Is underwater photography difficult? Actually, no—at least, not to any significant degree when compared with any other discipline of photography. Each single stage of creating an underwater photograph, if seen in isolation from the rest, is not so tricky. It is the sum of all its parts, as well as mastering the whole, which can appear confusing at times.
We asked our contributors to share their favorite underwater photos that showcase tones and tonality, and they returned with a range of wide-angle and macro shots featuring a variety of marine life, reefs and topography.
By adding divers to our underwater photos, we are able to bring about a sense of exploration, highlight a focal point and provide a sense of scale to the scene, especially in wide angle reef and shipwreck photography.
We asked our contributors to share their favorite photos that show underwater seascapes, and they came back with a range of wide-angle shots, featuring a variety of marine life large and small.
We asked our contributors to share their favorite photos that show pairs and companions, or two of a kind, and they returned with a range of macro to wide-angle shots, featuring a variety of marine life large and small from around the world.
How can one capture “abstractionism” in an underwater photo? Underwater photographer Claudio Ziraldo discusses abstract underwater photography and shares some examples of sea art.
What does a “frame within a frame” look like in underwater photography? We asked our contributors to share their favorite photos that use “framing” to draw attention to the subject in the image, and they came back with a range of macro to wide-angle shots, featuring a variety of marine life, as well as divers, in wrecks and on reefs.
Artificial intelligence has been in the news lately, especially generative AI. It seems like every industry is trying to put this technology into their products, including image-processing apps. Michael Rothschild takes a closer look and gives examples in underwater photography.
We asked our contributors to create an underwater “triptych,” and they returned with an artistic range of color, black-and-white and toned compilations, from abstract close-ups to wide-angle shots, featuring a variety of marine life, large and small, as well as divers, on reefs and wrecks, and in open water, lakes, and even an aquarium.
What makes an image a really good one is certainly a question, that, at some point, troubles the mind of every image maker. Is it about the subject, or is it about that specific moment captured? Is it about color, or about techniques used?
Got some old slides and negatives of underwater images that you wish you could revitalize and process in postproduction? John A. Ares describes in detail how one can convert film into digital files by using a DSLR camera and a macro lens.
