Panning / Image Blurring Effect
The motion blur effect in photography creates a dynamic sense of movement. In such images, the subject remains sharply in focus while the background appears blurred. To achieve this effect, you need to use a slow shutter speed combined with synchronized camera movement—this technique is known as panning.
To capture this kind of shot, set your camera to a slow shutter speed and use rear curtain sync with your flash. This means the flash fires at the end of the exposure, just before the shutter closes, which helps freeze the subject while keeping the motion blur in the background.
When photographing a moving subject—like the beautiful green sea turtle found around Sipadan Island, Malaysia—follow it with your camera at the same speed it’s moving. This takes some practice. A shutter speed around 1/15 second is usually a good starting point, though you may need to experiment to match the turtle’s pace and your own steadiness.
Flash settings are crucial. Most built-in flashes fire at the beginning of the exposure (front curtain sync), which doesn’t work well for this effect. Instead, use rear curtain sync. Nikon cameras make this easy—most models since the Nikon N90 support this feature. Canon users might need an accessory, such as the Heinrichs Weikamp adapter, to synchronize external TTL flashes properly.
In the example image, a Canon EOS 5D housed in a Subal underwater case was used, along with two Ikelite 200 strobes at full power. Settings were: 1/6 sec., f/10, ISO 100.
Photographing Reefs
While diving in the Raja Ampat region of Indonesia, I came across a place called Nusa Indah. In the shallow waters, I spotted a large sea anemone with two vibrant clownfish nestled within it. What made the scene truly magical was a shaft of sunlight piercing through a hole in the stone wall, illuminating the anemone and the fish.
Capturing the lighting just as I saw it was a challenge. I used three strobes to balance the scene. One was aimed directly at the center to highlight the main subjects, while the other two were adjusted to softly illuminate the edges, preventing backscatter.
All three strobes were set to full power, allowing me to shoot at f/4—giving a decent depth of field without sacrificing light. The background was relatively dark, so I selected a slow shutter speed of 1/25 sec and held the camera as still as possible to avoid motion blur.
Fish Photography
Fish are among the most popular subjects in underwater photography, but capturing them is often harder than it looks. Fish rarely stay still—they dart around, often turning just as you press the shutter.
The secret is patience. Find a fish that appears curious or indifferent to your presence. Don’t take 100 shots immediately. Instead, wait for the right moment—when the fish faces you. To reduce shutter lag, half-press the shutter to pre-focus, then fully press when the fish is in position.
I prefer to photograph fish from the front. This gives them a “face”—eyes, mouth, and expression—which lets viewers connect emotionally with the image. Fish can appear grumpy, surprised, inquisitive, or serene, and these expressions give your photos lasting impact.
The featured image shows a dory (zeus faber)—a solitary predator found in temperate waters from Europe to New Zealand. The light reflections in its eyes come from my flash units.
Camera used: Nikon D2x
Lens: Sigma 150mm macro with a Canon 500D close-up filter
Settings: 1/250 sec., f/14, ISO 100
Large Animal Photography
Photographing large marine animals—like whales or sailfish—requires planning, knowledge of their behavior, and sometimes a good deal of luck. These creatures are often most approachable during feeding or mating seasons when they come closer to the surface.
Use your time on the boat wisely by preparing your equipment and visualizing the shots you want. Be patient—it may take hours to find whales and their calves resting near the surface, like those near Tonga, or sailfish in the waters off Isla Mujeres, Mexico.
You don’t need to dive deep—1.5 to 3 meters is usually enough to position yourself at eye level with the animal. But you need to move quickly and be physically prepared.
Composition Tips for Large Animals
- Show scale: Include smaller objects or fish nearby to emphasize the size of the subject.
- Master exposure: Shallow water light can be tricky. I use aperture priority mode to control depth of field while letting the camera handle shutter speed.
- Adjust aperture for motion or depth: Use a smaller aperture (like f/8 or f/11) when you want more depth or controlled horizontal blur.
- Use matrix metering: It helps balance highlights and shadows.
- Equipment: I use a Canon EOS 1Ds Mark III in a Seacam housing with either a 14mm prime or 16-35mm zoom—the zoom is helpful when getting physically close isn’t possible.
This type of photography demands stamina and agility, but the rewards are well worth it.
Split Photography (Over-Under Shots)
Split shots—showing both above and below the water—are visually striking but technically demanding. Both parts of the frame need to be interesting and in focus. Shallow water scenes with visible sand, reef, or coral work best.
Use a super wide-angle lens:
- 14–16mm for full-frame sensors
- 10.5mm or 12–24mm for cropped sensors
Set the aperture to f/16 or f/22 to maximize depth of field. Your housing should include an 8- or 9-inch dome port, which helps extend the waterline and keep both parts of the image in focus.
If perfect focus isn’t possible for both areas, prioritize the above-water portion, which tends to draw more attention. Use a neutral density filter on the dome or balance light with strobes.
In the featured image, I used two Sea & Sea YS-200 strobes at half power with slightly downward-angled brackets to light a turtle’s head. Equipment: Nikon F4 in a Nexus housing with an 8-inch dome and 30mm extension ring. The lens was a Tamron 14mm f/2.8, which allowed me to get close and make a relatively small subject dominate the frame. The photo was taken in the Tuamotu Archipelago, French Polynesia.
Shark Photography
Photographing sharks is one of the most thrilling aspects of underwater photography. Success depends on gear, technique, training, access—and luck. You need a fisheye or wide-angle lens, and a cooperative shark.
Prime lenses or zooms in the 24–50mm range work best. For example, when shooting a hammerhead shark, I used a Canon 1D Mark II with a 17–40mm f/4 lens. This allowed me to adjust composition as the shark approached.
The Ikelite DS125 strobes helped illuminate the scene with quick recycling. Camera settings:
- 1/250 sec., f/9, ISO 200
- 2/3-stop exposure compensation using spot metering
The key to shark encounters is timing. Go during the right season, and always rely on experienced guides who know where and how to approach safely.