Tips From a Pro: Shoot Striking Beach Landscape Photos | Popular Photography

Tips From a Pro: Shoot Striking Beach Landscape Photos

Scott Mead shares some of his techniques for getting the best out of a beach shoot

Scott Mead Main

Scott Mead Main

Scott Mead's adventure in beach photography started back in 1975 when his grandfather gave him a Kodak Instamatic and sent him off on the sands of Maui. Since then, he has been creating striking images of sand, sea, and sun. Here are some tips for taking full photographic advantage of your next trip to the beach.

What do you look for in a good shooting spot on the beach?

Typically what I'm looking for is something that has a really solid foreground to anchor the image. If I'm shooting a sunset, it obviously has to be west-facing, but it also has to have some really good wave action. I like to have some motion within the image. You also want to make sure the sun isn't going to be the bullseye in the image. You have to have it off at least a little bit.

What is your scouting process typically like?

I spend a lot of time just looking for the right spot. You have to observe how the water is moving, how the under water topography is affecting the waves. Eventually you find that one perfect spot where everything comes together and from there it's just a waiting game for that perfect light. The beach isn't a bad place to wait around.

Sunrise and sunset are obviously great times for beach shots, but what do you shoot in mid-day sun?

You can shoot the beach any time of day. Everything is always changing at the beach. If you have really shallow water, you wan wait until the sun is really high and in back of you and that light will come through the water. It'll hit the sand and reflect up, so as the waves curl, you'll get some incredible aqua colors.

You can also pull out a macro lens and shoot foot prints or little crabs. Different beaches are made up of a multitude of different things. If you wait until noon when the sun his high in the sky and do a really tight macro on some wet sand, it can really look incredible.

Do you use any filters when shooting sunsets?

When it comes to sunsets, I use split neutral density filters 100% of the time. It's really the only way to balance the light within the camera so you make sure you retain all the detail within the shadow areas without blowing out the clouds that are close to the sun. It has the added benefit of letting you drag the shutter a little bit to catch that wave action.

What does your normal gear set-up look like?

I don't leave anything at home. I typically carry a 5D Mark II and a 5D Mark III. I set them both up side by side. The 5D Mark II is basically shooting time lapses. The 5D Mark III has the split ND and is taking the individual beauty shots. Both cameras have a Canon 16-35mm F/2.8L zoom lens. I also carry with me a 24-70 F/2.8L and a 100-400mm lens as well. I also have a 15mm fisheye. It's a fun lens because I can put it on the 5D Mark II, get it less than an inch from the water and it looks very cool.

Can you run us through your process for shooting a sunset?

I start shooting maybe 25 minutes before the sun actually goes down. The scene keeps evolving for that entire time. A lot of people see the one final image that I present, but the time lapse shows how things progressed. It's not just the sun, but it's everything around it. If you have a sailboat in the scene or surfers, they help tell the story. The main subject is the beach itself but incorporating those secondary objects that draw people's eyes. They don't just glance at it. They pick up all those little details that make it a living, breathing thing.

How do you predict the tides and the wave action?

You can learn the timing of wave sets. You have a small wave, which builds up to larger waves and then it goes back down again. Surfers have been using this for decades. Each break has its own timing. You can just go out early and watch the waves. You'll notice a series of maybe eight to 10 waves. In that set, you'll see a real big one in the middle. Spend some time watching and that will give you an idea of how long you'll have to wait to get the one you want.

There are a few smartphone apps for tide predicton that list the tides for where you are. It will show you when high and slack tide will be. That enables you to predict your setting days ahead. You can make sure you're at high-tide, which will give you bigger waves and better action in your photos.

How do you decide whether to use a slow shutter speed to blur the waves or a fast one to freeze them?

It depends on what I see the waves doing. Are they breaking high enough to give me a decent curl? Is there light behind the wave to give me a crystalline effect? You have to watch to see what's going to work. Sometimes I'll pull a slow shutter speed like 1/6-1/8 sec. and let the wave curl over to give it a sense of motion. Pan blurs also work really well with waves. Go to 1/30th sec. or so and follow the wave with your camera. If you want to catch every single little water droplet, you can bump it up to 1/500-1/800 sec. and freeze everything. You'll find out what works for you pretty quickly.

Do you find it tricky setting up a tripod in the sand? Seems like it could be a nightmare getting it level.

It's not a problem at all. The best thing I've ever purchased is the Gitzo explorer tripod, which lets you lock the tripod legs in any position you want. Sand, and if you're here in Hawaii, lava can make it tricky to set up a tripod if you can't move the legs freely. I also use a Acratech head leveler. I set the tripod down and I've got everything level within a minute.

Do you do anything special to protect your gear from all the sand and salt at the beach?

The one thing I utilize that people will probably laugh at are the small, clear garbage bags from Costco. They're one of the best cheap ways to take care of your gear. I'll poke a hole in the end, stretch it over the lens and let the rest drape over the camera. I have storm covers that I use if it's raining or if I'm out on a boat shooting whales, but the clear bag lets me make quick adjustments to my camera.

Do you clean your gear before putting it back in the bag?

I always keep a blower bulb or a can of air handy because sand can really get into everything. Before I put anything back in the bag, I'll give it a quick blast to get the extra sand off. When I do get back to my studio, I thoroughly clean all my gear with a damp terry cloth towel. Knock on wood, in my eight years of continuous shooting over here, I've never had a camera fail due to salt exposure.

What are some common mistakes people should avoid when composing beach shots?

Probably the biggest mistake I see people make is that they don't take in the whole scene. They'll see something they like, step up and snap it. Then when they get back and look at the photo, they'll say, "This doesn't look exactly how I saw it." You need to ask yourself what's really making it an awesome scene.

A lot of people shooting sunsets will grab a shot and their camera's meter takes an average of the scene, giving you a nice glow, but it loses the foreground and the background. That's where it's really important to utilize cloud cover if you don't have an ND filter. You can shoot a beautiful sunset without the sun in it.

How do you keep your landscape and sunset shots feeling fresh and interesting?

Sunsets are like snowflakes in that no two are ever alike. You can have a really clear night that will give you vibrant yellows and deep oranges. Other nights, you'll have low-lying clouds and you'll gets those wonderful pink tinges. After the sun goes down, wait for another 15 or 20 minutes. Sometimes after the sun goes below the horizon, you can get incredible colors in the clouds.

A lot of photography is about patience and persistence, but you need a dose of luck as well. It's not uncommon for me to go back to a location maybe five times just waiting for the right sunset. Experimenting is so important.

1_smp_anaehoomalu_pp.jpg

Location: Anaehoomalu Bay (A-Bay), Waikoloa, Big Island, Hawaii.

Gear: Canon 5D MARK II, Canon 24-105mm f/4, Singh-Ray Galen Rowell 2-stop, hard-edge, split ND filter. Gitzo Carbon 6X Explorer GT2541EX tripod, Acratech leveling base and GP-S ballhead.

“Two boats, a row of coco palms and a Vog (volcanic smog) filled sky provide the right ingredients for a great silhouetted sunset of the Big Island’s Anaehoomalu bay.”

Scott Mead

2_smp_coralgarden_pp.jpg

Location: Coral laden beach, Makena, Maui, Hawaii.

Gear: Canon 1DS, Canon 24-70 F/2.8, Gitzo Carbon 6X Explorer GT2541EX tripod, Acratech leveling base and GP-S ballhead.

“There’s more to a beach than just sand. Interesting abstracts abound under your feet, with pebbles, drift wood, lava rock or coral.”

Scott Mead

3_smp_endoftheday_pp.jpg

Location: Makena Cove, Makena, Maui, Hawaii.

Gear: Canon 5D MARK II, Canon 16-35mm f/2.8, Singh-Ray Galen Rowell 3-stop, hard-edge and 2-stop soft edge split ND filter. Gitzo Carbon 6X Explorer GT2541EX tripod, Acratech leveling base and GP-S ballhead.

“With the sun beginning to peak beneath the clouds, two split ND filters help balance the light, while slowing down the shutter to a half-second – just enough time to blur the receding wave and capture the next curling over.”

Scott Mead

4_smp_hoohele_pp.jpg

Location: Lava outcropping, Pahoehoe Beach Park, Keauhou, Big Island, Hawaii.

Gear: Canon 5D MARK II, Canon 16-35mm f/2.8, Singh-Ray Galen Rowell 2-stop, hard-edge split ND filter. Gitzo Carbon 6X Explorer GT2541EX tripod, Acratech leveling base and GP-S ballhead.

“Sometimes you get a great sunset, even in the worst conditions: The afternoon had been overcast and rainy, but when I saw broken clouds near the horizon, I decided to setup my gear anyway and covered it from the elements. Five minutes before sundown, the sun broke through the cloud layer, illuminating the vog-filled air with a pink sunset. I was able to shoot for about a minute-and-a-half before the sun disappeared beneath another cloud bank above the horizon – the ultimate reward for patience.”

Scott Mead

5_smp_inthefoam_pp.jpg

Location: “White Rock” beach, Wailea, Maui, Hawaii.

Gear: Canon 5D MARK II, Canon 15mm f/2.8 fisheye, hand held.

“There are times when I keep the wide angle lens in the bag and have fun with a fisheye. I got this crab’s eye view by dangling the camera about a quarter-inch off the sand, then lifting it up a moment before the foam could touch the body. Shooting blind, it took about 50 shots before I got the right wave, composition and minimal distortion.”

Scott Mead

6_smp_hanaleibaysunset_pp.jpg

Location: Hanalei Bay, Kauai, Hawaii.

Gear: Canon 5D MARK III, Canon 16-35mm f/2.8.

“There are some neat new features in today’s cameras that help you get great sunset shots at the beach. I’ve been experimenting with the HDR mode in Canon’s 5D MARK III and captured the end of the day in Hanalei Bay, without the need of any neutral density filters.”

Scott Mead

7_smp_paradisefound_pp.jpg

Location: Oneloa Bay, Maui, Hawaii.

Gear: Canon 1DS, Canon 16-35 F/2.8

“Not every great beach shot happens in the golden hours. In the early afternoon, the sun can light up shallow bays and coral reefs, giving you incredible aqua colors and a lot more detail under the water.”

Scott Mead

8_smp_redsands_pp.jpg

Location: Red Sand Beach, Hana, Maui, Hawaii.

Gear: Canon 1DS, Canon 16-35 F/2.8, Singh-Ray variable Neutral Density Filter, Gitzo Carbon 6X Explorer GT2541EX tripod, Acratech leveling base and GP-S ballhead.

“In Hawaii, you can find white, salt and pepper, black, red and even green sand beaches. Kaihalulu was created when a red cinder cone collapsed, creating the beach. Getting low, I was able to showcase this coarse sand, and a variable ND filter let me slow the shutter speed to give the small waves a bit of motion.”

Scott Mead

9_smp_ulua_pp.jpg

Location: South Maui, Hawaii.

Gear: Canon 5D MARK II, Canon 16-35mm f/2.8, Singh-Ray Galen Rowell 3-stop, hard-edge and 2-stop soft edge split ND filter. Gitzo Carbon 6X Explorer GT2541EX tripod, Acratech leveling base and GP-S ballhead.

“I’m often asked what the key is to getting the best sunset shot at the beach, and my answer is always the same: Patience and persistence. You can go to the same beach for three consecutive evenings, and get three distinctly different sunsets. If the conditions aren’t right one night, go back the next. You might be pleasantly surprised. For this image, it took several days of visiting the same location until the right combination of vog, clouds and high tide melded together for the perfect image.”

Scott Mead

10_smp_waipoulisunrise_pp.jpg

Location: Waipouli beach, Kauai, Hawaii.

**Gear: **Canon 5D MARK III, Canon 16-35mm f/2.8, Singh-Ray Galen Rowell 3-stop, hard-edge split ND filter. Gitzo Carbon 6X Explorer GT2541EX tripod, Acratech leveling base and GP-S ballhead.

“Getting the camera about four-inches off the sand allowed me to get a good perspective of the ocean trying to reclaim the little pebbles, bits of coral, shells and sea glass that make up the beach.”

Scott Mead

11_smp_swayinginthenight_pp.jpg

Location: Kalepolepo beach, Kihei, Maui, Hawaii.

Gear: Canon 5D MARK II, Canon 15mm f/2.8 fisheye.

“Just because the sun dipped beneath the horizon, it doesn’t mean you should put your camera away. A couple of hours past sunset, I painted the coco palms with a flashlight during this 20-minute exposure. The full moon filled in the beach, while moving clouds and star trails add to the drama of the image.”

Scott Mead

Latest


More Stories


Videos