The world of windsurfing, as we know it, is shaped to a large extent by John Carter’s photographs. The Brit is the PWA’s photographer and brings almost all the World Cup events to our screens through his lens. As it were, ‘on the side’, JC also takes photos for several major brands and travels around the world in search of great spots.
In an interview with *surf*, John Carter revealed a few of his tricks for taking great, spectacular windsurfing photos. Even without outstanding riders in front of the camera, it’s possible to take photos well worth seeing – and with a manageable amount of kit. Anyone with an eye for good shots and who takes a few tips to heart can capture their sessions beautifully.
Choosing the right equipment
Carter recommends, for example, a zoom lens such as a 100–400 mm or 100–500 mm for action shots, plus a wide-angle lens (e.g. 24–70 mm or 17–35 mm) for landscape shots. Important: Versatility is key for beginners, rather than just a super-telephoto lens.
Switch location and view actively
Don’t stay in the same spot all day. It’s worth moving around – different perspectives often lead to better and more surprising results.
Bear in mind the timing and lighting conditions
The ‘golden hour’ is key: the last 1–2 hours before sunset often yield particularly atmospheric shots. Even in low light: check early on whether your settings are correct (e.g. increase the ISO).
Understanding the challenges posed by the environment and climate
Example: Heat haze can form over hot sand, which affects sharpness and image quality. In windy conditions, or when exposed to salt water or rain, it is important to protect your equipment properly and keep the sensor clean
Combining action with creativity
It’s not just important that the surfer is spectacular – the composition of the shot (height of the jump, surroundings, that ‘wow’ moment) counts too. Even with ‘normal’ manoeuvres: get in close, choose the right depth, make use of the foreground.
Consciously managing attitudes
Autofocus + control: Carter uses the automatic setting, but makes adjustments where necessary (e.g. –2/3 stop). When it comes to file format, he opts for RAW rather than JPEG to allow for greater flexibility in post-processing.
Special effect: Using motion blur (‘panning’)
When the action is moving parallel to the camera: by using a zoom lens combined with longer exposure times (e.g. 1/40 to 1/60 of a second), you can capture dynamic images with a blurred background. An even longer exposure (e.g. 1/15 s) increases the sense of movement, but is more challenging.
Water photography: Ensure the safety of people and equipment
Anyone taking photographs in the water must not only protect their equipment, but also themselves (e.g. by wearing a coloured helmet). Before getting in: check the seals on the waterproof housing and double-check that all the settings are correct!
Preparation is at least as important as taking the photograph
You can’t take a good photo without proper planning: check the weather, make sure your batteries and memory cards are charged, and set up your kit correctly. You can find inspiration in other photos of the spot or subjects – not just from the world of windsurfing!
Taking photos even when conditions aren’t ideal
Of course, it’s not always a bright blue sky and perfect waves. You can still get on with your work on cloudy days and in the rain: set the ISO high, protect your camera, and find a good angle. And: less spectacular riders can provide surprisingly good shots because they’re ‘crazier’.
More on the subject of photography:
- 360-degree or classic: a comparison of three action cameras from DJI, Insta360 and GoPro
- GoPro, Insta360 & Co.: Action camera mounts for windsurfing put to the test
- Drone guide and tutorial: How to capture spectacular drone footage whilst windsurfing
- Drone Guide: The right drone for windsurfing footage and essential accessories
- Take your own photos on the water: a guide to building your own exclusive photo buoy
The most important camera settings for great windsurfing photos
Recommended default settings (initial values)
- RAW instead of JPEG
- High-speed continuous shooting
- AF-C / AI Servo
- a larger area with several focus points
- Exposure compensation: often –1/3 to –2/3 EV → prevents overexposure of water and spray
- White balance: Auto (RAW makes it correctable)
Action shots from the shore (jumps, manoeuvres, sharp turns)
| Condition | Exposure time | Aperture | ISO | Focus | Note |
| Sunny / Midday light | 1/1600 – 1/2500 s | f/5.6 – f/8 | 100–200 | AF-C / AI Servo | Prevents motion blur during fast movements |
| Golden Hour | 1/1000 – 1/2000 s | f/4 – f/5.6 | 200–400 | AF-C | Warm light + a great spray finish. |
| Cloudy | 1/1000 – 1/1600 s | f/4 – f/5 | 400–800 | AF-C | The light is softer, but the ISO increases. |
Speed shots / ‘Panning’
| Exercise | Exposure time | Aperture | ISO | Focal length | Tip |
| Normal speed | 1/40 – 1/80 s | f/8 – f/14 | 100–400 | 100–400 mm | Pull in parallel, keeping your torso steady. |
| Very quickly | 1/30 – 1/60 s | f/11 – f/16 | 100–400 | 200–500 mm | Keep the focus point centred. |
| Experimental | 1/10 – 1/25 s | f/16 – f/22 | 100 | 70–400 mm | Lots of missed shots – but the images look incredibly dynamic. |
Wide-angle shots (surfers close to the camera, in the water, action right in front of you)
| Situation | Exposure time | Aperture | ISO | Focal length | Note |
| Sunny | 1/1000 – 1/2000 s | f/8 – f/13 | 100–200 | 16–35 mm | Great depth of field; the spray looks really intense. |
| Water shots / very close up | 1/1000 – 1/2000 s | f/11 – f/16 | 200 | 14–20 mm | Close the aperture → more hits in focus. |
| Cloudy | 1/800 – 1/1600 s | f/5.6 – f/8 | 400–800 | 16–35 mm | Remove any droplets from the front lens regularly. |
‘Atmosphere’ – Landscape + Surfer
| Light | Exposure time | Aperture | ISO | Focal length | Tip |
| Sunrise | 1/500 – 1/1250 s | f/5.6 – f/11 | 100–400 | 24–70 mm | Make the most of backlighting – board silhouettes look epic. |
| A dramatic sky | 1/800 – 1/1600 s | f/8 – f/13 | 100–200 | 24–70 mm | Emphasise the clouds; keep the horizon straight. |
| Action far away | 1/1250 – 1/2000 s | f/8 | 200–400 | 200–500 mm | Be aware of heat haze (particularly over sand). |