The Creative Eye
The pool is darkened to
create a studio
like environment underwater
A large black cloth provided the back drop while lights were rigged on studio stands positioned around the subject
what is expected of them. “Think of it as formation skydiving. Each person has a role to play to achieve the end result.” “Central to communication
success is an agreed upon set of hand signals that each person can use and that the model can understand with ease.” He says that even simple requests like ‘repeat’ and ‘rotate’ can be difficult to explain without simple hand signals that need to be big and easy for a model to see, even from a distance.
Technical Matters Unlike regular underwater image composition, the commercial set-up is different. “Think of it as a studio shoot underwater in which you use light stands as a first choice, or several of your longest strobe arms joined together as an alternative.”
44 Magazine
The latter means strobes move as the camera does so even a simple change from landscape to portrait throws off the entire lighting set- up, as will forward and backward movement. He recommends serious shooters invest in light stands that control this key element of the creative process. Strobes mounted on light stands
are far apart so triggering them is a technical challenge all its own. The solution, Wong says, is to “customize your cables.” He says proper sync cords work best. Cutting and extending them is easier and less expensive than buying custom cables and they’re more reliable than fiber optics where longer cables are needed. “I was fortunate to have Seacam build an entire system for my WATER. COLORS project, which effectively
“I came up with the idea for this shot without knowing how difficult it would be to shoot. I found out the hard way how tough it was to keep floating objects in the same place as my exhaust bubbles began hitting them.”
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