John Dominick: How to shoot seascapes

Having grown up within walking distance of the coast I’ve always felt an affinity with the sea and there is no finer place to hone your photography skills than a stretch of coastline. I’m forever amazed by the diversity of geology and sheer variety of habitat that the coast can offer, even in the most populated of areas. Although the wild and rugged coastline is favoured by many photographers, including myself, even gentler more developed stretches can have a charm and character all of their own that is waiting to be explored. The coast near my home could not be described as wild but it has offered me many photographic opportunities over the years. I return to it time and again even if just for an hour and it is rare for me to return home without a reasonably successful image, simply because it is such a dynamic environment.

Invariably my visits will be either early morning or late evening about an hour before sunset, for several reasons. Firstly you are less likely to find many other people around at this time, not such a major issue with cloning techniques these days but I prefer not to tamper with the original image. The image of Bedruthan Steps, in Cornwall, is a perfect example as it’s a very popular spot in August, when this picture was taken. The beach was covered in footprints but fortunately the incoming tide was washing them away leaving a pristine scene and wonderful reflections of the sky.

Secondly you can make good use of the great light that reveals itself at either end of the day, enhancing the form and texture of the rocks and water and don’t forget the fantastic things that can happen both pre-dawn and post sunset. Not far from my home, Felpham Beach is not on a particularly dramatic stretch of coastline, but the soft, pastel pink light has created an almost other-worldly scene and makes a striking contrast to the vivid green of the seaweed.

Thirdly the different levels of light available during these periods means you can exploit the use of slow shutter speeds, that when coupled with the constant ebb and flow of the tide, will have a major influence on the look of the final image. Personally I like to record some hint of water flow and movement in my images but the misty effects created by very long exposures can also look effective. Although a technique not popular with everyone, I believe that none of us should be creatively hobbled by what is considered right and wrong, after all, photography is a creative process.

Consequently I prefer to use shutter speeds between 0.5 and 2 seconds, as in the images of Whitesands Bay, in Pembrokeshire, and Portwrinkle, in Cornwall.  On many occasions, especially as dusk descends, there is less control over this as falling light levels will dictate the length of your exposure and it then becomes more difficult to add the impression of movement to the water. This is, however, becoming less of an issue as sensor and noise reduction technology improves and I have been known to use up to ISO 800 for my seascapes. You can radically alter the look and mood of an image once longer shutter speeds are used, the mist like look of the sea adding a feeling of serenity. This also adds more shooting possibilities to even the briefest of trips to the coast.

Most stretches of coast, at some time of year, will either see the Sun rise or fall into the sea offering wonderful opportunities for photographers and with a bit of careful planning it is possible to stack the odds of success in your favour. The image of Osmington Mills, in Dorset, is a perfect example as I knew that the Sun would only rise over the sea for a few weeks during the winter months. Being able to calculate where the sun would rise by use of the http://photoephemeris.com and referring to tide tables, I was able to plan my trip more effectively.  At the other end of the day, the same day in fact, a few miles along the coast at Kimmeridge Bay the Sun has already set but the orange glow in the sky is beautifully reflected in the unusually calm water. The little rocks make for interesting foreground detail and the characteristic blue and orange colour combination at this time of day always work well together.

One thing you can never plan for, of course, is the weather but the sea and the wonderful luminous light that is often present by the coast can provide all you need to create interesting images, even when the Sun refuses to shine. The image of Godrevy Point, in Cornwall, was taken on a very windy evening and as with all my images the camera was securely supported on a sturdy tripod. I had composed the image carefully to ensure the little island the lighthouse sits on was separated from the mainland by a slither of sea. I always use a wired cable release that enables me to watch the waves as they roll in so I can, hopefully, catch it exactly where I want it to be, in this case breaking on the rocks. It often takes several attempts but with the wind in your hair and the symphony of the sea in your ears, there are few more absorbing or invigorating experiences.

As well as infinite variables offered by tide, weather and  Sun position there is also the geology to consider and this is another of the many reasons that I love the coast. The image below was taken at one of my absolute favourite beaches, Duckpool in Cornwall, on a particularly overcast evening. The Sun just managed to break through the thin veil of cloud and I decided to use the strong shapes and patterns in the foreground rocks as lead-in lines. When confronted with such striking strata I usually spend some time carefully composing the image so that the rocks flow through the image to some kind of focal point, in this case the Sun, that will then anchor the image.

A sturdy tripod is a must for effective seascape photography, especially when hoping to use longer exposures to create the impression of water movement. For some years I have used a Manfrotto 055 CLB for my seascapes that, although looking fairly bruised and battered, has never let me down. Always be aware that the coast is a hostile environment for your precious photographic equipment, and that includes your tripod. Even if you don’t actually venture to the water’s edge there is usually a considerable amount of sea spray in the air and so at the end of each visit it is important to ensure you rinse your tripod with fresh water and dry it thoroughly, especially around the leg locks.

Written by John Dominick
www.johndominick.com