Underwater photography presents unique challenges and opportunities. The interplay between light, water, and subject distance makes mastering camera settings crucial for capturing compelling underwater images. Whether you're shooting during the day or venturing into night photography, understanding how your camera behaves under pressure and in a water environment is essential. This section focuses on the fundamentals of underwater camera settings, beginning with the principles of exposure, light control, and focusing, particularly for wide-angle lenses during nighttime dives.
Shutter Speed and Light Control
Shutter speed plays a pivotal role in determining how ambient light and artificial lighting are captured underwater. A high shutter speed, such as 1/250s or faster, can effectively block out ambient light or light from dive torches. This is particularly useful when you want the subject to be illuminated solely by your strobes, giving a dramatic, isolated effect. Conversely, a lower shutter speed, such as 1/60s or slower, allows ambient light from dive torches to blend into the image. This can help in achieving a more natural and atmospheric shot, especially when shooting subjects in darker environments or when the background needs to be visible. When balancing strobe light with ambient light, adjusting the shutter speed becomes your primary tool. Unlike aperture and ISO, which affect both ambient and strobe lighting, shutter speed affects only ambient light. This separation allows for creative flexibility, enabling you to control how much background or ambient light is included in the frame without overexposing the subject lit by the strobes.
Aperture and Depth of Field
Aperture is another crucial component in underwater settings, especially when using wide-angle lenses. A smaller aperture (such as f/8 or f/11) increases the depth of field, ensuring more of the scene stays in focus from foreground to background. This is particularly beneficial in wide-angle shots where subjects may span different distances. However, a smaller aperture also limits the amount of light reaching the sensor. Underwater, where light is already scarce, this can result in darker images unless compensated by powerful strobes. Additionally, smaller apertures reduce the strobe's effective reach. Since water absorbs light rapidly, especially red and warm tones, your strobe’s power may not fully illuminate distant subjects when shooting at smaller apertures. On the other hand, a larger aperture (such as f/2.8 or f/4) allows more light in, which is helpful in darker conditions but results in a shallower depth of field. This makes precise focusing more critical and can blur backgrounds or foregrounds unintentionally.
Strobes and Lighting Strategy
Choosing between one or two strobes can impact the final composition and lighting dynamics of your underwater photographs. Using a single strobe can be advantageous when you want to create directional lighting or highlight specific parts of the subject. This technique can introduce shadows and depth, making your images more dramatic and three-dimensional. However, with a single strobe, it's harder to achieve evenly lit scenes, especially with wide subjects or larger frames. Using two strobes ensures more even coverage, minimizing shadows and lighting inconsistencies. This approach is often preferred for wide-angle shots or when photographing scenes with expansive backgrounds or multiple elements. At night, even lighting becomes more important since there’s no ambient light to compensate for shadows. Positioning the strobes slightly outward and angling them inward can help reduce backscatter, a common issue underwater caused by particles reflecting light into the lens.
Manual Focus and Hyperfocal Technique
Focusing can become difficult during night dives, especially when using wide-angle or fisheye lenses that capture large scenes. Autofocus may struggle in low-light conditions or on low-contrast subjects. One effective workaround is to set your lens to manual focus and pre-focus it at the hyperfocal distance. For example, with a fisheye lens at f/8, focusing approximately three feet in front of the dome port ensures that everything from 1.5 feet to infinity remains in acceptable focus. This technique is called hyperfocal focusing. It’s important to set this focus underwater, not on land. Due to the refraction caused by water and dome port optics, the apparent focus distance underwater is different from that on land. Focusing on your fin underwater, about two and a half feet away, and then locking the lens to manual focus mode is a reliable method. This ensures that most of your wide-angle scene will remain sharp throughout the dive.
Using Focus Lights and Continuous Focus Mode
At night, achieving accurate focus can be a challenge. A good focus light mounted on your housing can make a significant difference. These lights help your camera find contrast and lock onto the subject more effectively. If your camera offers a continuous autofocus mode, it’s worth enabling it during night dives. Continuous focus tracks moving subjects and adjusts focus in real-time, reducing the chances of blurred shots due to motion or distance changes. However, continuous autofocus may also increase battery consumption and could lead to hunting in low-contrast situations, so it’s essential to test and practice with your specific camera model.
Working Within Close Range
Underwater visibility and color retention decrease significantly with distance. For vivid colors and sharp details, it's best to shoot subjects within 12 inches of your camera lens. The closer you are to the subject, the less water there is between the lens and the subject, which reduces distortion and backscatter. Proximity also improves strobe effectiveness. The light has to travel a shorter distance, so colors appear more vibrant and realistic. At greater distances, red and yellow wavelengths are lost, and images tend to turn blue or green unless corrected with lighting or post-processing. Keeping your shots close also ensures better focus and contrast, which are particularly challenging during night dives or in murky waters.
Setting Expectations and Practicing
Underwater photography requires practice and patience. Settings that work well in one environment might not be ideal in another. For instance, shooting in tropical, clear waters is vastly different from capturing images in colder, darker, or siltier locations. Conducting test shots early in the dive, experimenting with different shutter speeds, apertures, and strobe positions can help you dial in optimal settings before reaching your primary subjects. Review your images periodically during the dive if your camera allows it, and make minor adjustments based on exposure, color, and sharpness. Developing muscle memory for changing settings quickly is beneficial when dealing with fast-moving subjects or changing lighting conditions. Mastering underwater camera settings is not only about technical adjustments but also about understanding how light and water interact. High shutter speeds allow isolation from ambient light, while slower speeds bring in surrounding illumination. Aperture selection influences depth of field and strobe effectiveness. Using strobes effectively, focusing properly with manual or autofocus methods, and maintaining close proximity to your subject are all crucial techniques. In the next part, we will explore wide-angle underwater photography in more depth, examining dome port optics, shooting techniques, and composition strategies that help create impactful underwater images.
Wide-Angle Underwater Photography Technique
Wide-angle underwater photography enables the capture of dramatic seascapes, large marine animals, reef scenes, and divers interacting with the environment. This style offers a sense of scale and immersion that macro photography cannot replicate. However, it comes with its own set of technical and compositional challenges that require a specific approach. Wide-angle lenses, especially fisheyes and ultra-wide rectilinear lenses, allow photographers to get close to large subjects while still fitting them within the frame. This closeness is critical because water significantly reduces clarity and contrast with increasing distance. Wide-angle underwater photography is most effective when subjects are within three feet of the dome port. This proximity enhances color and sharpness and reduces backscatter. Because wide-angle scenes often include complex lighting with ambient light from the surface, artificial strobe light from the sides, and dark areas in the background, balancing exposure becomes essential. To start, photographers should shoot in manual mode. Aperture, shutter speed, and ISO must be carefully balanced depending on the light conditions and desired creative effect. Wide-angle shots benefit from small apertures like f/8 to f/13 to maximize depth of field. This ensures foreground coral, mid-range subjects, and background elements remain sharp. Shutter speed is then adjusted to either eliminate or include ambient light. Fast shutter speeds, such as 1/250s, can create a deep blue background with well-lit subjects, while slower shutter speeds, such as 1/60s, let more ambient light enter, softening shadows and bringing in the reef or diver silhouettes behind the main subject. ISO should be kept as low as possible to reduce noise, typically ISO 100 to 40,0, depending on camera capability. Higher ISO may be necessary in deeper dives or on cloudy days, but post-processing noise reduction may be needed. One of the most important elements in wide-angle shooting is subject placement. Placing a diver near a school of fish, a sea turtle in front of a reef, or a shark cruising in open water adds narrative and dimension to the image. Leading lines such as coral ridges or sun rays from the surface can guide the viewer's eye through the composition. The rule of thirds remains effective underwater. Positioning the main subject off-center creates more dynamic images. Centering a subject wor, ks too, especially for symmetrical compositions like circular coral structures or head-on animal shots. The key is to avoid clutter and ensure there’s visual balance in the frame. Lighting in wide-angle underwater photography must be considered carefully. Since the frame is large, even lighting is more challenging. Using two strobes placed symmetrically on either side of the housing helps distribute light evenly. Angling them slightly outward and back can minimize backscatter while avoiding harsh hotspots on the subject. The strobe arms should be long enough to allow flexible positioning. In cases where one side of the subject needs emphasis, turning off one strobe or dialing down its power creates directional light that can add depth. Light falloff must be accounted for. In underwater scenes, the strobe may not reach distant background elements. This creates natural vignetting, which can be visually appealing if managed properly. Also, strobe placement should not be too far forward, as this can light up particles in the water between the lens and the subject, resulting in unwanted backscatter. Dome ports play an essential role in wide-angle underwater photography. They restore the field of view lost due to refraction and reduce distortion. Dome ports create a virtual image of the subject that is closer than the actual object, allowing the lens to focus effectively. The larger the dome, the easier it is to achieve corner sharpness and manage reflections. Photographers should always ensure that the dome is clean and free of scratches, as imperfections become more visible in wide-angle images. Adding a shade to the dome can also prevent lens flare from strong surface light or sun rays. Another vital technique in wide-angle underwater photography is positioning. The photographer must be neutrally buoyant and maintain excellent control of their movement. Any contact with the reef or stirring of sediment can damage the ecosystem and ruin visibility for the shot. Approaching marine life slowly and from the side or below, rather than head-on or from above, is more effective and less threatening to the subject. When photographing large animals such as sharks, rays, or dolphins, patience is essential. The best results often come from waiting for the subject to enter the frame naturally rather than chasing it. Predicting movement patterns, such as a turtle’s ascent or a school of fish swirling around coral, allows the photographer to compose in advance and fire the shutter at the right moment. During drift dives or fast-moving currents, it’s helpful to shoot with burst mode or continuous shooting to capture multiple frames of a moving subject. It’s also beneficial to use focus tracking features if the camera supports them. Properly setting white balance is another critical component. For strobed subjects within three feet, auto white balance generally works well. But for wider scenes with mixed lighting, custom white balance or post-processing adjustments are necessary. Some photographers use filters to adjust for blue or green water, especially when relying more on natural light. These filters can help bring back the red spectrum that is absorbed by water and make the scene more balanced. Post-processing is an inevitable part of wide-angle underwater photography. Even the best cameras cannot perfectly compensate for color loss, backscatter, or contrast reduction underwater. Software like Lightroom or Photoshop allows photographers to adjust color balance, remove backscatter, correct lens distortions, and enhance exposure. The goal is to retain a natural look while bringing out the vibrant life and scenery that exists underwater. Wide-angle underwater photography, while technically demanding, rewards those who master its nuances. With practice, divers can create images that feel immersive and awe-inspiring, capturing the scale and wonder of the underwater world in a single frame.
Understanding Dome Port Optics
Dome ports are critical components in underwater housing systems, especially for wide-angle and fisheye lenses. Their primary role is to correct for the optical distortions caused by water refraction and to allow wide-angle lenses to maintain their full field of view. Unlike flat ports, which magnify and narrow the angle of view due to refraction, dome ports provide a more accurate representation of the scene. Understanding how dome ports work and how to optimize their performance is crucial for sharp, well-composed underwater images. A dome port creates a virtual image of the subject in front of the port by refracting light at the curved surface. This virtual image forms closer to the camera lens than the actual object, enabling the lens to focus on it effectively. This is why setting focus correctly on the dome port is so important. If the lens cannot focus close enough to this virtual image, the result will be blurred or soft photos, particularly at the edges. To avoid this, many photographers use lenses with excellent close-focus capabilities, or they add a diopter to shift the minimum focus distance of the lens closer. Dome port size significantly affects image quality. Larger domes produce less curvature and better corner sharpness, especially when shooting at wider apertures. Smaller domes, while more compact and convenient for travel, may introduce more distortion and require higher apertures to maintain sharpness throughout the frame. A six-inch dome is considered a general-purpose choice, while eight-inch or larger domes are preferred for serious wide-angle work where optical clarity is paramount. The use of extension rings is another factor in dome port setup. Extension rings adjust the distance between the dome and the lens to ensure the correct nodal point alignment. The nodal point is the spot within the lens where light rays converge before reaching the sensor. Misalignment can lead to distortion, chromatic aberration, and poor corner sharpness. Most housing manufacturers provide charts or recommendations for the correct combination of lens, dome, and extension. Underwater, lighting and reflections behave differently with dome ports. Because the surface of the dome is curved, it can reflect stray light, including strobes or the sun. These reflections can appear as flares or ghosting in the final image. To prevent this, a dome shade or hood is often used. It shields the top and sides of the dome from unwanted light and also protects the dome from scratches or bumps. The dome should be kept clean and free from water spots or debris. Even small particles on the surface can cause smudges, especially in high-contrast scenes or when shooting toward the sun. Photographers often apply a thin film of anti-fog or water-repelling solution to the dome before each dive. In addition to physical maintenance, the shooting angle with a dome port matters. Shooting upward or at a shallow angle allows natural light to enter the scene, adding depth and color. This is particularly effective in scenes where the surface or sunbeams are part of the composition. Shooting downward often leads to flat images with less contrast unless carefully lit with strobes. Dome ports are also sensitive to pressure and depth. The deeper you dive, the more water pressure is exerted on the dome. High-quality dome ports are built from durable acrylic or optical glass to withstand this pressure while maintaining optical clarity. Glass domes are more scratch-resistant and offer superior clarity, but are heavier and more expensive. Acrylic domes are lighter and easier to travel with, but they scratch more easily and require careful handling. The distance between the lens and the dome determines the position of the virtual image and thus influences focus. Some setups allow for manual focus rings inside the housing, enabling real-time adjustments. This is especially useful in challenging conditions or when the subject is close to the dome, such as when photographing reef scenes, diver interactions, or large marine animals that approach closely. When using fisheye lenses with dome ports, photographers often deal with exaggerated perspectives and curving lines. This distortion can be used creatively to emphasize foreground subjects or create dynamic compositions. For example, placing coral close to the dome while capturing divers or marine life in the distance creates a layered effect that draws the viewer into the scene. However, this also means that compositional discipline is required. A slightly tilted horizon or misaligned reef edge becomes more noticeable with wide-angle distortion. In post-processing, lens correction tools can be used to reduce or manage these distortions if desired. Proper strobe positioning becomes even more critical when using dome ports with fisheye or ultra-wide lenses. Because the angle of view is so broad, lighting must be spread evenly without flaring into the dome. Strobes should be pulled back and angled slightly away from the lens to reduce backscatter and avoid lighting the dome itself. Experimentation is key. Adjusting the strobe power and angle based on subject distance, water clarity, and composition ensures better results. Some photographers use modeling lights or aim lights to visualize where the strobe beams will fall before taking the shot. Mastering dome port optics takes time and experience. From physical alignment to underwater shooting techniques, each factor contributes to image quality. When properly used, dome ports unlock the full potential of wide-angle underwater photography, allowing for stunning, immersive images that reveal the beauty and complexity of the underwater world.
Photographing Large Marine Animals and Composition Strategies
Photographing large marine animals such as sharks, manta rays, sea turtles, whales, and groupers is one of the most exhilarating aspects of underwater photography. These creatures bring movement, scale, and emotion to an image. However, successfully capturing such animals requires a thoughtful approach to both settings and behavior. Understanding the animal’s habits, predicting its movements, and positioning yourself correctly are essential to getting that perfect shot. The first and most important rule is to never chase the animal. Marine life is incredibly sensitive to movement, and sudden gestures or aggressive swimming will likely scare the subject away. The key to success lies in anticipation. Many large animals follow repetitive swim paths or have habitual cleaning stations or feeding grounds. Observing their patterns allows you to position yourself where they are likely to pass. Patience is crucial. Once you find a potential subject, maintain a calm, neutral buoyancy and wait. Use slow, controlled fin movements to reposition if necessary, and always remain aware of your surroundings. Aggressive swimming or poor buoyancy can stir up sediment or damage the environment, and it can also alert or disturb the animal. Lighting large animals presents its own set of challenges. Because they are often far from the reef and in open water, there is usually less ambient light bounce, and strobes are essential. However, the size of the subject can exceed your strobe coverage. To deal with this, photographers often shoot when the animal is close—ideally within three to five feet. Wide-angle lenses are indispensable here, as they allow you to fit the entire creature within the frame without needing distance. For example, a full-frame fisheye lens can capture the entire span of a manta ray or shark when they come close. Because the distance between the subject and strobes affects exposure, it’s important to adjust strobe power accordingly. As the subject approaches, the strobes may need to be dialed down to avoid overexposure. Shooting in manual mode allows for full control over this process. Some photographers prefer to set one strobe slightly more powerful than the other to create subtle shadowing, adding depth and realism to the scene. When it comes to shutter speed, photographing large moving animals often demands faster settings to freeze motion. Speeds of 1/250s or faster are typically used to capture quick movements without blur. Paired with an aperture around f/8 and a moderate ISO of 200–400, this allows for well-exposed, sharp images. Compositionally, it’s important to consider the animal’s direction of movement and leave space in the frame for it to “swim into.” This is called giving the subject breathing room. Placing the animal too close to the edge of the frame or directly in the center often results in static or unbalanced images. Instead, try placing the eye or head of the animal near one of the rule-of-thirds intersection points. This guides the viewer’s attention and makes the photo more engaging. Backgrounds play a large role in how the subject is perceived. A clean, uncluttered blue background helps isolate the animal, while a reef or diver in the background can add context and scale. Be mindful of distractions. A perfectly composed shark photo can lose impact if there’s a flash of bubbles or a disorganized reef pattern pulling attention away from the subject. Including a diver in the composition can help communicate the size of the animal and add a human connection. However, the diver should ideally be neutrally buoyant, well-positioned, and not exhaling bubbles directly into the frame. Coordinating with dive buddies or models helps create cleaner, more impactful photos. Shooting upward towards the surface also yields excellent results when photographing large animals. This angle allows natural light to rim the subject and can produce dramatic silhouettes or sunbursts. It’s important to watch for light positioning here to avoid overexposed highlights or flare from the dome port. Shooting upward also gives the impression of scale, making the subject appear larger and more majestic. Knowing your camera’s burst mode and autofocus settings is vital. When an animal approaches, you may only have a few seconds to capture the right moment. Enabling burst shooting allows multiple frames in quick succession, increasing your chances of nailing the focus and expression. Tracking autofocus, if available, keeps moving subjects sharp as they come closer or move across the frame. Each species has specific behaviors and tolerances. Whale sharks, for example, are often docile and tolerant of divers, but they should never be touched or blocked. Manta rays often circle cleaning stations, making it easier to anticipate their patterns. Sharks tend to be shy and may require multiple dives before one comes close. Respecting their space and staying calm ensures not only better images but a more ethical approach to wildlife photography. Post-processing of large animal photos focuses on enhancing contrast and color. Because many of these images are taken in open water, they may lack the vibrant colors found near reefs. Adjusting the white balance, adding clarity, and boosting vibrance can help, but should be done with restraint to avoid unnatural results. Removing backscatter, especially in darker areas of the background, is also common. Selective sharpening can help bring out detail in the eyes or textures of the animal’s skin. Photographing large marine animals is a skill that combines technical preparation with environmental awareness and ethical behavior. When executed well, these images inspire awe and appreciation for the ocean’s magnificent creatures.
Creative Control and Experimentation Underwater
While technical precision is important, underwater photography also allows for creativity and experimentation. Once you’ve mastered the basics of exposure, focus, and composition, you can begin to explore creative effects that bring a unique voice to your underwater imagery. One of the most accessible creative tools is motion blur. By lowering your shutter speed and using panning techniques, you can create a sense of movement and energy in the frame. For example, photographing a school of fish with a shutter speed of 1/20s while tracking their motion creates blurred tails with sharp eyes. This technique emphasizes the flow and density of marine life. Similarly, slowing the shutter and allowing ambient light to mix with strobe light creates a ghostly, ethereal atmosphere. This works well for jellyfish, soft corals swaying in current, or divers moving across the frame. Multiple exposures and in-camera blending are other creative techniques. Some cameras allow for two images to be layered, combining a reef scene with a silhouette or close-up. This method is often used to blend different lighting situations or juxtapose elements in a surreal manner. Care must be taken to ensure exposure is balanced in both frames, and it requires pre-visualization of the final composition. Shooting silhouettes is another powerful creative option. When the subject is between you and a strong light source like the sun or a dive light, exposing for the background creates a black silhouette. This technique works well with turtles, sharks, and divers in streamlined poses. The shape becomes the focus, and contrast is the key visual driver. For silhouettes to be effective, the subject’s pose must be clear and well-defined. Silhouettes lose impact when the subject overlaps with cluttered backgrounds or when their shape is unclear. Color manipulation is another area of creativity. Some photographers experiment with monochrome conversions, especially in challenging light conditions. Black-and-white underwater photos emphasize texture, contrast, and form, stripping away the distraction of color. This approach is particularly effective for wrecks, structures, and dramatic scenes with moody lighting. Using colored filters on strobes or focus lights can also create mood and contrast. Blue gels give a cooler, deep-sea look, while warm gels restore reds and yellows lost at depth. These effects should be used carefully to avoid overpowering the natural tones of the scene. Playing with reflections is possible when shooting close to the surface or within air pockets inside wrecks or caves. Dome ports are particularly effective for capturing over-under shots, where half the frame is above water and the other half is underwater. This technique requires flat seas, careful exposure balancing, and proper dome maintenance to prevent water droplets. Over-under shots are compelling storytelling tools, connecting the underwater world to the surface environment. Experimenting with foreground elements is another creative strategy. Placing coral branches, fish, or structures close to the dome port adds depth and perspective. With fisheye lenses, even small foreground elements can become exaggerated, leading the viewer’s eye into the frame. This layering technique adds visual interest and anchors the composition. Lighting direction can also be manipulated for mood. Side lighting enhances texture and reveals contours. Backlighting creates glowing edges around translucent subjects. Up-lighting from beneath adds an eerie or dramatic tone. Knowing when and how to apply each technique comes with practice and understanding of how water behaves with light. Creating mood underwater is ultimately about storytelling. Consider what emotion you want the image to convey—tranquility, curiosity, awe, or tension—and compose accordingly. Use color temperature, contrast, subject expression, and negative space to evoke those feelings. Reviewing your images after each dive and reflecting on what worked helps refine your creative vision. Joining underwater photography communities, studying the work of masters, and participating in contests or exhibitions can also expand your perspective and push your creativity. Underwater photography is more than documentation; it’s a form of expression that allows the diver to share the wonder, fragility, and mystery of the ocean through their lens.
Conclusion
Mastering underwater camera settings is a journey that blends technical understanding, environmental awareness, and artistic intent. Each decision, from choosing shutter speed to adjusting strobe position, impacts the final image. Learning how to manipulate exposure in water—where light behaves differently than in air—is fundamental. Whether shooting macro or wide-angle, reefscapes or sharks, precision with camera settings ensures you bring home images that are sharp, colorful, and visually compelling. Part one explored the essential role of manual settings, aperture control, and shutter speed in underwater photography. Part two dived into wide-angle techniques, including how to position strobes, select lenses, and use composition to your advantage. Part three examined dome port optics and their impact on focus and clarity, especially for wide-angle work. Part four brought it all together with advice on photographing large marine animals and unleashing your creative potential underwater. Ultimately, the ocean is both a classroom and a canvas. Every dive offers new challenges and new opportunities to grow as a photographer. By combining preparation, patience, and practice, you can consistently create images that not only capture marine life but also tell powerful, emotional stories. These stories have the power to inspire conservation, evoke wonder, and connect people to a world they may never experience in person. Your camera is more than a tool—it is a bridge between the surface and the sea.