While rainforests offer amazing opportunities for capturing spectacular scenery, they can also be incredibly challenging environments to shoot in. Drew Hopper outlines 10 tips guaranteed to help you shoot better images under the canopy.
Australia is home to some of the most extensive areas of subtropical rainforest in the world. These protected environments are often the highlight of many international visitors who travel thousands of kilometres to experience the unique flora and fauna. The best part about these botanical wonders is that there’s always something new to discover and they make ultimate subjects for nature photographers. Over the years I’ve developed a strong connection for these natural environments and I will happily say some of my best work has come from countless hours of trekking through these lush environments in search of those raw and beautiful moments. Here are 10 basic, but important tips to help you get the most out of your shooting time in a rainforest.
01 BEST TIME TO SHOOT
Shooting in a rainforest is all about timing. It’s best to be in a forest is when it’s overcast or raining. But it’s a common mistake to assume clear skies and sunshine are the best time, and this is frequently not the case. On an overcast day the clouds act as giant diffuser, softening the light, which helps prevent harsh highlights and deep shadows. If there’s moisture in the air you’ll also most likely find mist enveloping the forest, which is ideal for capturing those atmospheric shots. Unfortunately it isn’t always possible to be in the forest when it’s overcast or raining. If you’re holidaying, you may not get the conditions you would like. As a general rule of thumb it’s a good idea to visit early in the morning when the light is low and the air is cooler. This will give you a better chance to capture something more subdued, without the distractions of harsh light and shadows, and any early mist will only add to the atmosphere.
'Branching Out,' New England National Park, New South Wales, Australia. Antarctic Beech forest in New England National Park NSW, draped in moss enveloped by morning mist on top of Point Lookout. I wanted to show the texture an Antarctic beech forest shrouded in morning mist in World Heritage park. Since 1935 the park has protected ancient Antarctic beech which grow in its cool temperate rainforest. This photo was taken on the edge of the escarpment and involved climbing halfway up the tree in order to focus on the texture and detail. Canon 6D, 16-35mm f2.8 @ 35mm, ISO 200, 1s @ f/5.6, circular polariser and tripod. Contrast, curves, levels, clarity adjusted in Lightroom 5. Dodge, burned and sharpened in Photoshop CS5.
02 WHICH LENS?
Wide-angle zoom lenses have several advantages in a rainforest. Firstly, they exaggerate a sense of perspective, which can help give the viewer a sense of being in the middle of the forest. Another advantage is the ability this type of lens offers to capture everything in the frame. For example it’s great when shooting from a low angle and looking up at the canopy. The downside is the wide-angle distortion on the edges of the picture. Trees can sometimes appear like they’re falling into frame. But you can make this work in your favour if you have a strong enough focal point in the centre. Trees or people standing in the centre of the frame make great subjects when shooting from low angles, giving an undeniably surreal feeling to an image.
Another useful lens I like to shoot with is a telephoto (I use a Canon 70-200mm f/2.8L USM). This is a great lens for capturing wildlife, getting up close and personal to birds or animals, or for capturing an image from a point that might be inaccessible by foot. Keep in mind a 200mm focal length isn’t quite long enough for serious wildlife photography – at least not on a full-frame sensor. If you’re serious about shooting wildlife then I recommend something in the 400mm to 600mm range.
Macro photography also opens up a whole new realm in the rainforest. We often forget to stop and look at what’s beneath our feet. Macro photography can be extremely rewarding in a forest and the best part is you don’t have to walk very far to find interesting subjects – get down low and observe the miniature world. Mind you, don’t flatten a potential macro shot when you put your bag down, or step on something tiny and beautiful! If you’re serious about macro photography it’s a good idea to invest in some Speedlite flash units because the light can be challenging in the forest. This will make it easier to shoot fast-moving insects in low light. Alternatively, a small LED torch can also add enough fill light to create a great shot.
'Mystic Jungle,' Dorrigo National Park, New South Wales, Australia. Ancient World Heritage rainforest is shrouded in afternoon mist as the sunlight breaks through the canopy and illuminates lush foliage in Dorrigo National Park, NSW. These forests once covered most of the southern supercontinent of Gondwana and they remain the most ancient community of vegetation in Australia. Canon 5D Mk II, Canon 17-40mm f/4 @ 17mm, ISO 100, 6s @ f/13, circular polariser and tripod. Contrast, curves, levels, clarity, colour balance adjusted in Lightroom 5. Lens correction, perspective, dodge/burn and sharpening adjusted in Photoshop CS5.
03 POLARISING FILTER
I think a polarising filter is the most important item of equipment you can own apart from your camera and lens. Polarisers will help reduce the glare on water and saturate the green foliage to give your images more impact and eliminate unwanted distractions. Even on a sunny day a polariser can dramatically improve your photos. Circular polarisers come in a wide variety of brands and sizes for different lenses and they allow you to “dial”, or turn, the filter intensity for the best effect. Some popular brands include Hoya, B+W, Tiffen, Lee and Cokin.
'Little Cascades,' Dorrigo National Park, New South Wales, Australia. Narrow creek in Dorrigo National Park, NSW, comes to life after heavy rain, plunging into a shallow rock pool along the Wonga Walk. By setting my tripod up from a low angle I was able to tilt the camera upwards to frame the canopy and give the image depth and greater perspective. Soft diffused light shrouded in mist helped create the mood. I also used my hand to cover the lens to avoid getting rain drops. It didn’t solve the problem so I removed raindrops in post production. Canon EOS 6D, 16-35mm f/2.8 @ 16mm, ISO 400, 1s @ f/14, circular polariser and tripod. Contrast, curves, levels, clarity, shadow/highlight recovery adjusted in Lightroom 5. Raindrops removed and sharpening applied in Photoshop CS5.
04 USE A TRIPOD
A sturdy tripod is an essential piece of equipment every landscape photographer should have in their kit. It’s important you use a tripod in the rainforest because it’s often dark beneath the canopy. When you’re shooting at small apertures (f/11 to f/16) and thus requiring slower shutter speeds, handholding your camera isn’t always an option. By using a tripod you’ll be able to increase your exposure time while still capturing a sharply focused image from the foreground through to the background. Trying to capture steady shots handheld with small apertures in low light is almost impossible unless you’ve got really steady hands or you can brace the camera against something solid. For this reason I always carry a sturdy tripod, especially for when the wind picks up and I’m trying to take long exposures. Ideally, you don’t want your camera to end up on the ground or in a river!
05 WATERFALLS AND RIVERS
Water is the heart and soul of all rainforests and it gives photographers incredible opportunities for creating beautiful images. Standing amongst the forest with the tranquil sound of water gently flowing past is one of those timeless moments every nature photographer cherishes, so why not capture its serenity? Waterfalls and rivers can be tricky to shoot because water is another element to contend with in trying to get a dynamic shot. Observe your surrounds. Where’s the light falling? What foreground subjects grab you? How fast is the water moving? These are all factors to consider when you’re shooting moving water. For the best results, rather than dealing with direct sunlight, plan to shoot on an overcast day where the light is diffused. A polarising filter will also help cut down the glare on the water and saturate the foliage to bring out those rich organic colours. If you’re trying to achieve a silky smooth water effect use a smaller aperture (f/11 to f/16) and ISO 100, as this will allow you to use a slower shutter speed. Anywhere between 1/5s to a few seconds will give you the desired effect. If the light is harsh then try using a neutral density filter (ND filter). It can help with getting longer exposures to smooth out the water. Most people photograph rivers looking upstream, however you can also try shooting downstream to capture the water flowing away from your position. You will want to capture clean lines, the curvature of the river as it snakes through the forest, rocks that pull the viewers’ eye towards a waterfall in the background or an overhanging tree branch framing your shot. Be creative and don’t be afraid to get your feet wet, but be careful. Make sure your tripod is firmly footed when it’s placed in the river; slippery rocks and the force of the water can spell disaster!
'Blue Cascades,' Kuang Si Waterfall, Luang Prabang, Laos. Sometimes spelled 'Kuang Xi' or known as 'Tat Kuang Si Waterfalls,' this three-tier waterfall is a short drive from the town of Luang Prabang. I worked with the natural lines in the foreground to pull the viewer into the image, focusing on the second tier and using a slower shutter speed to blur the water for a dreamy effect. Canon EOS 5D Mk II, 16-36mm f2.8 @ 16mm, ISO 200, 1s @ f/13, tripod. Contrast, curves, levels, colour balance, saturation and sharpness adjusted in Photoshop CS5.
06 CHOOSING SUBJECTS
Rainforests are busy environments, often cluttered and full of distractions. It can sometimes become overwhelming when you’re trying to choose your subjects. An over abundance of trees, foliage, roots, rocks, vines can make or break your shots. The old adage of ‘less is more’ is correct, and composition is equally important as light. A great rainforest image requires balance and structure in order to make visual sense of it. You might already have an idea in your mind for the type of pictures you want to create. Scope out the location and look for details which immediately catch your eye. Once you’ve found your subject study it from various angles to work out what is effective and then frame your composition. Keep in mind you’ll often be shooting at small apertures, which means your background will also be in focus, so it will need to complement your foreground. It’s always nice have something interesting in the foreground that leads the viewer’s eyes into frame. My all-time favourite rainforest picture was shot from the ground; I was literally on my stomach shooting up at the canopy with a dominant tree in the centre of the frame as my focal point. In this shot the background is very busy, but by finding a solid focal point I was able to draw attention away from the clutter in the background and focus on the foreground subject, even at a small aperture.
07 TIME AND PATIENCE
Time is the most important investment you can make in getting great rainforest pictures. Your time begins the moment you make the decision to visit a new destination. It takes time researching new locations, time driving or hiking to get there and time taking the photo. You'll want to figure out where the sun will rise and set to make the most of your time in the field. Perhaps you've found an interesting tree, but the light is falling on the opposite side to where you had hoped to shoot – you can either recompose your shot or revisit the scene when the lighting has changed angles. Often I'll do both to get a different feeling for the same subject. But be patient – the forest has all the time in the world! That gigantic tree you want to photograph didn't sprout up overnight. That's the best part of shooting the natural world; Mother Nature is extremely patient. Sometimes you'll be rewarded with something special, other times you may walk away empty handed with no pictures at all. Part of becoming a better landscape photographer is finding time to reflect and take in your surrounds.
'Kuang Si,' Kuang Si Waterfall, Luang Prabang, Laos. Clear water cascades over limestone formations and gathers into layers of turquoise pools – a popular tourist spot in Laos. I visited multiple times to get the light spilling through the canopy onto the falls. The image required an ND filter since the sky was clear and sunny, I also used a circular polariser to cut glare from the water and help saturate the colours. Canon 5D Mk II, 16-35mm f/2.8 @ 32mm, ISO 50, 1s @ f/18, 2 stop ND, circular polariser and tripod.
08 STAYING DRY
You don’t need an expensive wet weather set up, but raindrops, water falling from leaves, and mist will all add to a very wet environment. Here are a couple of items to carry and ideas to think about for your rainforest expedition:
• A large microfibre cloth for wiping down the camera or lens which can be placed over the camera while it’s on the tripod if there are water droplets falling from the canopy. You’ll still be able to see the screen and body of the lens.
• An extra large ziplock bag which can be placed over the camera while it’s still on the tripod if you’re walking and brushing past water-laden trees.
• If the ground is really wet or dirty, you can always hang your camera bag (or a small bag of stones) from the centre support of your tripod. It adds stability. Take care if you’re using your tripod in water – the hollow legs can sometimes fill with water!
09 CLEANING UP
After a few hours in the rainforest youur shoes, bag, knees, and tripod may be covered in dirt, leaf matter and compost from the forest floor. Water, of course, is the number one enemy of electronics and anything metal. Make sure you allow time for internal moisture to dissipate when you get home. Leave your camera out of it’s bag in a warm, dry environment. Check your tripod legs and latches for dirt and moisture, extend the legs and wipe them down with a clean cloth. A little water dispersant spray on metal nuts and bolts, which can be then wiped down, will prevent corrosion.
'Ancient Forest,' Dorrigo National Park, New South Wales, Australia. Subtropical rainforest and 600-year-old trees along the Wonga walk in Dorrigo National Park, home to the Tristania Falls and Crystal Falls. The forest drops off the edge of the escarpment, making for dreamy images when blanketed in mist as seen in this image taken on a rainy day. Canon EOS 6D, 16-35mm f/2.8L @ 29mm, ISO 100, 1/4s @ f/7, circular polariser and tripod. Contrast, curves, saturation decreased, clarity adjusted Lightroom 5. Dodge and burn, lens correction and sharpening adjusted in Photoshop CS5.
10 FORGET THE RULES
This last item could be the most important piece of advice I’ve learnt over the years as a photographer. How do you identify yourself as a photographer? What got you interested in the craft? Firstly, not everyone will like what you do. There will always be someone who disagrees with what you’re doing or how you achieve what you do. Don’t let this stop you from enjoying your pursuit. Do what you love and love what you do. Yes, there are certain guidelines to capturing great pictures, but these ‘rules’ aren’t mandatory to creating a successful shot. Take photos which express who you are and the things you are most passionate about. Most importantly – be yourself, no one else is better qualified. Own it!
www.drewhopperphotography.com
'Pixie Garden,' New England National Park, New South Wales, Australia. A miniature macro world on the forest floor is barely visible to the naked eye. To put this scene into perspective, the tiny white flowers are the size of a match head and the mushrooms about the size of a five-cent coin. Canon 6D, 1969 Nikon 50mm f/1.4 with Canon adapter @ 50mm, ISO 400, 1/30s @ f/1.4 with tripod. Contrast, saturation adjusted in Lightroom 5, sharpened in Photoshop CS5.
Title: Twisted Forest
Location: Dorrigo National Park, New South Wales, Australia
A majestic old tree in Dorrigo National Park, NSW. The park offers spectacular scenery which has been millions of years in the making. These Gondwana forests protect a wide variety of animals and birds, like red-necked pademelons, the vibrantly coloured wompoo fruit-dove and the spectacular regent bowerbird. These tree roots made great lines in the image, so I shot from a low angle to add depth to the scene. Canon 6D, Canon 16-35mm f/2.8 @ 16mm, ISO 200, 6s @ f/13, circular polariser and tripod. Contrast, curves, levels, clarity, colour balance and saturation adjusted in Lightroom 5. Raindrops removed, dodge/burn and sharpeness adjusted in Photoshop CS5.