Green Heron

Going to let the images do the talking.  Taken at The Vierra Wetlands in Florida, November 2016

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Waterfall Photography 101 - The Basics

Mill Creek Falls, York County Pennsylvania

Bald River Falls in Tennessee at 1/250 sec

With a decent camera (a point and shoot or even, dare I say it, a cell phone,) you can walk up to a waterfall, take a single photo, and walk away.  From such an effort you will likely have a nice picture of the falls.  But if you want those dreamy, ethereal looking images, it’s going to take a little more than that. 

A DSLR is the best way to get the results you are looking for.  I do  On some trips I also bring along my 500mm zoom in case I see any wildlife, but is big and heavy.  Wildlife is often fleeting and by the time you change lenses it can be gone.  I have found it is usually not worth the effort.

It only took 1/2 second to achieve this result.

most of my shooting with an 18-55mm lens, but also carry a 55-200mm for those long shots and close-ups.

The key is using long exposures.  That however, comes with certain technical difficulties that can be overcome with the right equipment, proper technique, and good planning and timing.

A shutter speed of 1/10 second will give a nice little blur under the right conditions, but that’s usually not slow enough.  I have regularly used exposures as long as 20 seconds.  I’ll be explaining why that has been my limit in just a bit, and how I’ll be overcoming it.  But I digress.  “Under the right conditions” takes in two factors:  The speed of the moving water, and your effective distance (the combination of focal length and the actual distance from the subject.)  The closer your image appears in the camera, the less time it will take to create a blur.  Inversely, the farther away your subject appears, the longer it will take to achieve the desired blur. 

(Below Bald River Falls) Fast moving water close up blurs at 1/100 second

(Below Bald River Falls) At just 1/2 second, it becomes a misty dream.

Expect to take a fair amount of time when shooting waterfalls.  Experiment with exposure times, and watch for "hot spots."  It's easy to spend an hour or more at any given waterfall and the surrounding river.

(Swatara Falls Schuylkill County, Pennsylvania)  Farther away it takes 8 seconds to get even a moderate blur, especially at a time of lower water flow.

Above: 1/10 second gives a nice little blur.  Below: a full 10 second exposure.

First and foremost, you need a tripod; a good one.  You don’t have to break the bank, especially if you are willing to by used equipment, but you can easily pay $100 or more.  Just so happens I paid $15 for a used Slik Universal U212 many years ago.  It even came with a carrying bag with a shoulder strap.  A quick release isn’t mandatory, but is a huge time (and aggravation) saver.

I can’t recommend the shoulder bag enough.  You may be happy to photograph waterfalls from your car.  Ansel Adams never ventured far from his vehicle.  But likely as not, you will find that many waterfalls require at least a little bit of a hike.  The first time you walk more than a couple hundred yards with your gear, you’ll appreciate the bag.  The bag also provides a clean, dry surface, on which you can lay lenses, filters, etc that you may continuously use on and off as you shoot. 

The goal is to have an exposure time of several seconds.  With long exposures such as these, simply touching the shutter button can introduce vibration and ruin your images.  To combat this, use a remote trigger, or the self timer.  By default, the self timer is set to 10 seconds so you have time to run around in front of the camera.  Check your settings and shorten the time.  10 seconds is a painfully long time to wait to start making the exposure.  

River below Mill Creek Falls, York County, Pennsylvania 1/40 second exposure

River below Mill Creek Falls, York County, Pennsylvania  1/8 second exposure

River below Mill Creek Falls, York County, Pennsylvania  2 second exposure

To get that long exposure, set your ISO to the lowest number and the aperture to the largest number (smallest opening,) By the way, you can use Automatic Exposure in Aperture Priority mode.  Or you can use your light meter and go full manual.  You might ask, if I want long exposures, why not use Shutter Priority mode?  By using Aperture mode, you are guaranteed to have the longest shutter speed possible.  For metering, I use the center weighted averaging mode.  But if you have “hot spots” in the image, try using the exposure compensation and underexpose by 1 or 2 stops.

At this point, I should mention that RAW is the best format to use.  Some will argue the point, but it gives one the most latitude in post processing which is a must in waterfall photography.

A waterfall photographer’s best friend is an overcast day when the sunlight is at its dimmest.  On such a day, you can achieve shutter speeds as long as a second or two.  That IS adequate to get a nice blur.  But longer is better.  You can artificially add to that overcast by using one or more neutral density filters.  I have Cokin 1-stop and 2-stop filters that I stack.  I also sometimes add a polarizing filter to further dim the light and selectively dim any glare.  Before my next waterfall trip I plan on buying a 4 stop filter.

Bring an extra battery.  Long exposures can eat up battery life.  Extra memory cards are a good idea as well.

A hat is very handy to have in any kind of landscape photography, especially when shooting with a tripod.  We can’t always plan to have the sun in the “optimal position.”  A hat can be used to shade the end of the lens.  Like the tripod bag, it can also offer a clean, dry place to set things like filters.

A rocky river in North Carolina.

Of course you will want to focus on the waterfall itself, but don’t forget the rocky rapids of the river, stream, or creek that supplies the falls, as well as any mini-falls, swirls and eddies.

You may also want to take photos along the trail.  If you have that perfect cloudy day that allows long exposures, you will likely have to raise your ISO at certain points.  Don’t forget to set it back to its slowest when you return to shooting moving water.

At some point, even if you aren’t hiking to more remote locations, you will likely have to scramble up and down (of down and up) some kind of embankment.  Always make sure you never drop down farther than you can get back up.  It’s handy to have a friend in such situations.  Not only is it more fun with a friend, they can hold your gear and pass it down (or up) so you don’t have to manage it while you are scrambling.

That’s it for this lesson, but I will soon be working on Waterfall Photography 201 that will include tips for those willing to hike to more remote waterfall locations.  But suffice it to say (as a disclaimer) at this point that one should NOT venture into the woods if not properly prepared and equipped. 

From my film days.  One of my first waterfall shots from Yellowstone National Park

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Atlas Launch Time Exposure

LIFT-OFF!

Last night we were treated to a beautiful Atlas launch from Cape Canaveral.  There was a 25 minute delay in the launch which worked out perfectly.  Had it gone at the appointed time, the clouds would have been much thicker.  As it turned out the remaining clouds added a nice effect.

Exposure time 105 seconds at F/18 with the ISO at 100.  The camera was a Nikon D80 with an 18-55mm zoom at 18mm.

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VR Lenses DO Work

Handheld at 1/8 second.  I guess those VR lenses really DO work.  The tripod was in the car and I really didn't feel like walking back for it, but I wanted to get a shot with the of the flag billowing in the wind.  Got the motion blur but the pole is sharp.

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Another Lighting Blast from the Past: The Spiralite Model 600

Back in the 70s when I was first starting out in photography, these strobes were a familiar sight in the advertising section of magazines like Modern Photography.  Spiratone was a big advertiser in all of the major photography publications.  I still remember looking lustily at their "complete studio strobe kits."  The Spiralite Model 600 is an edison based (screws into a standard light socket) strobe unit, equipped with a sync cord jack and an optical slave sensor.  The GN is 60 and it has a recycle time of about 2 seconds.  We have much better equipment these days, but that is not to say these old units can't be useful, especially when fired by a wireless trigger (the optical slave is only moderately reliable.)


They make great rim or background lights.  They can also be a part of the primary lighting system.  I often use these units when setting up the mobile studio where I frequently work at close range and don't need a LOT of power.  They were particularly useful when I photographed a 12 member band and I needed to strategically light the stage area; I could have used a few more of these units that night.  

I found 3 of them on Ebay awhile back at a very reasonable price.  At first I just screwed them into clamp light fixtures.  That worked "ok" but not great.  The weight of the strobes often caused the fixture to sag, and they were not always easy to adjust exactly the way I wanted.

Then came my first tripod mountable adapter.  It also works with many light stand adapters with a 1/4-20 mail thread on top.  It was quick and dirty.  Plumbing strap was use to secure a light socket to a small block of wood.  The real inspiration of this first model was the use of a 1/4-20 T-nut to make the block tripod mountable.  Make sure you get a T-nut designed for wood and not metal.  Those intended for use with wood will have rather vicious looking tabs to dig in.  T-nuts for use with metal projects will not have such tabs.

Note that the T-nut is recessed in the block of wood.  See image on right.  That was done because the T-nut wasn't quite long enough to go all the way through the block of wood.  It also looks better.  Recessing the T-nut was accomplished by first using a 7/8 inch speed bore bit  and drilling to a depth of about 3/16 of an inch, then drilling the rest of the way with a 5/16 inch that would allow a snug fit for the barrel of the T-nut.  The rest was easy: a couple of screws and a piece of plumber's strap attached the light socket to the block.

That also worked "ok,"  and better than the clamp lights by a long shot.  But it was a quick and dirty design, made with what I had on hand, only intended to be used until I could come up with something better.  And now I have something better.  Its more secure and it just plain looks nicer.

A Little More on How it's Made

I started with a block of wood from a piece of pine 1x4.  I chose pine because its cheap and easy to work with.  Note that a 1x4 is actually 3/4 inch thick and 3 1/2" inches wide.  From that, I cut a piece 2 1/2 inches long. The T-nut tripod socket was as before.  But in the new design, a length of lamp nipple allows a light socket to be screwed onto the end.  A nut on each end of the lamp nipple holds it securely in the block.

After I drilled the hole for the lamp nipple, I drilled a second hole almost all the way through on the opposite side as an umbrella receptacle.  The accompanying images should tell you everything you need to know.

BTW, once you know the T-nut trick, the possibilities endless for home made accessories, adapters, and whatnot.  



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Want to Use Old Strobes? Read this.

The link below is an invaluable resource for those wanting to use older strobes with digital cameras. Older strobes may have extremely high trigger voltages. If connected to the camera's hot shoe, they could cause damage to the camera. The same goes for your slave triggers. The following link will take you to a very long list of trigger voltages for old strobes. Note the disclaimer on the web site and let me add my own. Use caution when using old strobes with digital cameras or strobe triggers. 

http://www.botzilla.com/photo/strobeVolts.html 

But don't let the warnings dissuade you  from using old strobes.  There are good deals to be had on older equipment.  If you ever have a job where you need a little bit of light in a lot of places, old camera mounted strobes can be a cost effective solution.


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My Sunpak 544

I love my Sunpak strobes. This one (right) is my original Sunpak 544 that I've had for over 30 years; 30 years and still going strong.  It has been mounted on my old Olympus OM-1, then my OM-2n, and now on my Nikon D80 DSLR.  It's a dinosaur but its not extinct yet.  About 5 years ago I found it so useful I located and purchased two more of them.  They can often be found on Ebay or Craigslist for as little as $60.  Note that there are a couple more powerful units available but I chose the 544s because I already had one and I wanted identical units.

When buying these strobes, make sure that it comes with the battery holder.  They can be hard to come by.  And don't forget a sync cord.  If yours doesn't have one, its not a big deal.  Cords can be purchased from places like B&H.  Note that Sunpak uses its own plug size and style so you aren't going to make one with a quick trip to Radio Shack. 

So what makes me love them so much?

One is the grip configuration. It just feels good when I'm using it on camera. The bracket, not shown in these photos also buts the light above and to the left of the lens. As soon as you start getting the flash away from the lens. you notice your lighting gets better.  Granted its not THAT much farther away but at least its not right above the lens.  Want to get your light source even farther away?  No problem.  The handle has a quick release from the camera bracket.  Sunpak handle-mount strobes are great because the bottom of the grip is fitted with a 1/4-20 socket, enabling it to be attached to a standard tripod and most light stands, or even umbrella brackets that include the 14/20 tip or spigot.

At full power, it has a guide number of 140, stronger than some of the cheap entry level monolights. That power level is adjustable from full all the way down to 1/64. It's battery powered (6 AA cells) so they can be used in the field. Power supplies can be found, but oddly enough, a fresh set of batteries recycles them faster than the AC adapter.  When I'm photographing events, I usually keep it set to 1/2 to 1/4 power.  It conserves batteries, shortens the recycle time, and is not quite so blinding for your subjects.  The flash head is adjustable on both the vertical and horizontal axises for complete bouncability.


The addition of a wireless trigger makes it a versatile studio strobe.  I use the Cactus V4.  See my blog post below for a review of the triggers.  As an on camera flash, they are rather heavy; that's why they have the grip design.  But compared to monolights, they are pretty light.  Using standard monolights in the field would require a very heavy battery pack.  If weight is a criteria, the old Sunpaks are a great solution.  My three Sunpaks allow me to set up a studio in the woods should I choose to do so.

IMPORTANT NOTE: the output voltage of old strobe units such as this one runs very high. Make sure your trigger unit can handle it. That's one of the reasons why I chose the Cactus V4.  The same goes for your camera. Modern digital cameras weren't designed to handle that voltage. A Wein Safe-Sync will protect your camera.  Read and follow ALL directions when using old strobes with ANY digital camera.

Also note the high tech means (as seen on left) of attaching the Cactus to the Sunpak.  I used to use rubber bands, but a black elastic hair scrunchy, courtesy of my wonderful and very patient wife, looks much better. 

While this strobe does have two automatic modes, its better to use it on "manual."  That may be a deal breaker for some, but if that's the case, you may be relying too much on auto modes.  Go manual and use your knowledge and skills to light your scene as YOU see fit. I'm big on shooting manual, and you will see more evidence of that in future posts.

That's it for now.  I've got another blast from the past strobe coming up, and a couple of DIY projects coming soon.


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