Waves at the Ocean

Finding a good composition at the beach is rewarding.  However getting just the right wave can really put an image over the top.  The randomness of the waves is addictive like gambling…the next one could be a big winner but you could also end up soaked.  Therefore the rule of thumb is to take as many shots as possible.  However here are some examples of using different shutter speeds to get you started and increase your odds of getting great images at the ocean.

1/3 of a second, just enough time to capture the motion for the waves in Iceland.

Less than one second helps keep the waves recognizable in shape to the viewer.  If there are really interesting breaking waves, try to freeze the action to capture the beauty in the shape of the wave, crystalize the water, and freeze the water drops in place.  Typically this will require around 1/1000 of a second.

1/800 of a second to freeze the water drops of these small waves in Acadia National Park.

A fraction of a second is a good place to start around rocky beaches as well when you want to capture the motion around the rocks.  Try to time the capture as the wave is coming up onto the rocks to capture the incoming wave's energy.  

0.4 seconds for the water to climb the rocks in Acadia National Park.

If the beach is relatively flat and sandy use a neutral density filter to achieve a shutter speed around two seconds and experiment adding more or less from there to your taste.  Time your exposure to start as the wave is fully washed up onto the beach and withdrawing to provide great lines leading back to the ocean.

2 seconds to capture long lines as the wave retreats to the ocean at Botany Bay Plantation.

Finally if all else fails, use a 10 stop neutral density filter to get a shutter speed greater than 15 seconds to completely remove the waves entirely for an eerily calm look.

30 Seconds to completely smooth over the water in Liverpool, England.

Steel Wool Spinning

It's going down for real!  Going out in the middle of the night to a remote location to photograph the stars is already creepy fun but adding fire to the equation brings the excitement to another level!

I’ve had some time now to do several “steel wool” spinning photographs and here is what I’ve learned:

The tools...

The tools...

I started with a small whisk as the “cage” to hold the steel wool.  But the wires were too thin to handle the >1200F temperatures and centrifugal forces.  So I bought a larger, stronger, whisk and sacrificed the first one to add some additional “cage” and attitude!

Testing in the snow, 24mm, ISO 500, f/5.6, 10 seconds.

Testing in the snow, 24mm, ISO 500, f/5.6, 10 seconds.

I used “Super Fine 0000” steel wool a half piece at a time.  To light and burn it has to be pulled apart some to fluff it up to allow the air to flow through and maintain the burning reaction.

Two images blended together.  16mm, ISO 1600, f/6.3, 10 seconds.

Two images blended together.  16mm, ISO 1600, f/6.3, 10 seconds.

The amount of air through the wool will control the rate of the reaction.  Spinning speed and the amount of steel wool "fluffing" will vary the amount of sparks.  For my taste I try to go slow as possible as I find too many sparks overwhelming in the final image.  Also since the camera will be on a tripod for the long exposure, it is easy to stack images later in Photoshop using the Lighten blending mode to combine the images with the best spinning action.

Use a 9V battery to light the wool, you will only see a few glowing spots but as you spin it will rapidly ignite.  Also *secret tip*, light it from the tip so it burns at the point of greatest air flow, lighting from near the handle will cause it to compress as it spins into a slow burning ball without as many sparks.

Cutting it too close, ten minutes before sunrise.  24mm, ISO 1600, f/4, 13 seconds.

Cutting it too close, ten minutes before sunrise.  24mm, ISO 1600, f/4, 13 seconds.

It is often recommended to do it during the "blue" hour just before sunrise or after sunset.  However because the light will be changing (and unless you have someone brave enough to do the spinning for you) this requires you to constantly change your camera settings.  Since I'm overly careful and slow with the process I often end up incorrectly exposing these images due to the changing light.

Tight quarters.  14mm, ISO 1600, f/4, 5 seconds

Tight quarters.  14mm, ISO 1600, f/4, 5 seconds

Camera settings vary but I typically use from 5 to 10 seconds, f/4, and 800-1600 ISO.  It depends greatly on the amount of ambient light and how much of the environment you want to include.

Finally safety tips:  Never put your 9V battery near your steel wool stash.  Cover your skin and wear protective safety glasses.  Obviously never spin steel wool near anything flammable! 

Snowdonia

At least half the satisfaction I get from a good photograph is the adventure that goes into exploring an area to get find it.  So I'm very excited to get to travel with Improve Photography to Iceland in April as its wide open landscapes should provide many opportunities for adventure and amazing photographs!

This trip is a prequel to Iceland, a very fortunate practice run to Snowdonia!  Snowdonia...sounds fake...too good to be true for photographers...but I can confirm it's real and in Whales of all places!

Owen Valley Panorama.  23mm, ISO 100, f/11, 1/8 second.

Owen Valley Panorama.  23mm, ISO 100, f/11, 1/8 second.

Coming from South Carolina with a very different terrain and climate I was worried about having the right gear and techniques for the environment in Iceland.  When going to a new “epic” location you want to focus your energy on taking photographs and not worrying about how to use your gear in new conditions.  Fortunately a business trip brought me to England and thanks to the inspiration from Thomas Heaton's video blogs I decided to drive 3 hours to Snowdonia's Ogwen Valley to get in a day of practice!

First when preparing to go anywhere I had to decide what to bring and how to pack.  I easily had enough room in my suitcase to bring layers of clothes for the cold and expected rain.  However my 24L hiking backpack was full with only limited camera gear (Sony A7R, 16-35mm, 55mm, 70-200mm lenses) and I hadn’t included a backup camera body or any astrophotography lenses.  I want to keep my cameras and lenses on me for their safety and to ensure I can still photograph if my checked bag doesn’t make it for some reason.  Therefore it was good practice to realize I would need something bigger.

This was my first serious trip with a new pair of Vasque St. Elias GTX Backpacking Boots which did great.  Due to a rental car issue I arrived just after sunset my first day.  I decided anyway to go hike the area at dusk so I would have an idea where to head for the next day’s sunrise.  In a rush I didn’t bring most my gear and thankfully the waterproofing of the boots was very good as I ran through some bogs to catch some late color from the sunset.

Pen yr Ole Wen from one of many streams out of the mountains.  17mm, ISO100, f/8, 15 seconds.

Pen yr Ole Wen from one of many streams out of the mountains.  17mm, ISO100, f/8, 15 seconds.

Standing in a stream from Llyn Bochlwyd.  18mm, ISO 100, f/8, 13 seconds.

Standing in a stream from Llyn Bochlwyd.  18mm, ISO 100, f/8, 13 seconds.

What I should have had with me were the Large NEOS Trekker overshoes which slip over my size 8.5 M US hiking boots perfectly.  They worked great in the boggy ground and the small streams I waded into the next day.  I put them in a plastic bag and strapped them to the outside of my backpack when not in use as they ended up quite wet/muddy on the outside.

The weather there was 40F and light rain in the morning.  I put some spray on waterproofing on my Patagonia shell jacket and tactical pants (I’ve tried 5.10 TacLite pants but they were too baggy and went with Propper Genuine Gear pants instead which need to be ordered up one waist size) which handled the rain well...but I forgot to spray my backpack or bring the rain cover.  I also tried a disposable OP/TECH rain sleeve for a bit which worked and even better shortly after I started using it the rain stopped for the day…

Split toning to add color to the highlights in the sky.  16mm, ISO400, f/8, 20 seconds.

Split toning to add color to the highlights in the sky.  16mm, ISO400, f/8, 20 seconds.

Unfortunately I did not get any good light at sunrise or sunset, so I did some extra Photoshop work to "create" some interest.  However it was a great trip that did a lot to help me prepare for taking photographs in Iceland.  I realized I’ll have much more gear than normal and will need a larger backpack which I’m sure most people encounter when going on a photography trip.  I’ve had some practice composing images with much larger mountains than in South Carolina and dealing with rain and unpredictable weather.  I’m definitely more confident now about my trip to Iceland and looking forward to a great time!

Vertical panorama of Pen yr Ole Wen from a stream.  28mm, ISO100, f/6.3, 25 seconds.

Vertical panorama of Pen yr Ole Wen from a stream.  28mm, ISO100, f/6.3, 25 seconds.