Tidal Grain

A tide table is an exposure tool

The picture planned at the kitchen table rarely survives the walk down, because the sea is not where it was the last time. A tide table costs nothing and removes most of the surprise. Read it the evening before, together with the time of sunset, and half the decisions about focal length and exposure time are already made.

Four states and what they give

StateWhat is thereWhat it suits
Low waterWet sand, pools, the feet of the groynesReflections, texture, wide lenses close to the ground
Flood, first halfWater creeping over flat sand, slowlyLong exposures with a clear edge between wet and dry
High waterPosts and rocks half sunk, surf against the wallMist around solid shapes, 20 seconds and longer
Ebb, first halfWater draining through shingle and off the weedStreaks: one to four seconds draws the lines

The middle two hours of a rising or falling tide move the most water. On a flat beach the edge can travel a metre in a minute, which is worth knowing with a tripod in it.

A row of wooden posts receding into misty water
Groyne posts on the ebb. Delta 100, forty-five seconds at f/11.

The exposure follows the water

How long the shutter stays open is a decision about the sea's surface, not about light. Half a second keeps the shape of a wave. Two seconds draws its retreat as lines. Thirty seconds flattens everything into fog with the rocks standing in it, and four minutes makes a sheet of metal. Choose the surface first, then reach for whatever filter makes that time possible at an aperture the lens is good at.

A plan that fits on a card

None of this guarantees a picture. It does mean that the hour by the water is spent looking rather than waiting for the sea to arrive where you hoped it would be.

Older: Yellow, orange, red: filters over grey water Newer: A pinhole on the pier