Want to shoot beautiful seascapes? Janie News shares seven great tips to help you get that perfect shot next time a beautiful sunrise or sunset lights up your favourite slice of the Australian coastline.
01 LOCATION, LOCATION
Location is everything in seascape photography. Look for a spot with an interesting foreground, as well as a feature like a channel or a line of rocks, to provide a natural leading line into the picture. Google’s satellite maps can help you find suitable beaches. If you know an experienced seascape photographer, ask them to suggest a location. Whatever location you choose, make sure you know when and where the sun will rise. To avoid your lens getting splashed try to find a spot out of the wind.
02 THE EARLY BIRD...
Check the internet to find out what time the sun rises and arrive with plenty of time to set up your gear, plan your shoot and take a few establishing shots. Because first light is about half an hour before sunrise, an hour before sunrise is the best time to set up on a beach on the east coast to catch a sunrise. If you’re shooting on the west coast (or along any body of water with a westerly view) get there an hour before sunset. Generally, for ocean-based images, low tide or the turn of the tide will reveal more interesting rocks and provide strong movement in the water. Check the tide times and be careful not to get caught out when the tide comes in.
Collaroy Beach, Sydney. I opened only the sturdiest section of my tripod to give a low point of view, and focused on the foreground rocks using a torch. Canon EOS 7D, 10-22mm lens @ 10mm, f/16 @ 262s, ISO 100. Remote release, tripod, polarising filter. Taken around 45 minutes before sunrise. Contrast,
levels and vibrance adjusted in Photoshop CS6. Minor de-noise and sharpening. Photo by Janie News.
03 BAD WEATHER, GOOD SHOTS
Look at the weather forecast the day before, and then again just before you leave home in the morning. Cloudy weather can make for interesting skies, and it’s a bonus if the movement in the sky echoes the movements in the sea below. Photographing in the wet is less enjoyable, but a card full of dramatic pictures should compensate for any discomfort.
04 BE SAFE
If you’re shooting seascapes, it goes without saying that it’s not smart to be alone in the dark with expensive equipment and unpredictable wave action on slippery rocks. If possible, take a friend with you to watch you and the waves. Be careful and don’t become so preoccupied with getting the shot that you lose track of what’s going on around you. Sea conditions can change quickly and one rogue wave can be enough to ruin your day. Be prepared to pack up and head home if you have any safety concerns at all.
Collaroy Beach. Canon EOS 7D, 10-22mm lens @ 10mm, f/7.1 @ 0.6s, ISO 100. Remote release and tripod. Two images merged in Photoshop CS6. Photo by Janie News.
05 GEAR YOU NEED
Wear flat-soled sneakers with lots of grip. A good LED torch will help you get to and from the location in the dark, and can be also used for light painting if you are shooting long exposures in darkness or very low light. If you are making exposures over 30 seconds they won’t be timed by your camera, so it’s handy to have a mobile phone or a watch with a timer. Take a towel for you (just in case), and a clean cloth for the camera and lens. Wipe the camera and lens down regularly to keep them clean and salt free.
Turimetta Beach about half an hour before sunrise. Canon EOS 7D, 10-22mm lens @ 22mm, f/16 @ 10s, ISO 100. Remote release and tripod. Manual focus on foreground rocks, LED torch used to light foreground and boulders. Contrast, levels and vibrance adjusted in Photoshop CS6; minor de-noise and sharpening. Photo by Janie News.
06 CAMERA ACCESSORIES
A sturdy tripod is absolutely essential. Set it on firm ground or dig it deep into the sand. If your camera or lens has an image stabiliser make sure it is switched off whenever the camera is on the tripod. In windy weather, only open the top one or two segments of your tripod’s legs and find a rock to sit on so you don’t have to spend several hours hunched uncomfortably over your kit. After standing a tripod in seawater you’ll need to wash it down with fresh water to avoid corrosion.
Some cameras come with a small viewfinder cap (usually attached to the camera strap), which strops stray light leaking into your camera body over an extended exposure – use it if you have one.
Take a backpack containing any items you might need, including spare memory cards, batteries, and extra lenses. An inexpensive light plastic cover for your camera can help to keep the spray off. When you’re shooting, position your bag well above the tideline or wear it on your shoulder; many backpacks have a weatherproof cover that can be pulled over the bag to keep it dry.
Use a remote shutter release (tethered or wireless) to avoid camera shake, or set the camera’s self timer to avoid accidentally bumping the camera when you press the shutter. A lens hood will help prevent lens flare if you’re shooting into the sun, and will also reduce the amount of spray that hits the front element of the lens.
I set up beside Mona Vale Beach rockpool 45 minutes before sunrise for his shot. My tripod was set-up low to the ground and the focus was set to the foreground rocks using a torch to light the area. Canon EOS 7D, 10-22mm lens @ 10mm, f/16 @ 56s, ISO 100. Remote release, tripod, polarising filter. LED torch to light up foreground. Contrast, levels and vibrance adjusted in Photoshop CS6. Minor de-noise and sharpening. Photo by Janie News.
07 BEST LENSES
Most of my seascapes are shot with a wideangle lens. The Canon EFS 16-22mm, Nikon 12-24mm and Tokina SD 11-16mm zoom lenses are all good options. A telephoto lens won’t include enough of the scene, but it’s fine for close-ups of wave motion.
For part two of "How to Shoot Stunning Seascapes", which covers camera settings, filters, exposure, composition and more, click here.
Article first published in Australian Photography + digital, May 2013.