Instructor Tim's Underwater Photography Blog

Sync Cords

2012-02-15T13:23:00.002-06:00

Have you ever been concerned about your sync cords? Those flimsy cables stretching between your camera and strobes are the key to simple lighting underwater. These delicate wires can be easily damaged or over stretched by a variety of hazards – the snatch of a well-meaning deckhand, a buddy’s fin tip or even a piece of coral. In addition, sync cords can be outrageously expensive to replace. I’ve paid over fifty dollars for a part that probably costs a few dollars, at most, to produce.

My protection device is a few feet of fairly rigid, clear plastic tubing from the hardware store. After measuring a piece that fits between your camera housing and the strobe, cut it length wise with a razor blade. On your next dive trip, place the sync cord inside the tubing and use a cable tie to encase the fragile wire. After your cable is in the protective coating, use a few more cable ties to attach the assembly to the strobe arm. Beyond preventing your sync cords from damage, the clear plastic tubing will stiffen a wimpy strobe arm.

Diopter Dilemma

2012-01-01T10:18:00.004-06:00

The fourth quarter was a busy time for me. My excursion to the far eastern edge of Indonesia, quickly followed by the family-focused holiday season, prevented me from composing any thoughts regarding underwater photography.

My primary objective in Raja Ampat was to capture the pygmy seahorse image I failed compose two years ago in Sulawesi due to a very inconsiderate diver. Armed with my new hybrid camera, lens and diopter, I was confident in attaining my goal as I stepped aboard the Paradise Dancer for a 10-day journey. My conviction rose even higher when I encountered the same guide that created my photographic safari in Sulawesi. Unfortunately, I immediately discovered my equipment configuration was not strong enough to focus on the tiny creatures. (Before the trip, I had practiced focusing on the letters of a Durcell AA – I should have used a AAA.)

The guide found me at least two pygmy seahorses every day, but I had extraordinary difficulties in getting the right magnification and focus combination. I delved deep into the manual camera settings and took dozens of shots day after day to no avail. Confounding me even further were two other photographers who were taking wonderful pictures without any effort. Finally, I luckily managed to capture one “wall worthy” image after about seventy attempts.

Focus lock was a key component to my success. This is a camera feature every macro photographer should master. Focus lock is not holding the shutter button down halfway and waiting for a subject to wander into the proper position. Instead, the technique involves manually focusing the camera on a small area within the frame. In automatic mode my camera, for example, uses sixteen points as focal references. In focus lock, a small reticule appears and what is inside the box is brought into focus by how far the camera lens is away from the subject. By extending or retracting my arms focused is achieved similar to old film cameras. This is a difficult skill in the topsy-turvy ocean surrounded by delicate soft coral and other divers. I must have stumbled upon the magical spot where my lens distance was perfect and the reticule was over the seahorse’s eye.

Experiment with focus lock before an upcoming trip. Also, if you add a diopter to a camera, purchase the most powerful one you can afford and ensure it has a solid connection to the camera housing. (Mine accidentally fell off along a wall mid-trip. I found it laying on a tiny ledge at 93’.) Another recommendation is to borrow another photographers diopter and screw it onto to yours, if feasible, to increase the magnification.

Really, Edie?

2011-09-15T08:15:00.003-05:00

How much do you use Photoshop? Do you tinker a bit with the program to remove an annoying piece of backscatter from a picture, adjust the color tone or crop-out a buddy’s fin tip? Or, are you an “Edie?”

Several years ago cruising through Fiji aboard the Nai’a my friends and I encountered Edie, a very annoying diver and photographer. After every dive, Edie would sit in the lounge in her damp, ill-fitting swimsuit and manipulate her images at the table she commandeered for the entire trip. Edie even ate her meals hunched over her laptop. This routine, combined with her absolute disregard for the marine life and her fellow photographers brought scorn upon Edie. (As a side note, Edie also had an annoying habit of asking the men on the trip to help doff her wetsuit. I quote, “Can you give me a peel sonny?” – yucky.)

At the end of the excursion everyone showed their best images. All of Edie’s pictures were met with smirks and eye-rolls. Were the pictures real or compositions from multiple sources? In one striking picture Edie had the silhouette of a shark framed over a beautifully lit coral head with the sun’s rays streaming from the surface. No one believed she had actually captured the scene despite her protests.

My suggestion is don’t be an “Edie.” Underwater photography is an endeavor filled with tales of got-it, screwed-it-up or missed-it shots. If you can’t find enjoyment in the journey, don’t compensate by altering images until the picture is only a vague representation of the experience or your skill level. Why haul equipment to the far side of the world to capture mating mandarin fish, if you’re just going to create the image in Photoshop? If you capture a good, or great, picture – wonderful. If you’re strobe fails or the camera settings aren’t correct – those are the breaks. I admit to using the program to improve pictures, especially ones of creatures that are fairly difficult to find and frame. Ultimately, I’ve found the images that elicit the best response from friends are the ones that remain unchanged even after pressing the autocorrect feature in Photoshop. (Like this toadfish taken by Ken Shine.)

Next month, I’m heading to Raja Ampat with only the basic equipment due to the weight restrictions on Indonesia’s airlines. I’m leaving the wide angle, back-up camera, etc. at home. Wish me luck.

How Much?

2011-08-16T08:36:00.003-05:00

Recently, I had two conversations at the shop with customers interested in pursuing underwater photography. Both people were newly certified divers getting ready to embark upon their first salt water adventures and willing to spend around two hundred dollars.

My initial suggestion to the customers was to simply enjoy the dives while becoming familiar with the equipment, buoyancy, environment, etc. I asked them, “Why do you want to add an additional, unfamiliar task to an entirely new experience?” My second piece of advice was to forget underwater photography unless they were willing to invest at least five hundred dollars in a “starter kit” that included a camera and strobe. Moreover, any money they were considering spending on a camera should first be applied to a regulator, computer or jacket.

One gentleman was interested in only purchasing a camera and adding a strobe in the future. I had to remind him how the spectrum of colors will begin to dissipate as soon as his head goes under the waves. I said, “Remember ROYGBIV? All your pictures will be blue & green without a light source.” He mentioned his exceptional skills with Photoshop, which made me cringe. I’m not certain how effective the latest version of Photoshop is in massive color correction, but I’m not a proponent of excessive touch-up. (More on the subject in a future post.)

The other customer asked about putting his high-end Nikon SLR in an underwater housing. This option exists, but the price of custom camera housings are well beyond five hundred dollars. When we began discussing strobes, he asked about just using ambient lighting. In ten to fifteen feet of water sunshine can be a wonderful light source. Below the safety stop level, however, sunlight can only play a secondary role in illuminating a subject.

Both customers followed my final comment. If you’re not ready to commit finances, and occasionally frustration, to underwater photography, hire a local photographer to follow you around for a 2-tank trip. Ask the boat crew for a recommendation. You’ll get better images than anything you could do on your own with a new camera for a fraction of the cost and no hassles. I still have a picture the photographer took of me on my second ocean dive hanging on my wall.

Wide Angle Practice

2011-07-13T08:41:00.001-05:00

I returned from a wonderful week at Turneffe Island in Belize on Saturday. This trip was the maiden voyage for my new camera system. In addition, I tested the video/dive light versus strobe theory mentioned in my previous post on a few dives.

Equipped with my new 9-14 lens and dome port I opted to concentrate entirely on wide angle images. Instead of capturing brilliantly composed scenes of horse eye jacks schooling over The Elbow, I left Turneffe Island completely empty-handed after five days of moderate shooting. The camera settings weren’t difficult to manage, but using a true wide angle set-up, instead of an arrangement on a point & shoot camera, will take practice.

My major challenge was getting too close to subjects with the dome port and negatively impacting the focus. Everything appears fairly small on the LCD with a wide angle lens. As a result, I took numerous shots at macro distance trying to enlarge a fish on the LCD. After a few days of diving I began to get a get accustomed to the space required for a decent picture by peeking over the housing after seeing an image on the camera screen.

The Sola video/dive light attached to the housing hot shoe worked very well during the day dives – no night excursions on this trip. The compact light really does put all the colors back into the coral and has the potential to eliminate strobes. The only disadvantage to exclusively using Sola is the beam strength scares the fish. Relatively stable creatures like lobsters, crabs and eels retreated as soon as the halo illuminated them. Video shooters successfully use video/dive lights, but they’re sweeping the reef and not trying to capture tight images. The benefit of strobes is the quick burst of light that fish can’t react to before the shutter snaps. In the future I’ll be carrying a combination of the two light sources to maximize my options underwater. At the very least a housing, or arm, mounted Sola eliminates the need for a primary dive light and extra batteries.

A trip to the Flower Gardens is coming up over Labor Day. I’ll be giving the dome port another try.

Obsolete Strobes

2011-05-23T20:50:00.006-05:00

Over the last month I decided to upgrade my camera system to improve my macro & wide angle capabilities. One of my pre-delivery concerns was whether my old strobes would be compatible with the new equipment. This situation led to a series of discussions at the dive shop regarding underwater lighting.

The prevailing opinion among divers is to add the biggest, most affordable strobes to a camera. Digital camera sensors, though, are much more sensitive to light than film. As a result, the need for a brilliant flash of light is essentially gone, especially considering the latest in underwater photo equipment. The new avenue is for photographers to use video/dive lights. Bob Wohlers, the head of Instructional Design at PADI describes this development in latest issue of Undersea Journal. The process has a few advantages according to Bob:

1) The coverage provided by the lighting equipment (total coverage, shadows, highlights) can be seen prior to taking a photo.

2) The lights can be used with video (most still cameras on the market now can render high-quality video).

3) The equipment act as super-bright primary night diving lights.

4) Power can be increased or decreased on the lights.

5) During the day the white balance can be employed using the video/ambient light combination.

Depending upon the model, the video/dive light can also eliminate the hassles associated with strobes – luggage space, changing batteries, etc. I purchased a rechargeable Light & Motion Sola which is very compact and has a seventy minute burn time on the highest setting.

The possible disadvantages to using a dive/video lights are being able to approach a skittish fish and fine tune lighting. In the Undersea Journal article, Bob only discusses photographing still objects – like coral. Video divers take wonderful sequences with huge white beams of light crisscrossing the ocean; but will I be able to creep up on a skittish fish for a tight face picture? Also, the dive/video lights do not have too many power settings. The high-end Sola has just full, medium and low options. I only adjust my strobes, though, about 30% of the time when the opportunity exists to set-up on a creature for a few minutes.

My old Sea & Sea strobes worked with new camera, so I will be experimenting on my upcoming trip to Belize. If the Sola does not scare the fish I may decide to purchase another one, shed the bulky strobes and batteries and completely convert to the new method.

Camera Upgrades

2011-04-25T08:17:00.003-05:00

My camera-free trip to Cozumel went very well. All of the new dive equipment performed as expected and a last minute switch to a different boat operation proved to be a good decision. I’m always appreciative of a captain that allows seventy-five minute bottom times and prepares his own guacamole. Swimming around the reefs and not worrying about taking pictures, rinsing the housing, having a deckhand stretch a sync cord or some moron scrubbing defog into the camera bucket was very liberating for me.

As expected, a few instances arose when I wished I had my camera. Cruising along Ramon’s Mountains I came across a large nurse shark underneath a tiny shelf with the current flowing over the top. The best part of the encounter was the shark’s position – facing the sun in about forty-five feet of water, its body curved and the tail perked up. I’ve yet to capture the perfect nurse shark image and this would have definitely been “the shot.” The other opportunity was in the sandy grotto area near Tunich and Yucab. I encountered a mid-sized turtle inside a swim through snacking on the coral hanging from the ceiling. The picture would have been a great wide angle image with the sun peeking through the holes in the coral.

As I look forward to my other diving adventures in the coming months I’ve been very tempted to upgrade my camera system. My eight megapixel point & shoot camera was top of line equipment in its class five years ago. Now, however, the thoughts of a larger screen, different lenses to boost my macro capabilities, non-existent shutter lag and a fat fish-eye lens are compelling me to spend big ducats on new gear. My evenings are filled studying a few different set-ups.

Also, I flooded my favorite flashlight in Cozumel - the skinny UK LED. I always had the UK strapped to my camera tray and it acted as both my primary light and focusing beam on night dives. The flashlight still works, but the beam seems weaker to me. So I’m considering adding one of the new Light & Motion Sola lights to my camera system. These lights are compact, unbelievably bright, completely sealed and have multiple illumination settings. The best feature on the photography model is a red beam. Instead of trolling the reef with a creature-terrorizing white light, you can stealthily swim along using an easy-on-the-eyes red light. I still need to determine if the camera can focus on a subject in the red beam mode, though. The only drawback is the cost. . . we’ll see.

Return To The Roots

2011-03-29T21:25:00.005-05:00

Next week I’m heading to Cozumel for a few days. The first of four progressively long, and intense, dive trips planned for the year. Over the winter I upgraded several pieces of equipment that require a little familiarization, so I’m not taking any camera gear on the trip. A few years ago, I unintentionally embarked upon a similar vacation. I arrived in Cozumel with my housings, strobe arms, batteries, etc, but not the actually cameras. After the initial frustration subsided I found myself really enjoying the dives and surface intervals with my friends. I skimmed the reefs for a whole week without searching for subjects, greasing o-rings or worrying about a wonky strobe arm. The only minor disappointment, as expected, was when I came face-to-face with an eagle ray off Punta Sur. As a result, I recommend forcing yourself back to your personal diving roots on occasion.

I’ll be spending time next week with the person who taught me to dive and introduced me to underwater photography. I still have my Sea & Sea MX-10 on a shelf in its indestructible pelican case. The camera “system” had no focus and only a small switch to adjust the aperture. Snapping pictures was quick affair with only twenty-four exposures and no underwater review mode. I can vividly remember changing film on a heaving 6-pack under a towel and watching a drop of water from my hair plunk inside the camera. Another time I almost lost a wonderful eagle ray image by opening the housing without rewinding the film. The rugged, featureless camera did take some decent pictures, though, that still hang on my wall. Interestingly, I’ve never been able to duplicate the juvenile spotted drum picture with all the new technology. So remember, luck plays a huge role in underwater photography.

Angle of Attack

2011-02-23T21:25:00.005-06:00

Cautiously approaching a subject and shooting upwards are my last two rules of underwater photography. Generally, fish are skittish creatures – some more than others. Getting a great picture requires a photographer to gently enter a subject’s immediate surroundings, create a point of intercept or use the element of surprise. Underwater photographers have to resist the urge to sweep down on a creature like a German Stuka with their strobes flashing like machine guns. Under these circumstances, even the most camera-friendly fish will scurry away.

A good technique for sidling up to a bottom dweller or fairly stable swimmer is to spend a little time studying the creature’s movements from a reasonable distance and allowing it to become accustomed to your presence. Closing the gap requires an easy breathing rate and no sudden movements. I keep my camera chest high until I “feel” the fish is ready for a picture. Next, I bring the camera up slowly, adjust the focus and press the shutter button. If the fish does not mind the strobes, I continue snapping images. If the “camera courtship” is rushed, though, certain fish tend to get annoyed and turn away just as the shutter opens. Cuttlefish and octopus are perfect examples of creatures that require some “romance.”

A different tactic is needed with active fish, like groupers, wrasses, and parrotfish. I try to anticipate where the subject is heading and intersect its path. Once in position, I pretend to ignore the approaching target and monitor it out of the corner of my eye. It is amazing how curious some fish, such as queen angels, will be when they are not receiving any attention. As the fish comes into range, I rotate myself, press the zoom button and snap a picture.

Following a fish is rarely successful - a chase usually ensues that leaves the photographer huffing in the regulator with only an image of a wagging tail. My final method requires timing and a fair amount of luck. Along a wall, eagle rays and sharks tend to turn away from divers at first sight. In two fortunate instances, I spotted the subject far off, hid behind an outcropping of coral, dramatically lowered my breathing rate and managed to grab a wall-worthy image during the underwater ambush. This is the type of situation where a camera’s write-speed is a key factor in getting more than one shot.

When you’re about to take any picture try to angle the camera upwards. Framing a subject against the surface is visually appealing and makes use of the available light. Shooting downward isn’t the best angle. Would you rather see someone’s face from the chin – up or top of the head down? Even in the sand, try to get below the target along the slope.

Finally, remember fish pick-up on your karma, chi’i, etc. So, project positive waves and be respectful. . .

Float Like A Butterfly

2011-01-21T08:23:00.003-06:00

My third rule of underwater photography is to practice proper buoyancy control. A few people contend that being able to maintain a stable position in the water should be at the top of list. If someone’s camera housing is leaking or if they can’t find anything interesting to photograph, then being able to hover while manipulating a camera really becomes an irrelevant point.

I found necessity forces most photographers to unconsciously develop good buoyancy skills. Photographers, though, tend to get a little “touchy” with the reef in the quest for a great picture. I’m guilty of the “two finger holdfast” and most photographers will confidentially acknowledge they have occasionally touched the coral. The justification is usually, “I only touched a rock” or “I found a dead spot to grab” quickly followed by “look at this amazing shot . . .“ All divers simply need to do their best to avoid damaging the underwater environment. The initial step in exercising caution is to leave the gloves or pointer/skewer on the dive boat.

If you’re going to maneuver into a tight spot take a few seconds to plan the approach and exit. Wiggling into a confined area is usually much easier than reversing course – you don’t want to inadvertently catch a piece of whip coral on your gear or maul a sea fan with a fin tip. If a bunch of divers are crowded around a rare blenny in a crevice, my recommendation is to wait in the open water, get your buoyancy perfectly dialed-in and approach after the area is clear. You may miss the chance to capture the image, but there are always better opportunities a few dives in the future. Plus, I find taking pictures a lot more enjoyable when I’m not being jostled by other divers.

In a sandy area, you should make contact with the bottom without generating any disturbance or crushing tiny, developing pieces of coral. The key is to gently arrive and depart the sand using your lung power and air cell to reduce the potential for backscatter. Kicking away should only occur after you’re well above the other divers angling for a picture. Nothing irritates a photographer more than someone who destroys the visibility, especially another shutter bug. Finding a pygmy seahorse and leaving the water just as clear as you found it will endear you to your fellow divers.

Reef Creep

2010-12-09T09:00:00.004-06:00

In the October post I discussed my first rule of underwater photography – maintain your o-rings. This month, I’ll delve into my second rule which merges nicely with good diving practices – swim slowly and use your buddy as a critter spotter.

Swimming slowly, painfully slow to the non-photographer, provides you an opportunity to discover the most elusive creatures on a reef. The key word in the sentence is “opportunity” since creeping along a dive site does not guarantee you’ll find any interesting marine life. The unique critters may simply not be in the immediate area or you may be plagued by the dreadful “camouflage cataracts.” Numerous friends can tell you how I regularly fail to see fish right in front of my face, throw my hands in the air and yell “where” through my regulator. A prescription mask is not the solution. In Fiji, my buddy and a dive guide had to practically put my finger on a ghost pipefish two feet away. I protested over the tiny size of the pipefish, but I didn’t have any excuse for almost bumping into a cantaloupe-sized frogfish in Sulawesi. The trick is to focus on finding shapes, mouths and eyes. Knowing the types of coral preferred by specific creatures can be found by perusing Paul Humann’s fish identification books.

Swimming at a deliberate pace not only assists you in finding nudibranchs and other wonderful creatures, but it conserves your air supply. The downside to swimming very slowly, though, is certain dive buddies may become inpatient. You can overcome a buddy’s frustration by sending them a little bit ahead in a scout role and announcing their discoveries to everyone back on the dive boat. Dive buddies can also fulfill the role of underwater “goon & light boom.” A strategically positioned partner can either keep less than courteous divers from wrecking your shot or illuminate an area from an interesting angle with an extra flashlight. I’ve found spending a few dollars to enlarge an image for a buddy after a trip is a great way to secure their help in the future.

The best scenario is to pair-up with another photographer, agree on rotating the first shot and allow your respective buddies to act as spotters. I swam with another photographer in Sulawesi while his wife and my three friends scoured the volcanic muck for marine life. The four pairs of eyes we had in front of us found a tremendous amount of weird creatures. At the end of the dives I was exhausted from racing between photo-opts.

New Diver, New Camera

2010-11-14T16:44:00.003-06:00

Newly certified divers often ask me the best way to begin underwater photography. Usually the questions focus on equipment and arise immediately after I give someone a camera to use in the pool or lake during training. “Should I purchase a housing for my Nikon before heading to Belize?”

My first recommendation is to become at ease in the ocean and develop reasonable buoyancy skills before strapping a camera to your wrist. At a minimum, spend the first few dives of your trip getting comfortable with the environment, above and below the water, and your basic equipment. I typically leave the camera in the room for the first day of trip to ensure my regulator, jacket, weights, wetsuit etc. are all properly functioning and observe how the crew on the dive boat handles cameras. More importantly, the routine between arriving at my destination, checking-in, unpacking and boarding the dive boat is normally a busy process. I avoid the additional stress of trying to assemble my camera & strobe arms in just a few minutes. This guidance can be applied to any new diving situation. If you’re drift diving for the first time, my suggestion is to leave the camera on the boat. A few years ago, a student returned from vacation very upset because he lost a new camera system trying to follow a dive guide through a series of swim-throughs.

My second recommendation is to focus on taking basic snapshots of the marine life. Build your approach, buoyancy, framing and lighting skills on easy subjects like passing barracuda, schools of grunts or grey angelfish. Starting your foray into underwater photography by attempting to capture a bouncing spotted drum under a tight ledge or a macro image of a juvenile trunkfish isn’t the best path. Beyond frustration, you will probably damage the coral and create a cloud of backscatter for yourself and other photographers.

My third recommendation is to invest in a point & shoot system that includes the camera, housing and strobe all in one package. The cost of most complete point & shoot packages is roughly the same as the housing for a sophisticated digital camera. The features of point & shoot cameras are continually improving and with a little practice you can create pictures that rival the most expensive arrangements. I still use point & shoot cameras for a few reasons.

In my carry-on bag I can pack two cameras, two housings, three decent-sized strobes and still have room for my regulator, mask and other travel necessities. The average-sized bag is deceptively heavy, but no one has ever checked the weight. Toting a hard case for a larger camera system through an airport can be a hassle. Moreover, if you check a locked case your luggage fees increase along with the risk of a lost bag.

Most divers can only afford one of the high-end cameras. Opting for a little less functionality allows me to purchase back-up components in case a housing or strobe fails.

The larger the camera systems can be cumbersome to manage underwater especially in a current. I can also place, or take, my rig into tight spaces without any major adjustments.

Equipment envy is an easy trap to fall into around the camera table on a dive boat. Remember, it is not about the gear, but who gets the shot of the inverted, mating hammerheads.

Bonaire Report

2010-10-03T17:59:00.004-05:00

Exactly one month ago, I was just finishing my first day of diving in Bonaire. After sorting through a few hundred images over the last few weeks my finally tally is three "wall worthy" pictures and a few other good shots. Most importantly, I finally captured a close-up of an eagle ray, wings up, after years of unsuccessful attempts.

Bonaire is a great destination for either budding or seasoned underwater shutter bugs. Light/non-existent currents, the ability to select a site and pursue any dive plan provide provide the opportunity to set-up on a subject for practice or create the perfect image. The shore diving option eliminates the quick shots and time constraints typically encountered by photographers with divemaster-led boat dives. In addition, photographers do not have to contend with the backscatter causing fin kicks of other divers. On one dive, I spent thirty minutes with a chain moray.

O-ring Cleaning:

I'm fanatical about cleaning, greasing and inspecting my o-rings. Every time I open my camera I meticulously prepare the o-ring. In my opinion, o-ring maintenance is the first rule of underwater photography. A guest in Bonaire with a brand new camera failed to reinstall the o-ring one evening and didn't check for any housing leaks in the dunk tank on day two of his trip. Unfortunately, he discovered the error after descending to about twenty feet.

Please post your comments, questions, favorite shots, equipment tips and any special approaches you may use on some of our shy ocean friends.

Coming soon... Tim's U/W Photography Blog

2010-09-29T20:31:00.000-05:00

Follow Instructor Tim's Underwater Photography Blog to learn about the latest in underwater imaging gear and techniques. Let Tim take you on a sometimes humorous, but always enlightening journey from blackscatter ridden vacation snapshots to breathtaking images you'll be proud to show off.

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