Methods of ADJUSTMENT
STOP: A stop is a measured amount of light that is consistent across all methods of adjust- ment. For example, you can correct an underex- posed image in one or a combination of three ways: slow down your shutter speed, open your aperture, or speed up your ISO by the required number of stops. On a bright sunny day, I’ll gen- erally start off with a shutter speed of 1/800, ap- erture F/8, ISO 100. Then I’ll check the histogram and adjust as necessary, starting with aperture.
APERTURE: Along with shutter speed, aper- ture—or F-stop—controls the amount of light reaching the sensor. The numbering seems back- wards—the smaller the number, the larger the ap- erture. Larger apertures permit low light shooting without sacrificing action-freezing shutter speed, but reduce the depth of field—the amount of fore-, mid- and background that is in focus.
SHUTTER SPEED: Faster shutter speeds stop action but don’t let in much light so they are challenging to use in deep, dark river canyons. Slower shutter speeds expose the sensor to more light, but moving objects like water, kay- akers and paddles will blur. I consider 1/500 the absolute minimum when trying to freeze action. A better range is 1/800 to 1/1250. Shutter speed is the weakest of the three methods for adjust- ing exposure, because you only gain one stop of light going from 1/1000 to 1/500.
ISO: The digital equivalent to film speed. Lower ISO speeds absorb less light than higher ISO but retain better detail and color and less noise (digi- speak for grainy looking photos). As a rule, keep your ISO as low as possible for the situation.
GETTING CLOSE
Shooting with a wide angle lens is not about getting it all in, it is about getting close to your subject. If you are in ultra-wide territory (14–20 mm), then the subject should only be a few feet away. Try crouching instead of standing to change the perspective—the wider the lens, the more small adjustments in angle make a big difference.
Shoot for the LIGHT
I CROUCHED AS LOW POSSIBLE TO CAPTURE THIS UNIQUE PERSPECTIVE OF MATT THOMAS ON UPPER CHERRY CREEK. 20 MM, F/9, 1/1250, ISO 200.
UNDERSTANDING LIGHT consists of a few basic rules mixed with experience. The most common mistake is to choose
your angle for the rapid, not the light. Early on, I thought sunny days were best for shooting action,
since they allow medium apertures, fast shutters and low ISO speeds. Unfortunately they also limit your ability to shoot the angle you want. Sometimes it can take years to get a shot because you have to
camp at a certain location to shoot in the morning, on a run that flows only once a year. As you repeat rivers, remember key loca-
tions to shoot from, and what time of day will give you good light from that angle. The most basic rule for whitewater lighting is to shoot with the sun behind you. It’s as simple as
checking your shadow. This reduces glare, improves color saturation and, if the sun is low enough, lights up the paddler’s face. On the West Coast, this means shooting downstream in the morning and upstream in the afternoon. Vice versa on the right coast. At mid-day you are more or less limited to an overhead shot. If you have no option to get the sun behind you, use a good polarizer. Although it is tricky since we can’t paddle in the dark, try to shoot near dusk and dawn for the most
dramatic soft lighting. If you’re shooting in the shade, try to exclude any direct sunlight from the frame, unless you see
a specific bright spot that will highlight your subject. Don’t be afraid of mixed lighting when it can work to your advantage. My favorite condition is when high cloud cover causes the light to naturally “lightbox.” Lightboxes
are used for studio shoots and disperse the light so it’s even from all angles. You will need fast lenses or a camera with good high-ISO performance to maximize the light on these days, but you can shoot from your angle of choice with nice, even lighting.
LIGHTBOX DAY: TAYLOR CAVIN ON THE SOUTH BRANCH OF THE MIDDLE FEATHER RIVER, CALIFORNIA. 200 MM, F/4, 1/800, ISO 125.
IN A CANYON OF CONTRAST, MIXED LIGHT SETS STEPHEN WRIGHT APART, NORTH FORK AMERICAN RIVER. 50 MM, F/6.3, 1/800, ISO 100.
26 RAPID SUMMER/FALL 2011
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