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SHIPWRECK PHOTOGRAPHY
By Jozef Koppelman
 Taking photographs underwater has fascinated divers for years. With
a little luck and a lot of skill, a diver can bring home the beauty
of the undersea world for all to enjoy. Wreck photography is just a
little more demanding than but a lot more rewarding than fish or
reef photos. Picture a diver cruising down a darkened corridor, with
only small rays of ambient light penetrating through corroded holes
in the ceiling above him. On the silt covered floor, he finds a
china dish with a lobster sitting next to it. He snaps three
pictures before catching the lobster and picking up the dish. These
photographs will be outstanding, that is if they come out. A problem
involved in photography in and around shipwrecks is that the diver
must be able to operate all of his wreck diving equipment and camera
gear while not kicking up any sediment. He also has to contend with
the darkness inside a wreck.
One recommendation is that you do not start photographing too early
in your dive career. You should be able to hover effortlessly and
check your air, time, depth and anchor location as second nature
first. If you are new to wreck diving, you should also enjoy a
period of exploration and familiarization. Once you commit to the
task of making underwater images, you are really taking on an
underwater job, but the satisfaction of producing a fine picture
quickly diminishes the memory of all the challenges that preceded
its making. This includes dollars spent, equipment failure, bad
visibility, throwaway rolls and the one great shot that got away.
Before diving into a wreck with a camera in hand, streamline
yourself even more than normal. You may want to leave your tools and
bug bag on the boat since it's hard to do it all. In regard to air
supply for deep wrecks, many feel the twin tank independent
regulator rig is the ultimate in safety. Photographers, however,
often opt for doubles with a single regulator and pony. Given the
complexity of underwater photography, this set up eliminates the
need to switch air sources while underwater.
 Assuming that those wishing to photograph shipwrecks will find
proper instruction for basic underwater photography, we will then
start with some standard equipment and techniques.
Camera systems vary in design, function and price. One of the
most popular used today is the Nikonos body. For most photography on
shipwrecks, the diver will choose a wide angle lenses, either a 15mm
or the more economical20mm. This is not saying that macro photos are
never taken on shipwrecks. Many worthwhile subjects are found living
on wrecks, but, for the most part, taking macro photographs on a
reef is exactly the same as taking macro photos on a wreck. We want
wide angle lenses, so we can capture as much wreckage as possible
while being as close to the subject as possible. A powerful, wide
angle strobe is also essential. One with a modeling light is also
very useful. Wreck photography is usually a battle against the lack
of light. To deal with the darkness inside a wreck and to avoid
fumbling around with a light in one hand and a camera in the other,
many serious photographers mount a dive light to their camera
system. Others wear a head or helmet mounted dive light or mount a
small modeling light onto the strobe. Dealing with the always
present silt and sediment inside shipwrecks can be solved with
speed. The wreck photographer doesn't have the luxury of spending
five minutes setting up for the shot or making a camera adjustment
to bracket each shot. He has to shoot the picture before any silt
gets disturbed. If he is too slow, the suspended particles will ruin
his photo opportunity. Since time is of the essence, wreck divers
have learned to bracket their photographs by taking a series of
shoots as they approach a subject. This is done without changing any
camera or strobe settings. Another method is to have the strobe hand
held off the camera. This lets the photographer bracket the exposure
by moving the strobe closer or further from the subject while
positioning the strobe to reduce back scatter, the incidental
illumination of suspended particles in the water.
Film must be tailored to your purposes and to the anticipated
conditions. For casual viewing, color negative, print film is very
exposure tolerant. If, however, you pursue photography seriously,
transparency slide film should be your preference, especially if you
hope to have your work published. Tropical sunny weather and shallow
water allow for a medium speed film. Kodachrome, Fuji or
Ectkachrome100 will do fine. The latter two films employ E-6
processing which allows for quick processing and is even available
on many live aboard dive boats. E-6processing also allows for
pushing or increasing of film speed in processing, at a small
sacrifice to grain and contrast. On deeper wrecks or in less than
ideal conditions, faster films like K200, E400 or Fugi 400 can be
employed. Even with recent technological improvements, ultra fast
films are more grainy and are more effective in depicting
atmospheric shots. The photographer should take light readings and
then set the aperture accordingly.
Using a model will add visual interest to many wreck photographs.
The model can be used in two ways: as a secondary element for scale
and to add visual interest. Secondly, the diver can be brought
closer to become the more dominant feature in the image. Try not to
have the model over-pose but instead rely on their curiosity in
exploring the wreck. One trick is to have your model use a light. It
adds immeasurably to the interest and can also highlight a
particular object. Another recommended technique is to shoot when
the model is exhaling. The finished image will be much more dynamic
if bubbles are shown rising to the surface.
You will note the absence of any composition guidelines. This is
because it is our belief that everyone has an individual vision.
Once diving and photographic techniques have been honed, your own
artistic view will be your most valuable asset in expressing your
own visions of the sea.
Shipwrecks offer the underwater photographer an endless amount of
photo opportunities. Whether you're photographing a porthole, fish,
lobster or any of the other majestic photo opportunities shipwrecks
offer, divers will almost certainly never run out of things to
photograph.
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The Shipwreck Diving E-Book
Instant Downloadable E-Book
Shipwreck Diving,
by Capt. Dan Berg is a complete how to book about the sport of
wreck diving. This book is packed with information and heavily
illustrated with over 80 sensational color photographs. |
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