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This week we are starting our VLOG! Take a look, and let us know what you think.

One of the basic rules of underwater photography is “get close, then get closer.” This is because the more water between you and the subject, the more red light is absorbed and more suspended particles get in the way. There are really only two lens types that allow such close work. These are the macro and wide-­‐angle lenses that have become staples to underwater photographers.

Close Focus Wide Angle

The close focus wide angle shot requires thinking about your image in three parts: the subject, the mid and the background. The difference in lighting will make the subject stand out in the final image. Your subject will be lit by the strobes, but everything else in the shot will be lit using only the naturally available light. Before you go about looking for a subject, prepare by setting your exposure for the ambient conditions. I like to run the ambient a 1/2 stop to a full stop under exposed, but experiment and find what you like.

Take control away from the camera by learning to shoot with manual exposure settings. Remember the exposure triangle? The exposure triangle is a common way of associating the three variables that determine the exposure of a photograph: aperture, shutter speed, and ISO. Remember there are no light meters underwater aside from the one built into the camera. So I start with my settings around ISO 400, F8 and 1/125th, then take a shot to see where I am. If I want the background a little darker I adjust the shutter speed or ISO if I have to. Then adjust your strobes and your off.

Speaking of strobes, they should be an equal distance from the dome port as the dome port is from the subject. But the truth is, fish move and you often have to act fast. Unless I have lots of time to fiddle, set your strobes as far out to the sides as they will go and set slightly toward the back of the housing. Aim the strobes straight ahead or even at a slightly outward angle, it’s all about feathering the light to help reduce backscatter. There is nothing more disappointing than a shot that has been ruined because half or all of the image is filled with beautifully lit particulates.

Put it All Together

Settings

– ISO 400

– F8

– 1/125th

Composition

– Foreground or subject

– Middle ground or structure

– Background, which is usually water

Pro-Tip: To include a nice sunburst, wave or ripples point the camera at the surface. Find the angle of your subject that will put these elements together and go for it.

Take lots of pictures and experiment with different angles, subject placements and strobe positions. Most all be safe and have fun.

As always remember; take nothing but pictures and leave nothing but bubbles.

While many photographers on land achieve their best images using only natural light and never touch a flash, the same is not true most of the time underwater. Beneath the surface, color is lost very quickly. By about 15 feet, most of your reds will be gone, and oranges and yellows are absorbed shortly after that. If you wish to bring back the beautiful colors of the underwater world—a source of artificial light (or a filter) is a crucial tool.

Underwater strobes can bring that color back and provide a tremendous amount of power in a very short burst; they can be hundreds of times more powerful than a continuous beam light. For this reason, they are greatly preferable for freezing fast action over using high shutter speeds. Syncing with strobes can happen in one of two ways: electronically via the camera’s hot shoe or via a fiber optic link from the camera’s on-board flash.

Generally syncing I mean speaking, syncing electronically is more reliable and does not require the camera’s flash to recycle which is definitely a benefit for firing rapidly. However, it has a few downsides, namely that it generally does not support TTL flash metering (you should be shooting in manual anyway), and that the cables are sensitive to water and are a failure point of the system. Fiber optic cables, on the other hand, are not affected by water and provide fully automatic exposure.

Something that is often over looked in underwater photography is the lens that goes in front of our face, our mask.  You will want something that is comfortable, made out of tempered glass & soft silicone, has a low profile and black skirt. This is one time that I will say don’t buy online, at least not your first one anyway. Go to your local dive shop and try some on until you find the right fit.

Comfort

First let’s talk about comfort, your mask should sit comfortably on your face, with out the strap around your head inhale through  your nose, hold your breath and let go, your mask should stay in place. If it doesn’t just try another fit.

Pro-Tip: Don’t tighten the strap to much around your head, the mask skirt is made out of soft silicone it’s edges will start to wrinkle letting in water. The strap is just there to help keep it from floating away, the pressure will keep it on your face.

Keeping a Low Profile

Even when your camera is at your side, a low profile mask provides a wider field-of-view to find your next subject. Also, a low profile mask will allow you to get the viewfinder as close to your eye as possible, making the frame larger and clearer.Being easier to clear, one long exhale through the nose should drain any water, is always a plus.

Pro-Tip: One long exhale through the nose should drain any water in a low profile mask.

Black Skirts

Remember the old view camera’s with a black cloth on the back to cover your head while you look through the viewfinder? Well that’s the same principal behind choosing a black skirt for your dive mask.

Black skirts limit the amount of light entering your field of view, increasing contrast and decreasing reflection in the lens. These qualities will help finding critical focus and also review photos in the LCD.