How to: photograph waves (Part one)

This is the first part of a two part series on photographing waves. Look out for part two, which covers camera settings and editing, next week.

Photographing our oceans is a strong passion of mine, and I have been fortunate enough to see many amazing and unique moments where the light has beautifully interacted with waves, giving them diverse characteristics.

My goal with wave photography is to make people feel the energy that I do when confronted by the ocean. This energy can vary hugely and be found through the different shapes and structures of the water.

When the conditions are right, the light plays with the surface of the water, while the wave creates unique reflections, shadows, and forms that only a photo can reveal. And all this happens in a split second – a very short moment when the water defies gravity and delivers its raw power.

But while many people think taking photos of waves is just about clicking the shutter, there is a little more to it. So, let’s take a look.

The conditions

Much like landscape photography, ocean photography requires planning, preparation, and a bit of luck. Chasing the right conditions is crucial – it’s what opens the door of opportunity to seeing and capturing a unique moment that may only last a second. It is about recognising the ocean’s behaviour, and also about how light brings the waves and incredible ocean structures to life. This starts with understanding the swell.

Living an hour away from the nearest beach means I don’t have the luxury of being able to head down to check the surf whenever I’d like. Therefore, planning my trips revolves heavily around the swell conditions and weather.

I start my planning by checking the size of the swell. I enjoy shooting a medium to large swell, but this is also dependent on the location. It’s a great idea to first scout out some potential shooting locations and analyse how the ocean behaves in different size swells.

You can check the swell in various locations using websites or apps such as Swellnet, Magic Seaweed or Willyweather.

Reading the light

I’ll always aim to be on the shores or in the water as the sun is coming up or going down over the horizon. Here on the East Coast of Australia, the early mornings produce stunning light that adds character to each wave as it rolls in. Because light changes so quickly, and also differs from day to day, no two shots are the same and embracing how the water reacts to the current conditions is important to producing natural and dynamic images.

To find those vibrant colours in a wave, you’re looking for direct sunlight at sunrise, which will backlight the wave for an incredible glassy effect. In contrast to this, a dark and stormy day allows for extreme elements of mood and drama within the image.

At my nearest beach in Wollongong, NSW, I have found that it flourishes with about a 4-5ft swell on a high tide. This allows the waves to roll in, crash against the rocks, then create a new wave that heads back out to sea which collides with the next wave. It’s this moment where the magic happens.

As two waves collide, they can create a unique towering, ocean structure that sprays in a backwards direction; this is known as backwash – you can see a particularly good example of this on the next page.

On the morning of this shot, I was lucky enough to witness and capture a series of images that not only displayed these ridiculous wave formations but also in sensational light as the sun peaked above the horizon.

While sometimes the swell, wind and weather will work together to give you incredible images, it is important to remember that perfect conditions won’t always happen. More important is being out there as much as you can to see the moments you would have missed if you didn’t persist. Make it a journey that you love, not just a destination with no story. 

Gear

Many people think most of my shots are captured with an underwater housing. In reality, the sand is still under my feet when I am clicking the shutter for most of them.

Deciding on whether I stay dry or get amongst it mostly depends on the conditions and whether I feel comfortable and confident in the water. The first and most important thing around the ocean is your safety, so please ensure you do not put yourself in danger if you plan to take shots like mine.

Although the majority of my images are shot from the shore, getting as close and low to the water as possible will greatly influence the perspective of the waves and allow for much more powerful, awe-inspiring images.

In terms of gear, the most important piece of kit other than my Sony A7 III is my Sony FE 70-200mm F4 G OSS lens. Using a telephoto lens allows the wave and its characteristics to be individualised while also emphasising the detail of the structures.

A wide-angle lens, like my Sony E-Mount 50mm f/1.8 lens, is handy but this I find it more useful for capturing the ocean in a larger context where other elements can assist in showing the scale or whole scene.

I also have an underwater housing which I use when I want to swim out and get amongst the waves. If you’re starting out with an underwater housing, a good lens to start with is a 50mm as it is quite a versatile focal length and allows you to capture details, reflections, and shapes of the ocean.

While it is often recommended to use neutral density filters when shooting the ocean, wave photography is a bit different. Because you are shooting at faster shutter speeds, ND filters aren’t necessary.

Finally, remember that the gear you use does not define or determine how good your shots are. it’s all about what you’re trying to achieve when capturing the ocean and how you’d like to portray your feelings and the story within that image.

About the author: Ian Hollis is a 22 year old passionate photographer from South-West Sydney. He works as a Primary School Teacher and describes the ocean as his outlet. He was a finalist in the 2019 Photographer of the Year. You can see more of his work on Instagram.