PADI

UNDERWATER MEDIA COURSE

STUDENT NOTES

Copyright David Jones

1

Course Overview
Prerequisites
To qualify for the Underwater Media course, an individual must as a minimum:
1.
Be certified as a PADI Open Water Diver, Junior Open Water Diver, or have an
equivalent certification from another training organization.
2.
Be 12 years of age or older.
Course Overview
This course is intended to introduce divers to the media diving industry. It is not intended
to take the place of commercial diving training that is required for people to work as divers
within the media industry, but to provide an insight to the opportunities, techniques, legal
requirements and skills that are involved within that particular field.
It has been designed for students who are already involved in film and media courses of
study, however, it is not restricted to those students and may be attended by any qualified
divers with an interest in underwater media, photography, and film making.
The following key theory and practical sessions are included:
1.
2.
3.

4.
5.
6.
7.
8.

A look at the size and scope of the Media Diving Industry. This will lead on to an
assessment of the range of opportunities and training required.
A look at the legislation. This will include an understanding of HSE legislation, Risk
Management, the requirement for and production of Diving Project Plans, and a
detailed look at the Media Approved code of practice.
Planning and organization of media dives. Students will practice the planning and
organization of media diving activities appropriate to the conditions and location. It
will include defining the requirements for supervision and communication and will
incorporate some of the limitations involved with undertaking media diving projects.
A detailed look at underwater cameras, housings and accessories. This will include a
look at the various options, as well as the practical care and maintenance of
underwater cameras and filming equipment
Filming and Photography theory. Students will cover some of the theory, and the art,
of film making and photography. This will include exposure adjustment and colour
correction techniques.
Principles of filming and photography underwater including composition, shots and
sequencing, and editing .
Confined water training. During confined water training students will familiarize
themselves with a range of underwater cameras they have been using during the
theory sessions and begin to put some of the theory into practice.
Open water training dives. In open water students will apply the theory and practical
skills learned during the theory and confined water sessions in order to produce a
short film or photographic portfolio.

Indicative Reading
Students will be required to have access to the following:
1. HSE Diving at Work Regulations
2. Approved Code of Practice for Media Diving Operations

Academic Topics
Presentation 2 - Overview of the Underwater Media Industry
1.

How big is the underwater media industry?

a. The underwater world has opened up to us with the advent and growth of scuba
diving as a recreational pastime. More and more people want to experience this
unique environment and this creates opportunities within the media industry,
especially film and photography.
b. Coupled with the enormous number of terrestrial channels available (which
number the hundreds of thousands) and the ubiquitous growth of the internet and
phenomenon such as You Tube and other social media channels, there are more
and more avenues for underwater media products to reach the general public.
c.
Think about the number of times you see an underwater documentary on the TV.
How many people dont know the voice of David Attenborough when they hear it
on the television.

2.

There are a huge number of areas within the media where a knowledge and
understanding of working underwater can be beneficial. This doesnt necessarily
mean that you need to be an underwater cameraman or woman, but knowing the
limitations and what can, and cannot
be done, is extremely useful.

3.

Opportunities include: big screen film

production, magazine articles,
documentaries, news, drama
productions, supervision of
underwater filming, travel companies,
promotional videos, government
work, support to research, exploration
and expeditions.

Scientific Expeditions

Magazine articles and press

Documentaries

Presentation 3 - Health and Safety, Legislation and Media Diving

Health and Safety and Working Underwater
1.

Diving at work regulations designed to protect divers at work. Brought in 1997.

They provide the legislative framework. This applies to media diving work as well. In
the UK any diving that is 'paid' (even in kind) is considered to be diving at work and
the legislation applies. The 'law' is applied through the DWR 1997. The Approved
Codes of Practice provide practical guidelines for various elements of the underwater
industry. [Use the ACOP for Media diving to show some of the rules and regulations
that apply. In particular, team size, qualification requirements for 'talent', and medical
requirements.]

2.

Key elements of the regulations:

a.

Definitions and responsibilities:

Contractor Every dive project must have a contractor. This might be a selfemployed instructor or commercial firm engaging a diving team for a specific
project. The contractor has responsibility for the safety of the dive team and
must appoint a diving supervisor in writing. Contractor must ensure that the
supervisor is undertaking his duties and is also responsible for the preparation
of the diving project plan.
Dive Team members
Supervisor - Responsible for on site conduct of the project, including
equipment, risk assessment and control of divers.

Briefing the Producer, dive team and talent on CBBC Inside Life

Diver Responsible for all diving in a safe and responsible manner. Own
equipment function checks and thorough understanding of task. Can point out
hazards or risks to the Supervisor. Maintenance of diving log books. Relays
results to the Supervisor
Standby diver Has the same responsibilities as the diver but must be available
to assist diver in emergency. Needs to understand his own and divers
equipment. Normally based on the shore, for the purpose of the open water
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3.

dives the standby diver will actually be the dive buddy. Also acceptable
practice.
Tender A general assistant, not mandatory but advised. Assists with
dressing, relaying communications, equipment checking (machinery)
Equipment Considerations:

Sufficient air supply and breathing rate calculations.

Diving for 8 hours a day on BBC LIFE meant that rebreathers were essential

4.

Training Competences:

5.

An emergency recall system must be available. Several alternatives.

Any equipment in use must be serviceable and a written audit of servicing must
be available. This includes any rented equipment
First Aid and Oxygen requirements. This must be on site and at least one
person on the surface must be trained and current in its use.
Flag alpha or lights at night are required to indicate diving operations on going.
Dont forget the importance of other agencies such as coastguard or QHM.

Explain the minimum requirements to work within the Media Diving ACOP.
There are a number of differences and equivalencies and these can be found in
the HSE Diving at Work Regulations 1997 - List of Approved Diving
Qualifications.

First Aid and Medicals

Divers must have minimum competence. Supervisor must be HSE recognized

First Aid.
HSE Medicals are required by all divers, including 'talent'
Lets have a look at the ACOP

Risk Assessments
Definition: A Hazard anything with the potential to cause harm .. this might
constitute a hazard)

1.

A risk assessment is nothing more than a common sense approach to identifying

significant hazards; who or what is likely to be affected by those hazards; the risks
associated with those hazards and what measures you will take to control the risks
thereby reducing the harm to anyone or anything during any dive operation and then
recording what you have done. You will need to review the assessment periodically
or whenever there is a significant change. The important thing to decide is whether
an identified hazard is significant, and whether you can ensure the risk of harm is low
or negligible before embarking on your dive.

2.

Risk Assessment is already inherent in the way dives are planned and organized,
and safety procedures are an integral part of diver training, so in the process of
conducting a risk assessment should be covering some familiar ground.

3.

The key aspect of risk assessment within diving projects is that they are recorded.
This then, provides the measures to be undertaken to reduce the possibility of harm
and subsequently leads to the modus operandi of a diving project.

4.

The key is not to be over complicated; checking for hazards is common sense. All
you need to do is ask the following questions:

Is there a hazard?
Can I get rid of the hazard altogether?
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If not how can I control the risk to reduce the possibility of harm?

For example:
Hazard = Cold Water
Possible Harm = Hypothermia
Control Measures = exposure protection, reduce in water time, monitor for signs of
hypothermia, have warm clothing and shelter available
5.

As a diving contractor you are responsible for ensuring that a risk assessment has
been conducted before every diving task. Initially this will consist of a generic risk
assessment. Generic risks are those that you are forewarned of and can put control
measures in place in advance of the diving. For example, there is always a hazard of
running out of gas or equipment malfunction.

6.

In addition, the generic risk assessment should be supplemented with an on-site

assessment, conducted on the day of the project. This should detail any unforeseen
hazards and any special precautions that need to be taken to reduce the risk. For
example, on arrival there may be debris or pollution in the water which you had not
expected.

7.

Dont forget that situations may change and hazards and risks should be continually
monitored and supervisors need to be prepared to put contingency plans into place
at any point during the project. For example, shipping movements may increase, or
the weather may change.

8.

Be aware of including hazards that have already been covered through other means.
Diving is an inherently potentially dangerous activity, and as such requires training to
a high level. This means that many of the associated risks are already minimized
through training standards and procedures. For example mask squeeze is minimized
by equalization, taught at the earliest stage in training and this is therefore no longer
a significant hazard. You do not need to include these types of hazard in you risk
assessments

9.

The list below covers some significant potential hazards their consequences and
control measure recommendations. This can be used to help you to build your own
generic and on-site specific risk assessment. It is offered as a guide and shows the
bare minimum that would be required for a real diving project plan.
HAZARD

RISK OF

Low Visibility

Diver separation or
injury

Debris

Physical Injury to the

diver

Cold Water

Equipment Failure

LIKELIHOOD

SEVERITY

CONTROL MEASURES
Brief on low visibility
procedures. Ensure back
up lighting is provided.
Change standby diver
notice.
Change entry and exit
techniques. Move debris.
Ensure headgear is worn.
Use cold water equipment.
Brief on procedures for cold
environment

Wet Decks

Slipping and falls

leading to injury

Running out of Injury through lung

gas
expansion/DCI
drowning
Fishing line

Panic, entrapment,
entanglement leading
to drowning

Boat Propeller

Injury on surfacing

Currents

Running out of gas,

over exertion, lost diver

Deteriorating
weather

Injury to diver

Brief on dive site rules.

Equipment husbandry.
Standby diver to assist in
dressing divers
Ensure equipment is in good
order and serviced. Ensure
sufficient gas is on board
including enough for bale
out and standby.
Ensure that divers carry
tools and cutting
implements. Consider
removing prior to diving
Clear use of signalling
devices such as flags and
whistles. Brief QHM Use
buoys if necessary
Ensure tide / current tables
are checked. Use buoys as
necessary. Standby diver
notice to be changed.
Option of downstream boat
to be considered
Monitor conditions
throughout the project.
Assess diver comfort levels.
Initiate diver recall system if
necessary

Nothing like taking your eye off the ball to create a hazard!

Diving Project Plan

1.

A Project Plan is a written document that provides the details of a diving project.
The law requires the following to be included:

Supervisors letter of appointment.

A written risk assessment and any on-site changes to a generic assessment.
Where hazards are identified control measures put in place must be written
down
As a minimum it should also include:
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Type of dive

Date and Location

Task being undertaken

Experience and qualifications of the divers

Type of equipment

Planned depth, duration and decompression plan

Procedures for aborting dives

Emergency Action plan

Other information as appropriate

A diving operation record must also be included and retained for 2 years. As a
minimum it should include:

Names and roles of dive team

Description of the dive

Date, time and location

Maximum depth, bottom and dive times

Decompression schedules

A record that equipment has been checked

Note instructors may include other relevant information at this stage in

discussion first aid qualified personnel, briefing confirmation, weather,
tide and currents and so on.

Presentation 4 - Underwater Camera Equipment and Accessories

1.

2.

The digital age has revolutionized underwater film making and photography. The
option of being able to review images and footage before committing them to 'film'
has reduced costs, increased flexibility, and opened up what was a previously
restrictive industry to the masses. That said there are still many things to think about
when it comes to equipment selection.
Types of Equipment - There are three main equipment groupings

Consumer Equipment:

These tend to be less expensive but also have less features than other
models. Cameras complete with housings can cost as little as 200.
Other cameras are now being produced that are totally waterproof
however generally they are limited to shallow depths.
These 'compact' consumer models tend to be dual purpose, ie they can
take stills photographs as well as video. From a flexibility point of view this
makes them very attractive. They also tend to be lightweight which may
be advantageous, but the downside is they can be fragile.
As technology improves the capabilities of these cameras is growing all
the time and the gap between consumer and professional cameras is
narrowing.
The most radical growth area has been the action cameras (the GoPro
type of camera). These are now able to produce resolution of up to 4K.
Televisions are only just coming on stream that are able to handle this
type of footage. The downside to these at the moment is that there are
only a limited amount of customizable settings. That said, if it has the
setting you need it is likely to be an ideal addition to your equipment list.
It is generally accepted that Camcorders still produce better video footage
than the hybrid cameras, but recently we have seen a move away from
dedicated video in favour of the mirrorless cameras that are dual
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functioning. These cameras still require separate housings. Very often

the housing is more expensive than the camera.
Consumer cameras tend to be fixed lens with or without zoom options.
They do not normally have interchangeable lens'.
There are a lot of consumer housings to fit cameras so a much wider
choice is available

Prosumer Equipment - Mirrorless and DSLRs.

These middle of the road cameras have filled the void in equipment that
the increase in the number of enthusiasts and keen amateurs has
generated. They tend to have many of the features of professional
camera equipment but often with a slightly reduced capability and
therefore reduced cost.
Mirrorless cameras generally have faster autofocus speed and this is
linked to the 'live-view' mode which uses the same system. Traditional
Nikon and Canon DSLRs have fast autofocus, but this is not copied into
the live-view mode. So while shooting video this makes mirrorless
cameras an excellent all round 'media' choice. [Actual cameras to be
shown if possible or images]
Both of these products normally have the ability to change lenses and
filters.
They are generally lighter in weight than professional cameras, without a
huge reduction in capability, making them ideal for the traveling media
diver.
Latest prosumer cameras are capable of producing 4k footage.
Prosumer cameras tend to be hybrid in that they are capable of taking still
and video images.
Prosumer cameras need housings and these are not generally
manufactured by the same company that produced the camera. These
housings can often cost more than the cameras themselves.

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Professional Equipment

3.

The highest quality camera equipment is also inevitably the highest priced
and also the bulkiest.
These cameras and housings are generally out of the range of anyone not
undertaking underwater filming and photography for a living. There are
exceptions and cameras such as the Canon D5 Mk3 is currently the
camera of choice for many professional underwater video cameramen.
Housings are always made by external companies.
The investment in designing and developing housings means that only a
select range of these cameras will have housings. It is essential to make
sure that there are compatible housings and cameras.
Dedicated Video Cameras

Selection Criteria

Size - the smaller the camera the smaller the housing. Not only useful for
travelling, but also with respect to drag and maneuverability underwater. Small
cameras are also hard to keep level and 'shake' free underwater and keeping it
steady can be a challenge. Small cameras tend to, but not always, have less
features and capabilities [This is well worth discussing with the students
depending on their existing knowledge] The optimum size will be a balance of
many factors

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75 luggage items, an excess baggage bill of 2000, and a 15 person crew

Housing Availability - Not much point in buying a camera if there is no suitable

housing for it. What are the capabilities of the housing? Can you use all the
features of the camera while it is in the housing?
Battery Life - [Discuss these issues with the students. What is their
experience? What battery life do they think they will need?]
Lens Selection - Do you need to change lens'? Is the lens 'wide' enough. [Note
that wide angle shots and refraction will be discussed at a later point in the
course]
Low Light Operation - Is this necessary? Lighting could be an option. [Note that
colour correction and light absorption will be discussed later in the academic
programme.]
Buoyancy - Does it float or sink? Consumer housings tend to float. Some
prosumer and all professional housings have adjustable weighting in order to
make the cameras close to neutrally buoyant and adjust the position of the
weighting to help keep the camera steady.
Controls - ideally you will need access to all of the camera controls when it is in
the housing. This is particularly important for a stills camera (especially
prosumer and professional).
There are two main types of housing, mechanical and digital. Mechanical
housings have some advantages, in particular they can be repaired in the field if
they break and you dont have to worry about electronics getting wet. However,
they do sometimes get stuck. Still camera housings are currently always
mechanical. Video camera housings can have mechanical, or electronic control
features (or a mixture). Electronic, or digital housings plug into the camera and
operate all controls from digital controls on the housing. Disadvantages are the
high cost and the fact that an occasional failed circuit board could leave you
stranded, especially in remote locations.
Domes and Ports. Consumer cameras generally have fixed ports although
sometimes these have the option to add-on macro and wide angle attachments.
Prosumer and professional cameras tend to have the ability to change ports to
suit the range of interchangeable lens that can be used. As with cameras and
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housings, it is essential that there is a port available to match the lens you
intend to use.
4.

Lights and Strobes.

Digital post editing software allows us to 'add-in' colours that might not be
captured at the time.
Filters can also be used to add in colour and this is often used in consumer
video cameras
Many of the latest digital cameras in all three groups, have the ability to digitally
change the colour by adjusting the white balance of the camera
Filters are still used in both video and underwater stills photography. At
consumer level they tend to be used to reintroduce colours that have been
absorbed, or to compensate for overly green or blue water. At a prosumer and
professional level they are often used to achieve a desired effect.
In spite of all the above options, due to the absorption of light in water we may
still wish to use artificial light for both photographic and video work.
Strobes are specifically used for still photography. Consumer cameras often
rely on the fitted camera strobes. Prosumer and professional DSLR cameras
will use external strobes.
Strobes can be used singularly or more than one can be used. Sometimes
remote strobes using electronic triggers can also be used. The size (strength)
of the strobe you chose will depend on what you want to achieve (sufficient
brightness and adjustability) and the budget.
Video lights can be used for stills photography and video, and for that reason
may be a good choice. Things to consider are the quality of the light
(brightness and 'temperature', burn time and size (including decisions
regarding internal or external battery packs)
There are currently 3 types of lights on the market. These are Halogen, HID
and LED. A few years ago HID took over from traditional halogen lights as the
intensity of the light was far greater than the available alternatives. The
downside of these lights were that the burn time was quite short and that the
bulbs tended to be relatively fragile and they were also expensive to produce.
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5.

LED lights at the time were not nearly bright enough. That has all changed and
the LED is changing the video light market. At the time of writing there are LED
lights on the market of up to 25,000 lumens. In comparison your average small
dive torch might be around 100 lumens. These lights literally convert night into
day.
The 'temperature' of lights are a subject in their own right and one that is only
touched on in this course. It can change the 'tone' or 'mood' of a shot or a film.
Temperature can be changed by using different light sources, electronically in
the camera, or in post edit.

Monitors

Monitors have always been used alongside professional video systems, but
increasingly (as price drops and availability increases) they are entering the
prosumer world.
Monitors allow the cameraman to have a 'head up' view point which increases
stability when using the camera, but also provides other advantages.
Many monitors have additional features which can enhance the cameras
capability, for example focus peaking, exposure 'zebras' and other features that
can aid the cameraman in getting the ideal shot.
Monitors usually need their own underwater housing although waterproof
monitors are now available.

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Presentation 5 - Underwater Camera Equipment Care and Maintenance

1.

Underwater camera equipment like all electronic equipment doesnt tend to work very
well when we take it into water. So unless you want to be taking out some pretty
hefty insurance premiums it is well worth doing everything possible to protect your
expensive equipment.

2.

Proper O-ring care. The O-rings in a camera housing are the only thing between
your equipment and potential disaster. Proper care is essential:

Immediately accessible O-rings should be checked visually and ideally be

removed, cleaned and replaced every time the housing is opened. This may
not be possible but common sense needs to be applied depending [discuss
how the environment and situation may impact on O-ring degradation]

[Demonstrate proper O-ring removal, cleaning and replacement. Allow the

students to practice this]

Less accessible O-rings should be replaced by manufacturers at recommended

intervals.

3.

Avoiding Condensation. Condensation occurs when warm moist air comes into
contact with the cooler walls and ports of the housing. There are a number of
solutions:

Use silica gel packs to absorb the moisture

Avoid temperature extremes. Keeping a camera and housing in an airconditioned room overnight and coming out into the heat of the tropics will
cause condensation in lenses and the housing.

Use a gentle stream of air from a scuba tank to dry the housing.

In humid conditions try to avoid allowing warm moist air to get into the housing.
For example open and close the housing in an air-conditioned room.
We probably will experience condensation when we go into the pool area.
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4.

Pre Dive Checks. After assembly the equipment should be checked for functionality
and leaks:

Visually inspect the seals for damage or dirt

Undertake a bubble check on the housing with the lens port down

Move all the controls to ensure they are working and not leaking

For housings with a vacuum seal system ensure the vacuum is working
[demonstrate and allow students to practice this]

5.

Post Dive Care. After use there are a number of procedures that need to be followed
to properly care for the camera equipment:

Immediately after exciting the water the equipment should be rinsed in fresh
water. Preferably it should be immersed.

If it cannot be rinsed immediately keep it immersed in salt water until it can be.

Warm soapy water is good for cleaning the housing and removing any
remaining dirt and salt deposits.

Dry the housing thoroughly before opening the housing. If the housing has a
vacuum seal release the vacuum prior to attempting to open it.

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Presentation 6 - Understanding the Underwater Environment

1.

Learn to Dive! It may sound obvious but the most important thing about being able to
undertake an underwater photography of videography shoot is the ability to dive
properly. Buoyancy control is key - you cannot hope to be able to keep a camera still
and steady if you are not steady yourself.

2.

Use the right diving equipment and have the right training for the job. Many
underwater photographers and film makers use rebreathers as diving without noise
and bubbles allows them to get much closer to the action they are trying to film.

3.

Look around at your Environment. An assessment of the conditions will help you
understand how to film or take images. What colour is the water? What is the
visibility like? Where is the sun in the sky? Which way is the current going and how
strong is it? Will the site provide wide angle images or macro? Very often
cameramen and photographers will dive a site to get a feel of it before beginning to
film. [As an exercise get the students to list the environmental factors that they may
encounter during diving that will impact on what they do]

4.

Remember your Dive Plan. Photographers and videographers generally make the
worst dive buddies in the world because they are so focused on what they see
through the camera. Don't forget, you need someone to make sure you are safe.
Professional cameramen will normally have a safety diver whose sole purpose is to
look after the diver with the camera. You also need to make sure that you stick to
your dive plan. Many photographers will go over their time limits or leave less air in
their reserve in order to get 'that last shot'. This is not safe diving practice and is
not acceptable. Make sure that your project plan has addressed these questions.

5.

Breathing. Photographers tend to hold their breath when they take a shot - it is
something we do without thinking. Be aware of this and make sure you continue to
breath normally or exhale slowly
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6.

Move Slowly. If you want to film wildlife it is better not to scare it away. Move slowly,
conserve your air, be controlled.

7.

Protect the environment you are in. This may sound obvious but if you cannot control
your position in the water while filming then get additional training before you pick up
a camera. You will not be able to get what you want if you are constantly crashing
into rocks and coral reefs - neither will you be popular with other divers and film
makers.

8.

Be Aware of the Silt. Following a diver who has no awareness can ruin a dive.
Check behind you to make sure you are not kicking up silt and destroying the
opportunity for others

9.

Think about the Entry and Exits. Equipment can be damaged or leak unless they are
handled carefully. The most dangerous time is entering and exiting the water. Make
sure you have someone available to hand you the camera after you have got in and
take it from you on the way out. If you are entering into deep water you should attach
a lanyard to the equipment. If you are entering into surf keep the lens cover attached
until you are away from the 'danger zone'.

10. Think about Drag. Camera equipment can become quite bulky and creates a lot of
drag as you are swimming in the water. This will use more energy and result in you
consuming your air at a faster rate. Streamline yourself as much as possible.
11. Now when Enough is Enough. Sometimes the 'money shot' may just be in your
grasp. But only if you stay down a little longer than you should, get that last gasp of
air, or destroy something in the process of getting it. In these situations it is time to
say enough is enough. Come back another day.

19

Presentation 7 - Understanding Camera Settings Underwater (1)

1.

Exposure.

a.
b.

c.

d.

e.

f.

Photographers and film makers often talk about 'good exposure' or 'correct
exposure'. What they mean is whether the shot is not too dark or too bright.
The easiest way of doing this is to use the histogram feature that many cameras
have. This system allows the user to see what the camera is seeing with
regards to light and dark and make adjustments accordingly. However while it
is a useful tool it is not always that simple.
Getting exposure right is an art form rather than a science; sometimes a darker
image will create a mood that the shot is trying to portray. Similarly, something
like a sunburst, while it might be over exposed, can create a pleasing effect that
enhances the shot.
It could be argued therefore, that there is no right or wrong as everything is in
the eye of the beholder. What appeals to you, may not be something that I like.
Good exposure is defined only by your judgement, and so the definition of
correct exposure is the one that matches your vision as the cameraman.
The best camera in the world cannot automatically know what you are thinking
and expose it in the way your imagination sees that particular shot. for this
reason the ideal way of managing exposure is by totally or partially manual
controlling the camera settings.
There are several factors affecting exposure and achieving the right exposure is
dependent on how you balance these factors. These will be covered in the
following sections.

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2.

Aperture Setting
a.

b.

c.

d.

e.

f.

g.
h.
i.
j.

The aperture of the lens is the opening that lets the light through. It can be
changed in size to let through more or less. by turning the aperture ring or
adjusting it electronically. The size is referred to as the F-stop. Somewhat
confusingly as the aperture gets bigger the number given to the F-stop
decreases and vice versa. So a large aperture might have a small F-stop, for
example F2.8, whereas making the aperture small could have a high F-stop,
say F22.
Photographers and film makers like wide aperture lenses for a couple of
reasons. Firstly you can shoot in low light as they let more light through. When
we are underwater we know that light is absorbed by the water, so this is a
good thing. Secondly it offers more creative flexibility with regards to depth of
field effect.
Changing the F-stop down (that is making it smaller) by one stop decreases the
amount of light getting through the lens by 50%. So Stopping down from F-2.8
to F4 means half as much light getting through. However doing this also
increases the depth of field.
The Depth of Field (DOF) is the area of the photograph or film that is in focus.
Areas outside of the DOF will be out of focus and blurry. This is also known as
bokeh. This is an important characteristic when taking photographs or making
films. Having areas of the shot 'out of focus' can be very pleasing to the eye so
you would use a lower F-stop. Alternatively you may want to film a wide angle
shot with lots of action going on and in focus, so you would opt for a higher Fstop.
Compact cameras have small sensors and generally have more depth of field
than DSLRs, so getting that blurred background effect is not easy. To do so the
best way is to use the variable aperture zoom capability, by setting the F-stop to
a wide aperture (say 2.8) and then zooming out. With variable aperture zoom
lenses as you zoom out the aperture size decreases. These lenses are lighter,
and cheaper to manufacturer. The downside is that these lenses have less
capability in low light when shooting on a zoom setting as the aperture is
smaller. More expensive prosumer and professional lens will tend to be fixed
aperture zoom lenses.
Fixed aperture lenses. These are desirable for photography and filming
underwater because the aperture setting remains the same even when the lens
is zoomed out. Exposure can be set which will then stay the same anywhere in
the zoom range. This provides more light, but on the downside in order to be
able to do this the lens is very often larger, heavier and definitely more
expensive. They are big pieces of glass generally of the highest quality.
Some of the latest lenses for mirrorless cameras are fixed aperture and this is
an exciting area of development. They are still quite light and small and while
more expensive than variable aperture lenses, they are coming down in price.
When shooting macro the subjects are often so small that a high aperture is
required (F16 or F22) in order to get even a proportion of the subject in focus.
A well known photographer once gave me a great rule of thumb: 'Stick it on F8
and be there.' it is not a bad place to start in underwater media as it will
generally give you good sharpness and a middle of the road DOF.
Finally when DOF is your priority and freezing motion is not important, consider
setting the camera to an 'aperture priority' and allow the camera to work out
your shutter speed automatically. In ambient light it can often work very well.
21

3.

Shutter Speed

a.

b.
c.

Shutter speed also affects the amount of ambient light getting into the camera.
Shooting at 1/30th of a second means that the aperture is open for that length
of time. Cutting the time in half - that is to 1/60th of a second, will reduce the
the amount of light by 50%. This is one 'stop' so it has the same effect as
stopping down the aperture. So effectively we can balance shutter speed and
aperture in a number of ways and in each way we would get the same amount
of light.
However, when we are shooting still photography (not video, I will come on to
that in a moment), in the same way that aperture affects DOF, shutter speed
also has a number of affects on the image which we can use to our advantage.
The first of these is motion blur. High shutter speeds can be used to freeze
motion. 1/125th is generally the lowest we would go to if we wanted to freeze
the subject, and with really fast moving subjects like dolphins and seals you
should go to 1/200. Many of the subjects that we find ourselves filming
22

d.

e.

f.
g.
h.

4.

underwater will move, or be moved by currents and waves so shutter speed is

an essential element to master.
There are limitations on shutter speeds when using strobes due to what is
known as the Strobe Sync Speed. This is the synchronisation between the
speed of the shutter and the speed of the strobe firing. Normally the maximum
sync speed is 1/250th and this is more than adequate for underwater
photography.
With slow shutter speeds, say 1 second to 1/15th, you will tend to get motion
trails. You may also unfortunately pick up the tiniest amount of camera shake
resulting in an entirely blurred photo except for any portions that may be frozen
by the strobe light. To reduce camera shake, increase the shutter speed.
Using slow shutter speeds can also be used in colour composition. A slower
shutter speed will give you a blue background, which as long as the camera is
steady, can produce a nice effect.
Shutter speed can be used to adjust background exposure. If you are shooting
wide angle with strobes you can adjust the shutter speed to either illuminate, or
silhouette close objects.
Finally, if you know you need a fast shutter speed to prevent motion blur, it is
often a good option to set the camera to shutter speed priority. This can often
be effective when you don't have the opportunity to do all adjustments - for
example a fleeting glance at a passing pod of dolphins.

Shutter Speed and Video

a.

b.
c.

d.

e.

Shutter speed is a totally different concept when filming video. Whereas

Aperture and ISO (which I will come on to next) have the same affect in both
photography and stills, shutter speed does not. When you think about it, in stills
cameras we are adjusting the shutter speed to change motion blur. With video
we are actually trying to capture each individual image so that it can be played
back with sufficient motion blur to make the captured individual images join
together seamlessly. To do this videos run at various frame rates. The
standard is 24p (which is actually 23.976 frames per second). PAL TVs (as we
have in the UK) operate at 25 frames per second so you would normally set the
recording rate to match whatever speed you are going to be broadcasting at.
Frame rate and shutter speed are related but are different concepts. Frame
rate is the number of frames that are recorded in each second of video. Shutter
speed refers to the amount of time that each individual frame is exposed for.
To achieve the 'film look' and blur the individual images in a way that is pleasing
to the eye videographers tend to use the 180 degree rule which essentially
means that your shutter speed should be double your frame rate. So for a
frame rate of 25p you need a shutter speed of 1/50th of a second. It's that
simple.
Well not exactly. You can adjust the shutter speed, once again, to provide
special effects when we are feeling creative. If we slow the shutter speed we
will (not surprisingly) get a blurring effect. This tends to have a slower more
relaxed feel to the finished product. Likewise, if we use a faster shutter speed
we get a stuttering 'staccato' effect. This can provide a 'frantic' mood. This was
used extensively in the Saving Private Ryan film during the beach scene.
Many new cameras, even the consumer ones like the GoPro, also have the
option of recording at a number of different frame rates, including higher ones.
The new Panasonic Lumix GH4 has an option to record at 96p. This option
23

means that when the film is played back at 24p or 25p it provides some
wonderful opportunities for slow motion movie making.
5.

ISO
a.

b.
c.

d.

e.

In the days of film, ISO was a figure that represented the speed of the film, or its
'sensitivity' to light. Standard film for holiday snaps was ISO 100. If you wanted
to take photographs in lower light you used a more sensitive film, so something
like an ISO 400 would have been commonplace in underwater photography.
This was another option, another part of the balance with shutter speed and
aperture that you could use to get the desired effect. The opportunity to shoot
with less light was unfortunately counter balanced by the fact that when you
increased the ISO of the film you would also increased the 'grain' also known as
the noise, of the finished photograph. This would mean that you couldn't
enlarge the image as the sharpness and definition would be lost. Noise was
also something that would affect video film.
With digital cameras the ISO works in a similar way except it is done
electronically. A higher ISO can be set when the desired aperture and shutter
speed doesn't let in sufficient light.
Electronically produced high ISOs still results in more 'noise' and a reduction in
dynamic range and colour sensitivity and as a rule of thumb use the lowest ISO
possible ..... unless of course your creative streak is trying to achieve a grainy
effect to your image!
Some of the new DSLR and mirrorless cameras have extreme ISO ranges, with
reduced noise levels, increasing their low light capabilities. Generally however,
a ISO 800 is the highest you would want to go unless you are happy with a very
small image that will not show noise.
Most cameras have an auto setting. This is not recommended for underwater
photography.

24

Presentation 8 - Understanding Camera Settings Underwater (2)

1.

Light and the Underwater Environment.

a.

b.

c.

d.
e.

When sunlight enters water various things happen which as photographers and
film makers we need to be aware of. The key issues are the loss of contrast
and colour, which we will come onto, however we also need to understnd some
of the physics behind what is happening
As sunlight strikes the surface of the sea or a body of water, the first thing that
happens is that some of that light is reflected back. This reduces the amount
of light available to us as on a media diving project and we have covered the
techniques to rectify that in the previous sections.
As light hits the water it goes from air to water and is bent, or refracted. This
refraction of light also occurs when light passes from the underwater
environment, through the glass of the dome port and lens of our camera, or
through the diving mask we are wearing. The result of this refraction and
bending of the light is that the objects we are looking at appear magnified and
closer. [Instructors should refer students back to their open water course and
may wish to pull up the section from the prescriptive lesson guide or manual as
a reminder]
From a filming and photography perspective we can use this to our advantage.
[Encourage students to think why and how this might be advantageous]
Light going through water is also absorbed. This is because it is more dense
and there are more particles in it that reflect the light. Essentially there is less of
it around so we either need to use faster film, increase the size of the aperture,
use slower shutter speeds or use artificial light. The density also means that
any light reflecting from the object we are trying to shoot doesn't travel as far.
For this reason it is essential that we get as close as possible to the thing we
are trying to film - within the bounds of cinematic and photographic creativity of
course. The rule of thumb is to reduce the amount of water between you and
the subject as much as possible. Absorption also changes the colours that we
see when we are underwater
25

2.

Colour and the Underwater Environment

a.

b.

3.

Colours behave differently underwater. Visible white light is composed of a

spectrum of colours all of which have a different wavelength. Underwater, the
intensity of each wavelength is reduced as the depth of water increases. This
selective absorption as it is known is due to the deformations and vibrations of
water molecules as they are excited by each wavelength.
The absorption is strongest at longer wavelengths - so Red becomes the first to
be absorbed, essentially all of it has gone at around 5 - 6m although the exact
depth will also be dependent on the waters transparency (a function of the
degree of sediment and plankton in the water). [Remind students that this
might be another reason to have a look first as mentioned earlier in the course]

Correcting Colour
a.

b.

Essentially there are four methods of correcting the colour differences that we
experience underwater. The first is to use filters. This is the cheapest and
easiest way of putting back a colour that has been absorbed. The most
commonly used filter is red, as this is the first colour to be absorbed. Filters can
also be used to compensate for the absorption of light in different areas. For
example filters for blue water and green water are different.
The second method of adjustment is by adjusting by using some form of post
editing software. Many cameras have capabilities built within them that allow
you to do this, but they tend to be fairly limited. Using computers after the dive
opens up a whole new range of possibilities. When film and images are shot in
RAW format [this course will into go into detail on this] images and film can be
changed completely and those colours that have been lost due to absorption
26

c.

4.

can be reintroduced to the image or film. The downside of this is that it adds to
the amount of time that has to be spent in producing the finished product. Get it
as close as you can first time around.
The third method of adjusting the colour is to use artificial light. By using video
lights, or strobes you are effectively no longer using the ambient light but
introducing a new source. As the distance between the light source and the
subject are minimal the absorption is also negligible. So does this provide the
'true' colour of the subject? This is not entirely the case, because as we
mentioned earlier when discussing lights and strobes, different light sources
have different temperatures.

White Balance
a.

b.

c.
d.

e.
f.
g.

The fourth method of colour correction with digitlal cameras is by changing the
white balance. Being able to change the white balance is a great feature of
digital cameras. Essentially it allows you to tell the camera what it is seeing.
When you set the camera's white balance you are telling it what you expect the
colour temperature to be.
All cameras have an auto white balance and many cameramen will use this and
adjust the white balance in post edit. This setting is also quite useful for close
up and macro shots where the artificial light is in abundance. However the
amount of work needed in post can be significantly reduced if the correct white
balance can be achieved at the time of taking the shot.
Most cameras have cloudy/sunny/flash/indoor settings. These can be used on
occasions underwater but not that often.
For ambient light shots with or without filters you will want to set your white
balance manually both for photography and film. What you are doing is letting
your camera work out what neutral is. In the manual settings mode of the
camera you take the picture of something neutral (a white slate, sandy bottom
or silver dive tank for example) and the camera will automatically colour correct.
Note that adjusting white balance setting will not bring back colours that have
completely been absorbed by water. As a result it works best down to around
15m.
You can white balance when using dive lights and this will work to lower depths.
However there is a tendency when using this method that the camera puts too
much red into the shot.
Remember that if you set manual white balance and then use strobes or a flash
you will add in too much red and your images and film will come out the same.

27

Presentation 9 - Underwater Techniques

1.

Composition. It isn't just what you shoot that counts. It's the way that you shoot it. A
great subject can become dull if incorrectly composed. Similarly a dull subject can
be brought to life with a few simply techniques. The whole purpose of composition is
to make the shot interesting and aesthetically pleasing.

a.
b.

c.
d.
e.
f.
g.

h.

Framing. How you frame the shot will depend on the subject. Ideally you
should be close enough so that the subject fills one third of the frame. Which
third can vary. The rule of thirds applies to photography and film
Lead room. A person in the shot should be looking at the subject or into open
space for example. This is known as lead room or looking space and it applies
to underwater filming but is also a good technique to use in still photography as
well
The diagonal line in a shot can add drama and action to a shot. [Instructor to
show and example of this].
You need to think about the angle. Shots taken from a high angle make the
subject look weak and diminished. Shots taken from a low angle make the
subject look strong and dominant.
Use lines and patterns to exaggerate and steer the viewer towards the main
subject.
Use background and foreground to add depth. The close focus technique
having a close up subject with something going on in the background works
very well underwater both in film and stills.
Action can affect composition so use it sensibly. Divers coming into shot or
going out of shop are a great aid to sequencing. However be aware that action
needs to have a sense of completeness; if a fish swims into frame the audience
expect it to leave.
Avoid the middle, especially in wide angle shots. Cropping can be used in post
to change the position of the main subject but try to avoid the bullseye
technique.
28

i.

Remember the background. The background can detract from the image you
are trying to put across. Don't just focus on the main subject.

j.

Be creative with colours. Contrasting colours are pleasing on the eye and with
blue or green ocean backgrounds this can create fantastic contrast.

k.
l.

n.
o.

2.

Interaction within the shot increases interest. A fish, or a diver on their own
look lost and uninteresting. When either interacts with its environment it adds
excitement and a story.

m.
Have an understanding of what you are trying to achieve in your portfolio or
your film. What is the subject matter, or the narrative?
Don't be afraid to break the rules. Although there are some accepted 'norms'
the best composition often arises when film makers and photographers attempt
to break the rules.

Shots and Sequencing

a.
b.
c.

A shot is an uninterrupted section of film, or an individual photograph. A

sequence is a series of shots put together to show a piece of action or tell a
story
Good videos are built from a series of shots in a sequence that is edited
together to tell a story. The same idea can be used for a photographic portfolio.
In order to put these together it is important to plan your shots beforehand.
There are several types of shot and they are familiar to still photography and
film:

Long Shot - a distant wide angle shot that is used to establish the scene or
the location.

29

d.
e.

f.
3.

Medium Shot - Closer intermediate shot useful in showing reaction and

more detail or establish a point of interest such as a person in the crowd,
or underwater a particular fish on the reef.
Close Up - Also known as a tight shot. Much closer and used to portray
emotion and reaction, so the look on a divers face or the close up
behaviour of feeding for example.

Sequencing leads the viewer through the story. You would start wide, get
closer and eventually move out wide. A photographic portfolio might use similar
images, each one leading onto the next in some way.
Shots are cut in a video in a way that suits the story. Clean cuts are important
so that the viewers don't get lost. Follow the sequence logically and if you
follow a wide or long shot by another long shot ensure that the angle is radically
different.
It may be desirable to not complete the action in a sequence in order to lead on
to the next sequence.

Camera Moves.

30

a.
b.
c.
d.
e.
f.
g.
h.
i.
4.

Pan - Used to follow a subject, establish a scene or possibly show the distance
between objects i.e show a sense of scale. Quite simply the camera follows
from left to right, or right to left.
Tilt - The camera follows up and down. This also provides a sense of scale and
establishes depth
Dolly - The camera moves towards and away from a subject. This is often used
in drift diving. It can be useful in providing a sense of tension to a shot.
Truck - The camera moves to left or right but remains focused on the subject.
This is an excellent technique for a continuous shot that provides a different
angle
Follow - What is describes, the camera follows the subject. The viewer will
focus on what is appearing in the scene rather than the subject. Also excellent
for portraying speed.
Lead - the camera moves with the subject from ahead. The viewer will
concentrate on the subject.
Rack Focus - this is the technique of starting the image blurry and then bringing
it into focus.
Pedestal - this method records vertical movement but the camera moves up
and down rather than remaining fixed and tilting.
Zooming - over used but still an option. This technique can add immediate
subject interest to a wide shot by going to an intermediate shot.

Story Line.
a.
b.
c.
d.

For underwater film making the development of a story line will help produce
something that the audience will enjoy. Without it your footage is a collection of
shots without meaning.
The story line needs to be with you underwater so transfer the information onto
a dive slate.
Be flexible. If you find something you had not planned that would add interest
to your film or portfolio take the shot. You don't have to use it.
Don't forget you don't have to complete the sequence or the film on a single
dive. Plan the sequences into the dive plan. Think about depth, air
consumption and other limiting factors.

5.

Editing Software. There are plenty of software packages available for editing stills
and film.

6.

12 Top Tips for Underwater Photography and Filming

a.
b.
c.
d.
e.
f.
g.

Get closer. The absorption of light will reduce colour, sharpness and everything
you want to shoot. Get as close as you can.
Try to shoot up. Shooting down onto a brown fish on a brown piece of rock just
doesn't work. Shoot up to add light, outline and depth of field to your shots.
Don't forget about the background. Does it detract form the shot or enhance it?
Don't centre your subject unless it is a part of your creative genius
Sometimes you cant get as close as you want. No problem; don't be afraid to
crop in post if you need to.
Keep the camera steady. A tripod is useful for macro photography and filming.
Move you film camera around. Different angles develop interest.
31

h.
i.
j.
k.
l.

Keep rolling. You can always put in another memory card so keep the camera
rolling - that way you wont miss the unexpected.
Variety is the spice of life so get a good range of shots.
Know when and when not to use lights or filters
Understand white balance - it is key to all your underwater videos and ambient
light shots.
Ultimately remember to protect the environment you are in. No shot is
worth the destruction of a piece of coral that has taken hundreds of years
to grow.

32

Confined Water Dive

Objective - By the end of the confined water training session the student will be able
to:

Assemble and leak test the camera equipment

Operate the camera in the housing underwater
Take a range of shots in order to practice the techniques covered in the
academic sessions

1.

Confined Water Session Details:

a.
Briefing:

Entry and exit techniques and location

Conditions

Sequence of training and objectives

End tank pressure

b.
Pre-dive Procedures:

Assemble camera equipment and perform leak tests

Prepare and don personal diving equipment

Perform pre-dive safety checks

Proper entry techniques

c.
Dive Skills:

Practice skills using subjects and other divers

To include, adjusting shutter speed, white balance, aperture, ISO and

lighting

Practice focussing using manual (if available) and automatic focussing

[Instructor to provide specific 'shots' to be achieved]

d.
Post-dive procedures:

Proper exit technique

Rinse equipment in fresh water. Dry thoroughly before opening

Assist buddies with equipment removal

e.
Debriefing:

Cover the dive and any issues (buoyancy, handling etc)

Examine and analyse the results from the cameras as a group session in
class.

33

Open Water Dives

Open Water Dive One - Application of knowledge and skills in open water
Performance Requirements - By the end of this dive the student will be able to:

Undertake a risk assessment for the dive and develop a project plan.
Plan the dive and brief the instructor as to that plan
Assemble and test the camera equipment and accessories for use.
Enter the water in an appropriate manner.
Maintain proper buoyancy throughout the dive.
Check air supply, depth, time and direction at appropriate intervals while
diving with the camera system.
Get an awareness of the environment and adjust the camera settings
accordingly.
Practice basic underwater camera techniques including adjusting for exposure
and colour correction.
Identify and shoot video footage and stills as required.
Exit the water properly with the camera equipment.
Undertake post-dive care on the equipment.
Disassemble the camera equipment.

1.

Camera System Preparation.

2.

Risk assessment and project plan leading to a dive plan.

3.

Briefing. To include:

Evaluation of the conditions

Site facilities
Entry techniques and equipment handling procedures
Exit technique
Site conditions; bottom, topography, flora, fauna, depth, directions, location of
specific subjects
Dive times, air supply information and monitoring, depth limits
Communication review to include communication between divers and
communication between divers and surface
Review of emergency procedures
Confirm team assignments and buddy teams
Overview dive objectives and run through story board

4.

Pre-dive Procedures:

Prepare equipment

Check the buoyancy of the equipment - adjust if necessary

Don equipment

Pre-dive safety check

Entry

5.

Training Dive One

Descent

Identify subjects and generally get the 'feel' for the environment

Check the buoyancy of the system

34

Practice adjustment of aperture, ISO, shutter speed.

Practice colour correction using manual white balance
Practice use of lighting systems if appropriate
Practice manual focus is available
Shoot with the camera system taking either film footage, or stills, using the story
line and portfolio theme as a guide
Check depth and time frequently throughout the dive
Maintain proper buoyancy throughout the dive
Ascend and include a 3 minute safety stop at 5 metres.

6.

Post-dive Procedures:

Secure/hand up the camera equipment

Exit the water

Remove and stow personal equipment

Rinse video system, dry thoroughly and disassemble.

7.

Debriefing:

Open Water Dive Two - Continuation of skills practice and production of shots and
stills for the development of a short film or photographic portfolio
Students should use the same story line that they were using in dive one. Note,
this dive can be repeated on further occasions in order to allow the students time
underwater to get sufficient shots and stills to produce their film or portfolio.
Performance Requirements - By the end of this dive the student will be able to:

Undertake a risk assessment for the dive and develop a project plan.
Plan the dive and brief the instructor as to that plan
Review and adjust the story line as necessary
Continue to practice the skills mastered in open water dive one.
Continue to produce shots and stills for the production of a short film or
photographic portfolio.

1.

Camera System Preparation

2.

Review of the risk assessment and project plan leading to a dive plan

3.

Story Line Development.

4.

Camera System Preparation.

5.

Briefing. To include:

Evaluation of the conditions

Site facilities
Entry techniques and equipment handling procedures
Exit technique
Site conditions; bottom, topography, flora, fauna, depth, directions, location of
specific subjects
Dive times, air supply information and monitoring, depth limits
35

Communication review to include communication between divers and

communication between divers and surface
Review of emergency procedures
Confirm team assignments and buddy teams
Overview dive objectives and run through story board again. [Emphasize that
while continuing to practice, they are now working towards the production of
their films and portfolio. Also emphasize that if they do not get all the shots they
need that more dives can be undertaken as necessary]

6.

Pre-dive Procedures:

Prepare equipment

Check the buoyancy of the equipment - adjust if necessary

Don equipment

Pre-dive safety check

Entry

7.

Training Dive Two

Descent

Shoot with the camera system taking either film footage, or stills, using the story
line and portfolio theme as a guide

Ascend and include a 3 minute safety stop at 5 metres.

8.

Post-dive Procedures:

Secure/hand up the camera equipment

Exit the water

Remove and stow personal equipment

Rinse video system, dry thoroughly and disassemble.

9.

Debriefing:

Discuss how the shoot went and review what the students obtained with
regards to the story line
Review the film and shots taken by the students and provide appropriate
feedback.
Students can undertake additional dives (up to a recommended maximum of 4)
in order to get the shots that they need for their films and portfolios.

36