Photo Tales: Milky Way over Ruby Beach

Photo Tales: Milky Way over Ruby Beach Campfire

Almost midnight…clouds clearing…tide coming in…Milky Way getting brighter…tripod starting to sink into the wet sand.  Would the Milky Way line up with the sea stack before the Pacific Ocean tide washed me off Ruby Beach?

Pacific Northwest Trip

In 2015, we took a glorious six-week summer trip to the Pacific Northwest.  We visited Vancouver Island, Mount Rainier, Portland and the Columbia River Valley, and Northern Cascades and Olympic National Parks, most for the first time.  Olympic is perhaps the most diverse national park in the United States.

In the interior mountain section, there are peaks with glaciers, and from Hurricane Ridge, you can see across the Juan de Fuco Strait to Vancouver Island.

Photo Tales: Hurricane Ridge
Hurricane Ridge Panorama – Olympic National Park

Lower in elevation, there is an incredible temperate rainforest, with jungle as lush as those I have seen in the rainforests of Puerto Rico or the cloud forests of Costa Rica.

Photo Tales: Hall of Mosses
Hall of Mosses Panorama – Hoh Rainforest

The Pacific coast of the Olympic Peninsula boasts an incredible array of tidal pools, sea stacks, and forested cliffs, which for miles is relatively undeveloped, thanks to the national park and the Makeh Indian Reservation.  This coast makes for excellent night photography, and is where I captured my favorite night shot to date: Milky Way over Ruby Beach Campfire.

Olympic Photo Workshop

For the Olympic part of the trip, I was participating in a photography workshop led by Mark Bowie and Joe Lefevre for the Adirondack Photography Institute.  We spent a fantastic week shooting around the Olympic Peninsula,.  We spent four nights in Port Angeles, visiting waterfalls, lakes and mountaintops on the North side of the park, including an entire night on the top of Hurricane ridge, where we shot sunset, the night sky, and sunrise that morning.   Then we moved on to Forks, WA (yes, THAT for Forks, for Twilight fans), for three days and nights exploring the Pacific coastJoe and Mark had timed the workshop to coincide with a new moon, with the idea of shooting at night as often as the weather would allow, to capture the Milky Way along the coast.  We spent our days in Forks exploring the rainforests, and nights along the coast shooting at Second Beach, Ruby Beach, and Rialto Beach.

Pacific Coast

All three nights, the skies were more conducive to sunsets than astrophotography.  Our first night, we explored the sea stacks along Second Beach.

Photo Tales: Second Beach
Second Beach Sunset

It looked like the sunset would be a dud, with dense clouds blocking the sun during golden hour.  I had set up a shot on my tripod with a composition that I really liked, but had gotten bored waiting for the clouds to part.  I wandered down the beach with my second camera body to see what my fellow photographers were capturing.  Just after sunset, there was a brief burst of color in the sky, so I rushed quickly back to my tripod and captured this shot.  It was a good lesson in preparation and patience.

Ruby Beach

Photo Tales_ Ruby Beach
Ruby Beach Driftwood and Sea Stacks at Sunset

The next night we visited Ruby Beach, and it was one of the best sunsets I have ever photographed.  Just enough clouds to silhouette the sea stacks, excellent golden hour light, and zero wind, so there were fantastic reflections in a tidal pool created by a stream.   I took hundreds of shots that night, but my favorites were with a fantastic root system of a large tree floating back and forth in the pool in front of this great sea stack with two openings.   Once again, the clouds did not break up after sunset, so we left without much in the way of night shots.

The third night of the workshop was at Rialto Beach, and once again fantastic compositions abounded, but the clouds we really thick, and the best I could do was capture a few black and white images.

The workshop was fantastic, and I highly recommend ADKPI for workshops (if you aren’t taking one of mine, of course), but I still hadn’t quite gotten the night shot I wanted.

An Extra Night

Niki and I had reserved a 4th night at the motel in Forks, figuring that once the workshop was done, we could spend an extra day visiting some of the same spots together, and relaxing before heading down the coast to Oregon.  As it turned out, the weather that night called for clearing, so I decided to go back to Ruby Beach one more time, this time by myself.

It should be obvious, but aside from the weather conditions, the tide is the most important factor when shooting on the Pacific Coast of Washington.  It just happened that low tide was right at sunset that night.  (June 19th, so sunset was around 9pm)  That meant that leading up to sunset the beach expanded, exposing sand and rocks that were underwater at the same time two nights before.  Experimenting with capturing the tidal flow, I explored new sections of the beach.  I even capturing a bit of video, but because the clouds were sparse, my sunset shots were unremarkable.

I played with silhouettes of the rock formations against the sliver of the moon left in the sky after the sun set.  Once it set by maybe 10 or 10:30pm, the stars came out to play.   Around this time, I turned to the South, and noticed two things.  First, someone has lit a campfire along the beach, not too far from where I had shot the Sea Stack sunset photo two nights before.  Second, the Milly Way was dimly starting to appear, and it seemed that in an hour or so, it might line up nicely with that same sea stack.  So, with my new Sigma 24mm f/1.4 Art lens attached to my Canon 5D Mark iii, both bought with this night in mind, I composed my shot, and waited.

Milky Way over Ruby Beach Campfire

Soon, a bunch of people, with various colored headlamps and flashlights, ran onto the beach near the campfire.  I was maybe 100 yards up the beach, so I couldn’t tell what was going on, but the flashlights we causing havoc with my perfectly crafted scene.  Was my friend (in my mind it was a friend, since she had created a lovely warm source of light for the rocks that would otherwise be dark), just the first of a huge party of drunken revelers?  Meanwhile, I started to hear the waters lap closer, as the tide started to come in, and boy, the stars were really starting to pop!

Almost midnight…clouds clearing…tide coming in…Milky Way getting brighter…tripod starting to sink into the wet sand.  Would the Milky Way line up with the sea stack before the Pacific Ocean tide washed me off Ruby Beach?…

Photo Tales: Milky Way over Ruby Beach Campfire
Milky Way over Ruby Beach Campfire – Canon 5D Mark iii with Sigma 24mm f/1.4 – 15 Sec @ f/1.4 3200 ISO

Well, the tide did wash over my feet a couple of times before the flashlights went away, but that meant that the stars were reflecting in the wet sand.  No, I couldn’t see quite that many stars in the Milky Way.  A really fast lens (like my f/1.4), on a long exposure, is able to capture more stars than can be seen with the human eye.  I also didn’t notice until later that I also captured two shooting stars!  Sometimes it pays to go back to the same spot!

Please let me know what you think of my Photo Tales series of posts.   If you have a favorite photo of mine and would like to know how I captured it, feel free to contact me, and perhaps I can include it in a future post!

How to Photograph Waterfalls Like a Pro

People often ask me “how do you capture the water like that?”  Perhaps you too have seen waterfall photos with the water flowing like a silky dream, and wondered how the photographer got that look.  This post will focus on waterfalls photography, including my tried and true techniques for capturing photos of both serene silky cascades and powerful torrents.

Shoot from a tripod

Cullasaja Falls
Cullasaja Falls – Highland, NC 38mm 1.3 Sec f/16 ISO 100

No matter how steady your hand, and how good your camera or lens claims to be at Image Stabilization (IS*), the longest you can possibly expect to hand hold your camera without obvious shake and blur is 1/15th to 1/8th of a second, and probably less.  Since moving water in waterfalls requires anywhere from 1/10th of a second up to several seconds to get that silky water effect, you simply must use a tripod (or a flat rock) to steady your camera for those long exposures necessary for waterfalls photography.  And since you are shooting on a tripod, make sure to also eliminate camera shake from itchy shutter fingers by using a remote shutter release or internal camera timer, and live view or mirror lockup to remove shutter shudder.

*(VR) Vibration Reduction for you Nikon shooters, (OS) Optical Stabilization for Sigma lenses

Shoot in Manual or Shutter Priority Mode

Digital cameras are smart, but they won’t intuitively know that you want to shoot a long exposure unless you tell it to.  Plus, in fully automatic mode, some cameras know you can’t hand-hold a long exposure, so they often won’t even allow you shoot a long exposure unless you are in Aperture Priority (Av), Shutter Priority (Tv) or fully Manual (M) mode.  Every camera is different, obviously, so get out your camera manual and play around a bit to get the hang of the different modes.  It really is worth spending some time, as moving from Automatic or Program mode to manual is the biggest hill to climb to get from novice to  photographer.  Going completely manual requires you to read your camera’s light meter to get the appropriate exposure, but using shutter or aperture priority does that work for you.

Keep in mind that for digital cameras there are 3 different variables that each affect the other: Shutter speed, aperture & ISO.  For now, shutter priority is a good choice for waterfall photography because the shutter speed makes a huge difference in the look of the final image.  If you want to ‘slow down’ the water to make it silky, drop the ISO as low as you can, which in shutter priority mode will make the aperture smaller (the f-stop will increase), giving the photo greater depth of field.

Sidebar: There are lots of advantages to shooting longer exposures:  Long exposures => smaller aperture => greater depth of field + lower ISO => less noise/grain + silky water

Experiment with shutter speed

Waterfalls photography - shutter speed test
1/200 sec f/6.3 ISO 2500

Now that we’ve mastered how to get cool, silky shots, let’s mix things up, shall we?  As we’ve already discussed, the shutter speed can make a huge difference in the look of you image, even if the exposure is exactly the same.  Sometimes, especially when the subject is a large waterfall, with a lot of water, I play with shorter exposures to capture the power of a strong falls.  Let’s take a closer look at several images of the same falls, taken in succession on the same rainy morning.

Waterfalls photography - shutter speed closeup
Detail at 1/200 sec

Notice in the detail of the first image, which was taken at 1/200th of a second shutter speed.  See how the flow of water, which in real-time looks like a continuous stream of water, is in reality a collection of individual water drops.  Fascinating, right?  At longer shutter speeds, generally at least 1/10th of a second, these drops blend together, giving the illusion of silky, continuous water.  I find that my favorite silky waterfalls shots are usually between 1/2 sec and 2 seconds long, and to capture the majesty and power of a big waterfall in full flood, perhaps 1/100 to 1/250 sec.

Waterfalls photography - shutter speed test
1/30 Sec f/11 ISO 1600
Waterfalls photography - shutter speed test
1/5 Sec f/16 ISO 100
Waterfalls photography - shutter speed test
2 sec f/22, ISO 100

 

 

 

 

 

 

 

I make a point, after I have captured the image of a falls that I really like, to switch things up and shoot 2 or 3 shots with a much faster (or slower) shutter speed, to see what comes of it.  Using RAW files, you can always adjust color temperature and exposure after the fact, but there is no magic button in Lightroom or Photoshop to separate out the individual droplets of water (or blur them together), so make sure you capture some variations in the field to give you more options.  It all comes down to individual preference.  Take the two images of Havasu Falls below, for instance.  They have almost identical exposures and composition by keeping the F-Stop high(aperture small), and inversely adjusting the ISO and shutter speeds.  I have sold large prints of both, because the buyers had very different (and personal) reactions to the two images.  The higher shutter speed may feel more real to one viewer, but some folks really prefer the silkiness of the slower shutter speed.

Havasu Falls Turquoise Canyon Oasis
Havasu Falls – 1/100 sec f/13 ISO 2000
Grand Canyon Shangri-La
Havasu Falls – 1/3 sec f/16 ISO 100

 

Shoot on a cloudy or rainy day, if possible

This one may seem counter-intuitive.  As you can see from the images so far, water coming over a falls gets churned up, and creates highlights that often are much brighter than the surrounding dark wet rocks or leaves – in rafting it’s called whitewater for a reason.  If there is sun directly on the falls, the highlights will jump off the right side of your histogram, or if you compensate the exposure for the brightly lit white water highlights, you will lose details in the shadows.

If the day is sunny, or party sunny, then try to time your arrival at a waterfall for when the falls are in shade, with little or no direct sunlight on the highlights.  Bounce light can help fill in the shadows the same way a bright overcast day will, and you will still have less contrast.  If you are shooting in shutter priority, you may find that you need to use exposure compensation by 1/3rd to a full stop to expose for the shadows, or use Auto Exposure bracketing to insure the right exposure, especially under shifting lighting conditions (think partly cloudy with fast-moving clouds).  My default bracketing is three images: 0 and ± 2/3rds of a stop, unless I think the contrast is so high that HDR is necessary.

HDR can be very difficult when shooting waterfalls.  Moving objects give HDR software trouble, and when the water changes shape, and/or leaves on nearby trees or flowers move during long exposures, the results can be disappointing.

Use a Circular Polarizer Filter

Like many nature photographers, a circular polarizer is usually on the end of my lens.

I used a circular polarizer filter here to cut down glare on the wet rocks, and to reveal the rocks below the water.

A circular polarizer filter is incredibly useful in and around waterfalls: to take the glare off of wet rocks, dial-up reflections in a pool, or reverse that to reveal the rocks below.  When shooting up at a falls from below, it can make blue skies bluer, or give cloudy skies more contrast.  It has the pleasant side effect of dropping the amount of light that reaches your lens by a stop or two, making longer exposures, and/or smaller apertures, possible.  Sometimes I add an ND filter to the mix if I need to ’slow down’ the water even more.

Using Water as a Composition Element

The usual rules of composition apply: ‘If you see something pretty, throw something in front of it.’

Upper Buttermilk Falls, Ithaca, NY
Water Carved Pools and Reflections – 5 Sec. f/16 ISO 100

Often the best way to show water movement is to have a solid foreground or mid-ground object (like boulder or log) that stays solid as the water flows around it.  With a large falls, try zooming in enough to have water entering and leaving the frame, which can give a lovely sense of capturing a moment in time and space, for a creek that starts far upstream and continues beyond.  Many waterfalls are not just one fall.  Try shooting from below, and using a smaller cascade as a foreground for the main event.  In the above photo on Upper Buttermilk Creek in Ithaca, NY, I noticed the lovely tree reflection in the puddle, and set up my tripod very close to it, using a very wide-angle lens (Canon 7D with an EF-S 10-22mm) to capture the stillness of the pool along with the curving sweep of the falls.  A circular polarizer brought out the reflection.

Try Black and White

Kaaterskill Falls Winter
Kaaterskill Falls Frozen Amphitheater – 28mm 1.6 sec f/18 ISO 100

Waterfalls can make excellent black and white images.  There is something timeless about waterfalls photography that works well in a medium that was mastered at the end of the 19th and the first half of the 20th centuries.  It is also a way to solve a problem: waterfalls are generally at their most dramatic in April or May, when Spring rains combine with snow melt to give waterfalls their biggest flow, but when buds are just starting to appear on trees, and flowers are not yet present to add that pop of color.  As you can see, they work for winter waterfall shots as well.  A future blog will touch on my favorite technique converting color digital images into black and white masterpieces.

Sometimes you get Rainbows

Yellowstone Lower Falls Rainbow
Lower Falls Rainbow in Yellowstone National Park – 108mm 1/125 sec f/18 ISO 400

Most people who visit Yellowstone National Park use apps to try to predict when geysers will erupt, but if the sun is out, rainbows at Lower Falls in the Grand Canyon of the Yellowstone are even more predictable!  Rainbows in waterfalls are generally only formed when there is alot of mist and spray kicked up by a powerful falls, with the angle of light just so (mid morning in July, depending on which viewpoint you shoot from).  While a few of the highlights in the water are a bit blown out, this sunny photo worked out because the cliff rocks are also brightly lit (and a lighter, yellow stone).  Here the exception proves the rule.  I used my trusty circular polarizer to maximize the color intensity in the rainbow.

Conclusion

Thanks for reading my first blog post!  The plan is to drop one of these each week.  Future blogs will be a mixture of instructional blogs like this one, details of my hiking adventures to some fantastic places, and the day-to-day realities of my photography business.

Please subscribe to the blog at the right, leave me feedback about what you thought of this post, visit my Photo Galleries at LightandPhoto.com, and consider joining one of my upcoming photo workshops, or booking a custom photo tour.

Want to put all of these techniques into practice?

Sign up for my upcoming Weekend Catskills Waterfalls Workshop May 4-6.

Details Here.