Long exposure photography transforms water and sky into something almost surreal, turning movement into soft streaks and blurring away distractions. If you shoot seascapes, finding the right balance between exposure time, composition, and conditions can be the difference between a flat image and a striking one. When weather shifts quickly, adapting to those changes is just as important as camera settings.
Coming to you from Gary Gough, this detailed video follows an attempt to capture the breakwater at Arbroath, Scotland. Gough starts by scouting locations, considering how the curve of the structure leads the eye through the frame. The plan is simple: use a long exposure to smooth out the water while letting the sky add movement and depth. A polarizer helps reduce reflections and control brightness, while a 10-stop filter extends shutter speed to minutes rather than fractions of a second. The challenge? The weather isn’t cooperating. As the tide rises, storm clouds roll in, changing the scene completely.
Adjusting to the shifting conditions, Gough rethinks his approach. Instead of the strong, directional sky movement he hoped for, he gets a flat gray backdrop. That works for minimalism, but without texture in the sky, the shot lacks contrast. Waiting out the rain, he tries a shorter two-minute exposure to grab something before the next downpour. As the weather clears, clouds gain definition, giving him a better result. Instead of forcing the original plan, he adapts, proving that flexibility is key when shooting outdoors.
A second composition from a lower angle changes the character of the shot. Without the signature S-curve of the breakwater, the image becomes more about simplicity and balance. The choice of exposure settings matters less than how the scene is framed. He experiments with multiple exposures—one for the sea, another for the sky—to maintain control over both. Instead of letting the brightest part of the image dictate everything, blending exposures in post ensures the right balance.
Gough finishes with one last attempt, realizing the tide is too low for the shot he originally envisioned. A different arrangement of breakwaters catches his eye, offering a potential last-minute composition. While it’s not the ideal timing, the concept has promise. The takeaway? Sometimes, the conditions don’t line up, but recognizing a shot for the future is still useful. Check out the video above for the full rundown from Gough.
And if you really want to dive into landscape photography, check out our latest tutorial, "Photographing the World: Japan II - Discovering Hidden Gems with Elia Locardi!”
This was a great reminder that flexibility is just as important as planning when shooting landscapes. Weather can be unpredictable, but adapting on the fly often leads to unexpected, compelling compositions. I’ve encountered similar situations in fashion and editorial shoots—sometimes, an overcast sky that seemed like a setback actually created the perfect diffused lighting for a moodier, more intimate portrait. Expect the unexpected has always been my approach, and it applies just as much to landscape photography as it does to working with models and creative teams.
The wind is another example of the unexpected. In fashion shoots, it can either ruin a shot or elevate it, adding movement and drama that wasn’t originally planned. Similarly, in landscape photography, wind can change the look of water, clouds, or even how subjects interact with the environment. Gough’s approach to working with different exposure lengths and angles reminded me how important it is to embrace these elements rather than fight them.
Paul Tocatlian
Kisau Photography
www.kisau.com