My Guide to Surf Photography from the Water
Photographing surfing from the beach is one thing, but getting into the water with your camera gives you a completely different view of the action.
You are down at the surfer’s level, you are surrounded by the wave and you can capture photographs that simply aren’t possible from the beach.
For my water photography, I use a Sony A6400 inside a SeaFrogs underwater housing.
This guide explains how I use the setup, the camera settings I start with, how I focus, how I deal with water drops and what I look for when I’m actually in the water.
Why Use a Surf Housing?
The biggest advantage of a proper camera housing is that you can still control the camera.
Rather than putting the camera inside a basic waterproof bag and struggling to operate it, the SeaFrogs housing gives me access to the important controls on the Sony A6400.
I can still control things such as:
- Shutter speed
- Aperture
- ISO
- Autofocus
- Focus
- Shooting mode
- Continuous shooting
That is really important for surf photography because conditions can change very quickly.
A surfer can suddenly come towards you, the light can change and the wave can throw water across the front of the housing.
I don’t want to have to get out of the water just because I need to change a setting.
Why I Use the SeaFrogs Housing with the Sony A6400
For me, the SeaFrogs housing is a good compromise between having a proper underwater camera housing and not spending a fortune.
The standard SeaFrogs housing for the Sony A6400 is rated to 40 metres / 130 feet and has a polycarbonate/ABS construction, optical glass port, aperture adjustment, focus adjustment and a leak detection sensor.
For the type of photography I do, I don’t need a huge professional underwater system.
I’m mainly interested in photographing surfing from the water.
The A6400 is also relatively small, which helps when you’re trying to swim around with a camera and housing.
One of the main reasons I like this combination is that I still feel like I’m actually using my camera rather than just putting it inside a waterproof box.
My Basic Sony A6400 Settings
These are the settings I normally start with.
| Setting | My starting point |
|---|---|
| Camera | Sony A6400 |
| Exposure | Manual |
| Focus | AF-C |
| Focus method | Back-button focus |
| Drive mode | Continuous |
| Shutter speed | 1/1000–1/2000 sec |
| Aperture | f/5.6–f/8 |
| ISO | Auto or manual |
| File type | RAW |
I don’t treat these as fixed settings.
The light, weather and conditions will determine what I actually use.
The main thing for me is having a fast enough shutter speed to freeze the surfer and the movement of the water.
I will normally start around 1/1000 sec and increase it towards 1/2000 sec when the light allows.
Use AF-C for Moving Surfers
I normally use AF-C continuous autofocus.
A surfer isn’t standing still, so I want the camera to continually adjust focus as they move.
This becomes even more important when you’re in the water because your own distance from the surfer is constantly changing.
You are moving with the waves while the surfer is moving across the wave.
AF-C gives the camera a much better chance of keeping the surfer sharp.
Back-Button Focus
One of the things I find really useful for surf photography is back-button focusing.
Instead of using the shutter button to both focus and take the photograph, I separate the two jobs.
My thumb controls focusing and my index finger controls the shutter.
This works particularly well with AF-C.
I can track the surfer using the back button and then concentrate on taking photographs when the surfer reaches the position I want.
It also means I’m not constantly asking the camera to refocus every time I press the shutter.
It takes a little bit of practice to get used to, especially when you’re also trying to swim and control a housing, but I find it worth doing.
Preparing the Housing
Before I put the camera into the water, I take my time checking the housing.
This is probably one of the most important parts of water photography.
I check:
- The main O-ring
- The seals
- The lens port
- The housing buttons
- The camera controls
- The leak sensor
- That the housing is closed correctly
I make sure there is no sand, dirt or salt around the sealing areas.
A tiny bit of dirt in the wrong place can potentially cause a serious problem.
Keep the Port Clean
The front of the housing is going to get wet.
That’s obvious, but it can become a real problem when you’re trying to take photographs.
A water drop in exactly the wrong place can ruin an otherwise great photograph.
Before getting into the water I make sure the port is as clean as possible.
I also try to keep the front of the housing facing into the water rather than constantly lifting it out and putting it back in.
Using Canal Wax to Reduce Water Drops
One thing I’ve found useful is using a very small amount of canal wax on the outside of the housing port.
The idea is to help water bead up and run away from the surface instead of leaving lots of small drops.
I only use a tiny amount and buff it properly with a clean cloth.
Important
I only use it on the outside of the port.
I would never put it:
- Inside the housing
- On the camera
- On the O-ring
- Around the seals
- Near the buttons or controls
I’d also recommend testing it on your particular port first.
Different housing ports can use different materials, so I wouldn’t assume that anything is suitable just because it works for someone else.
Getting Into the Water
Once the camera is ready, the next challenge is actually getting into the water.
Before I start photographing, I look at the conditions.
I’m looking at:
- Where the waves are breaking
- Where surfers are taking off
- The direction of the current
- Where the rocks are
- Where I can safely enter
- Where I can safely get out
- How busy the lineup is
It is very easy to become focused on getting photographs and forget about what is happening around you.
Don’t.
The camera is replaceable.
You aren’t.
Work With the Waves
When I’m photographing from the water, I try not to fight the ocean too much.
If you’re constantly swimming against the waves, you will quickly become tired.
Instead, I try to work with the movement of the water.
I’ll watch the surfers and try to position myself where I think the wave is going to come towards me.
Sometimes it works perfectly.
Sometimes the wave goes somewhere completely different!
That’s just part of surf photography.
You have to react to what’s happening rather than expecting everything to go exactly to plan.
Don’t Just Photograph the Surfer
When you’re in the water, remember that the wave can be just as interesting as the surfer.
Some of my favourite types of water photographs include:
- Surfers inside the barrel
- Water spraying from the lip
- Reflections
- Interesting wave shapes
- Light shining through the water
- Surfers disappearing behind the wave
- Close-up details of the wave
- The surfer surrounded by spray
Don’t feel that every photograph has to show the entire surfer.
Sometimes having the surfer small in the frame can make a much stronger photograph.
Shooting Through the Wave
One of the great things about being in the water is being able to shoot through the wave.
You can get much closer to the face of the wave and photograph the surfer as they come towards you.
This is where a fast shutter speed becomes really useful.
At around 1/1000 sec or faster, you can freeze:
- Spray
- Water droplets
- The surfer
- The lip of the wave
- Fast movement across the wave
I normally shoot bursts because the exact moment I want can happen very quickly.
Over-Under Photography
If you want to try the classic over-under photograph, where part of the photograph is above the water and part is below, a dome port is particularly useful.
This is harder than it looks.
You have:
- Yourself moving
- The wave moving
- The surfer moving
- The waterline moving
You can take a whole burst and only get one photograph where the waterline is exactly where you want it.
That’s normal.
Keep shooting.
Should You Buy a Dome Port?
If you’re mainly interested in photographing surfers from the water, I wouldn’t necessarily rush out and buy a large dome.
I’d start with the standard housing and see how much water photography you actually do.
If you become interested in over-under photography, then I’d look at the SeaFrogs dome options.
SeaFrogs currently sells a range of dome accessories and housings for different Sony cameras.
For me, the standard setup is enough to get started.
How Much Does the SeaFrogs A6400 Housing Cost?
Prices change, so I wouldn’t use an old price as a permanent guide.
When I checked the SeaFrogs official store, the standard Sony A6400 housing was listed at $194.
There is also a good second-hand market.
When I checked eBay UK, I found A6400 SeaFrogs housings listed around £90–£130, with some new examples higher depending on the seller and what is included.
For me, this is one of the biggest attractions of the system.
If you already have an A6400, you don’t necessarily have to spend a huge amount of money to start experimenting with water photography.
Buying a SeaFrogs Housing Second Hand
If you find one second hand, I’d take your time before buying it.
The cheapest one isn’t necessarily the best one.
I’d check the following.
O-ring
Look carefully for:
- Cuts
- Cracks
- Flattening
- Sand
- Dirt
- Salt deposits
Lens port
Check for:
- Scratches
- Cracks
- Clouding
- Damage
Controls
Make sure all the buttons and controls operate correctly.
Leak sensor
Check that the leak detection system is working.
Accessories
Find out exactly what you’re getting.
A housing that includes spare O-rings, straps, port accessories and other parts may be better value than one that appears cheaper.
Test a Used Housing Before Using Your Camera
If I bought a used housing, I wouldn’t put my A6400 inside it and immediately take it into the sea.
I’d test the housing first.
Make sure it closes properly and check that the seals are working before risking the camera.
I’d much rather find a leak while the housing is empty than discover one with my A6400 sitting inside it.
Looking After the Housing
Salt water and camera equipment don’t make the best combination.
After using the housing in the sea, I rinse it thoroughly with fresh water.
I pay particular attention to:
- Buttons
- Seals
- O-rings
- Port
- Moving controls
- Areas where salt can collect
Don’t just leave salt water sitting on the housing.
Once salt dries, it can leave deposits around the controls and seals.
I also check everything again before my next session.
My Water Photography Checklist
Before I get into the water, I run through a quick checklist.
Camera
☐ Battery charged
☐ Memory card installed
☐ RAW selected
☐ Manual exposure
☐ AF-C
☐ Back-button focus
☐ Continuous shooting
☐ Shutter speed checked
☐ Aperture checked
☐ ISO checked
Housing
☐ O-ring clean
☐ Seal checked
☐ Housing closed properly
☐ Port clean
☐ Leak sensor checked
☐ Controls working
☐ Canal wax applied if required
☐ No dirt or sand around the seal
Before entering the water
☐ Check the surf
☐ Check the current
☐ Check entry and exit points
☐ Look for rocks
☐ Check other surfers
☐ Make sure conditions are within my ability
My Biggest Tip: Get Comfortable Before Chasing the Perfect Shot
When I first started shooting from the water, I quickly realised that there is a lot going on.
You’re trying to:
- Swim
- Keep the camera safe
- Watch the waves
- Watch the surfers
- Focus
- Change settings
- Keep the port clean
- Take photographs
It takes time to get comfortable.
I wouldn’t worry too much about getting the perfect photograph on your first few sessions.
Spend some time learning how the housing moves through the water and where you need to position yourself.
Once that becomes second nature, you can concentrate much more on the photography.
Why I Think the Sony A6400 and SeaFrogs Make a Good Combination
For the type of water photography I do, I think the Sony A6400 and SeaFrogs housing work really well together.
The A6400 is small enough to manage in the water, while the housing gives me proper access to the camera controls.
I can use AF-C, back-button focusing and fast shutter speeds just as I would when shooting from land.
The housing also isn’t priced like some of the much more expensive professional underwater systems.
And because there is a second-hand market, you can potentially find one for considerably less than buying new.
For me, that makes it a good way of getting into water photography without spending thousands of pounds.
Final Thoughts
Shooting surfing from the water has completely changed the way I photograph waves.
I still love standing on the beach with my Sony 200-600mm and photographing surfers from a distance.
But being in the water gives me a completely different perspective.
You’re closer to the action, you’re surrounded by the wave and you can capture photographs that simply aren’t possible from the beach.
My basic setup is fairly simple:
Sony A6400 + SeaFrogs housing + AF-C + back-button focus + fast shutter speed.
I also use a tiny amount of canal wax on the outside of the port to help reduce water drops.
The most important thing, though, is getting comfortable in the water and learning to work with the waves.
The better you understand the water, the better your photographs will become.
And remember — don’t risk yourself or your camera for one photograph.
The shot isn’t worth it.
No responses yet