photo credit: james_wicks
Imagine venturing into a realm enveloped in a mysterious blue-green veil, where the skeletons of once proud ships lie in thundering silence, and strange and wonderful creatures lurk in the inky blackness of forgotten caves. Such is the world of those intrepid few who call themselves underwater photographers.
Louis Boutan’s photograph of a diver in a hard hat, captured in 1893, is generally regarded as the first underwater photograph; however, the first foray into underwater photography was made by William Thompson in 1856. Thompson’s apparatus consisted of little more than a camera encased in a wooden box, and although underwater photography has come to embrace the world of digital precision, the notion of placing a camera in a watertight casing has persisted to this day.
Various types of watertight casings are available. Essentially, these casings allow the photographer to operate the camera’s controls form knobs located on the exterior of the casing. In addition, the design of the window through which the camera focuses takes into account the different refractive properties of water and air. Thus, the optical distortions that occur when light passes through two different mediums are eliminated – or at least greatly reduced.
In addition to optical distortions, underwater photographers need to contend with the loss of the longer wavelengths of light (i.e. the reds and oranges) at greater depths. The missing wavelengths may be “painted in” with the use of an underwater flash or strobe. However, the presence of particulate, such as plankton, may cause the light of the flash to be reflected back. This phenomenon, known as backscatter, is problematic and compensating for it often proves challenging.
Loss of the longer wavelengths of light not only occurs along the vertical dimension but along the horizontal dimension as well, causing colours to appear less vibrant at greater distances. Consequently, photographs are taken at close range – usually within three feet. Wide-angle lenses or macro lenses are typically employed to accommodate the close proximity at which photographs are captured.
Optical equipment only forms part of the equation. Capturing images at depths greater than what a snorkel will allow for necessitates the use of diving equipment. Underwater photographers, therefore, face not only the challenges inherent in capturing good photographs, but must also be proficient in operating breathing apparatus, regulating oxygen tanks, and handling various other challenges associated with diving.
Although diving is an exacting activity, the underwater photographer that is calm and manoeuvres smoothly is likely to be more successful at not frightening off sea creatures. While some underwater photographers focus exclusively on fish and marine mammals, others may capture images of coral reefs, seascapes, shipwrecks or underwater caves. Nevertheless, regardless of the subject matter, nothing short of an Olympic calm is required to hone the art of underwater photography. Given that part of the allure of underwater photography lies in the excitement of exploring unknown places, the underwater photographer must surely possess a unique disposition since that which is new and exciting provides the stimulus to act, yet it also kindles an inner calm. In short, the fascinating craft of underwater photography may only be wielded by fascinating, not to mention highly skilled, artisans.
