How to photograph moving water - part 1

I had a great day yesterday with Yvonne and Phil who came all the way up from London for a day’s tuition here in Scotland. We spent most of the morning going through some basics on their cameras – with Yvonne keen to understand more about white balance and how to use the manual exposure mode on her Nikon D40.

The weather was good and after lunch we had the choice of either photographing one of the many coves just along the coast, or another of my favourite locations – a beautiful and delicately intricate waterfall that drops out of the Galloway hills not far from my base here in Kirkcudbright.

As Yvonne was keen to try out her skills with moving water – we donned our wellie boots and headed to the waterfall.

You can hear the roar of the waterfall well before I can see it. It’s very well hidden – a real fairy dell. The water drops about 40 feet down a sheer face, it’s stream splitting into several channels which tumble over blackened, mossy rocks. The fall was once used for industrial purposes, and some cast iron pipes still mar the pristine quality of the scene. These can be used as subjects in their own right, or, with careful framing be cut out altogether.

I suggested a simple shooting plan to give the shoot a sense of purpose. We did not rush in to get shots of the water right away, but stood well back and took a good look at the whole scene before me. There is no need to rush in these situations. Waterfalls do not run away, nothing is going to change except the light, and on an overcast day that is unlikely to change much, so take your time and consider each shot. I prefer an overcast day because it helps reduces contrast between the white water and black rock, and if the sun does shine through the trees it can soon create over-exposed hot spots.

We started by taking pictures that included lots of foreground. The green mosses made a startling foreground, so too did the branches of the dead trees.

A good solid tripod is essential if, like me, you prefer to create that mystical, fairy-like, movement in the falling water. You need very slow shutter speeds to do that, about 1sec for maximum effect with a small waterfall, and here overcast weather helps again. The less daylight there is, the slower the shutter speed you will be able to use.

In my DVd on Light and Composition (available from my website), I showed you how to look at the world in rectangles, and introduced you to an imaginary ‘Rectangle Monkey’ who always helps you think and see in rectangles – that’s the way the camera sees. Photographing a waterfall like this is a good time to adopt that way of thinking, because the actually face of the waterfall as it drops down the cliff is really quite two-dimensional, and it is a simple matter to divide the waterfall up into interesting rectangles – starting with the overall view and then framing different interesting areas in both horizontal and vertical rectangles.

CORRECT EXPOSURE
To find the exposure using Manual (M) exposure mode is simple. Knowing I need a slow shutter speed, I just set a very small aperture, f22 and point the camera at the subject (I prefer centre-weighted metering for this type of subject). Then I slow the shutter speed down until the exposure scale in the viewfinder tells me I have the correct exposure. At ISO 100 this gave me a shutter speed of around 1sec; perfect for the moving water effect I was looking for. You do not need fast ISO settings when the camera is on a tripod and you want to use a slow shutter speed… keep it low for best results and better quality.

The pictures here were taken by me on a previous visit to the waterfall – yesterday, I was far too busy helping Yvonne and Phil to get their photographs.

Lower photograph of the waterfall

I started with a simple wide angle shot of the scene, taking in lots of that wonderful green moss in the foreground with the waterfall away in the distance. One of the less appealing aspects of this view can be seen – the end of an old water pipe, just off centre in the picture. There was no way of avoiding this from this angle. A couple of clicks with the cloning tool in Photoshop will soon sort it.

Top photograph

I used the rushing water in the stream beneath the fall to make a lively, moving foreground that injected a real feeling of depth – the third dimension – to the composition. With the wide-angle lens I was able to stand right in the middle of the stream. Here’s when those wellie boots really come in handy

Also pictured above are Yvonne and Phil, my students for the day - they came up from London for their photography tuition

In part 2 I'll explain more about composition - and white balance

Photographing with multi flash

Here’s a picture – a very simple one, with no pretensions to be anything other than a demonstration shot. It shows the group of photographers who joined me last week to learn more about portraiture.

I was showing the group how to get the best from their flash guns both on and off the camera, when I decided to show them the old technique of firing multiple flashed on one exposure – with just one flash unit of course.

I was taught the technique by a photographer called Arthur Partington when I was just a 15 year old apprentice on a local newspaper. In those days staff photographers like Arthur were expected to turn their hands to every job that came in to the office – and that included news, features, weddings, some commercial work, and advertising. Arthur had the task of photographing a carpet warehouse in an old converted cotton mill. The floor area was vast, the ceiling fairly low and supported by dozens of steel pillars. The whole place was covered in rolls of carpet. The client wanted to show the scale of his operation by having the entire warehouse area photographed and the picture printed in a full page ad in our broadsheet paper.

One winter evening, Arthur went prepared with his Speed Graphic 5 x 4 glass plate camera, a heavy wooden tripod, a huge bulb flash gun, an empty shoulder bag and another containing about a dozen PF1000 flash bulbs (I think that’s what they were). These old-fashioned flash bulbs were about the size of a large orange and often exploded when they were fired.

And Arthur took me. I had a particular job to do.

First he found his best angle and set the camera up on the tripod. Then he turned to me and walked me right around the warehouse floor showing me exactly where and in which direction he wanted me to let of one of the flash bulbs. I was under threat of death if I got it wrong. Every time I let off a flash bulb I would have to be hidden behind one of the pillars. Right. Arthur eyed my with distrust and asked if I was ready. He pulled out the sheath from the slide holder. Opened the shutter on ‘B’ and told me to Go!

Oh, I almost forgot, before he sent me off, he turned off most of the lights in the warehouse. I could barely see where I was going.

A raced around that warehouse blasting off flashes as I went. Each time I fired a flash bulb it had to be unscrewed (burning my fingers), the spent bulb dropped into the empty bag and a new bulb screwed into the flash gun ready for the next blast. Three times bulbs exploded with a terrifying bag, spraying me with fine shards of glass. Each time Arthur yelled – “Don’t stop you little bugger, keep moving”.

By the time I had fired the last flash bulb and Arthur had closed his shutter, I had covered the equivalent of a 200 yard sprint under heavy fire in the dark. I was gasping for breath and shell-shocked.

“Right”, said Arthur. “Get that camera packed up and we’ll get off home.”

I watched Arthur develop the glass plate and print the photograph next morning. I could hardly believe my eyes. It was as though the entire warehouse had been lit with studio lighting. It was beautifully lit.

Well that’s a mighty long explanation for the method used to take the picture above. All I did was darken the room. Stick the camera on a tripod. Tell the subjects to keep dead still, opened the shutter and dashed around everyone letting off the flash gun. Closed the shutter. No cables, no infra-red, no wireless-systems. None of that is needed… just you with a flash in your hand The flash was fired four times.

I admit it’s not ideal – some of the shadows are in the wrong place, one flash has looked into the camera (over the shoulder of the man sat on the left) and another has lit part of my red sweater (over on the right). But as a quick two-minute demo it was very effective.

You can try this at home. It’s great fun and you’ll learn lots. Multi flash pictures can have an extraordinarily powerful visual appeal if you get it just right.