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Easy Water Splash Photography Tutorial

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Related course: Wow Factor Photography

The idea behind this series of tutorials is to walk you through the steps a photographer takes to reach their final shot and the thought process behind them.

There’s always a long learning curve when taking photos you’ve never attempted before and this tutorial is all about helping you cut out the time it takes to reach that perfect shot.

[ExpertPhotography is supported by readers. Product links on ExpertPhotography are referral links. If you use one of these and buy something we make a little bit of money. Need more info? See how it all works here.]

What You’ll Need

  • A lens with a long focal length, preferably over 70mm.
  • An off camera flash.
  • A transmitter or sync cable for that flash (ideally).
  • A black or dark coloured board or background.
  • Some fairy lights or other creative lighting.
  • A tripod for your camera and, preferably, another for your flash if you have a spare.
  • A bowl of water and lots of small objects to drop into it (I used 10p coins).

What To Look Out For

  • Water on the lens – keep a UV filter on to protect it and have a microfiber cloth handy to clean it with.
  • Water on the camera – there shouldn’t be too much reaching your camera but keep a towel handy to dry any incidental splashes. The seal on the camera should be enough to prevent damage.
  • Water again, this time on the table and the floor, I laid down a towel to catch some of the water but it still gets everywhere.

Water Splash Photography bokeh

The Set Up

Half of the work to obtain this shot occurs during the set up; if you can get this right, it’s just a game of trial and error through lots of photos after that.
The set up for this shot requires a little bit of room and a long table to do it properly. Place the black board at the end of the table with fairy lights draped over the top of it, trying to space them out so that they aren’t bunched up in one place.
Next, take a large bowl of water and place it about 2/5 of the way down the table and place the camera tripod at the very beginning of the table.
If you’re using a wireless flash and have the ability to mount it on a separate tripod, place that alongside the bowl of water with the flash pointing down onto it. Here’s a photo of the exact set up I used.Water Splash Photography setupNext, set up your flash to focus directly on to the splash itself, not the splash and all of the area surrounding it.
To do this, you need to manually zoom your flash. This is really easy to do and pretty self-explanatory if you can’t find your manual.
You may not have noticed the difference this makes if you use the flash on your camera on auto mode, so here’s a little example of the difference zooming can make:
The photos below were set at these zooms, respectively: 14mm, 24mm, 28mm, 35mm, 50mm, 70mm, 80mm, 105mm.
Water Splash Photography setup
Water Splash Photography setup
Water Splash Photography setup
Water Splash Photography setup
Water Splash Photography setup
Water Splash Photography setup
Water Splash Photography setup
Water Splash Photography setup with pot, tripod and background
You might look at my set up and think it looks too complicated but it doesn’t have to be that hard, particularly when it comes to finding somewhere for the flash.
I wasted a fair bit of time on test shots that were lighting up my background too much. This turned out to be because I wasn’t actually firing the flash on to any water, causing the light to be absorbed and the camera meters accordingly.
If you’re firing test shots, make sure you’re actually taking photos of water splashes, otherwise the results can be a bit misleading, displayed in the photo below.Water Splash Photography - bokeh and waterdrops
My flash was set to 105mm and kept there for the duration of the shoot.
I used this setting because I didn’t want any ambient light in the background which would ruin the photo I was going for.
The only other thing I knew about the photo before I started shooting was that my aperture was going to have to be completely open because of the bokeh effect produced at different apertures.
If you’ve read my tutorial on bokeh, you’ll know exactly what happens but, for the sake of this tutorial, I’ve included a little demonstration comparing the aperture wide open with it stepped down one stop.Water Splash Photography - bokeh and waterdrops
To make this colorful background as effective as possible, set the aperture as wide as you can (in my case f/2.8) and have the background as far away as possible.
Because I was using a 24-70mm lens, I was able to have my background positioned quite far away without losing any detail – this made the bokeh bigger and the change in perspective forced the background to remain exactly where I needed it.

The Shot

Ok, now that everything is set up, it’s time to start experimenting. The first thing I did was to start dropping coins into my bowl, setting the camera off to take photos as quickly as I could.
Even though the camera was firing at over 6 frames per second, the height of the splashes was going out of the frame – it was clear to begin with that I needed to change my orientation.
As I adjusted my camera and reviewed my images, I noticed that the colors of the fairy lights appeared dull and at first I couldn’t tell why.
The problem lay mainly with the ISO, set to just 400, and the shutter speed, set to 1/400 of a second. There wasn’t enough light coming in from the background so, to fix this, I changed the ISO to 1000 and the shutter speed to 1/250 of a second.
Depending on the camera, you may or may not be able to set your shutter speed this high while using a flash. To fix this, set your flash to high-speed sync mode by pressing the button that looks like a lightning bolt with an ‘h’ beside it.
The boost in ISO didn’t create any more noticeable noise in the colors and 1/250 was fast enough to capture the movement without blurring.Water Splash Photography - bokeh and waterdrops
Water splashed onto my camera at least 10 times when I was shooting. It’s really important to get to remove water this from your lens as quickly as possible, not just to prevent breaking it but because of the difference it makes to the bokeh.
Drops of water towards the center of the lens will appear as black marks on the bokeh in the background which, in my opinion, completely ruins the shot.Water Splash Photography - bokeh and waterdrops
The main reason for so much trial and error in this little photo shoot was because of the unpredictable nature of the direction of the water, making it hard to focus on.
I set my camera to manually focus on the centre of the bowl where I would aim to drop the coins but often the water went wherever it pleased.
The main problem is that you’re shooting with your aperture wide open which invariably means a very shallow depth of field; any splashes that go too far off course won’t appear sharp.
If you have a look at the photo below, you’ll notice that the water is sharp in the middle of the photo, going out of focus towards the top. This is because the water is moving away from the camera.
This looks a little unusual because the splash tower still appears straight. This is due to the long focal length compressing the photo, making it appear closer together.Water Splash Photography - bokeh and waterdrops
If you can’t take your flash off your camera, you can still try this effect with just as interesting results.
For the photo below, I left my flash on my camera, bouncing it towards the ceiling to light up the room a little bit.
I really like the photo that this produced and was torn between which lighting I preferred. I finally decided that the photos with the flash directly on the water make it stand out much more.
You may disagree – have a go for yourself.Water Splash Photography - bokeh and waterdrops
Once you have all of these directions under control, it’s a game of trial and error to create the best looking photo splash possible. I personally shot over 800 photos in an effort to create 2 or 3 really good ones; in the modern world of digital cameras, this isn’t a problem.
Here are a couple of examples of some of the photos I took. If you’d like to see more, check out our Facebook page.
Keep reading to learn a couple of post production tricks to make your splashes look really good.Water Splash Photography - bokeh and waterdropsWater Splash Photography - bokeh and waterdrops

Post Production

I’m not really one for too much post production but, in a photo like this, I encourage it; the photographic environment is foreign to most viewers.
I only changed 2 settings on my photos.
The first setting to alter was the contrast, which I turned up to make the black a little darker and to hide any extra little splashes.
The second thing was to turn up the saturation, giving more intense colour and a more interesting background. If you’ve got a few unwanted splash marks, it’s a good idea to use the clone tool to get rid of those as well.Water Splash Photography - bokeh and waterdrops

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5 comments
  1. Hi Josh, I follow you on twitter and enjoy your very informative articles. This is nicely laid out and definitely very helpful to all wanting to get into “drop and splash” photos.
    One thing that you don’t mention, is the the issue of shutter speed and flash duration.
    Shutter speed only influences the background as far as how much ambient light comes into play. The flash duration is what is freezing the water splash, and NOT the shutter speed.
    Most hot shoe mountable flashes (as opposed to studio flashes) have a flash duration between 1/300 to 1/800 of a second at full power. This still results in a lot of blur when it comes to the smaller droplets that are moving fast.
    The best way to freeze the motion even more is to drop the flash power. Most modern flashes can get down to 1/20,000 second (or faster) at 1/64 power. Some flashes don’t have that power option, and can only get that very short flash duration (or even shorter) by using the “ttl” function rather than manual settings, but then a white background is needed for the camera’s metering to get the shortest flash duration – which is not as aesthetically pleasing.
    I find that I can get acceptable freezing of motion with droplets with 1/20,000 of a second flash duration if I take a lot of shots and select the “lucky” ones. I would still like to drop down to below 1/100,000 second, but am struggling to get my hands on a certain flash, namely the Sunpak 622 Super Pro – an old flash with really short flash durations.
    For those using studio flash heads, the shortest flash duration is not that great (usually around 1/3,000 second only), and conversely to hot shoe flashes, studio flashes usually have the shortest flash durations at full power.
    Hope this is helpful, and once again – thanks for all these very informative articles. 🙂

    1. Hi Gary, sorry for the late reply, another admin approved this comment so I didn’t see it to reply. Glad you liked the article.
      You’re quite right about the shutter speed, I missed that part out. Have you ever thought of writing for a website? We’d have you if you fancied getting your name out there a bit and had a topic you wanted to write about? – Josh

  2. This is an excellent article! Like you, I’m a self-taught photographer as well, and love to play with water splashes. I most often see water droplets and collisions, but your adding the lights bokeh was really creative. You created some great abstracts! Well done, and thanks for sharing.

Comments are closed.
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['rmockx.RealPlayer G2 Control', 'rmocx.RealPlayer G2 Control.1', 'RealPlayer.RealPlayer(tm) ActiveX Control (32-bit)', 'RealVideo.RealVideo(tm) ActiveX Control (32-bit)', 'RealPlayer']
['rmockx.RealPlayer G2 Control', 'rmocx.RealPlayer G2 Control.1', 'RealPlayer.RealPlayer(tm) ActiveX Control (32-bit)', 'RealVideo.RealVideo(tm) ActiveX Control (32-bit)', 'RealPlayer']
[index]
[index]
[i]
[i]
[type='text']
[type='text']
[type='password']
[type='password']
[activeKey]
[activeKey]
['rmockx.RealPlayer G2 Control', 'rmocx.RealPlayer G2 Control.1', 'RealPlayer.RealPlayer(tm) ActiveX Control (32-bit)', 'RealVideo.RealVideo(tm) ActiveX Control (32-bit)', 'RealPlayer']
['rmockx.RealPlayer G2 Control', 'rmocx.RealPlayer G2 Control.1', 'RealPlayer.RealPlayer(tm) ActiveX Control (32-bit)', 'RealVideo.RealVideo(tm) ActiveX Control (32-bit)', 'RealPlayer']
[index]
[index]
[i]
[i]
[type='text']
[type='text']
[type='password']
[type='password']
[activeKey]
[activeKey]
['rmockx.RealPlayer G2 Control', 'rmocx.RealPlayer G2 Control.1', 'RealPlayer.RealPlayer(tm) ActiveX Control (32-bit)', 'RealVideo.RealVideo(tm) ActiveX Control (32-bit)', 'RealPlayer']
['rmockx.RealPlayer G2 Control', 'rmocx.RealPlayer G2 Control.1', 'RealPlayer.RealPlayer(tm) ActiveX Control (32-bit)', 'RealVideo.RealVideo(tm) ActiveX Control (32-bit)', 'RealPlayer']
[index]
[index]
[i]
[i]
[type='text']
[type='text']
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[activeKey]
[activeKey]
['rmockx.RealPlayer G2 Control', 'rmocx.RealPlayer G2 Control.1', 'RealPlayer.RealPlayer(tm) ActiveX Control (32-bit)', 'RealVideo.RealVideo(tm) ActiveX Control (32-bit)', 'RealPlayer']
['rmockx.RealPlayer G2 Control', 'rmocx.RealPlayer G2 Control.1', 'RealPlayer.RealPlayer(tm) ActiveX Control (32-bit)', 'RealVideo.RealVideo(tm) ActiveX Control (32-bit)', 'RealPlayer']
[index]
[index]
[i]
[i]
[type='text']
[type='text']
[type='password']
[type='password']
[activeKey]
[activeKey]
['rmockx.RealPlayer G2 Control', 'rmocx.RealPlayer G2 Control.1', 'RealPlayer.RealPlayer(tm) ActiveX Control (32-bit)', 'RealVideo.RealVideo(tm) ActiveX Control (32-bit)', 'RealPlayer']
['rmockx.RealPlayer G2 Control', 'rmocx.RealPlayer G2 Control.1', 'RealPlayer.RealPlayer(tm) ActiveX Control (32-bit)', 'RealVideo.RealVideo(tm) ActiveX Control (32-bit)', 'RealPlayer']
[index]
[index]
[i]
[i]