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Extra resources for Underwater Photography (February 2002)

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This enables the photographer to position key elements of the image within, or at the intersection of these areas to create a flow and a UwP 30 by Mark Webster The centre of interest in this picture is obviously the fish. The remaining picture area is filled by moderate diagonals which support the fish placed in the centre ‘third’. Nikon F90X, 60mm micro, Subal housing, F11 @ 60th , YS50/30 flash. 100ASA. Wide angle pictures often present a variety of otions when composing the picture. Avoid the temptation to shoot the first location, be patient and look for the most striking composition.

The flash fires at the end of the exposure, so if we had an exposure of 1/2 second the flash will not go off until the very end of the 1/2 second. So once again we are going to use rear curtain sync in conjunction with long exposures to create an exaggerated sense of movement and when the flash goes off at the end of the exposure it will freeze and add colour to the picture. The reason for using rear curtain sync is that the long exposure will record lines of movement which can be very haphazard and jumbled.

A well composed, in focus and correctly exposed image of a Frog fish or a Pygmy seahorse isn’t necessarily enough anymore. Whatever the subject and no matter how charismatic the subject is to us on a personal level, someone else has already taken the shot and many underwater photography enthusiasts are simply chasing the opportunity to replicate it. art. The images you see here were taken on a dive which my notes describe simply as ‘nothing special’ and the subjects are frequently encountered on almost every dive made in the Indo-Pacific.

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Underwater Photography (February 2002)


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