Above: Aaron Wong, shoots with Nikon in a
Seacam housing. Above right:
“Unlike shooting in the pool,
working in the ocean brings in factors like
sun angle and currents that make it even
ended my early problems with fl ooded sync cords!” Wong says it’s good to have a
main light and a ‘kicker’ or a ‘fi ll’ light that’s usually set at least two stops down from the main light. If ambient light is the choice, a custom white balance is important, he says. For users of compact cameras that don’t off er this function, he suggests setting them to ‘underwater mode’, typically represented by a fi sh icon. He says using manual mode, shoot at least half a stop under to help bring out the colors. If the camera doesn’t off er manual functions then he suggests using the exposure value (EV +/-) set at -0.7. The basic rules of underwater
photography apply, even in a pool. The light blue color typical of pools often casts an unpleasant hue on a
model’s face. The simple solution, he says, is to have your model face up for sunlight, and to avoid bounce from the blue fl oor. “Get close and get low, framing the subject by moving back and forth rather than cropping in postproduction.” Less water between camera and subject helps with the colors, which scatter vertically and horizontally so, he says, upward angles are best for lighting and to avoid shooting the pool fl oor. Several lenses work well for
underwater pool shots. Anything from a 60mm to a 12-24mm works, he says, but cautions against using fi sh eye lenses, which tend to show more of the pool surroundings than you want. Ambitious shooters wanting to create a background should favor
more diffi cult.” Left: “I ended up
having to remove my gear to get low enough and
then I had to hold my breath so my exhaust bubbles didn’t hit the
model’s face and all the lemons!”
some kind of cloth, likely custom made of a thin fabric that retains less air and is easier to manipulate underwater. Weights will be required whatever is used. Wong says the digital revolution
has defi nitely changed the way photographers work. “There are more people into underwater photography than ever before thanks largely to digital technology.” He says Nikon is his camera of choice because he’s used that brand throughout his working life. “I love their ergonomic design and range of lenses and they’re a fi ne fi t with Seacam housings, which are the best in my opinion,” he says. Camera equipment, shooting
techniques and skills aside, Wong says that fundamental to photographic success is basic diver competence and, in particular, precision buoyancy control at any depth. “Get this right and you’re off to a good start,” he says.
WATER.COLORS, the book, was a natural offshoot of Wong’s passion for fashion photography and underwater work in advertising and other commercial projects. It’s available for sale on his website. If you want a signed copy, email the author. For more information visit:
www.aaronsphotocraft.com
www.divermag.com 45
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