Words and Images by Joe Platko  |  October 2024

I think there’s a particular mindset among underwater photographers that we constantly want to dive deeper. Perhaps this is due to having depth limits set in diving certifications, thus continually piquing our curiosity to what may be found just out of sight below.

When we continually explore the oceans depths, what new gorgonian coral, basket star, or sea pig, could we cross off our critter finding bucket list? However, as a photographer who now often shoots with ambient light only, I’ve begun to realize just how much photographic opportunity is being missed by this depth pursuit. I would implore all underwater photographers, whether they be scuba divers, snorkelers, or just water enthusiasts to explore photographing in shallower waters.

In particular, I believe divers should take a longer look at photographing in the top 5-10 feet of water, which a friend of mine had lovingly dubbed the “extreme intertidal.”

Better Light and Color

First and foremost of the reasons to stay in the shallows is that’s where the light and color are.

Color, in particular, vanishes at an alarming rate underwater, so it would make sense that if you wanted more color in your photographs you would want to stay shallow.

This is particularly true for anyone who is trying to photograph without any external light sources. By staying within the top 15 feet of water, even with just ambient light, you can still get image information in the red channel which is extremely useful when trying to white balance during post processing. In addition to color, there’s also a much greater amount of light, which is especially useful when trying to photograph in conditions with limited visibility.

On an overcast morning along the central California coast, at the surface I may be able to shoot at 1/125th of a second at f/5.6 with an ISO 800, but at a depth of even just 30 feet that may drop to 1/30th at f/4.

More Character

Not only is there more light, but shallower water also offers many characteristics that can be used to a photographer’s advantage. If the water is calm enough, one can find wonderful reflections off the underside of the surface.

If using a wide angle lens and looking directly up, you will be able to see above the water at approximately 96 degrees due to refracted light, known as Snell’s window.

Separately, when conditions are rougher you can use this movement to your advantage. You can photograph white water from crashing waves as a fun way to add an abstract element in your photos. Or try using longer shutter speeds to show the movement of seaweeds as they’re whipped back and forth in the surge.

If you time it properly and can stay just outside the break, you can try photographing the wave just before it breaks, allowing you to see through it.

Animal Interactions

I have often found staying at the surface is beneficial for animal interactions as well. By staying at the surface, animals tend to feel less threatened as it’s a predatory trait to attack from below.

Because of this I will try to stay right at the surface if I notice any curious animals, and only once they begin feeling comfortable around me will I then start diving down. Once animals get comfortable and curious, it can allow me to position myself to further help my compositions, such as getting a cleaner background, or a place with slightly better lighting.

Also, as mentioned earlier, by photographing in an area with more light I can use my strobes at a much lower power (or not at all) and still be able to shoot fast shutter speeds to capture quick moving animals like sea lions, even in lower visibility. In addition, you will typically get much less backscatter due to using strobes at a lower output.

As an example, the harbor seal photo shown at the top of this story was photographed on a day with only 10 feet or so of visibility, but by being at the surface I was able to use just a single strobe at 1/4 power to fill in some of the shadows on its face. In addition, I got some nice dynamic lighting from the mottled sunlight coming through the kelp forest.

So, the next time you want to do a deep dive with your underwater photography, try staying in the shallows instead. I think you’ll grow to love exploring the “extreme intertidal” with your camera.

See more of Joe Platko’s work at joeplatkophotography.com.

Top photo: A young harbor seal comes up to investigate us as we free dive off of Monastery Beach, Carmel, CA. Sony A9 in a Nauticam housing with a Sigma 15mm fisheye. Exposure: 1/200 sec, f/8, ISO 800. Lit with a single Iron Z240 strobe at 1/4 power.

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