Today’s post comes from extraordinary surf and landscape photographer Chris Burkard, who we recently featured in our short film, Arctic Swell. Chris has made it his life’s work to find wild, remote destinations and then capture the juxtaposition of humans in these environments. The world is an oftentimes harsh, humbling, and magical place, and Chris wants to photograph it all.
It’s hard to beat the enchanting feeling of star gazing at a clear night sky. You soon become lost in its beauty like a giant kaleidoscope full of shooting stars, planets, and glow from the setting sun or nearby cities. I’ve traveled to countless countries over the past ten years and some of my fondest memories occur long after the sun has set. Whether it’s camping near my home in Big Sur or witnessing a rare northern lights show in the Arctic, I’ve had the privilege and challenge of documenting these night landscapes.
My introduction to night photography happened when I took a road trip in 2006 along the entire California coastline. My friend Eric Soderquist and I spent over two months on the road in his Volkswagon bus in search of waves in every California county. The trip was later turned into a book, The California Surf Project, and looking back through its pages you can see some of the early stages of my night photography. Camping under the stars literally every night made me that much more appreciative and eager to capture the beauty of the night sky. Fast forward 8 years and I’m still drawn to these dark moments where my friends and I are huddled around a campfire in Iceland or getting lost in the magic of the northern lights in Norway. Photographing in the dark certainly requires some adjusting but here’s some tips to prepare you for the next time you’re shooting night landscapes.
Night Landscape Photography Tip 1: Get Away From the City
The farther you are from city lights the clearer you will be able to see stars and the less light pollution you’re going to have. The photo pictured above was shot in Big Sur, CA a few hours from any major cities.
Night Landscape Photography Tip 2: To Infinity!
Set your focus to infinity or focus on far away light sources to make sure you get the sky in focus. If you want to focus on your subject shine a light on them.
Night Landscape Photography Tip 3: Trial & Error
Don’t be afraid to test settings to see what works best. The beauty of working with digital cameras is that you get instant feedback. I usually open my aperture as wide as it will go (f/2.8 or wider) and then vary my ISO depending on how bright the sky is. In this particular photo I exposed for 30 seconds at f/1.8 and 400 ISO. I like to keep my ISO as low as possible.
Night Landscape Photography Tip 4: Frame Up
Remember that the sky is your hero in the photo. Try framing the sky in the upper 2/3 of your image and then vary your angle depending on the scenario. With the northern lights creating a really dramatic light trail I framed up. You could do the same with the milky way or stars in general.
Night Landscape Photography Tip 5: Expose Long & Short
Long exposures are going to leave you light trails and short ones should make the stars nice and sharp. Try both methods for variety in your imagery.
Night Landscape Photography Tip 6: Bring a Headlamp
You can use a headlamp to light up your tent or even light paint a tree or waterfall. Practice the amount of light that you are shining out of your headlamp because it is easy to wash out the picture with too much light.
Night Landscape Photography Tip 7: Add a Subject
Photo Credit: Chris Burkard
Adding that human element to a picture can give it a sense of perspective and depth. Play around with where you place the subject in your frame. The less busy your framing is the better.
Night Landscape Photography Tip 8: Mind the Moon
If you want to have clear stars shoot underneath a new moon or when the moon is below the horizon. If the moon is out you can play with the effects that it can have on your photograph. Use it to backlight trees or your subject but be careful not to let it wash out your picture.
Night Landscape Photography Tip9: Use a Tripod
Or a rock or the hood of your car. A tripod is you’re most crucial piece of night photography gear. Joby makes great camping tripods cause they are small and packable. I also recommend a remote so you can make sure your shots are even more stable.
Night Landscape Photography Tip 10: Stay Up Late
Night skies are often darkest and most active late into the night. I’ve seen tons of meteor showers and northern lights shows way past midnight. Set an alarm and wake up if you have to or use a remote to take photos periodically throughout the night.
Check out our short film, Arctic Swell, to see Chris Burkard and pro surfers Patrick Millin, Brett Barley, and Chadd Konig brave sub-zero temperatures in the Arctic Circle.
We’ve long wanted to film famed surf photographer Chris Burkard in action, so when we heard that he was headed to the Arctic with professional surfers to tackle the brutally harsh seas, we packed our bags and followed. In our latest installment of SmugMug Films, we travel with Burkard on his journey with professional surfers Patrick Millen, Brett Barley, and Chadd Konig as they brave sub-zero temperatures to capture moments of raw beauty, adventure, and community. Keep reading after the video to get an exclusive interview with Chris about how he got his start, what he looks for in a fantastic image, and that time he got deported from Russia.
How did you get started with photography?
I did a lot of art in high school. And I transitioned to wanting to explore doing art out in the field, but I soon realized it wasn’t very fun. It wasn’t a very intimate experience to me. You’re just a bystander. When I picked up a camera and started taking photos of my friends surfing and landscapes, I realized I was in the moment. I was out there, and shooting these photos was an extension of the body. It was intimate. You’re a part of it, and you can take it anywhere: social settings, mountaintops, oceans. It was a perfect extension and a great medium of expression for me. To this day I’m seeking out new places so I can bring a camera and experience them.
If you hadn’t become a photographer what would you have been?
Probably a fireman. I don’t know! I worked for many years in random jobs. Before I was working to be a photographer, I worked on cars a lot. I loved old vehicles and the idea of making them how I wanted. It came down to the idea of wanting to do something where people will appreciate my craft and my talents, and I realized that was what made me want to turn machines into artwork. If I wasn’t a photographer, maybe I’d be working on cars somewhere.
How would you describe what you do today?
I’m always seeking out the adventures in life, whether I’m shooting surfing in a cold, harsh environment or shooting a commercial assignment. And that’s meant to speak to the idea of going to a new place, summiting a new peak, or surfing a new wave. It doesn’t matter to me how big or how small. My goal has always been to create images that inspire people to get off their couch and go explore something new.
The idea of exploration is the thing that really makes me want to push harder. It’s the driving force behind a lot of my work.
What do you look for when creating an image?
There’s a lot of technical things I’ll look for. I’m looking for light, contrast, and all those elements that make a good image. But I consider other elements when I’m thinking of how to capture something. Like if there’s historical value to a photo—where I’m shooting a place that might not be around for very long—that’s very important to me.
Coming from an art background, I’m used to trying to put everything I want into this easel shape. I’m just bringing in all the elements. When you’re shooting and photographing in this frame, you have to get everything inside it. You’re really constricted in being able to make it happen.
For me, it’s also super important to push your cameras as far as they can go to capture what you’re seeing. A photograph is usually a two-dimensional item. If there’s anything you can do to make it feel three dimensional, that’s the goal.
I also like the idea of creating images that will carry weight with people. Photos that aren’t driven by advertisements or logos. And it’s super important, too, when creating a body of work that you want to be around longer than yourself.
Given the adventurous nature of your work and the harsh conditions you’re in, are there any great pictures you didn’t get to take?
There’s always a lot of pictures I don’t get, or I feel I haven’t had a chance to capture yet. As a photographer, or anyone who’s a perfectionist, that’s all you think about: all the moments you didn’t get. And that’s just life. You’re striving for something better, and you always wish there’s something you could’ve captured, but if you get them all, you’ll have nothing left to strive for.
What do you consider the biggest challenge about your work?
It all depends on where I’m going. The nature element is the hardest thing, like if I’m going somewhere really cold or somewhere that has a harsh environment. Being in the water in high 30s or low 40s can be brutal on your body, mind, and psyche, and it’s always challenging. You’re always weighing out risk versus reward. Luckily, 90 percent of the time you’re not far from a warm car, but there are those moments when you know in order to get the shot you have to go out and suffer a bit. Those are the times I feel most alive. I have to put in more effort and lose a little bit of skin.
Your explorations often take you to off-the-beaten-path locations. What do you look for?
I’m drawn to places that feel and look more wild. I think it’s human nature to want to see these places, but the reality is most people don’t want to put in the time to find them. So a big part of what I do is try to find spots that will speak to that aesthetic. The location is almost as important as who I’m with and what I’m shooting. Each place plays a huge character role in these stories. Whether I’m on a remote beach in Norway or somewhere in Russia, I want to be in a place that people naturally associate with adventure.
How do you find these places?
There’s a certain recipe. There are a lot of amazing places I could go, but I have to have an assignment that takes me there. I have a list of places I would love to see and love to experience, but I don’t have opportunities to shoot there. But I have a list. And it’s something I tick off as I get to go to places.
With so many places yet to see, is there a favorite place you’ve already been?
Oh, yeah. I’ve been to Iceland 13 times. That place is pretty dang special.
What do you love about it?
The way the landscape is always changing really draws me in. It’s inspiring to me and makes me want to go back because the conditions and climate are constantly evolving. For a photographer, it’s what you’re always searching for. You could shoot only one day there and have so many different conditions.
I don’t like to go to places that wouldn’t be inspiring to me on a personal level. Because if you’re not excited about the work you’re doing, then it’s hard to want to photograph it.
Is there a photography project that’s been the most meaningful for you to date?
The trips I do, I invest a lot of my energy, heart, and soul. That’s why when they turn out successful, it means so much. Success can be measured many different ways, but for me it’s pretty simple: If I feel like I got the images I needed, or got the job done while still being able to experience the culture for myself, then the trip was a success.
I plan for three years or more to do these trips, and when I’m able to set foot on the landscape and experience it, I don’t want to leave anything behind. For me, that’s been Russia, Alaska, Iceland, and Norway. These are places I put a big part of myself into.
What’s been your most challenging to date?
I’d say Russia just because of the logistical challenge of getting there. It took three years to plan and find the place to go.
I went to Russia for the first time in 2009, and you have to fill out a visa request like three months ahead of time. I was in a crew with four people, and we had to go through customs. I get stopped. They look at my passport. They look at me. They look at my passport again. They look at me. And I realize the entry date on my visa was for the next day. It was the wrong date.
After a long discussion, they put me in a holding cell for 24 hours, and then deported me to South Korea. After recouping a day later, I flew back. It was scary. Really scary. I didn’t get food and water until I talked to the embassy. It was crazy.
It was one of the first places I traveled to that was really wild and remote. And it was such an eye-opening one because I realized for the first time what it felt like to have all your rights stripped from you. It makes you really appreciate being on American soil.
What’s at the top of list for a place you’d like to return to?
I really want to go back to Chile and explore Tierra del Fuego. It’s at the very end of South America, and it looks amazing.
In a lot of your behind-the-scenes shots, it looks like surfers are headed right at you. Have you ever suffered any collisions?
Oh, yeah. I’ve been run over. I’ve had surfers hit me with their board. Cut my nose and other things. Those are the experiences that make it exciting. You’re very much at risk. And it makes it that much cooler, really, being able to be a part of the action. Being hidden in the midst of it myself.
Ever lost any gear?
I’ve lost quite a bit of gear. One time I was on a little boat, and we got hit by a wave. Basically my entire kit went overboard, and I lost about $30,000 worth of gear. Luckily, I had insurance for it.
Speaking of gear, what are your must-haves?
I have a lot of must-haves. It comes down to the fact that I think, man, if I don’t need to use this it’s not going to be much of an adventure!
A multitool is super important when it comes to being somewhere remote and interesting. Obviously having a good, reliable camera is crucial, and that’s personal preference. I like to travel really light and really small, so I use a lot of mirrorless cameras, like the Sonys. There’s usually a solar charger of some kind, whether for cell phone or camera. An ultralight, ultrasmall water-purification device that uses UV light. Energy bars. A light rain jacket is always crucial. A lightweight tripod is always in there. Filters. Almost always a pair of gloves.
If you don’t need a headlamp, it’s not even a place you want to go. I can’t count how many times I’ve gone out driving around, having a great time, then coming back for a couple hours to sleep until dark. That’s when, as a photographer, you know the best light is going to be, or when the stars are going to come out. Nine times out of 10 we’re hiking back in the dark with a headlamp on.
It sounds like you have a survival kit with some camera gear versus a camera kit with some survival gear.
That’s really what it comes down to. I want to make sure that when I’m shooting photos that I’m able to relax, knowing that safety is taken care of. I occasionally have a small rope and carabiner just in case I need to lower down from somewhere. Usually the most unusual thing I have in there is a packet of gummy candy, because that’s one of my favorite things. It’s either a reward after the shoot because things have gone well, or I just got beat down by rain or no sun and I want to have something sweet.
Given the chaos you’re in for your shooting conditions, do you shoot manually?
Yeah, always. I love shooting manually. You really start to work with your camera, and it becomes second nature. I like to have complete control. I don’t want to have my camera trying to make decisions for me.
Do you have any rules when it comes to your overall process?
When I’m going somewhere new, I’m really careful not to research too many of the places I’m going to see because I don’t want to get some interpreted view of what these places should look like on a postcard. I want to be able leave my view and perspective unskewed so I can maintain ultimate creative freedom. That being said, I also want to make sure that I’m being educated on where I’m going, because the more unique the less you know. That’s a really important mantra to have at all times.
If someone decided to pursue a similar path, what advice would you give them?
I personally would tell them that I don’t think school is going to teach you the type of skills you need to do what I do. A big part of this is experiencing things. Learn from a magazine setting or an editorial conference. Study a photographer you like and really understand the hustle it takes to do what they do. Understand what it’s like to be in those commercial and editorial situations where you’re trying to make it all work for a client.
I look back at the time I spent driving down to Oceanside every week to intern at Transworld Surf, and a summer I interned with a landscape photographer. That’s where I feel like I gained the biggest understanding of what photography was really like. I realized what it means to run your own business. And if you still want to do it after that, you should.
Any advice for capturing a great image?
There’s great moments happening everywhere, but for me there’s two main types. There’s the one that happens all of a sudden, which requires being there and being ready, and knowing your equipment inside and out. And the second is the one you’ve preconceived. Sometimes those are really special to me because you have this idea and you get to see it through.
Look for unique lighting situations. Go out in storms and go out at a time when no one else is. That’s when you’re going to capture something unique.
And what about the best advice you’ve ever received?
My grandpa told me to kick ass and take names. I don’t know if that’s good advice or not.
I guess a personal mantra I try to follow is the more you know, the less you need. I’ve always been a big proponent of traveling with less and not being the person who has the biggest, most expensive camera. It’s not that I can’t afford it, I just like to experience moments personally as well as through my camera. If you walk away from any trip and it’s a complete blur because you were shooting the whole time, then you weren’t really experiencing it.
In the end, you should have all these cool stories to share with loved ones and family and friends. At least that’s how it is for me. I always try to be present in the moment and really experiencing it myself, too.
What do you find exciting about the photography industry today?
Now everyone is a photographer. People have cameras and video cameras in their phones. At any time I could have four or five cameras on me. It’s crazy.
What we’re seeing is the emergence of these smaller, lighter cameras being able to capture more real, intimate moments. And I think the idea of mobile photography and how it’s changed photography as a whole is really exciting.
I think we’re really seeing, too, a changing of the guard where a lot of established photographers have lost touch with the people who are interested in their work because they haven’t adapted to these new forms of social media or ways of promoting their work.
Photography as a whole is really moving toward those who are open to sharing. Nothing’s a secret anymore. If you try to keep secrets, people just aren’t going to embrace it. They want to find people who are sources of knowledge and are able to share that knowledge. That’s how I look at inspiration.
CJ Kale and Nick Selway long ago fell in love with Hawaii and founded Lava Light, a photography gallery focused on capturing the ever-changing landscape created by an active volcano and crashing waves—and sometimes both together when the conditions are just right.
And if swimming with fire and dodging lava bombs weren’t challenging enough, these photographers believe in creating their images completely in camera. Balancing exposures between sky, water, and lava can be incredibly tricky.
Luckily, Lava Light has shared some tips to help you get the shot without combining exposures or using HDR.
Photo Tip #1
To capture lava and stars together, put a neutral-density (ND) gradient filter on your lens upside down to balance the extreme exposures between the lava and stars.
Photo Tip #2
When photographing lava in the daytime, use the ND grad right side up to balance the light from the sunrise, because the sun will eventually be brighter than the lava is.
Photo Tip #3
For front-lit scenes, a hard ND grad balances light from a bright sky and a dark foreground, allowing you to darken the sky and deepen colors. For example, in this shot I used a polarizer to intensify the rainbow, but it left the sky a fraction too bright. So I added a 1-stop hard ND grad across the entire sky to darken it and get its depth and color to match with the lava and everything that’s front lit below.
Photo Tip #4
To capture the little curvature of a wave, a shutter speed around 1/3 of a second is usually enough to get a little light blur to the water but keep that shape in the wave.
Photo Tip #5
If you’re trying to capture a really misty feel, where the water almost looks like fog, use a 2- to 3-second exposure.
Photo Tip #6
Since we capture everything in camera, sometimes we have to compromise on exposures and accept some clipping of highlights or shadows. So maybe a rock by the lava won’t have any detail in the shadows because I want to capture the detail in the lava instead, and I prioritize my exposure for the lava.
Photo Tip #7
Prepare the right gear for the day. My normal, hike-out-to-the-volcano kit includes a Nikon D800e, Canon 5dMkIII, 16–35 L lens for Canon, 14–24 for Nikon, a 50mm and an 85mm prime, and a 50–500 Sigma telephoto. Because sometimes you want a wide-angle shot, like the rainbow and lava, and others you want to zoom in on the drip, which requires a telephoto.
Check out the SmugMug Films artist profile of Lava Light below. Thanks for the tips, Nick and CJ!
Water photographer Sarah Lee (recently featured in a behind-the-scenes artist profile for our SmugMug Film series) grew up in Hawaii, surfing and swimming competitively. One day, while at a swimming competition, she was handed a camera and hasn’t looked back since. She finds inspiration in the unpredictability of nature, creates art that captures the interplay of people, water, and light, and uses photography to find beauty in the chaos. If you want to take the plunge into underwater photography, check out Sarah Lee’s essential underwater photography tips below, plus get a close look at her underwater photography gear kit.
Underwater Photo Tip #1: Ask your models to channel their inner ballerina or yogi and trust them. Open body posture is key. This photograph was taken of adventure model and soul surfer, Alison Teal, somewhere in the warm waters of Fiji.
Underwater Photo Tip #2: I find it ideal to photograph people underwater in the late morning between 8-11am because you’re going to need a lot of natural light being underwater. Though, on occasion it’s fun to experiment with different times of day. This photograph was taken during the last hour of the day, probably in the presence of a few sharks too shy to make themselves known.
Underwater Photo Tip #3: Skin tones look the best within 1-5 feet of the surface. Beyond that, you start to lose the warmth and reds in their skin tone.
Underwater Photo Tip #4: Lately I’ve been using an Outex, which is a silicone water cover. It’s rad because you can use different lenses in it, and it has a tripod neck strap. It’s worked really well underwater in lots of different situations.
Underwater Photo Tip #5: You don’t always need a fancy camera or underwater setup to take a good photo. This photograph was taken on a GoPro. Read more about shooting with a GoPro on my blog.
Underwater Photo Tip #6: Working with props and clothes can be challenging underwater but worth the effort! In this shoot, I created a jellyfish from an umbrella, ribbons, and beaded curtains. Just be careful you don’t lose anything in the process!
Underwater Photo Tip #7: Within the realm of underwater photography, there’s not much in your control. It’s all about being in the moment and finding the composition within the “chaos.” Most of my favorite photographs were taken when I just let things “be” and used my camera as a way to interpret what is happening at the present moment, rather than trying to orchestrate and control any of it.
Underwater Photo Tip #8. Protect your gear. I alternate between surf housng and water covers depending on the conditions I shoot in.