The Basic Principles Of Underwater Lighting

Sunday, July 30th 2017. | Tips

The Basic Principles Of Underwater Lighting

Underwater photography presents unique challenges because of the properties of water and its effect on light. The water absorbs the light on the contrary the air. In addition, most of the light striking the surface is reflected, which means to have a really small amount of light descending underwater with increasing depth (below 60 meters, the color is predominantly blue, as shown in Figure ).

All this means that, under the water, the sun does not normally provide the right light to produce bright, colorful images and pleasing as we would like.

In underwater photography the light is mainly influenced by three factors

Subject distance

Loss of Light

The water is about 800 times denser than air, and this density absorbs light – in a hurry too. This causes in our photos opacity akusaraprosound, color monotony but also makes you to be lost in conflict and image clarity. Those who are just starting out will have noticed that all the photos tend to tone blue gray how to avoid it It is of course a common problem for both novices and professionals and there are several approaches to reintroduce color and sharpness.

As can be seen from the top of this article design, different wavelengths of light are absorbed at different depths the red disappears almost completely at about 5 meters, 10 meters in the orange, yellow at 20 meters, 30 to the green meters and, finally, the blue at 60 meters. Below 60 meters the predominant color is gray, although of course the amount of light will be almost nothing.

One of the most comfortable and fast approaches to reintroduce color and contrast of underwater photographs is to use artificial light (underwater flash).

Some brands of filters are known to leave more of a dominant color of the final image. This is a good reason (one of many!) To shoot in RAW as the dominant color can be corrected in post production. Sometimes, for very long exposures, you can come to spoil the whole picture, making it impossible even in post production recovery of the same in these cases, only a conversion to black and white may solve the problem.

A long exposure does not compensate the ugliness of a composition! Choose carefully what to photograph, compose the scene carefully and only then get active to resume.