Reader Question: Photographing in the Rain

My friend Ernie writes:

I’m not sure if you ever covered this – what rain protection do you use for your cameras?

I don’t think I have written specifically about that, Ernie, so here goes.

Evening Shower, Sierra Pond — Raindrops from a late afternoon shower mark the surface of a small Sierra Nevada pond reflecting the sky

Before I get too deeply into my personal experience and preferences, I should remind readers that modern digital cameras are full of electronics that are sensitive to moisture. I’ve heard stories of people running into camera problems — including some very serious problems — after what seemed like minimal exposure to sprinkles or light mist. You should refer to your camera’s manual to find out what the manufacturer tells you about its resistance to water. While I’m sometimes willing to take chances with my own gear, based on my judgment about the importance of the shot and my ability to keep the gear dry enough, you should be careful since you could well encounter problems if you do what I do. While I’m going to share some of my personal experiences and approaches to shooting where water is a concern, I do not recommend that you rely on my experience if it conflicts with what the manufacturer tells you about your gear.

With that out of the way, here are some ways that I deal with moisture in a variety of situations in my own photography.

I may push the boundary just a bit more if I can easily retreat to shelter — my car, a tent, or a building — if the conditions get to rough or if I need to get my gear out of the rain. However, when I cannot do this — when I’m backpacking, for example — I may be a lot more cautious.
If I anticipate serious wetness I will assume that my waterproof camera bags and backpacks are not really fully waterproof, and I’ll use ziploc bags to give bodies and lenses and extra bit of protection.
I’m not too concerned about my gear getting a bit damp on the outside in light mist or sprinkles — though you’ll have to decide how comfortable you are with this idea. If I feel that the moisture is so light that it is not likely to get inside the camera body I’ll often continue to work.
If I’m working from a vehicle and I need to be “out in it” for more than a few minutes, I like to use an umbrella to protect that camera on the tripod. More than once I’ve composed a shot, carefully held the umbrella over the camera and tripod… as I stood outside its protection and got soaked. But I got the shot!
Caught without an umbrella, I have also put a waterproof wide-brimmed hat to good use by putting it over the camera, with just the end of the lens extending beyond its protection.
A lens hood is critical in precipitation of any kind. It won’t actually protect the camera that much, but it may decrease the number of water droplets that find their way to the front element of the lens. This is especially important in that while you may be able to cover the camera with your hat… the front element of the lens probably needs to be outside of that protection.
I find it useful to keep a towel or two handy. After shooting in the wet or even while shooting in the wet I can use the towel to wipe down the outside of the gear before water has a chance to penetrate the case of the lens or body.
In some cases I can find a way to shoot from some sort of found or improvised shelter and keep working even in heavier rain. I once made a series of very nice photographs on a very wet morning in Yosemite Valley… while shooting from under the roof of a shuttle bus kiosk! When working from a vehicle it may be possible to shoot from inside, perhaps opening the window “just enough” and only long enough to make the photograph.
Changing lenses can be a problem in rain or snow (or blowing dust, etc.). Before I go out in such conditions I try to anticipate which lens I’m most likely to want to use so that I can minimize lens changes. If I do have to make a change I prefer to find shelter to do it. If I can’t, I have been known to try to make my own improvised “shelter” by leaning over and working in the protection of my rain jacket. But I try to avoid this, as even a single drop of water on a sensor is going to be a major problem.
In these conditions, rain is not the only concern. Wind can make the situation worse, since the water or snow will get into everything. Sometime, unless the subject is really compelling, it is better to retreat.
Condensation can be an issue in wet conditions, especially when it is cold. In general, it may be better to let your equipment adjust to the ambient temperature rather than keeping it warm, since temperature differences can lead to condensations, seen as fogging of the lens (on the outside or, worse, between elements) or moisture on the surface of the equipment.
Cold is also an issue in wet conditions, both for you and for your equipment. In temperatures that might be comfortable for hiking, you may find yourself getting quite cold after when you stand around waiting for the right conjunction of light and subject. I tend to dress much more warmly and to be even more attentive to rain protection. Cold can also shorten the charge life of your batteries. In typical rainy conditions this might not be a big issue, but once the temperature gets down to or below the freezing point, you may find that you batteries are depleted quite quickly. I often carry a second battery in a warm inner pocket, ready to exchange it with a cold battery in the camera.

For more serious wet conditions there are other options, though I’m afraid that I don’t use them. There are special waterproof camera covers that can more or less seal the camera and lens inside. Some cameras are specifically designed to be waterproof and are warranted to work in very wet conditions. Some of the more expensive bodies and lenses from some manufacturers are equipped with more substantial weather sealing.

In any case, f you can sufficiently protect your equipment — and keep yourself and your gear warm and relatively dry — wet conditions can provide some of the most interesting, atmospheric, and moody subjects.

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G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books and Amazon.

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