While taking photos underwater can be challenging, when those perfect moments of light and subject come together there is no place you'd rather be. Award-winning nature photographer Justin Gilligan shares seven great tips to help you improve your shots next time you plunge into the deep blue.
It’s tough to work out why anyone would want to venture underwater with a camera. There’s so much working against a photographer; surging water, limited visibility, loss of light and uncooperative subjects are just some of the factors that conspire against you.
But during those fleeting moments when the light and subject combine – and you happen to be looking in the right direction, with reasonable camera settings locked in – the resulting images can be otherworldly. With an ever-growing number of affordable cameras and housings available on the market today, underwater photography is now within everyone’s reach. And you don't need to take risks with dangerous marine creatures, or scuba dive to the deepest depths to find the perfect shot. There are endless opportunities out there in shallow coastal waters, rivers and even pools. To find your potential subject it’s just a matter of putting on a mask and going for a swim!
01 UNDERWATER CHALLENGES
While a landscape photographer can scout a location, set-up their camera and tripod and wait for several hours to get that perfect moment, the underwater photographer often needs to confront cold water, minimal visibility and limited shooting time. A specialised camera, and in certain situations even a waterproof housing, are required. An underwater strobe might also be useful to provide a burst of artificial light to your subject in an otherwise blue and hazy world. It also helps to be comfortable and at ease in the water. Some extra equipment to protect you from the elements like a mask and fins, a wetsuit and sunscreen can help. It’s also important to remain motionless to maximise your chances of getting a sharp image, especially when you’re using slower shutter speeds (less than 1/50s), in this relatively low-light environment.
As light filters down and passes through the water, the sun’s rays can be absorbed by dark particles suspended in the water. Conversely, lighter particles block its passage and reflect light back into the atmosphere. Generally speaking, you can expect to lose one or two f-stops just below the surface and another f-stop with every few metres of depth. There are also other situations, such as a cloudy sky, a low sun angle and turbid water, which will reduce the amount of light available to you. Conversely a clear sky, a high sun position and a reflective sandy bottom can increase the amount of light. Fortunately, the improved high ISO performance of many recent camera models in low-light conditions can be a major advantage for underwater work. Colours are also lost as light rays are selectively absorbed when they pass through water. Reds disappear in the first two metres. At around 10 metres, it’s goodbye orange! Yellow lingers until about 15 metres. And by 30 metres you’re in the realm of a totally blue haze. At this depth, strobes are required to restore your subject’s natural colours.
Time is of the essence as well. Even for many shallow water shoots, I prefer to use scuba equipment to maximise the amount of time I have to look through the viewfinder, although in many instances, snorkelling can also yield great results. Yet even snorkelling on the surface, it doesn’t take long for the cold to set in. Hence it pays to learn as much about your subject as possible to improve you chances of getting your shot. If you’re dealing with marine life, you need to know when and where a critter will turn up. And when it does, you may only have a few fleeting moments together, so proper planning and pre-visualisation is an essential part of your preparation. I also tend to take advantage of advances in digital technology to improve my chances. Recent camera models have amazing auto-focus abilities and I rarely use anything else. Live-view mode is a useful tool to compose your images underwater as well, although most underwater housings have a magnified eye piece to allow you to easily view your subject through the camera viewfinder while you’re wearing a mask.
Split ‘over-under’ images can be made using a wide-angle lens in fairly calm conditions. This green turtle and kayaker at Lord Howe Island were the perfect subjects for this approach. Nikon D300, 10.5mm lens, 1/125s @ f/11, ISO 200, Ikelite underwater housing, two DS160 strobes. Curves and levels adjustment in Photoshop CS6, sharpening in Lightroom 4.
02 CAMERAS AND HOUSINGS
A number of underwater cameras are currently available, with retailers offering several models. Before making a decision, there are a few things which need to be considered, and obviously cost is right at the top of the list. If you plan to use scuba equipment and dive beyond three metres, then you’re going to require a waterproof housing for your camera – most stand-alone splash-proof compact cameras are only rated to a depth of three metres. At this depth, you’re also going to need an external strobe to light your primary subject. So, you’ll need to determine if your camera and housing set-up is compatible with a strobe. There are always exceptions though, and many great underwater images are created on a daily basis in shallow water without a strobe.
In the past few years the availability of solid ‘point and shoot’ underwater systems for less than $500 has diminished. But, you won’t need to break the bank to get started with a GoPro system. Although a little low on image quality, these cameras can deliver decent images and high-quality video to get you started underwater. There’s also a range of other compact cameras to be considered. The Olympus TG-2 is great when you’re snorkelling, or it can be taken deeper when you use the PT-053 underwater housing. The compact Sony DSC-RX100 is also worth mentioning due to its small size, and fantastic image and video quality. Several other compact camera models are also suitable from Canon, Nikon, Olympus and Lumix, amongst others. It’s just a matter of checking the reviews and speaking to your retailer to find the most suitable camera in your price range.
Mirrorless cameras are also being used for underwater photography, with an underwater housing. The sensor size of these cameras is relatively large, which results in good image quality, but they can be slow to focus. Several brands of both compacts and mirrorless cameras offer the option of attaching a ‘wet lens’ to the outside of an underwater housing. These are basically external lenses which can be connected to the outside of the housing whilst under water and they enhance the performance of the existing lens. There are several options available to allow your set up to capture either macro or wide-angle images. They attach to the outside of the housing by simply rotating the lens until it locks on, snaps on in one motion, or screws into place.
Digital SLRs are the superior choice for underwater photography, but their cost adds up quickly when you include an underwater housing, strobes, a variety of lenses, and lens specific ports to your shopping list. The advantages of using a digital SLR for underwater photography are the variety of lenses available with excellent optics, better image quality, and reduced shutter lag and focus delays. There are a number of housing manufacturers: amongst them are Ikelite, Nauticam, Aquatica, Subal and Seacam. 
A white-mouth moray eel flashes its namesake in a shallow lagoon off Lord Howe Island. The underexposure of the ambient light created a moody black background. Nikon D300, 60mm lens, 1/125s @ f/11, ISO 200, Ikelite underwater housing, two DS160 strobes. Curves and levels adjustment in Photoshop CS6, sharpening in Lightroom 4.
03 LENS SELECTION
There are a range of suitable lenses available to tackle the wide variety of underwater subjects. In most cases however, the lens and port configuration you decide to set up can’t be changed while you’re in the water. This, of course, guarantees a dolphin will swim past when you’re preparing to photograph a seahorse! Wide-angle lenses are useful for photographing large animals or spectacular underwater vistas such as a colourful reef, or a comical group of squabbling pelicans fighting to snap up a fish. These lenses allow you to combine your primary subject with an interesting backdrop such as a reflection on the underside of the surface or some bright rays of sun light.
A golden rule of underwater photography is ‘get close’, or ‘get as close as you think you can get, and then get closer!’ Wide-angle lenses allow you to achieve this while still fitting plenty into the frame. Getting close reduces the amount of water (and therefore suspended particles) between the subject and the lens, resulting in clearer images with greater contrast. It also allows you to use underwater strobes to light the main subject, which have an effective working distance of within a couple of metres. Very wide-angle lenses such as fisheyes can be particularly useful for close focus wide-angle shots, which is a very popular underwater style. As the name suggests, this facet of wide-angle photography comes about from images taken at camera-to-subject distances of less than about 50cm. Such a close working distance allows the perspective to create images with high impact. Using this technique will make the subject appear larger than it actually is and the background more distant and expansive. By correctly exposing for the natural light in the background of the image, and then using some fill light from an underwater strobe, images can achieve a multi-dimensional effect with great colour and contrast, evoking a feeling of actually being there.
Another advantage of using a wide-angle lens, particularly with a large dome port, is the ability to capture split ‘over-under’ shots. These images show the divide between the world above and the world below the surface. When using this technique, try to expose for the brightest part of the image above the water and direct your focus points onto your underwater subject (which is usually your main point of interest). The underwater portion of the image can then be lightened using post-processing software.
The majority of creatures living in the ocean are barely larger than a human hand, so there are always plenty of opportunities for macro photography. Macro technique is predominantly used by scuba divers because it requires a slow pace to find subjects and it can take a bit more time to get the focus and composition right. While shooting macro, it’s not uncommon to spend an entire dive in a small area searching for interesting subjects. Lighting underwater macro images requires the use of an underwater strobe. Due to the small subject area and large focal length (60-105mm and greater with dioptres and wet lenses), a large depth of field is often required. Apertures greater than f/22 are most commonly used to achieve this. The end result is an underexposure of the ambient light, combined with the use of strobes.
I photographed these pelicans while standing in shallow water near Little Beach at Port Stephens. This comical moment presented itself as the three pelicans fought over a fish. Nikon D300, 10.5mm lens, 1/500s @ f/9, ISO 200, Ikelite underwater housing. Curves and levels adjustment in Photoshop CS6, sharpening in Lightroom 4.
04 GETTING THE SHOT
Once you’re in the water it’s important to move carefully and take your time. When dealing with marine life you want to minimise your potential as a threat so you can improve your chances of getting a great shot. I often find facing my mask away from the main subject and watching the scene from the corner of my eyes helps me to appear non-threatening, which in turn allows the marine life to continue its natural behaviour undisturbed. In my experience shooting in manual mode produces the best results for underwater work. Although it requires a bit of reading and experimentation from the outset, it also allows me the most control. Most of the time, as your first step, you’re trying to correctly expose the natural light in the background, and then balance that natural light exposure with some light from your strobe. The guide number of the flash allows you to achieve this; it’s a number which tells you what aperture setting to use for the strobe-to-subject distance of your picture (or vice versa). Many strobes have an exposure sticker on them which allows you to determine the best settings to use in your given situation.
I also aim to take advantage of the latest advances in digital technology to improve my chances of getting the shot. Recent camera models have amazing auto-focus functions so I rarely use anything else. Live-view mode is also a useful tool to compose your images, although most underwater housings have a magnified eye-piece to allow you to easily view your subject through the viewfinder while still wearing a mask.
The charismatic anemonefish can entertain the underwater photographer for hours. I focused on both eyes in the hope of capturing a dramatic portrait off Christmas Island. Nikon D300, 105mm lens, 1/250s @ f/29, ISO 400. Ikelite underwater housing, two DS160 strobes. Curves and levels adjustment in Photoshop CS6, sharpening in Lightroom 4.
05 WHERE TO START?
Shallow rivers, rock pools and beaches are a great place to start scouting for underwater photography locations. An advantage of these shallow environments is that they’re safe and easily accessible and you don’t need scuba equipment. There’s also plenty of natural light, which means you often don’t need a strobe. During a recent trip through the Atherton Tablelands in Far North Queensland my photographic focus was on the amazing rainforests and waterfalls which pepper the region, but I stumbled upon an interesting underwater scene at the iconic Mossman Gorge. I had arrived early in the afternoon at a shallow swimming hole with a plan to create some landscape photographs, when I noticed a school of jungle perch in the clear shallow water. I ventured into the water with a mask and snorkel and captured some images of the perch in the shallows. It was a little bit cool, but the extra effort resulted in a different perspective of a common scene.
Another example occurred during a late summer afternoon near my home in Port Stephens on the NSW central coast. A floating mass of blue bottles were blown into the port, offering a relatively uncommon opportunity, which occurred at the perfect time of day. Exercising due caution (blue bottle tentacles are very fine and can inflict extremely painful stings) I used a split ‘over-under’ approach for this image so I could capture the setting sun in the background. It’s important to be alert for potential opportunities when you least expect them. Often underwater photography requires going to sea by boat to reach a photographic location. One of my favourite destinations is Lord Howe Island, which is exceptional for offering underwater photography in shallow and easily accessible waters. The fish feeding at Ned’s Beach and the shallow protected waters of the lagoon can be easily snorkelled and both offer bright conditions in which to shoot.
Even when you’re on the surface it’s important to be mindful of prospects for marine photography. Humpback whales and other marine mega-fauna can turn up at opportune moments. Equipment like telephoto lenses and polarising filters can be required to shoot the action from a distance and remove glare off the water. It’s also important to try and avoid salt spray and to wipe your camera down with a damp cloth (soaked in fresh water) after these shoots.
Shooting up through the surface can present an interesting backdrop to your main subject. This kingfish off Ned’s Beach, Lord Howe Island, was shot at sunset. Nikon D300, 10.5mm lens, 1/100s @ f/11, ISO 200, Ikelite underwater housing, two DS160 strobes. Curves and levels adjustment in Photoshop CS6, sharpening in Lightroom 4.
06 SPECIALISED CHARTERS
Specialised charters can organise encounters with some of Australia’s more iconic underwater locations and species. Queensland’s Great Barrier Reef has fantastic snorkelling and diving opportunities. The waters are generally warm and clear, with plenty of potential subjects across this area from large schools of fish, stingrays and sharks, to other colourful reef inhabitants. ‘Nemo’ can be found here, and patience is required when pursuing the perfect shot of an anemonefish moving through its anemone. Day trips to the reef are available, along with extended live-aboard trips for keen divers, which can last up to a week and offer access to remote and rarely visited locations.
Minke whales also seasonally visit the sheltered waters of the Great Barrier Reef between June and July, and several operators offer snorkelling charters to experience close encounters with these friendly giants. These naturally curious whales are drawn to the boat and then to the snorkelers, who hang on a safety line on the back of the boat. However, to minimise the impact on the whales, flash is not permitted. Following a mass spawning event of coral off Ningaloo Reef, in Northwest WA, whale sharks gather here between April and July. They can be encountered by snorkelers just beneath the surface. Several operators in the area take out eager tourists for snorkelling tours with these gentle behemoths. In many cases a spotter plane is used to locate the sharks from the air, and then the boat moves to the shark’s position. When photographing large species near the surface, it’s useful to keep the sun behind you and allow the natural light to brighten your subject.
The southern waters throughout Australia also offer several interesting opportunities. Many of these subjects require scuba equipment, such as the leafy and weedy sea dragons which are barely discernable amongst the colourful underwater kelp forests. Aggregations of grey nurse sharks can be encountered along the East Coat of Australia between Rainbow Beach (Qld) and Narooma (Southern NSW). These good-natured sharks can offer fantastic close encounters and they have a toothy grin which would give them a starring role in a Spielberg film! Seals are also extremely photogenic and provide great photo opportunities. Two easily accessible locations to photograph these acrobats of the sea are off Montague Island (Southern NSW) and Kangaroo Island (SA).
With most underwater subjects it’s beneficial to focus on the eye of your subject. It often takes days with large underwater subjects, such as this minke whale on the Great Barrier Reef, for the perfect opportunity to present itself. Nikon D300, 10.5mm lens, 1/500s @ f/4, ISO 800, Ikelite underwater housing. Curves and levels adjustment in Photoshop CS6, sharpening in Lightroom 4.
07 CUSTOM EQUIPMENT
I try to concentrate on either new new subjects, or new ways to to photograph familiar subjects. I’ve recently worked on two projects which required customised equipment. A juvenile great white shark nursery was discovered not long ago off beaches north of Newcastle. The sharks here had rarely been photographed, and they were up to three metres in length. But I needed to devise a way to shoot them from a boat.
The answer came through the use of a remote shutter release to trigger the camera on the end of a telescopic pool pole. A colleague of mine, Greg West, adapted a Nikon ML-3 remote receiver so that it fitted into my clear camera housing. He then used a fibre optic cable connected to the outside of the housing to allow communication between the receiver in the housing and the trigger on the pole above the water. With some ingenuity, sometimes it’s possible to capture underwater images without getting wet!”
Another project involved creating portraits of small marine inhabitants in Port Stephens. I developed a small portable studio. It was collapsible and open, made up of a black Perspex base and back wall. With gloved hands, I carefully moved the small subjects into the ‘studio’. Then I used both a 105mm and a 60mm lens and I relied upon strategically placed strobes.
To photograph this juvenile great white shark off Newcastle, it was important to put safety first! A camera attached to the end of a pool-cleaning pole was used from the safety of a boat. Nikon D300, 10.5mm lens, 1/250s @ f/8, ISO 400, Ikelite underwater housing, two DS160 strobes. Curves and levels adjustment in Photoshop CS6, sharpening in Lightroom 4.
08 MAINTENANCE
Salt water is corrosive so rinsing your gear in fresh water after use is crucial, and pre-shoot o–ring (seals around the edges of housings) checks should be routine. Be sure to charge batteries and remember to clear your memory card before a shoot because you can’t access these underwater! If underwater photography is something you’ve always wanted to try, then there’s no need to hesitate. Just be prepared, so when an image finally presents itself, all your hard work will pay off with a perfect underwater image. An Open Water dive course is the easiest way to start scuba diving. Courses start from around $300 and are they’re available throughout Australia. A search of your Yellow Pages directory (hardcopy or online) should lead you to your nearest local dive operator.
For further information check out www.underwater.com.au