Photographing winter weather

Words by Matt Whorlow

We’re obsessed by it; our small talk is dominated by it. Whatever it does, we’re not happy with it, and our favourite pastime is slating those who forecast it. Yes, weather is the number 1 topic in the UK. And for photographers, it
can make or break a shot.

Winter weather, snow, frost, ice, storms, fog and mist all have the potential to transform a scene. You can return to the same spot time and again, and thanks to different weather conditions, shoot yet another stunner. At this time of year, weather can be unsettled, unpredictable – and marvellous. And that’s just in one morning!

For me, stormy weather represents the ultimate challenge. Temperamental, fleeting and difficult to predict, photography in stormy weather requires meticulous planning, and the ability to think on your feet and react fast to the changing conditions. I love the dramatic light that can occur when a low sun breaks out below a dark storm cloud. The light is rich and golden, and the landscape looks like it is painted in watercolours.

I’m addicted to weather forecasts – like most of the UK! And there are plenty to choose from, Radio 4’s shipping news and its farmers’ forecast, television’s national and regional forecasts, Teletext, the Internet… the list goes on. However, a forecast only gives you an idea of what is predicted to happen, what I rely on in winter is the sky. Learning to read the sky is the best way of second guessing the weather, but it’s a skill that takes time to develop.

Many a time I’ve completely misread it, got drenched, spent a day under a dull, grey sky without taking anything worthwhile, or, worse, given up and headed home only for the light to transform on my journey back. It’s a sickening feeling, watching a great sunset blaze in the rear view mirror unable to stop. The moral of the story is, never give up.

I am lucky enough to live near Dartmoor, so several good viewpoints are within easy reach. Knowing the area and where to go to make the most of the conditions certainly helps. If I’m not sure the light will do anything, I will use the opportunity to go exploring and check out potential new viewpoints to return to in better conditions. Of course, if the sky does become interesting, then I’m out in the field ready for it. Chances are, if the sunlight does break through, it may be for only a few minutes or even seconds.

Normally with landscape photography, the best light will be at dawn or dusk. However, in unsettled weather, it’s not that predictable. I often find myself waiting for the light – something I have to factor in when planning my day. At sunset the light can ‘peak’ early, so I need to arrive in plenty of time.

Fortunately, stormy weather does not call for any specialised equipment. A wide-angle zoom is the obvious lens choice, but telephoto lenses are great for isolating details such as silhouettes. I recommend a zoom lens rather than a prime, as changing lenses in adverse conditions is always tricky. On my Canon EOS 5D, I use a 24-105mm zoom – a versatile lens in changing conditions.

Light can be low in stormy conditions, so a tripod is essential. To ensure everything from the foreground to the distant horizon is in sharp focus, a small aperture is needed, so exposure times can easily run into several seconds. I also still use ND grad filters. They’re usually used to balance the exposure between the ground and the sky, but as far as I’m concerned, dark clouds look good, and ND filters help retain this.

In stormy conditions, contrast can be extreme which makes exposure tricky. Generally, I use Canon’s Evaluative metering, although spot metering from a mid-tone works pretty well too.Shooting digitally, I check the histogram in the image review, and if the exposure is wrong, I adjust using exposure compensation and then re-shoot. The trick is to get the exposure as far to the right of the histogram as possible without clipping.

If there are any overexposed highlights, then I can reduce the exposure slightly. If in doubt, I bracket exposures. The light can change very quickly, so I check and recheck exposure constantly. Shooting Raw gives a wider exposure latitude, which can be very useful. Occasionally, I have been able to recover blown highlights or blacked out shadows by processing the Raw file twice, and merging the results in Photoshop. I also recommend setting white-balance to cloudy, which gives a warmer result than the daylight setting. If the sunlight fails to break through, my trip still may not be in vain.

Conditions could be just perfect for black & white shots. Mono is often more suited to overcast weather. Some SLRs offer a black & white mode, but personally I prefer to shoot in colour, then convert the image myself on the computer, as this gives me much more control. Rapidly changing conditions can be exciting for photography, but they can be hazardous. I got caught on an exposed hill in a thunderstorm once: with full kit, tripod, expensive camera, the works. I was very brave, and very sensibly legged it. It was worth it though.

KIT BAG

The secret to a good camera bag is one that allows easy access to your equipment, with everything to hand at a moment’s notice. It also helps to have some room spare when changing lenses. I prefer to use a backpack as
I find it more comfortable for carrying heavy loads over long distances. When out in the field, I try to keep my equipment to a minimum. My Canon EOS 5D with a 24-105mm lens, plus a 70-200mm lens comprise my landscape kit, completed by ND grad filters, a remote release and a hotshoe spirit level to help keep horizons straight. I use a Manfrotto 190 Pro tripod and small ball head – it’s sturdy but not too heavy to be carrying around all day.

PROTECT YOUR CAMERA

The easiest way to protect camera kit in inclement weather is simply to keep it in the bag. However, the bag still needs to be waterproof and the zips fully done up. Modern digital cameras are surprisingly weatherproof, despite the electronics inside. A little moisture on the body is nothing to worry about. If it’s raining, I wrap my camera in a chamois leather, which I keep in my bag.

A carrier bag is another popular alternative, and I intend to try an Op Tech rainsleeve. Most importantly, the front of the lens and any filters need be kept dry, as raindrops can ruin an image. I keep a lens cloth in my pocket and use it to carefully wipe away moisture as soon as I see it Batteries become less effective in cold weather, so I carry spares with me if I’m intending to stay out a while. I tuck them into a pocket, near my skin, to keep them warm.

The weather is probably the most talked about subject in this country for obvious reasons. It has a such a profound impact on life and what we do that it’s hardly a surprise that most of us, usually, have a good old moan about it. As far as scenics are concerned, the worst weather imaginable is when the sky is just bland grey and flat.

This is when to shoot detail and crop out any sky. However, it’s fair to say that such situations are not too common and there’s usually some redeeming feature to make shooting the weather worthwhile. Brave the conditions and look after your gear, and even torrential rain can be worth a snap.

My personal favourite weather phenomenon is clouds. Everyone is unique so if I spot a photogenic one or sunlight pouring through a formation, I’ll grab a shot.

TECHNIQUE

Clouds

Lovely skies and attractive clouds are worth photographing on their own. They make nice pictures in their own right, and you can always import them into other images. There are loads of techniques to try: a wide-angle with a polarizer, a telephoto to pick out details, just two examples. Keep your eye on the constantly changing canvas above you for interesting formations.

Lightning

A subject that comes with a health warning: standing out on a high hill under a big single tree with your SLR on a carbon-fibre tripod is NOT a good idea. Instead, shoot from indoors, your car or from under a bridge – or from afar. A storm out to sea or in the distant landscape works well. Have the camera on a tripod and set a small aperture to allow a long exposure.

Mist

Mist is a regular feature of the British landscape and it’s very photogenic, particularly when combined with a rising sun. Mist and fog usually occur in low-lying areas – especially over water – when it is quite still so it is possible to plan shoots. Bold foreground is ideal if you want to give your shots a three-dimensional look, so compose with this in mind.

Rainbows

The thing about rainbows is that it is impossible to plan shooting them. They happen when sunlight falls on raindrops and is reflected back towards the viewer, and there’s usually a dark brooding sky in the background. Using a polarizer can make some portions of rainbows disappear so watch carefully as you rotate the filter in its holder.

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