By Aaron Wong. There is something mesmerizing about the way models and fabric move underwater that makes it a dream to photograph. I have done so for many years and I must say it is still every bit as fascinating as the first frame I shot. The weightlessness of the underwater world blows the window of creativity wide open and I know no other environment that can even remotely come close to the fluidity of this submerged realm. The idea sounds simple enough: Just get a camera and a model into a pool, or is it?
Please note: The model does not see what you see. Ran is also an electrical engineer and an avid internet marketing specialist. Post shoot hours : Break down the set, clean and wash all gear, clean up, fall into bed. Remember these simple points before you consider trying out. Scapa Centenary Anniversary Event. Fun accessories might be long colorful fabrics Tulle works greattoys of all sorts, balloons filled with water, masks, umbrellas very hard to maneuver Underwater photography of models in pools
Gay kama sutras. Building the Ultimate Underwater Fashion Environment
The sensors tend to phogography in the underwater environment. You'll want rapid fire and it just makes life easier as your subject moves underwater. You can also try to pose diving board. Breaking a Record on Women's Dive Day. Luckily those Underwater photography of models in pools have a rugged point-and-shoot don't have to tense up like the folks who use cases and bags. Try to get very low, at eye-level. Easy as that. Another reason I choose to shoot without direct sun is I'm not having the poole create lines and hot spots on my clients. The first image of the woman in the wedding dress and ballet slippers is shot in the JPG file format. Underwater Photography Tips.
In my case, I was a photographer long before I started diving.
- There is an interesting discussion in the Wetpixel forums about how to photograph a model in a swimming pool.
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By Aaron Wong. There is something mesmerizing about the way models and fabric move underwater that makes it a dream to photograph. I have done so for many years and I must say it is still every bit as fascinating as the first frame I shot. The weightlessness of the underwater world blows the window of creativity wide open and I know no other environment that can even remotely come close to the fluidity of this submerged realm.
The idea sounds simple enough: Just get a camera and a model into a pool, or is it? COLORS project several years ago, but the project has gone from simple ideas to big budget commercial shoot. In , it culminated when it was published into a page coffee table book.
There are many useful tips I have learnt over the years that will greatly help those who might want to consider trying it out yourself. The first step I would say is starting off with the right approach. I have always said that everything starts with a good idea.
Once you have that, one just have to stick to it and make it happen. For a start, you want to keep the idea simple. Be realistic about what you can achieve with your first try. Try working with soft fabrics or outfits that is lose and flowy. This would best show the weightlessness of the water. That is after all the key to why you are doing this.
The next obvious factor is your model. This can be a big problem as you struggle between whether to select a model for her looks or her abilities. I have made it a point to train all my models before the shoot—this could be a pool session with my instructor or safety diver. A quick acclimatization in the pool just before the shoot helps too. Get the models to open their eyes a few times underwater just to get her body familiarized.
Being comfortable is crucial as the slightest stress shows in the end shot. One other big problem you will encounter is communication, or rather, the absolute lack of it. Signal all you want, chances are, all that the model is going to see is a black blob that resembles a photographer. So having a good briefing with your entire team on land before the shoot is key.
Look at it as formation skydiving. Everyone in the team must know exactly what, how and when things work. Stick to the idea and collectively achieve it instead of merely going in just to see what you may get. You will see that proper planning goes a really long way. Remember this: A model underwater with weights strapped on can be a quick ticket to an emergency. I always have safety divers, assistants or first aid responders in the water with me. Any underwater shoot without one should not even happen.
If anything, I should have made this my first point. The setup for fashion photography is worlds away from marine imaging. Think of the water as your studio. The best way to do this is to use light stands, but if that is not available, several of your longest arms joined together will work.
The only problem with this is that your strobes will move as your camera do. A change from landscape to portrait would throw your entire light set up off track, as will moving back and forth.
Consider investing in some light stands just to keep control over the lighting situation. However, with the strobes so far apart, triggering them becomes a challenge in itself. The only way is to customize your cables.
Proper sync cords work best as fiber optics tend to be limited by how long they can be while being reliable. Cutting up and extending your sync cord is the easiest way though it will cost a bit. Trust me, it would still be cheaper than having one custom made. There are several lenses that will work well with underwater pool shots. Depending on your needs, anything from 60mm to a mm works. Try to stay away from fish eye lenses. For the really ambitious, you can also try creating a background.
The best marital is, of course, a huge piece of cloth. Needless to say, that would need to be custom made. Trying using thinner materials, as the thicker ones have a tendency to hold too much air, making sinking them a challenge in itself!
Either way, you will need a lot of weights. The weights that do get into frame will have to be removed in postproduction. The basic rules of underwater photography still apply even in the pool: And that is, always get close and get low. Get the framing you want by moving back and forth rather than cropping in postproduction. Getting less water between you and your model will help with the colors.
Remember that the scattering of colors happen even horizontally. Shoot upwards is obvious. Of course you can also forfeit the strobes and shoot with just ambient light.
For that, it is best you do a custom white balance. Try shooting the scene at least half stop under, as this will help bring out the colors. The easiest way to get rid of that is to have your model face up. This would allow the natural sun light to light up the face rather than the bounce from the blue floor. Last but not least, you clearly need to be good underwater with good buoyancy control yourself. This is the bare minimum before you can consider any form of underwater photography.
Remember these simple points before you consider trying out. Have fun with the weightlessness and explore the possibilities within DPG is a comprehensive underwater photography website and community for underwater photographers. Learn underwater photography techniques for popular digital cameras and specialized professional underwater equipment wide angle , macro , super macro , lighting and work flow.
Read latest news, explore travel destinations for underwater photography. Galleries of professional and amateur underwater photography including wrecks, coral reefs, undersea creatures, fashion and surfing photography. Login Register Login. Remember Me. Dive Photo Guide. Underwater Fashion Photography.
By Aaron Wong There is something mesmerizing about the way models and fabric move underwater that makes it a dream to photograph. Agrat Sabai wrote:. You must be logged in to comment. Robert Minnick Expert Photographer. I began diving just over ten years ago; twenty years into my career as a technical director in theater.
My mask became a new proscenium to a show of unending interest and fascination. After a time I developed a desire to All Rights Reserved.
Macro Lenses For Underwater Photography. To use the strobe, you need to be able to control your camera's aperture, and control the power of the strobe. Settings If your camera can shoot RAW, do it. I also shoot at night using the built-in underwater pool lights. Buddies: With underwater photography, it is a great asset to have a partner. The wider I am, the closer I can be to my subject without too many particulates from the water clouding my image and making it harder for me to edit later.
Underwater photography of models in pools. Article Info
Underwater Model Photography | X-Ray Mag
Whether or not we find something to shoot during our dives with a camera, there is always one photogenic subject that is always with us: the dive buddy. There is hardly any underwater photographer who has not recently taken photos of his or her dive buddy as souvenirs of a dive, for practice purposes, or simply because nothing else could be found as a photographic subject.
Here is an excellent opportunity to consider how people can be photographed in interesting ways as models underwater. Model: Chris Mo. Photo by Rico Besserdich. Some may wonder where the sense is in making a human being the main subject of an underwater image, whilst the underwater flora and fauna have so much beauty to offer.
This is a legitimate question, which can, in a sense, be answered by human psychology. Thus, a photo of a human being underwater always creates a certain tension in the composition, especially for viewers who are not divers.
In addition, a human model underwater conveys to the viewer a natural sense of scale in many shooting situations. To them, the world of the oceans is a miraculous and mysterious unknown realm, and diving is an activity for risk-seeking adventurers. With our photography, however, we can make the beauty of the underwater world accessible to a huge range of people.
This air of mystery can give our underwater images an extra sense of drama in which underwater models can come in handy as well. Working underwater with a model can be time-consuming and complicated, but it does not have to be so.
There are different forms and imaging concepts that can be explored; some of them can even be realised in a swimming pool. The beginning of the creative process is the idea. Advanced photographers, as well as professionals, first develop an idea; then they make a plan as to how the idea can be realised; and then, as the last and final step, the actual execution of the plan underwater follows.
Developing an idea depends on imagination, creativity, local possibilities the type of water and available equipment. Every person has ideas and finding or developing an idea is an important part of the photographic design process.
Sources of inspiration for a good idea can be found in dive magazines as well as on the Internet, where many outstanding underwater photographers present equally outstanding underwater model photos. It is helpful to jot down some notes. Some photographers outline the planned image in advance. No artistic skills in drawing are required here; a very simple sketch will help the process of visualisation immensely. A good photograph with an underwater model is the result of excellent teamwork between the photographer and the model.
The performance of the model has the same importance as the performance of the photographer. You will find valuable input that certainly will benefit the planned images. Idea exchange, conversation and respect for the model and his or her performance are important factors. It is a simple principle: Relaxed and happy models perform better! This applies to the dive buddy from a dive club as well as the professional model.
Your underwater models can be the keys to your success—treat them with respect. Let your model participate in your vision and understand that the realisation of your idea is a team effort of equal team members. Be ready for and open to cooperation, as well as to positive surprises—sometimes with a complete rethinking of your initial idea. Many of you probably know the frustrating feeling that arises when you are trying to photograph a model properly underwater, and your well-intentioned and what you thought were completely clear instructions by means of hand signals which may grow into energetic arm waving, accompanied by curses shouted into your regulator , often receive only glances of incomprehension or shrugs from the model, or, in the worst case scenario, result in an exasperated model swimming away.
The model is confused, the photographer is frustrated, and the hoped-for image is not in the can—another frustration! Often, this is due to the not-so-ideal communication between model and photographer.
Communication is also a question of the right arrangement. Such an agreement should, of course, take place before the actual photo dive. Our communication options underwater are limited. The solution lies in the briefing, or preliminary discussion, just before the dive. Agree with your model, ahead of time, on just a few! Please note: The model does not see what you see. Limit communication to just a few hand signals that you have previously agreed upon.
Too many hand signals will confuse the model. Also plan and discuss underwater hand signals with which the model can communicate with you. You may have your problems with camera settings, lighting and composition, but even models may have their own problems or desires and need to be able to communicate them to you. This then often happens on a shared dive. If this is the case, then the patience of the model should not be overstrained.
If all agree to the plan for the shoot, then a specific time and period of the dive for the model photography can be arranged. With appropriate preparation, a lot of photographic work can be done in just five to ten minutes. This leaves enough time for your model, or dive buddy, to enjoy the rest of the dive for himself or herself.
From the point of view of an underwater model, the photographer is usually hidden behind the camera, performing mysterious things. It is hard for models to know exactly when the image is being taken and when exactly a particular pose, facial expression or position is to be presented.
If the flash ignites, then it is already too late. Pressing the release button is only a very small movement, which is often not noticeable to the model. In a way, that is also part of the communication. If you think you have managed to take a very special photo, take a very short break to show the image to the model. Share your enthusiasm! This motivates the model and creates a nice atmosphere. Motivation is important. Encouraging this motivation and creating a relaxed work environment for the model is the task of the photographer.
So, communicate with the model if you are particularly pleased with a shot. The pose of the model is often crucial for a successful image.
There are as many exceptions as there are creative possibilities. But in general, the model should look good. There are lots of poses and what is best suited for the planned image is something that should be considered and agreed upon beforehand. Perfect buoyancy is another important key factor in successful underwater model photography, and this applies equally to the photographer and the model.
Careful buoyancy is important for the protection of marine animals and plants, but also for self-protection. Only a perfectly balanced model can pause at the right moment in the desired pose, and only a perfectly balanced underwater photographer can reach the ideal shooting position Protecting nature and the safety of those involved photographer and model should always take precedence over anything else in an underwater photo shoot.
If the underwater world coral reef, for example is endangered or directly threatened by our presence and circumstances current, for example , the photograph will be a failure. Here are some examples:. The attention of the viewer is assured. In addition, a comprehensible sense of scale regarding the dimensions of an object or subject matter underwater is achieved when a human model is visible in the image. Applications and subjects of this theme include:. Assuming that both model and photographer are underwater as fully equipped scuba divers, the known safety protocols include buddy checks, control of depth, no-stop time, air consumption, as well as consideration and planning for special local conditions such as visibility, current, waves and other safety-related factors.
These are safety procedures that also count for underwater photography activities. It is important to strive for a certain discipline. This applies equally to photographer and model. In order to avoid or at least reduce this additional stress and risk factor, it is advisable to conduct underwater model photo shoots in rather shallower 3m to 15m depths, if possible.
Some underwater photographers such as Dr Alex Mustard mount the dive computer directly on the underwater housing or on the strobe arm to have both the camera and dive data in view at the same time.
A scuba diver as an underwater model should have his or her dive equipment well-configured and mounted. If the model uses a dive light as a pointer which is quite popular in such situations , the dive light should be aimed at the object of exploration e. Pay attention to the breathing rhythm of the model! Observe the inhalation and exhalation frequency of your model and adjust accordingly. Influencing or even controlling the breathing frequency of the model creates a rather unpleasant atmosphere.
This is to be avoided. Experienced and sometimes paid underwater models know about this issue and can control their respiratory rate accordingly. Swimming position. It is also important that the dive model can be recognised as a diver in the image, especially in silhouette photos where the dive model just appears as a dark shape.
If the model is not swimming, but just floating above or near a wreck for example, presenting the model in an upright position in the water, with a dive light if carried in the middle of the body, can give certain wreck photos a special flair. This makes it easier for the photographer to illuminate the eyes of the model.
Some specialists still use the very large aperture masks from the early dive pioneer days, as these are still excellent, despite being contrary to all modern trends, for the purpose of ideally illuminating the face of the model. If your chosen model is an underwater photographer and you depict him or her photographing the underwater flora and fauna, such a scene could work nicely as a photogenic and compelling image statement.
In such cases, it is important that the model photographer and the subject matter targeted by the photographer are equally reflected in the image. This refers to models posing underwater without scuba equipment, whether as the classic freediver equipped with dive mask, snorkel and fins; or just as a human being underwater without any diving equipment. The freediver.
For some well-trained scuba divers, it may also seem sort of normal. Freediving models have the body coordination and elegance to hold their positions in the photographic foreground. All this does not have to happen in deep water. The classic freediver model is often equipped with a neoprene wetsuit, dive mask and fins sometimes special, extra-long freediving fins.