What Is An Underwater Camera

Genre of photography

A United states Navy Mass Advice Specialist conducting underwater photography training

Underwater photography is the process of taking photographs while nether water. It is usually washed while scuba diving, just tin be done while diving on surface supply, snorkeling, swimming, from a submersible or remotely operated underwater vehicle, or from automated cameras lowered from the surface.

Underwater photography can also exist categorised as an art course and a method for recording data. Successful underwater imaging is ordinarily done with specialized equipment and techniques. However, it offers exciting and rare photographic opportunities. Animals such as fish and marine mammals are mutual subjects, but photographers also pursue shipwrecks, submerged cave systems, underwater "landscapes", invertebrates, seaweeds, geological features, and portraits of fellow divers.

Equipment [edit]

Underwater housing for SLR with dome port, arms and lights

Some cameras are fabricated for utilize underwater, including modern waterproof digital cameras. The kickoff amphibious camera was the Calypso, reintroduced as the Nikonos in 1963. The Nikonos range was designed specifically for use underwater. Nikon concluded the Nikonos serial in 2001^[one] and its use has declined, every bit has that of other 35mm film systems. Ocean and Sea Us made the Motor Marine III, an amphibious range-finder camera for 35mm picture.^[2] ^[3]

Underwater housings [edit]

Underwater housing for SLR with port extension, apartment port and ring low-cal

A waterproof photographic camera and waterproof low-cal source setup for professional underwater photography

GoPro Hero5 action camera in underwater housing

Seaview SVII Camera using three dome ports for all round view

Cameras fabricated for dry work can also work underwater, protected past add together-on housings, which are made for signal and shoot cameras, compact cameras with full exposure controls, and single lens reflex cameras (SLRs). Most such housings are specific to the camera model. Materials range from relatively cheap injection moulded plastic to higher-priced dice-bandage or machined from solid aluminum. Housings permit many options: users tin choose housings specific to their everyday "land" cameras and use whatsoever lens, provided that information technology fits or they utilize the advisable lens port accessory. Underwater photographers more often than not use wide-angle lenses or macro lenses, both of which permit close focus and therefore a shorter altitude to the subject, which reduces the loss of clarity to scattering. Digital media can hold many more shots than standard flick (which rarely has more than 36 frames per curlicue). This gives digital cameras an reward, since it is impractical to alter flick underwater. Other comparisons between digital and picture photography too apply, and the apply of motion picture under h2o has declined, every bit information technology has on land. It is also not possible to change regular lenses underwater, though some wet connectable telephoto, fisheye and macro extensions are available for some housings.

Underwater housings take control knobs and buttons that reach the photographic camera inside, assuasive use of most of its normal functions. These housings may also accept connectors to attach external flash units. Some basic housings let the use of the flash on the camera, but the on-lath flash may not be powerful enough or properly placed for underwater apply. More-avant-garde housings either redirect the on-board strobe to burn a slave strobe via a fiber-optic cable, or physically forbid the utilize of the on-lath strobe. Housings are made waterproof by silicone or other elastomer O-rings at the closures and where control spindles and pushbuttons pass through the housing. High-end housings may use double O-rings on many of the critical pushbuttons and spindles to reduce the chance of leaks, which tin destroy the electronics in cameras. Some cameras are inherently waterproof, or submersible to shallow depths; when these are in submersible housings, the consequences of a pocket-sized leak are more often than not non serious.

There are optical problems with using cameras inside a watertight housing. Considering of refraction, the image coming through the glass port will be distorted, especially with broad-bending lenses. A dome-shaped or fish-heart port corrects this distortion. Nigh manufacturers brand these dome ports for their housings, often designing them to be used with specific lenses to maximize their effectiveness. The Nikonos serial allowed the use of h2o-contact optics—lenses designed to be used submerged, without the ability to focus correctly when used in air. There is as well a problem with some digital cameras, which practise not take sufficiently broad lenses built in; to solve this, there are housings fabricated with supplementary optics in improver to the dome port, making the apparent angle of view wider. Some housings work with moisture-coupled lenses, which are screwed on to the outside of the lens port and increase the field of view; these lenses may be added or removed under water, allowing both macro and wide-bending photography on the same dive.

With macro lenses, the baloney caused by refraction is not a problem, so unremarkably a simple flat drinking glass port is used. Refraction through a flat port increases the magnification of a macro lens; this is considered a benefit to photographers who are trying to capture very small subjects. Digital cameras may have several user selectable or programmable modes, which may include modes specifically for underwater employ.^[4]

Photographic camera formats [edit]

Nearly types of digital camera have some underwater awarding. Those commonly seen in utilize are the models for which stock underwater housings are available, or which are inherently waterproof, such every bit rugged compact cameras, which may be used at shallow depths without a housing, but have housings available for greater depths.

Compacts, rugged compacts and bridge cameras accept great versatility regarding focal length, they tend to have a wide bending to telephoto lens with macro capabilities making these functions available without need to change lenses, which cannot be done during a dive. Although wet change accessories are available to increase or decrease focal length and for greater magnification, the 2020 generation rugged compacts already take inherent very close focus ability, and fairly wide angle low end of the focal length. Some of the rugged compact cameras volition fit into a large dry suit or BC pocket in their underwater housing, though not usually with an external strobe or video light, assuasive a diver to conveniently deport the photographic camera on a working swoop in case it may be useful, or for a larger format photographer to comport it every bit a backup, or for opportunities where the chief camera has an unsuitable lens fitted.
Action cameras are popular with divers who want a record of the dive, simply non the task loading of operating the camera controls. The photographic camera can be mitt held for versatility, or can be head mounted for first person view, or mounted on other equipment, like a diver propulsion vehicle.
Mirrorless interchangeable-lens cameras and Digital single-lens reflex cameras have very like ranges of applications, generally for loftier end work, where the lensman wants the all-time possible image quality, and has the skills and want to put in the necessary effort and accepts the limitations of being stuck with the same lens throughout the swoop, and managing bulky equipment. These formats are virtually always used with big external lighting systems which are needed in nearly circumstances to get the best results. A relatively large uppercase investment in equipment is associated with the format.

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Lighting [edit]

Graph of lite absorption coefficient of pure water

Lighting for underwater photography has several aspects. There may be bereft natural light to have a photo, in many cases the natural light has lost a significant part of the spectrum, or the photographer wishes to emphasize contrast between foreground and background. Where flash is used for the actual photograph, auxiliary light may be necessary or desirable to facilitate composition and focusing in low light weather. Many digital cameras have video options, which require a steady calorie-free source, and in some cases a single video lite tin can provide all these functions, and likewise serve every bit an adequate dive calorie-free for non-photographic applications.

The chief obstacle faced by underwater photographers is the loss of colour and contrast when submerged to any significant depth. The longer wavelengths of sunlight (such as carmine or orangish) are absorbed speedily by the surrounding h2o, then even to the naked eye everything appears bluish-dark-green. The loss of color increases not only vertically through the water column, simply also horizontally, so subjects farther abroad from the camera also appear colorless and indistinct. This event occurs in patently clear water, such as that found around tropical coral reefs.^[v]

Underwater photographers solve this trouble past combining two techniques. The kickoff is to get the camera equally close to the photographic subject field as possible, minimizing the horizontal loss of color. Many serious underwater photographers consider whatsoever more than most one m or meter unacceptable. The 2nd technique is the use of a flash or video lights to restore colour lost to depth. Fill flash, used effectively, "paints" in missing colors by providing full-spectrum visible light to the overall exposure.^[6]

Another environmental effect is range of visibility. The water is seldom optimally clear, and the dissolved and suspended matter can reduce visibility by both absorption and scattering of light.

Underwater flash [edit]

Wide-bending image of French angelfish with proper balance betwixt flash and sunlight

The use of a wink or strobe is often regarded every bit the virtually difficult aspect of underwater photography. Some misconceptions exist about the proper use of flash underwater, especially as it relates to wide-bending photography. Generally, the flash should be used to supplement the overall exposure and to restore lost color, not as the primary light source. In situations such as the interior of caves or shipwrecks, wide-angle images can be 100% strobe calorie-free, merely such situations are fairly rare. Ordinarily, the lensman tries to create an aesthetic remainder between the available sunlight and the strobe. Deep, nighttime or low visibility environments tin make this remainder more hard, merely the concept remains the aforementioned. Many mod cameras have simplified this process through various automatic exposure modes and the utilise of through-the-lens (TTL) metering. The increasing use of digital cameras has reduced the learning curve of underwater flash significantly, since the user tin can instantly review photos and make adjustments.

Color is captivated as it travels through water, then that the deeper the observer, the less reds, oranges and xanthous colors remain. The strobe replaces that colour. It likewise helps to provide shadow and texture, and is a valuable tool for creativity.

Underwater photograph using internal wink illustrating backscatter

An added complication is the phenomenon of backscatter, where the flash reflects off particles in the water. Even seemingly clear water contains enormous amounts of these particulates, even if they not readily seen by the naked eye. The best technique for avoiding backscatter is positioning the strobe away from the axis of the camera lens. Ideally, this ways the flash volition non lite upwards the particulates in water straight in front of the lens, but will still illuminate the subject. Various systems of jointed arms and attachments are used to make off-camera strobes easier to manipulate.

Strobes positioned to reduce backscatter

When using macro lenses, photographers are much more likely to utilise 100% strobe light for the exposure. The field of study is commonly very close to the lens, and the available ambient light is unremarkably non sufficient.

At that place accept been some attempts to avoid the utilize of artificial light entirely, but these have generally failed. In shallow water, the use of custom white-rest provides excellent color without the utilize of strobe. In theory one could apply colour filters to overcome the blue-green shift, simply this can be problematic. The corporeality of shift varies with depth and turbidity, and at that place would still be a significant loss of contrast. Many digital cameras have settings that will provide color residuum, but this tin cause other problems. For example, an paradigm shifted toward the "warm" part of the spectrum can create background h2o which appears gray, royal or pinkish, and looks unnatural. There take been some successful experiments using filters combined with the raw image format role on some high-end digital cameras, allowing more than detailed manipulation in the digital darkroom. This approach will probably e'er be restricted to shallower depths, where the loss of color is less extreme. In spite of that, it tin be constructive for large subjects such as shipwrecks which could not be lit effectively with strobes.

Macro image of a Whitemouth Moray Eel using 100% flash for the exposure

Natural light photography underwater^[7] can be beautiful when washed properly with subjects such as upwardly silhouettes, light beams, and large subjects such equally whales and dolphins.

Although digital cameras have revolutionized many aspects of underwater imaging, it is unlikely that flash will e'er be eliminated completely. From an aesthetic standpoint, the flash emphasizes the subject and helps separate information technology from the blue background, particularly in deeper water. Ultimately the loss of color and contrast is a pervasive optical problem that cannot always be adjusted in software such as Photoshop.^{[ citation needed ]}

Snoot [edit]

A snoot is a tube used to direct the illumination from the flash to a very restricted area, strongly illuminating the area of focus and leaving the environment relatively dark. It is used to selectively illuminate the subject field to give night backgrounds and a brightly lit subject. It is easier to utilise if the flash has an integral modeling light and so the photographer can encounter how the illumination will exist distributed during exposure. A snoot with the opening placed close to the subject field at an angle can well-nigh eliminate backscatter.

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Modeling lights [edit]

A modeling light is a low intensity light used to compose the picture when flash is intended for illumination. I allows a better view of the subject for focusing and framing the shot. but does not provide enough light to interfere with the flash illumination. Some flash units have integral modeling lights, otherwise a diffuse low power dive light may piece of work well for shut upward piece of work.

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Video lights [edit]

A video light is a powerful light source used primarily for shooting video in environments with insufficient natural light, but tin also be used as the master light source for still photography. Placement of the video calorie-free follows the same recommendations as for flash photography, with the advantage that the illumination can be clearly seen and assessed before exposure. Considerably more free energy is required for constant illumination in comparison with wink, and this method is all-time suited to cameras with sufficiently sensitive CCDs and for close up work. Another reward is that the video light provides good illumination for general diving purposes. Video lights with adjustable intensity can be fifty-fifty more versatile. Video lights tend to be mounted similarly to wink. The intense light may disturb calorie-free sensitive animals, and they may react past retreating from the source. A large proportion of digital cameras take high definition video part, and video lights provide the option of switching between yet and video using the same equipment.

This section needs expansion with: use of video lights for underwater photography - picture show of video lights in utilise. You can help past adding to information technology. (December 2020)

Split up images [edit]

Split paradigm showing surface-supplied divers riding a stage to the underwater workplace from a diving back up vessel

Another format considered part of underwater photography is the over/nether or divide image, a composition that includes roughly one-half to a higher place the surface and half underwater, with both in focus. I of the pioneers of the traditional technique was National Geographic photographer David Doubilet, who used information technology to capture scenes above and beneath the surface simultaneously. Split images are popular in recreational scuba magazines, often showing divers pond below a gunkhole, or shallow coral reefs with the shoreline seen in the background.

Over/under shots present some technical challenges beyond the scope of most underwater camera systems. Commonly an ultra broad angle lens is used, similar to the way it would be used in everyday underwater photography. However, the exposure value in the higher up water part of the image is often higher (brighter) than in the one underwater. There is also the problem of refraction in the underwater segment, and how it affects the overall focus in relation to the air segment. There are specialized split filters designed to compensate for both of these problems, also as techniques for creating fifty-fifty exposure across the unabridged image.

However, professional person photographers often apply extremely wide or fisheye lenses that provide extensive depth of field - and a very small aperture for even more extensive depth of field; this is intended for acceptably sharp focus both on the nearby underwater subject and the more than distant elements to a higher place water. An external flash can as well be very useful underwater, on a low setting, to balance the light: to overcome the deviation in brightness of the elements in a higher place and below the water.

Over/under photos necessitate the lens or port to exist partly below and partly to a higher place the surface. When bringing the outer optical surface out of the water, droplets tin be left on the surface which can distort the image. This can be avoided to some extent by wiping off the droplets with a chamois leather material above the h2o and lowering the camera to working position. Keeping the port fully wet is an alternative option, which requires the shot to be taken before the water on the height part of the lens surface separates into aerosol. Which approach works ameliorate will depend on the surface tension of water on the lens surface.

David Doubilet explained his technique for split field images in an interview for Nikon Corporation. "You demand to apply a D-SLR and a super broad-angle or fisheye lens and a sophisticated housing that has a dome, not a flat port. Underwater images are magnified by 25 percent, and the dome will correct for that. The technique requires a pocket-sized f/stop—f/xvi or smaller—for great depth of field, plus a lens capable of close-focus; yous always focus on the subject below the h2o line. You also have to residual the light. I look for a light bottom—white sand is best—or a light underwater subject field. I'll put the strobes down beneath and lite the bottom and so expose for the top. If you shoot at, say, ISO 400, yous'll have plenty of exposure for the top, and the strobes will accept intendance of the lesser. Of class, you demand subjects that suit the technique."^[viii]

Digital darkroom techniques can also be used to "merge" 2 images together, creating the appearance of an over/under shot.

Applications [edit]

Artistic photography, where the emotional impact on the viewer is a chief business organization.
Records of the condition of equipment and structures by commercial defined, where the purpose is to accurately present visible prove of the status of the subject.
Records of the environment for personal and scientific purposes
- Denizen science websites for recording Biodiversity using underwater photographs equally records, such as iNaturalist, Reef Life Survey, iSpot etc., use photography as a reliable source of objective information where the observer is non required to be recognised every bit an skilful in identification of the subject, but is trusted to provide sufficiently accurate information regarding time, location, and similar meta-data. Recreational diver photographic coverage of the underwater environment is much more than frequent than scientific inquiry capacity for popular swoop sites.

Skills and grooming [edit]

Since underwater photography is ofttimes performed while scuba diving, it is of import that the diver-photographer exist sufficiently skilled so that it remains a reasonably safe activity. Expert scuba technique also improves the quality of images, since marine life is less likely to be scared away by a at-home diver, and the environment is less likely to be damaged or disturbed by a diver competent in buoyancy, trim, and maneuvering skills. There is the possibility of encountering poor atmospheric condition, such as heavy currents, tidal flow, or poor visibility. Underwater photographers commonly endeavor to avoid these situations if reasonably practicable, but in many cases the desired subject tin can just be accessed nether less than platonic conditions and the photographer must bargain with reality. Underwater diving training providers provide courses to help ameliorate defined' diving skills and underwater photography skills.^[9] Good diving skills are necessary to avoid damaging the environment when maneuvering close to benthic subjects on reefs. Some underwater photographers have been implicated in reef harm.^[x]

Scientific potential [edit]

Underwater photography has become more and more than popular since the early 2000s, resulting on millions of pictures posted every twelvemonth on various websites and social media. This mass of documentation is endowed with an enormous scientific potential, every bit millions of tourists possess a much superior coverage ability than professional person scientists, who can not allow themselves to spend so much time in the field. Equally a consequence, several participative sciences programs have been adult, supported past geo-localization and identification web sites (such as iNaturalist), forth with protocols for auto-organization and self-instruction aimed at biodiversity-interested snorkelers, in order for them to turn their observations into sound scientific data, available for research. This kind of approach has been successfully used in Réunion island, allowing for tens of new records and fifty-fifty new species.^[xi]

Timeline [edit]

Norwegian diving pioneer Odd Henrik Johnsen with underwater camera (1960s)

1856 — William Thompson takes the first underwater pictures using a camera mounted on a pole.
1893 — Louis Boutan takes underwater pictures in Banyuls-sur-Mer while diving using surface supplied standard diving dress. He likewise develops an underwater wink and a remote control for deep waters using an electromagnet.^[12]
1914 — John Ernest Williamson shoots the get-go underwater motion motion picture in the Bahamas.^[xiii]
1926 — William Harding Longley and Charles Martin accept the first underwater colour photos using a magnesium-powered flash.
1940- — Bruce Mozert begins to photograph at Silver Springs, Florida
1957 — The CALYPSO-PHOT photographic camera is designed by Jean de Wouters and promoted by Jacques-Yves Cousteau. Information technology is first released in Commonwealth of australia in 1963. It features a maximum 1/1000 second shutter speed. A like version is later produced past Nikon as the Nikonos, with a maximum 1/500 second shutter speed and becomes the best-selling underwater photographic camera series.
1961 — The San Diego Underwater Photographic Guild is established, one of the earliest organizations defended to the advocacy of underwater photography.

Notable underwater photographers [edit]

Tamara Benitez – Filipina cinematographer
Georges Beuchat – French inventor, diver and businessman
Adrian Biddle – English cinematographer
Jonathan Bird – American photographer, cinematographer, director and television host.
Eric Cheng – Taiwanese American entrepreneur and professional photographer
Neville Coleman – Australian naturalist, underwater photographer, author, publisher and educator
Jacques Cousteau – French inventor of open excursion scuba, pioneer diver, author, moving-picture show-maker and marine researcher
John D. Craig – American businessman, writer, soldier, and diver
Ben Cropp – Australian documentary filmmaker, conservationist and spearfisherman
Bernard Delemotte – French diver and photographer
David Doubilet – French diver and photographer
John Christopher Fine – American marine biologist, wreck diver and writer
Dermot FitzGerald – Irish businessman
Rodney Fox – Australian diver, pic maker and conservationist
Ric Frazier – American lensman
Stephen Frink – Underwater photographer and publisher
Peter Gimbel – American filmmaker and underwater photojournalist
Monty Halls – British TV broadcaster, diver and naturalist
Hans Hass – Austrian biologist, film-maker, and underwater diving pioneer
Henry Style Kendall – American particle physicist who won the Nobel Prize in Physics
Rudie Kuiter – Dutch-born Australian underwater photographer, taxonomist, and marine biologist
Joseph B. MacInnis – Canadian dr., author, poet and aquanaut
Luis Marden – American photographer, explorer, author, filmmaker, diver, navigator, and linguist
Agnes Milowka – Australian cave diver
Noel Monkman – New Zealand born Australian filmmaker specialising in underwater photography
Steve Parish – British built-in Australian photographer and publisher
Zale Parry – American pioneer scuba diver, underwater lensman and actress
Pierre Petit – Early French photographer. First to try underwater photography
Ronald C. Phillips – American marine botanist and professor. Produced coral and seagrass slides 1960s onwards for international scientific publications and university education
Leni Riefenstahl – German language film manager, producer, screenwriter, editor, photographer, actress and dancer
Peter Scoones – Underwater cameraman
Brian Skerry – American photojournalist
Wesley C. Skiles – American cave diver and underwater cinematographer
E. Lee Spence – underwater archaeologist
Philippe Tailliez – French pioneer of scuba diving and underwater photographer
Ron Taylor and Valerie Taylor – Australian divers and shark cinematographers
Albert Tillman – American educator and underwater diver.
John Veltri – American filmmaker and underwater photographer
Stan Waterman – Cinematographer and underwater film producer
J. Lamar Worzel – American geophysicist and underwater photographer

Tamara Benitez
Peter Scoones
Brian Skerry

See likewise [edit]

Diving equipment – Equipment used to facilitate underwater diving
Outline of photography – Overview of and topical guide to photography
Nature photography – Photography genre
Underwater photography (sport) – Competitive underwater digital photography on scuba
Underwater Photography World Championships – International event for the sport of underwater photography
Underwater videography – Branch of electronic underwater photography concerned with capturing moving images
Action camera - These cameras can be used for underwater photography and videography

References [edit]

^ 'NIKONOS-5 camera body to exist discontinued', September xviii, 2001, "Archived re-create". Archived from the original on 2013-01-02. Retrieved 2012-09-02 . {{cite web}}: CS1 maint: archived copy as title (link), retrieved 03/09/2012.
^ "Sea and Ocean". Sea and Sea. Retrieved 2012-06-20 .
^ Staff. "Motor Marine Three Instruction Transmission" (PDF). Bounding main and Sea. Retrieved 7 November 2016.
^ "Olympus TG-6 Underwater Photographic camera Review". Retrieved 16 December 2020.
^ Deep-6.com Color underwater
^ Scott Gietler Underwater Photography Guide Lighting with Strobes
^ "Natural Light Photography". Retrieved December 25, 2013.
^ "Underwater Photography Tips for Getting Started". Nikon. Nikon Inc. 2016. Retrieved December 11, 2016.
^ PADI Grade Flowchart
^ Sink, Chiliad. (October 2004). Appendix 2. Threats affecting marine biodiversity in South Africa (PDF). South African National Spatial Biodiversity Assessment 2004: Technical Study Vol. 4 Marine Component DRAFT (Report). pp. 97–109.
^ Bourjon, Philippe; Ducarme, Frédéric; Quod, Jean-Pascal; Sweet, Michael (2018). "Involving recreational snorkelers in inventory improvement or creation: a case study in the Indian Ocean". Cahiers de Biologie Marine. 59: 451–460. doi:10.21411/CBM.A.B05FC714.
^ Cárdenas, Fabricio (2014). 66 petites histoires du Pays Catalan [66 Piffling Stories of Catalan Country] (in French). Perpignan: Ultima Necat. ISBN978-2-36771-006-eight. OCLC 893847466.
^ "Thirty leagues under the bounding main". The Independent. Nov 2, 1914. Retrieved July 24, 2012.

Bibliography [edit]

Bourjon, Philippe; Ducarme, Frédéric; Quod, Jean-Pascal; Sugariness, Michael (2018). "Involving recreational snorkelers in inventory comeback or creation: a case written report in the Indian Ocean". Cahiers de Biologie Marine. 59: 451–460. doi:10.21411/CBM.A.B05FC714.

External links [edit]

Underwater photography at Curlie

Source: https://en.wikipedia.org/wiki/Underwater_photography

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