In A Technical Focus, photographers offer technical and compositional insights into creating quality images that tell the story of a moment and place. 

There is something about waterfalls that draws us in, commands our attention, and captures our imagination. People flock to them, escaping from daily life into the immersive experience of rushing water, the soothing – or roaring – sound, and the embodying effect of their mist. Many visitor experiences, from overlooks to hikes to scenic stops, are planned around them, so it’s no wonder that waterfalls are a staple in photography portfolios.

My attraction to waterfalls has intensified significantly since I took on photography, as capturing their magic can prove to be a real and energizing challenge. I’ve taken many waterfall photos that have fallen flat, despite being technically well executed. I have learned that conveying the experience of a waterfall through a still image requires a story-telling attitude and patience. You want to express what is unique about the waterfall you are photographing, as well as the moments you experienced in its presence (the season, the weather, or the light). Each waterfall is unique, from large, epic ones that are social media icons, to smaller, more discrete ones that may go unnoticed and unphotographed. But they all have the potential to create stunning images. Below, I share my thoughts on how to approach shooting different kinds of waterfalls.

Let’s start big, with two of the five tallest waterfalls in Iceland. It may seem easy to take compelling images where the landscape is so impactful, indeed a phone snapshot may be enough to impress your friends! Capturing images that invite curiosity and imagination is, however, a very different story. The Haifoss image above was captured in the middle of a partly cloudy day. I took time to scout the landscape, observing the shifting conditions as clouds passed, revealing patches of light here and there. Being attentive allowed me to capture this moment, which I felt perfectly summarized the experience of that day: spotlights dancing over the sweeping landscape. The sky opening up in the distance immediately suggested this composition: water from the falls flowing towards the light. Using the river below to connect the waterfall to the light in the distance is what makes this image work. Calmly observing doesn’t mean you don’t have to react quickly, though, and this light did not last long. I made a fast switch to my wide-angle lens to frame this at 19mm. Thankfully I usually bring my 11-24L f/4L, which allows me to shoot at wide as my heart desires! 

The photograph of Hengifoss below was born of a similar approach. This day was overcast with imminent rain, but I saw a little opening in the sky moving towards the falls and waited patiently until the patch of light lit up the scene. While I was most excited about other pre-conceived compositions further along the hike, I am glad I took the time to wait for this image. I shot this at 55mm, framing as tightly as I could around the waterfall and the light patches around it. The moderate compression worked to accentuate the red layers of clay that strike such impactful lines in the basalt. The other compositions I had imagined and eventually shot, wide-angle images from the creek below, turned out less successful as they de-emphasized the red stripes. It’s a lesson that I keep learning over and over: don’t run towards the pre-conceived shot. If you’ve found something you like, take the time to nail it! The pie-in-the-sky image you’re chasing around the corner probably won’t be what you expect.

Seljalandsfoss (below, also in Iceland, land of waterfalls) is one of the most iconic waterfalls on social media, and I couldn’t resist shooting it! While I’ve seen similar compositions, I felt particularly well-equipped to capture the power of this dramatic waterfall with my aforementioned Canon 11-24 f/4L lens (sometimes, you want to explore the potential of your gear!) A benefit of this lens is the gel holder built into the back, which allows the use of neutral density gels to slow down the shutter even when shooting (gulp!) straight into the sun. This is a great feature, as it’s often impossible to use filters on ultra-wide lenses since the glass element is so large. Being able to frame this whole scene (at 11mm), while slowing down the shutter to capture the illuminated flowing water, was a downright thrilling – and wet – experience. I also made the intentional compositional decision to carefully place the sun where it would blow out the details of the parking lot in the distance (much preferable to trying to clone out a parking lot when editing). Shooting such high contrast scenes often requires bracketing, and I have one of my custom functions on my camera set to shoot brackets in 2-stop increment. Word to the wise: if you plan to get close to a powerful waterfall, make sure your gear is weather sealed, and bring lots of dry wipes!

I’ve heard some people express that epic waterfall experiences have “ruined” smaller falls for them. The tremendous waterfalls above really do take your breath away, and can be admired in their unobstructed entirety, as part of vast, otherworldly landscapes. But for me, witnessing the great variety of waterfalls that exist is part of their magic. I have intentionally nurtured my ability to appreciate smaller scenes and love the challenge of photographing waterfalls that don’t offer “easy” or broad vista type compositions. Smaller waterfalls can be just as impactful when seen and composed the right way.

With a 40’ drop, Tawhai Falls in New Zealand (aka Gollum’s Pool, cover image of this article) is a humble waterfall compared to the three above. But less power also makes for a more accessible creek below, and a more intimate image that really places you there. Including the downstream flow is a common compositional strategy, and you can see how well it can lead the eyes into the image. This image works because the waterfall is enhanced by framing it between the flowing stream in the foreground and the light in the background.

Some waterfalls can’t be captured in their entirety without visual obstructions. This forces photographers to do what they may otherwise forget to… spend time looking for more intimate compositions, which may be smaller parts of the larger subject. After struggling to capture the whole of the falls below, I realized that there was a lot of interest just at the base, where the water flowed around the textured trunks of these trees. I was intrigued by the stillness of the trees juxtaposed with the movement of the water. All I had to do was zoom in a little tighter. Experimenting with longer focal lengths has trained me to see compositions I may otherwise miss. I’ve learned to just put a longer lens on my camera, look at subjects more narrowly through the viewfinder, and see what I find.

Then there are the really small waterfalls, nestled in more subtle landscapes, and whose force alone won’t take your breath away. Shooting them is a completely different art, but they offer just as much opportunity as their majestic counterparts. What they lack in the epic department, they make up for in accessibility and intimacy. You approach them without being overwhelmed by their power, drawn in instead by their details - a world of textures and tiny features that may bring an image to life… such as intricate landscapes of leaves and moss! 

The photo below, from a waterfall in the BWCAW in Minnesota, is one of my favorite waterfall images, and it’s one that I almost didn’t shoot. I hesitated, thinking: “Don’t I have enough waterfall shots, from more magnificent places?” It took me a while to actually see the beautiful, colorful wall next to it, and how all the lush vegetative detail could work to complement the flow of the water. This image would have been boring if it was just the waterfall, but the fabulous detail in mosses and leaves gives it a very intimate, whimsical feeling. Which leads me to one more benefit to small waterfalls: it can be easier to include vegetation in the image, because the reduced volume of falling water means less falls-induced wind, so the foliage is easier to stop. Getting flowing water and still leaves in one exposure… now that is priceless!

I had the image above in mind when I came upon the waterfall below, in the San Juan Islands. I was so committed to getting this shot that I came back to this location four times in a three day period… looking for optimal lighting conditions. I included enough of the wall of ferns and moss to the left to showcase the saturated, green character that was important in telling the story of this place. Once again, the calm air and small waterfall allowed for great detail in the vegetation. Another key factor in achieving rich, deep colors and softness in light is to use a polarizer to cut down on glare. This is critical when shooting scenes like this, with lots of wet foliage and surfaces. One thing all these images have in common is a slow shutter, and that is a matter of personal preference. You could stop the water for a completely different effect. I prefer an exposure in the 1-2 second range, to capture the movement of the water while retaining a little bit of texture.

For me, what makes waterfall photography special is that it invites, almost requires, that you take the approach that makes any image special: a conscious effort to showcase something about a place and the moment it was experienced by the photographer. I find myself far from tired of photographing waterfalls, but rather that my attempts to convey their magic are just beginning. The more falls I have experienced, the more my enchantment with them has grown. 

If you have questions or comments please leave them below. Happy waterfall shooting to all of you who a passion for these lovely subjects!