Article by Martin Edge
All photos by Mark Snyder

I really want to grab your interest on this topic so what is going to make you read the next few lines as opposed to moving on to other subjects? Well, I can impart some excellent tips, which may avoid you getting into bother with the dive guides on your next photo trip. You may be doing everything you can to avoid the reef, you may have much pride in your buoyancy and if you give me the benefit of the doubt and read on, you may pick up something in what I am about to say which perhaps could assist you to become a better underwater photographer.

Many of the codes of conduct and environmental articles concerning photo diving on a reef always priorities 'not to touch the reef' 'to mind this' 'to mind that' 'don't get too close to this' But rarely do they tell you what you can do! It is not easy to get a camera housing and flash guns close-in to the reef in order to photograph small subjects we often see excellent images in magazines, books and on the web. So, how are the photo pro's able to get the pictures they do without trashing the reef? Well I'm going to tell you that as well.

Ever wondered how photographers are able to get so close to creatures, which would appear to be so hidden or tight in to the reef? What if I stated that in my own photography at least 75% of subjects, which inhabit or live close to the reef, are un-photographable? Over the years I have lead many photo groups to all parts of the world. There have been incidents with careless fins, which have threatened relationship that I cannot and will not deny. But in recent years my groups are frequently and publicly praised for the manner in which they approach their underwater photography. I would like to share some of these things with you over the next few pages. It may be "old hat" to you but it has made many friends all around the world. Read on. Please...... I take the view that 75% of subjects who live on, in or very close to the reef cannot be photographed by virtue of their in/accessibility to the photographer. We have two choices. 1. We either shoot the subject from a distance whilst hovering above or to the side of the reef. Whilst this is unlikely to produce underwater photos of quality it is an option. Or 2. We dismiss the possibility of taking the shot in favour of finding a subject we can approach, get close to, and photograph safely without any risk to the environment.

Conscientious underwater photographers do this all the time. But being shown numerous photogenic subjects by the dive guide is not a direct route to a successful photographic outcome. Let's take the example of a photogenic pigmy seahorse. Whilst muck diving in Sulawesi quite recently my group were led to at least five individual locations for pigmy's of all shapes, colours and sizes but all were very small to the human eye. To me only one particular location was safely accessible in order to approach, settle gently on the black volcanic sand, position the flashguns and take photos. Many of the other pigmy's were surrounded by excellent negative space, they were more colorfulcolourful and would have made much better opportunities if the photographer could have accessed an area close to them without lying on the reef. We simply couldn't do that; we couldn't get in the shoot them so we declined the idea and visited the other site which was possible.

Maintaining good buoyancy and hovering a meter or so above the reef may allow a snap shot to be taken of just about any reef creature but very rarely will they be anything more than that. A snap. A snap will be OK for anyone sighting these fascinating creatures for the first time but as for the potential of successful dynamic pictures it is often impossible to get a shot. The moral; if you cannot get a position or angle on a subject without a struggle simply reject the idea and search for subjects you can approach. I encourage my students to search for subjects in the following areas: Where the reef gives way to coral rubble or sand On the over hang where a flat reef may drop off vertically Areas which are devoid of living corals but play host to small blennies, gobies and suchlike Area's of black volcanic sand popularized by "muck diving" photography host an incredible amount of accessible marine life

A flat reef of pristine quality, however beautiful it may look can be totally unproductive as a photo dive as the only position the underwater photographer may adopt is one of hovering whilst pointing the camera at a downward, bird's eye view angle. On the other hand, an example of accessibility could be formations of brain corals which host subjects like Christmas tree worms, small fish hiding in the patterns and other still life. An area of coral sand around the base of the formation could be used to settle and frame the subjects providing this is done carefully and skillfully by the photographer, avoiding disturbing the bottom and inadvertently clouding sand onto the corals.

I will talk more about subject selection in part * It is much easier to hover above or around the reef whilst shooting wide angle than it is shooting close up or macro. These types of pictures require the disciplines of time, patience, buoyancy and solid camera handling. Two-finger technique is something, which I encourage in other photographers and I have found it is appreciated by resorts and dive/guides all over. It is simply the practice of making acceptable contact with portions of the reef consisting of non/living rocks or sandy areas. It has to be done carefully however. A photographer who has good buoyancy control and a correctly configured and balanced camera set-up can hold the housing in the right hand whilst using two fingers of the left hand to lightly steady themselves on non living rocks. Not the living reef. This is an excellent way in which to get close but without the risk of making contact. With practice the underwater photographer can steady him/her self at close range without flapping arms and fins in an effort to stay still. It also provides an exit strategy when the picture opportunity is concluded by lightly pushing away from the reef with one or two fingers of the left hand.

Most collisions occur when we move away from the reef in a disorderly fashion. We may be excited over what we have just shot, itching to check the digital LCD and simply loose our concentration for a moment. Unawareness of our fins accidentally brings on that "gutty" feeling when we know we have knocked our fins into something. We hope it's our buddy, but in our heart we know it's the reef. We are very hesitant to turn around to check what has happened or who saw it. We have all had that sinking feeling and it will happen again because we are human. If you do find yourself in that position stop fining! Use the air in your lungs or your BC to lift you clear of the reef. As you move in to take a picture close to the reef, just take a second to consider how you intend to exit. If you feel any doubt that you cannot get in to shoot it then stop! Back off and find something you can shoot comfortably.

Flash hand held techniques: I have seen more damage caused by fins inadvertently kicking the corals than any other camera related carelessness. In recent years I no longer advocate the use of hand held flash techniques in underwater photography conducted on or close to the reef. We hold the housing in the right hand and the flash in the left and immediately have reduced control of our buoyancy. Whilst this is okay for open water underwater photography I no longer recognize the advantages close to the reef. Versatile flash arms have been available for a number of years which in my opinion can replicate any position the photographer would choose to hand hold with. With two hands on the housing or one hand and two-finger technique stability is more assured. Although I have seen excellent exponents of this method of flash placement, they are usually experienced photographers who have mastered superb Buoyancy control. Underwater Camera Set-ups: This may be controversial but macro and close up facilities with frames and prongs for Nikonos and Sea & Sea cameras were never the best advertisement for reef conservation. If you continue to use Nikonos or Sea & Sea motor marine cameras for close up and macro you may like to consider the up-grade to a housed system. With the advent of digital there are many second hand film SLR systems on the market at outstanding value. You will find it much easier and with SLR macro lenses the versatility for the small stuff is endless. The 105mm macro lens has a longer working distance to subjects than the 60mm macro has. At life size with a 60mm and depending on the length of the 60mm port, minimum focus can be no more than a few centimeters from the subjects. If you have a penchant for small stuff, invest in a 105mm macro lens, its friendlier by virtue of the working distance from lens to subject being a tad more than the 60mm macro lens. Flash arms are often too long for close up and macro work. My advice is to strip down to the bare essentials. Use only the smallest flash arm to do the job. If there are items attached to the housing and are not required for the task then remove them. This will minimize the chance of inadvertent contact with corals and allow you to get closer because any intrusion of flash arms and other ancillaries has been reduced. The ergonomic balance of your rig will improve, which will make the picture taking easier all round.

Have you ever heard of Subal elbow? Some of you may know it as Nexus, Seacam, Sea Sea or Ikelite elbow. It occurs in the right elbow and is caused by the weight and strain of your camera rig over a period of time. By reducing the length of your flash arms you reduce the weight of your rig and in turn this will improve the strain on your right elbow. My favorite lighting set up for macro is the ring flash. Unobtrusive to fish and reef friendly in nature it makes it much easier to shoot macro using the two-finger technique in and around the reef.

Buoyancy arms In recent years I have invested in two sections of buoyancy arms from Ultralight for both my close up and wide angle lighting systems. As their name suggests they are sections of arms, which are buoyant and counter balance the negative weight of the camera housing. Not only does this help elevate Subal elbow but it also provides a better balanced camera system for both close up and wide angle.

Touching Poking and Moving You know, assisting the nudibranch to climb a little higher up the finger coral in order to get a better background. The scorpion fish so easily persuaded to look your way with a light poke of a flash arm. Maybe it's cornering the resident puffer fish into a crevice on the house reef at night. Let us all stop doing it and encourage others to do the same!

Just too many shots There comes a time when we all know that maybe a seahorse, octopus or perhaps a puffer fish have been exposed to the flashgun going off just one time too many. No one can be prescriptive with this but we all get a sense that enough is enough. The next time you feel this make a polite gesture to your buddy or the dive guide who may be assisting you that you want to move onto something else.

One on one buoyancy refreshers can be conducted by a dive guide at any resort in the world. After all they are the experts and for the underwater photographer who may have been out of the water for some time a formal refresher is an ideal way to build technique and confidence all at the same time.

Your weight is paramount. Adjustments and trimming should be made on each photo trip. The reason for this is the difference in size and weight of dive tanks from one resort to another. You will know when your buoyancy is correct, as you should be neutrally buoyant at your three meter deco stop at the end of the dive.

Weight Belts I advocate the use of pouched zip up weight belts for underwater photographers who are diving on a coral reef. This system allows weight to be removed or added quickly and efficiently for those photo dives when we know we may be deeper or shallow and need to reduce or increase weight which ever the case may be.

Leg weights should not be used on a reef. If you have a problem with your legs floating then an adjustment to your tank and or the position of your weight belt is usually the answer.

Dangling hose and gauges Ensure that nothing is suspended below your torso when swimming or hovering horizontally. Depth gauge, BC straps etc can be fastened close to the body with numerous kinds of clips. Check out dives Some resorts advocate you trim your buoyancy on a check out dive with your normal camera equipment with you. Other resorts will encourage a buoyancy check without your camera. What ever the case the majority of camera set-ups tend to be negatively buoyant and you need to fine-tune yourself whilst carrying the equipment you intend to use on a photo trip.

In Conclusion, the bottom line for me is that there are an infinite number of photo opportunities, which are simply un-photographable by virtue of the subject's location in, on or around the reef. Make an assessment. If it looks problematic then forget it and continue your search. You will find the same species, which is workable, perhaps not during that dive or at the same location, but you will find opportunities. When you do, take advantage and enjoy the experience. You will be content in the knowledge that you have behaved with credibility, integrity and at the same time done your bit for the reef.

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