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Photographing the Afon Nedd Waterfalls

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Photographing the Afon Nedd Waterfalls PHOTOGRAPHING THE AFON NEDD WATERFALLS Waterfalls are amonst the most popular of photographic subjects. In this guide I take you through a visit to the Afon Nedd Waterfalls in the Nedd-Fechan Valley, Brecon Beacons in August 2017. The area is one of, if not the best in the UK for its range, scale and number of waterfalls, the water coming directly off the mountains and meeting at the confluence of the Rivers Mellte, Hepste, Pyrddin and Nedd-Fechan, tributaries of the River Neath, winding their way through Waterfall Country via steep-sided, tree-lined gorges. Getting there (see maps below) The waterfalls area is just north of the A465 Heads of the Valleys road at Glynneath around 18 miles east of Swansea. From the south, access the area from the A465 Heads of the Valleys road and turn off at Glyneath; from the north, a series of minor roads off the A 4059 Hirwaun Road will take you to the Pont Melin-Fach Car park, which shortens the walk to the waterfalls and is the route that I have used (i.e. north to south). It’s best to have a map with you: buy OS Explorer Series OL12, Brecon Beacons National Park, West & Central Areas. The Car Park is at Grid Ref: SN 906105. 1 Before you leave, make sure you have the following essentials: Your camera and lenses (a wide angle is good for dramatic foregrounds of water) A sturdy tripod A remote release for long exposures Preferably a set of filters including neutral density, graduated neutral density and polarising + Lens / filter cleaners (these will be getting plenty of use with rain & spray!) An umbrella (either rain or spray is common) Walking boots or wellington boots for getting into the water and waterproof clothing When you leave the car walk past the information point; it contains some useful background to the area and walk down the path signposted ‘Elidir Trail’. When I did it, the path was very muddy and is rocky in places (see the picture below), particularly at the beginning. See the picture attached. I say more about staying safe at the end of this paper – please read it in detail. 2 The right weather for waterfalls? The day I went and took most of the images on this blog, there had been heavy recent rain; you might imagine that this is ideal for photographing waterfalls, but in fact leaves a number of challenges: Water spray into the camera can be a real issue if you get anywhere near the waterfall The fine detail and subtleties of the water cascading over rocks can be lost in a sheet of white. In the Brecon Beacons, the uplands are of peat; this washes down and turns the water a distinct brown colour, rather than the nice white you’d ideally be looking for. Surfaces and paths can be very slippery; take great care when accessing viewpoints. So while you want water to capture, often the best time to go is a couple of days after heavy rain has passed; you’ll still get sufficient water running off but not sufficient to result in the problems listed above. Light rain or drizzle is generally good; the light is flat which is ideal for even light with no shadows and strong colours. It also keeps rocks and other surfaces wet without the disadvantages listed above. It’s also best to avoid sunny days; the sun reflected off water can create real difficulties and flatten colours. Waterfalls are also usually in wooded valleys, causing a sometimes very unpleasant and messy combination of light and shadow in sunshine. If you do go on a sunny day, try using backlighting on tree leaves; you’ll rarely achevie good results with the sun behind you. Overcast days with flat light are perfect for waterfall areas and bringing out colours 3 LOCATION 1 – WATERFALL 200M SOUTH OF CAR PARK Before we get to the main waterfalls, after about 200m from the car park you’ll notice a minor fall which while not the most impressive (and is not individually named) is worth a quick stop though it’s difficult to get an effective angle on it. Typically the best position to take waterfalls shots from is directly facing the water; the flow coming directly towards you is generally much more dramatic First waterfall: 10 sec, f16. 16mm lens. ND 1.2 (4 stop) filter to lengthen shutter speed This is an initial shot taken from the edge of the bank. It results in water running across the frame which can make for an awkward compositon. In this situation, try to look for alternative viewpoints, perhaps finding a simple foreground and detail rather than trying to capture the whole waterfall. Exposure suggestions for shooting waterfalls: Always shoot in RAW for maximum flexibility and control in post-processing. You’ll often find that waterfalls are bright but can be a small part of a dark scene. If using Average (Matrix / Evaluative) metering, the camera will want to lighten the scene to mid grey (while in reality it’s a significantly darker tone). This has the potential to over-expose the highlights of the water. If using aperture mode, use exposure compensation of -0.7EV, but preferably use manual mode which allows you to fine tune the results. Use the highlights feature on your camera playback options and check the histogram after taking the image to ensure that you’ve retained highlights. Remember though, if the water forms the majority of the image the camera will darken the white water to grey and the opposite happens; in this case you will have to INCREASE exposure. If you are unfamiliar with manual exposure control, try using spot metering to see how the camera reads the tones. 4 In Detail A close up of the foreground rocks with the water and trees in the mid and background. This makes a simple 2 colour composition: 10 sec exp. F16; 16mm lens, ND 1.2 (4 stop) filter Focussing suggestions for shooting waterfalls With this kind of shot, pay particular attention to depth of field; this type of image generally needs to be sharp from front to back. With this example I used a single focus point on the mid- point (the waterfall) and a small aperture to mximise depth of field. Using a single focus point gives you precise control over focussing. Your camera wil be on a tripod so mover the focus point around the screen to the position you want (the other method of fixing the focus point and moving the camera to the position required will not work with the camera on a tripod! Focussing will often be difficult through a dark Neutral Density filter; you can’t see through the viewfinder and auto-focus often won’t work through it. Focus before adding the filter and either focus manually using the gauge on the lens, or focus with the Back Button. This means that the camera will not try to refocus when you press the shutter. WALKING ON The path gets a little better from this point. The path is less rocky and there are a series of timber bridges across the difficult parts. However, there are still steep paths in places next to the river, so still take care. 5 LOCATION 2 – SGWD DDWLI UCHAF (UPPER GUSHING FALLS) 500M FROM CAR PARK This is one of the most dramatic and popular waterfalls in the area. It’s a striking wall of water with a height of 5 metres. There was a real difficulty with spray with this waterfall, which made longer exposures particularly difficult. However it’s a great one for facing the waterfall; the central positioning ideal for maximum impact and drama. Sgwd Ddwli Uchaf. 1.6 secs, f14. 0.9 (3 stop) soft Graduated Neutral Density Filter Sgwd Ddwli Uchaf. 1.6 secs, f14. 0.9 (3 stop) soft Graduated ND Filter, Polarising filter 6 As you can see, the addition of a polarising filter makes a dramatic difference to foreground detail and colour and in removing reflections from the sky. It is in this find of situation that polarising filters come into their own under grey or white skies, and is something that cannot be reproduced in post processing. They also increase colour saturation as reflections are also removed from other shiny surfaces such as leaves and rocks. With these images, I also used a 3 stop soft graduated filter. The sun was starting to come out between the clouds and I was shooting into the light. The filter helped to tome down the highlights at the top of the water. I wanted to try a longer exposure to increase the smoothness in the foregorund but was unable to do so because of spray. Composition suggestions for shooting waterfalls You’ll usually get more drama by shooting from the water towards the waterfall; it maximses the effect of the water coming towards you. Try to contain the highlights within the image; the water will typically be the brightest part if the image and will usually work best if the darker tones are aroud the edges and ‘contain’ highlights. For this reason, you’ll often want to exclude the sky, particularely if it’s a competing highlight at the edge of the frame. Don’t just look at the main waterfall; capture images of details, isolated flows of water, a play of light and other things that catch your eye. LOCATION 3 – SGWD DDWLI ISAF (LOWER GUSHING FALLS) 800m from Car Park Spray was a problem here as well but not as much as the volume of water.
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