Skip the primary navigation if you do not want to read it as the next section.
Skip the main content if you do not want to read it as the next section.
When you have some good pictures of our rivers and canals don't just share them with family and freinds, submit them for inclusion in IWA's photo library, so that we can use them in future IWA publicity material and on this web site. IWA's annual calendar is made up from photos that members have kindly donated to the cause - we need 14 good photos each year.
IWA does not pay for photos used, but we do try to acknowledge the owner of the image, and the copyright remains yours.
We are happy to receive photos by e-mail (photos@waterways.org.uk) or by post (e.g. on a disc) to Head Office. We would also be grateful to receive old and new slides, prints and other material, such as postcards.
The notes, by waterway photographer Jim Shead, below may be helpful for contributors...
Canal & River Photography
At one time taking good photographs meant having to master the technicalities of apertures, shutter speeds, focal lengths and light levels. Now, thanks to modern electronics, anyone can take a well exposed and correctly focused shot with a modern digital camera. Of course in the past many people took good photographs in sunny conditions using simple box cameras proving that it is the person behind the lens that is more important than the equipment.
[Top]If you are interested in waterways photography and are wondering what equipment would be best I would recommend a camera with a zoom lens with as wide an angle of view as possible. The ability to take wide angle shots is much more important than having a long telephoto setting on the lens.
Zoom Power
Some people seem to think that a zoom lens is just to save them the trouble of moving forwards or backwards before they take a shot but a zoom is much more powerful than this. Have you ever watched a narrowboat approaching from a distance and wondered how long it is? It is very difficult to judge because of the foreshortening effect that a distant perspective produces. As the boat comes nearer the foreshortening effect reduces and it is easier to judge the length.
It is the power to control perspective that is the most useful property of a zoom lens. Suppose you are taking photos in a marina and you want to illustrate the water space available then set your zoom lens to a wide angle and place a stretch of empty water near the centre foreground of the picture. The wide angle will make the water seem much larger and the boats around the edges much smaller. You can make the same marina appear to be packed with boats by using the telephoto end of your zoom lens and picking out a row of moored boats to photograph. The telephoto lens image of the boats will be foreshortened and the boats will appear much closer together.
These are examples of either end of the zoom lens range but the change is in fact a continuous smooth progression between the extremes and the photographer can change the perspective of any shot by adjusting the balance between the distance from the subject and the setting of the zoom lens. Try this out by selecting a subject, the front of a boat or a lock gate for example, set the zoom to its widest angle and move forward so the subject fits the frame of the view finder. Take this shot then move back a little way and adjust the zoom so the subject again fills the frame before taking the next shot. The process can be repeated over as many times as the range of the zoom lens and the physical space available allows. Each shot will have a different perspective and give a different feel to the subject.
From snapshots to photography
What is the difference between a snapshot and a photograph? One answer is the thought that goes into framing the shot. The snapper will see an attractive scene point the camera towards it and snap. Unfortunately such shots are often disappointing as although they may help those who were present to recall the joy of the occasion they can rarely communicate this to others.
The art of picture making is an ancient skill dating back to cave paintings and we all have understanding of how to read a picture and an inbuilt sense of beauty that we apply to them. Painters have learnt various rules of composition and know how to apply them or when to disregard them. Although painters can alter a scene to improve their pictures photographers cannot so the skill of the photographer rests with selecting a viewpoint, framing the shot and choosing the moment of exposure.
Selecting a viewpoint
In selecting a viewpoint from which to take your shot there are several considerations. The most obvious one is the best angle from which to photograph the subject. With boats as with most other subjects a flat side-on or end-on view is normally less appealing than a view that is at an angle. You also need to find a viewpoint that excludes any unwanted object from the shot.
During this process you will move backwards, forwards, left and right looking through the viewfinder to assess the potential shot. But don't forget you can also move up and down. Crouching down may hide some unwanted object from the view as well as creating an unusual angle for the picture. Standing on a bench or a wall can also produce original viewpoints so long as you are aware of the dangers - don't forget you are on a wall and step back to get more in the shot.
Framing a shot
This is a task that must be considered in tandem with selecting a viewpoint as they both contribute to the composition of the picture. We want a picture that will interest the viewer and will be aesthetically pleasing.
In European based cultures where text is read from left to right pictures are often read the same way starting at the left hand side of the frame but where the eye wanders from there will depend on the composition and content of the picture. Some objects and colours will draw the eye towards them others will lead the eye away. People in a picture looking or pointing towards an object will lead the eye towards that object. For this reason it is usually unsatisfactory for people in a shot to be looking out of the frame of the picture as it gives the viewer the impression that there is something more interesting happening outside the frame that the photographer has missed.
For the same reason it is better to have boats, and other moving objects, going into the picture rather than out.
The rule of thirds is something that painters have used through the ages as an aid to composition and is a simple idea that is just as relevant to photography. It works like this - imagine your frame is divided into three equal sections both vertically and horizontally, making a grid of nine squares. The rule of thirds says your main points of interest should be on these lines and particularly at the points where the lines intersect.
This is a rule that was discovered rather than imposed as it was found that the most pleasing pictures all followed this rule. Take a look at the paintings of the old masters and you will see this in action, their landscapes and seascapes are generally either one third sky or two thirds sky. Having the horizon in the middle of the frame is the least interesting option.
Producing a good picture is not just about following rules it is about considering the shot before taking it, looking critically at your photos and improving with experience.
Choosing the Moment
Having chosen your viewpoint and framed the shot at what moment should you press the shutter? With static subjects this may be decided at a leisurely pace, e.g. the question may be should I come back this afternoon when the sun will be in the right direction, but for shots with people and movement choosing the right second could be the difference between a great shot and an ordinary photo.
If you take a photo of a canal lock being worked it will look like a strenuous activity if you capture the paddles being raised or a heavy gate being pushed open but a few moments later the crew may sitting on the lock gate waiting for the water to fill the lock which will present a more restful scene. With views involving moving boats or people timing the moment to take the shot will be critical and there will be no time to reconsider the decision. In these cases planning and anticipation are the keys to success.
