I would like to start with a few words of caution. Being out on the open seas can mean conditions don’t always cooperate. We were only able to make it out to sea one of the two days we had scheduled, and even if you do make it out there is no guarantee of finding sharks. But while this may turn off some people, I find it makes the encounters you do get that much more special.
Ready for the action! This shot was to test properly exposing the ambient surroundings. I figured it was the perfect time to get a fun shot of the boat and fellow divers.
Shot with Sony a7R II, Nauticam NA-A7II Underwater housing and Tokina 10-17mm at 17mm 1/250th sec, f/13, ISO 400.
EquipmentTo help streamline my equipment and make it easier to move around, I try to keep my gear relatively light. I will either use a single strobe or shoot ambient only if taking pictures, or bring a single video light as a fill for video work. In terms of lenses, the wider you can shoot the better. I prefer using a fisheye as sharks may come right up to your dome port, but a wide rectilinear lens may also work well, especially for more timid individuals. For this shoot, I shot the Sony a7R II Mirrorless Camera and Tokina 10-17mm Fisheye Lens and a Metabones Adapter in the ||Nauticam NA-A7II Underwater housing.
Rockin' and Rollin'These types of shark encounters requires boats to head a fair ways out to sea (approx. 8-9 miles), and because of this conditions can at times be less than ideal. This is not always the case, as my first experience involved glassy conditions with not a ripple on the water. However, I would strongly recommend having either Dramamine or a scopolamine patch. One should always be prepared for rough conditions though, as even small swells can have an effect while you’re bobbing on the surface snorkeling.
For photography, having swell can cause a couple problems. The constant crashing can cause micro bubbles to form on the front of your port. Because of this I constantly wipe the front of my camera, especially right before a pass from a shark. The second issue is that any rocking can make it difficult to look through a viewfinder, so I often end up shooting blindly. I would recommend testing your camera gear beforehand to get an idea of its field of view. This can help you estimate where the shark is in the frame as it comes up and swims by.
Techniques to tryDue to chum being used to bring in the sharks, I ended up using a few different techniques to keep backscatter to a minimum, which include:
1. Shoot ambient only:This allows the light patterns on the shark to be seen, and shows off the shark’s coloration. If you shoot just below the surface, there should be ample light to use a fast shutter speed and still have a properly exposed image.
Shot with Sony a7R II, Nauticam NA-A7II Underwater housing and Tokina 10-17mm at 17mm, 1/160th sec, f/9, ISO 640
2. Single Strobe:If you do want some additional light on a shark, try only using one strobe. By using less light, there’s much less chance of creating backscatter in your images. I normally position my strobe straight above the dome and looking directly forward, and only use 1/2 power at most. I do this only to add a bit of fill light on the shark rather than trying to overpower the ambient light.
Shot with Sony a7R II, Nauticam NA-A7II Underwater housing and Tokina 10-17mm at 17mm, 1/200th sec, f/9, ISO 400.
3. Drag the shutter/rear curtain flash:By using a longer shutter speed and using a rear curtain flash (popping the flash at the end of the exposure) you can blur distracting elements as well as show movement and action in your shots. Play with with different shutter speeds to see what you find most appealing. On this past trip I mostly shot around 1/10 - 1/15th sec, as this created a fair amount of blur but still kept the sharks relatively sharp.
4. Black and White/ High Key:If you happen to take a trip when visibility is less than stellar and the water color isn’t a vibrant blue, or if you’re just in the artistic mood, you can always convert your images to black and white. This can work quite well with images portraying the blue shark’s long, sleek body as well as its counter shading.
Other Tips to Consider
1. Include People:As you are usually in the water with additional divers, it can get hard to take shots without others in the frame. Instead, try incorporating divers into the shot to show the interaction between species, as well as giving a sense of scale. I will also shoot a few test shots of people when I first jump in to get my exposure set.
Shot with Sony a7R II, Nauticam NA-A7II Underwater housing and Tokina 10-17mm at 17mm, 1/160th sec, f/18, ISO 400
2. Let them come:It’s easy to get excited when sharks show up, but try to refrain from chasing after the sharks. They are normally inquisitive and will come right up to you, so there is no need to swim after them. Plus, you may ruin other people’s shots who were waiting for their opportunity with the shark. Rather than chase or crowd around the sharks, I try to give some space between the other divers so that each person can have their special interaction with the animals.
Fellow photographer Kyle McBurnie showing that patience pays dividends. Rather than swimming after the shark, he would simply breathe out to sink and then let the sharks come right over him.
Shot with Sony a7R II, Nauticam NA-A7II Underwater housing and Tokina 10-17mm at 17mm, 1/160th sec, f/10 ISO 400
3. Shoot in Shutter Priority:There are times when the light can rapidly change, such as during the morning or evening when turning 180° can mean shooting back lit or front lit. I use shutter priority rather than aperture priority because depth of field is rarely an issue due to there being no background to focus on. By setting priority on the shutter I can determine if I want to shoot at 1/250th to get a sharp, crisp image or drag the shutter to show motion blur.
Shot with Sony a7R II, Nauticam NA-A7II Underwater housing and Tokina 10-17mm at 17mm, 1/10th sec, f/22, ISO 400
4. Work It!Try shooting sharks from multiple viewpoints: coming at you, looking down or above, and as they’re swimming away. The same goes for compositions, try close portraits, wide's with lots of negative space, and anything in between. Memory is cheap, so really work that trigger finger.
Switch up your camera angles. After getting a bunch of head on shots, I wanted to try something different and show how elongated the caudal fin of a blue shark is.
Shot with Sony a7R II, Nauticam NA-A7II Underwater housing and Tokina 10-17mm at 17mm, 1/160th sec, f/10, ISO 400