to medium charges over fast charges. Faster charges create more heat.

Camera Bags, Backpacks & Belts (Oh my!)

How to carry your gear is a very personal choice and may depend on your specific needs for any particular shoot.

Our primary gear lives and often travels in a Lowe Pro ??? backpack offering great padding and dust protection. This is their largest bag that seems practical to me. Their larger backpacks are wider and would make sitting difficult in many places like on a bus while exploring a city. If you are considering a larger bag, load it right up and put it on, then consider how far you would like to carry all that weight.

Camera bags come in a pluthera of shapes, styles and functionality. Some are “sling bags” which can be worn on your back and quickly slung under your arm to sit at your waist for easy access. Some offer laptop slots though in many cases your camera bag may see too much action to want to add your laptop in there.

Belts & Harnesses are available from Lowe Pro and others. I often use the Lowe Pro Street & Field system, a versatile belt system with optional shoulder harness and removable pouches for almost any shape. When wearing the full harness I often wear a light raincoat or windbreaker over it to conceal & protect my bionic equipment until shooting time.
Shutter Release Methods

Use a combination of these techniques to prevent the addition of any vibration at shutter release time

Hold your breath - Like a biathlon athlete who much ski then shoot with accuracy, learn to control your breath when shooting long exposures. Exhale fully then take a deep breath, steady, then activate the shutter button to expose your image.

Self Timer - Set your self timer to 2 seconds to allow hands off shutter release. Activate the shutter then gently lift your hand from the camera while your feet stay gently planted.

Shutter Release Cables come in various lengths and can be screwed into your shutter release button if it’s threaded. If not threaded your camera may offer an optional wired or wireless remote control. Longer shutter release cables are often air release with a squeeze bulb for activation.

Wired Remotes or Wireless Remotes may be available for your camera which plug into either a dedicated socket or a universal PC cord. Some offer only shutter release capability while others offer partial camera control and features like capturing images at preset intervals.

Pocket Wizard and other brands offer wireless triggering devices. Pocket Wizard is the industry standard known as reliable and long lasting, others are usually cheaper with different features.

Laptop Tethered shooting involves connecting your camera to a computer, most often via USB. Most tethered setups allow you to see the image on your computer screen after capture. If your camera has some kind of live preview feature you may be able to view your future images on the monitor BEFORE you expose them.

Mirror Up feature is offered on some professional cameras. With mirror up your shutter is released with the camera’s internal mirror already raised out of the optical path. Cameras treat this feature in various ways, you may actually have to check the camera manual for this one.
Shutter Speed

Cameras that allow manual control of shutter speed & aperture will allow the most control of your photographs and almost all also allow automatic or program modes.  A common range of speeds is between 30 seconds and 1/2000 of a second.

Most waterfall images end up between 1/500 and 15 seconds.

Water droplets are easily captured crisply at 1/250 or 1/500 so faster shutter speeds make little difference to the water motion itself, though may be useful to capture your images on a bright day without “burning out” the reflections on the water.

At the other extreme 15 seconds is a very long exposure even for a waterfall.  While the sun hits the falls you will be hard pressed to achieve even 1/20 of a second.  At around 1/20 of a second and slower is where you can if you wish begin to create surreal images referred to as Cotton Candy, Angel Hair etc.

At 1/20 of a second and slower you are entering an exciting realm of surreal possibilities.  Water averages out to smooth flows of white and fluctuating water may not visible for entire exposure often creating water “ghosts” over the background.

Waterfall “Work”flow

While I hate to call it “work” anything here’s our approach to photographing a newly discovered waterfall.

When we arrive at a waterfall if the lighting is good I will normally shoot some handheld images with a 35-70mm zoom even before I setup a tripod or mounting device.  If you have limited time at a waterfall and all the good light was used up while you assembled your tripod & gear you will be very glad to have captured those initial handheld images.

Our Fuji S2 Digital SLR (D-SLR) has a buffer of seven images which can be shot in a burst then requires about 2 minutes to completely empty image memory buffer.  While the buffer writes to the Compact Flash card I am busy setting up either a tripod or camera mounting clamp, or occasionally just a monopod for brightly lit falls or when we are in a hurry to get to yet another falls.

If your tripod has a bubble level or other level indicator take the time to use it whenever possible.  Sure you can adjust the camera straight using the tripod head but if you can level the tripod accurately first, your camera adjustments will be much simpler and your images may be straighter.

Waterfall photographs can be difficult to get “level” or more accurately angled to your preference.  Use a bubble level (spirit level) that mounts in your flash hot shoe adapter.

What’s “level” for a waterfall?  If you are shooting from squarely “in front” of the falls, the level attached to your camera should indicate the correct position for “level”.  If you are off to the left or right of waterfall center you may wish to make a correction once you have used the bubble level.  Centering the bubble level may make the water appear to fall crooked due to your viewing angle of the falls.

If your camera has grid lines in the viewfinder turn them on if necessary.  Often these lines indicate cropping or usually the “rule of thirds”.  Use these grid lines to align with a piece of the falls that is surely falling straight down.  Often a long trickle that falls cleanly without touching the rocks is the perfect alignment tool. 

Once your shot is composed you can move the tripod head slightly to align one of the marks to the vertical portion of falls.  Check the angle, adjust if necessary then carefully move your tripod head back to your desired composition.  Using a pan/tilt “video” type tripod head makes this very easy.

Your first tripod setup is now ready for tweaking then exposure (sss).  Film camera users should look critically through your viewfinder to check your composition.  Is it straight?  Got the content you wished to include?  Are there distractions in the image, can you eliminate them?  If in doubt leave it out!

*Digital* Shoot your first test image on automatic mode at the slowest film speed (ISO/ASA) possible, we start at 100 ASA.  While this will provide you with a useable snapshot more importantly you can quickly see your composition.  Also you can get n indicator of how much light you have by the automatic settings selected by your camera for this test exposure.

If your camera can display a “Histogram” use this to check the levels captured by your camera.

Water Motion

Water generally moves at a speed of 2-6 feet per second.  The shutter speed you prefer for any given falls or image should be selected considering water flow and your desired result.

Waterfalls in high flow often seem to flow steadily while smaller falls or falls with low flow often have fluctuating portions of water.

Fog or mist can often be created by waterfalls.  While sometimes this makes it difficult more often this is a blessing.  To use this fog or mist to your advantage.

Exposure

What’s the correct exposure for a given waterfall photograph?  That’s a great question with many possible answers. The “correct” exposure is the exposure that both satisfies the light requirements to record the image and produces the result that you wanted in your image.

Using most in camera metering methods or a handheld incident light meter, the camera will attempt to record the scene as an “average” scene of mid brightness with an “average” distribution of colors. Your desired result may require letting in either more or less light, primarily by modifying the shutter speed and/or aperture settings.

Aperture settings will not only modify the amount of light received but also modify the depth of field. A wide open lens at f2.8 allows in maximum light, in reverse it allows minimum depth of field creating a selective focus effect, especially with longer lenses.

Shutter speed will modify the amount of incoming light, it’s other effect will be how long the image is actually captured for. Shutter speed is often the initial choice you should make when photographing waterfalls or moving water.