The section of the Ring Road from Egilsstadir to Lake Myvatn was my least favorite drive. You leave the east coast, head past lush farm lands and drive through fields of black lava for much of the two hours it takes to get to Lake Myvatn.
There is one important photo location along this section of Ring Road, the Dettifoss waterfall. Dettifoss is about 85 miles east of Eglisstadir, 25 miles from Lake Myvatn, and the most powerful waterfall in Iceland. Plus, it’s adjacent to Selfoss, a waterfall of equal beauty.
Logistical issues. Dettifoss and Selfoss are something of a rarity in Iceland, they can be approached easily from either side. Rt. 862, the western approach, is shorter and paved. It gets the lion’s share of tourists. The western viewpoint doesn’t give much glimpse of the gorge below.
From the east side, you can walk right up to the cliff edge and aren’t as hampered by defined overlooks. Unfortunately, Rt 864 is a longer drive down a dirt road. The route is also less accessible. This section of the Ring Road is at a higher altitude so there are snow issues for most of the year. I had planned to shoot Dettifoss from both sides. But when I came in early May, 864 was closed; the sign saying (in nicer words) if you get stuck on this road, you’ll need a second mortgage to pay the towing fees. So I went with the flow.
Best light. On the other hand, I discovered that Dettifoss’ western view is the better choice in the afternoon. The river, Jokulsa a Fjollum, flows south to north so you’re shooting with the sun behind you. The eastern view will get better light in the morning and a better view upstream. Of course this being Iceland, you’re likely to be shooting on an overcast day.
Layout. An easy walk from the parking lot takes you to a couple of fenced off overlooks. The first overlook is just above the falls. The downstream overlook gives a cleaner composition. It’s easier to get the entire falls into frame.
This framing gave me some nice leading lines into the image. And since there was a perfect rainbow, I used it. I did play around with shutter speeds at this spot. This waterfall is a powerhouse and I wanted a (somewhat) slower shutter speed to suggest movement in the water without sacrificing definition. So for me, anything slower than 1/20 second gave too much smoothing to the falls for my taste.
One note: The swirling black and white along the cliff edge (center) are patterns in the snow. I’m not sure how they got created but I like the effect. Also, notice that the rainbow stops in midair.
As far as post, I mostly just lightened up the shadows in the lower third of the image.
Another nice thing about this shot location is that it’s a twofer. The Selfoss waterfall is just a ten minute walk upstream. (You’ll see the path off to the left as you head back towards the parking lot.)
Selfoss has just as much water flow as Dettifoss (duh) but the layout allows you to shoot from the cliff edge. Plus, Selfoss has a number of smaller falls leading the eye up to the central area of it. So there are any number of ways you can compose the image successfully.
At 1/500 sec., the foreground waterfall becomes lattice-like and the turbulence in the river is nicely detailed. So this approach seemed to capture what made Selfoss so unique at that moment.
Between the two waterfalls, the gorge narrows and the river moves fast. So I spent longer working this location, seeing how a longer exposure would impact the motion of water. Here’s an example of that.
For me, the slower shutter speed was too weird. I don’t mind the fall’s blur on the right side. But that 1/10th sec exaggerates the river motion. It’s a powerful photographic choice. But I get almost sea sick looking at it and I can’t imaging anyone having this image on their wall. I could have gone for a much longer exposure, 1-5 minutes. But then I lose all the detailing in the river. And those powerhouse rapids are what captured my attention that afternoon.
None of this is meant to say how these two waterfalls “ought” to be photographed. These perceptions are what moved me on that afternoon. With different lighting, different water levels, I would have gone with another approach. The point is to engage with a place, let it “speak” to you, then use your tools to capture the feeling.
Post. For the two Selfoss images, my core adjustments were to equalize the effects of the light differences. The cliffs getting direct sun were a bit harsh and blown out, the cliffs and water in shadow were too dark. That’s a common challenge for us.
While shooting, I was talking with a young couple about the challenges of photographing a scene like this. They were enjoying the moment, I was thinking out loud. I probably mentioned how dark the shadows were getting. It was 6:30 by now but the two ladies could still see every detail in the rocks (on the right side) with no trouble. The camera was registering all that as black since I didn’t want the sky getting blown out. People often think you should just “photograph what’s there.” But what the eye sees isn’t what the camera can deliver. That’s the point of post production, the point of shooting in RAW.
After shooting Selfoss, I headed down into a final black plain towards Lake Myvatn, my stop for the night. The deep blue lake is a relief after the lava flats. As I noticed early on, in Iceland you don’t have to drive far before the landscape transforms.