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The Big Picture By Ron Akeson As the silt began to rise I knew photography would be impossible, so I clipped the camera secure and concentrated on finding my way out of the wreck. Fortunately my accumulated photography and technical diving experience had taught me to keep a cool head, allowing me to focus on the task at hand. Rather than risking all for a few images filled with backscatter, I concluded it would be better to return another day and hope for better conditions.Technical diving photography is truly virgin territory with only a handful of divers practising the art of capturing deep-water images of what they see at depths beyond recreational limits. One of the biggest drawbacks is equipment. Most of today's cameras and strobes available are rated between 130 and 200 feet in depth, severely limiting their usefulness and a photographer's options. Let's take a look at the equipment available today and some of its limitations. Of the amphibious cameras the Nikonos is by far the best known. But the Nikonos is only rated to 150 feet. The Sea & Sea Motor Marine II-EX has the same limitations which only leaves housed camera systems. Although camera housings would appear to be able to withstand great depths, such is not necessarily the case. Sea & Sea SLR housings are rated to withstand 200 feet of pressure, as are Ikelite housings, therefore only usable to the intermediate technical diving depths. The Aquatica housings are rated for 330 feet so will handle all but the most hardcore technical dives. After choosing a camera and housing combination to suit your technical depth of choice, strobes will be the next consideration. Here again most manufacturers do not make their equipment for extended depths. Nikon strobes are rated for 150 feet and Sea & Sea for 200 feet. Ikelite strobes however are rated to 300 feet and are available to use with a variety of housing connectors. An appropriate lens to match your choice of technical diving activity is next. Macro lenses are a great option for photographing both fish and invertebrates, particularly if visibility is poor. If wrecks or large objects are your primary subjects, a wide-angle lens used with dual strobes will yield the best results. Wide-angle lenses also allow you to get close to the subject and minimize the amount of water your strobes must illuminate, giving the greatest depth of field. Film is perhaps the toughest decision. Fast films (high ASA ratings) allow greater depth of field through smaller apertures (higher numbered f-stops) allowing ambient light to expose only part of the frame. Slower films (lower ASA numbers) have better resolution and color renditions but need more light for the equivalent exposure. Often times an intermediate film is best, depending on visibility conditions. No matter what equipment you choose, get proficient in one skill at a time, be it technical diving or recreational underwater photography. Practise first in shallow water with your camera system while wearing all your technical gear. Try different places to connect your camera so it won't interfere in conducting a safe technicaldive. I'm sure in time as the craft of technical diving and the need for exploration becomes more of a commonplace, the photographic equipment will improve. |