Underwater Photographer (Rev 5-05) Ver 1.06

Underwater Photographer
Specialty Course
Instructor Outline
Product No. 70230 (Rev. 5/05) Version 1.06

Legend
Note to instructors: Points for the instructor to consider that give
additional qualifying information about con-
ducting the course. Not intended to be read to
students.
Note to students: Required information. Read to students as

printed.
Important information. Read to students.

By the end of this session, you will be
able to: Objectives always precede individual Academic
• Objective Topics and open water dives.
• Objective
• Objective
© PADI 2005
Portions of the Appendix of this guide may be reproduced by PADI Members

for use in PADI-sanctioned training, but not for resale or personal gain.
No other reproduction is allowed without the express written permission of PADI.
Published and distributed by PADI

30151 Tomas
Rancho Santa Margarita, CA 92688-2125 USA
Printed in U.S.A.
Product Number 70230 (Rev. 5/05) Version 1.06
Technical Development and Instructional Design:

Karl Shreeves, Bob Wohlers
Consultation and Review:

Al Hornsby Drew Richardson
Julie Taylor Shreeves Dean Cox, PADI Australia
Gene Hemsworth, PADI Canada Yasushi Inoue, PADI Japan
Jean-Claude Monachon, PADI Europe Hans Olsson, PADI Nordic
Colin Melrose, PADI New Zealand Henrik Nimb, PADI Asia-Pacific
Trond Skaare, PADI Nordic
Mark Caney, PADI International Ltd.
Specialty Course Instructor Outline

ii
Please read this first.
Qualifying To Teach PADI Specialty Diver Courses
To apply for a Specialty Instructor rating, an individual must be certified as a

PADI Underwater Instructor or higher. There are two ways to qualify to teach
PADI Specialty Diver courses: 1) Attend a Specialty Instructor Training Course
conducted by PADI Course Directors, or 2) apply directly to PADI.
Specialty Instructor Training Course attendance is highly recommended and

encouraged. These courses provide hands-on training, technique demonstra-
tions, course marketing information, current PADI Standards information and,
when applicable, instructor-level open water training.
Application made directly to PADI requires either: 1) use of a PADI stan-

dardized Specialty Course Instructor Outline (this document), or 2) the submis-
sion of a self-generated specialty course outline for review. To speed outline
approval, reduce liability exposure and ensure educational validity of your
specialty courses, it is highly recommended that PADI standardized Specialty
Course Instructor Outlines be used for courses they have been developed for.
The Specialty Course Instructor Application is to be used whether attending a
Specialty Instructor Training Course or applying directly to PADI.
Important Note: Prior to promoting or teaching a PADI Specialty Diver

course, written confirmation of instructor certification in that specialty must
first be received from PADI.
For more information on certification as a PADI Specialty Instructor, please

refer to the “General Standards and Procedures” section of the PADI Instructor
Manual. If you still have questions after reading this section, call your PADI
Office.
iii
COURSE STANDARDS AND OVERVIEW
This course is designed to be an introduction to basic underwater photography
and to help the student diver develop the skills, knowledge and practical tech-
niques necessary to enjoy this interesting activity.
Prerequisites
To qualify for the Underwater Photographer course, an individual must:
1. Be certified as a PADI Open Water Diver, PADI Junior Open
Water Diver or have a qualifying certification from another
training organization.
2. Be 10 years of age or older.
The Underwater Photography Dive conducted during the PADI Adventures in
Diving program may be counted toward this specialty at the discretion of the
instructor conducting the specialty course.
Instructor Supervision
Underwater Photographer courses may be conducted by a Teaching status
PADI Underwater Instructor (or PADI Instructor with a higher rating) who has
been certified as a PADI Underwater Photography Instructor.
The maximum student diver-to-instructor ratio for open water
training dives is eight students per instructor (8:1).
Considerations for Open Water Training

The Underwater Photographer course is to include two open water
training dives, which may be conducted in one day. The minimum
number of recommended hours is 12, with time being equally divided between
knowledge development and actual water-training sessions. After the train-
ing dives, student divers are required to log their dives in their per-
sonal log books.
Training dives may be conducted at night for divers who have
completed the Night Adventure Dive or the first dive of the PADI
Night Diver specialty course, or have qualifying night diving experi-
ence.

iv
COURSE OVERVIEW
This course covers basic underwater photography with special emphasis on
practical photographic techniques. To conduct an Underwater Photogra-
pher course, the following is to be included:
1. the planning, organization, procedures, techniques, problems
and hazards of underwater-photography diving
2. photographic principles, composition, film types, flash/avail-
able light photography and camera-handling techniques
3. the preparation, care and maintenance of photographic equip-
ment
CERTIFICATION PROCEDURES
The certifying instructor obtains an Underwater Photographer certification
by submitting a completed, signed PIC to the appropriate PADI Office. The
instructor who conducts the student’s final open water training ses-
sion is to be the certifying instructor. The instructor certifying the
student must insure that all certification requirements have been met.
KEY STANDARDS
Prerequisite Certification: PADI Open Water Diver, PADI Junior
Open Water Diver or qualifying
certification
Minimum Age: 10
Recommended Course Hours: 12
Minimum Open Water Training: 2 dives
Student-to-Instructor Ratio: 8:1*
Minimum Instructor Rating: Underwater Photographer
Specialty Instructor
*For dives that include 10-11 year olds, direct supervision is required at a maximum ratio of
4:1. No more than two of the four divers may be age 10 or 11.
v
Introductory Information
Presentations One, Two and Three provide specific information that you pres-
ent/review with your students. Each Presentation precedes the appropriate
Underwater Photo Dive, to simplify diving knowledge development into sev-
eral sessions between dives. Presentations may be combined into a single ses-
sion if necessary for logistical reasons, but no Underwater Photo Dive should
precede a Presentation that precedes the dive in the outline.
Underwater Photo Dive One includes “General Open Water Tips and Consid-
erations,” which provides suggestions and factors that may affect conducting
the course dives. The dive outlines guide you with performance requirements
and suggested organization and considerations; they are not intended to be
presented to students. At the end of the outline, you will find suggestions for
an optional confined water, and for optional additional dives, if you elect to
have them.

vi
I. Course Overview
The purpose of the PADI Underwater Photographer specialty course
is to familiarize divers with the skills, knowledge, planning, organi-
zation, procedures, techniques, problems, hazards and enjoyment of
underwater still photography. The Underwater Photographer specialty
course is intended to serve as a safe and supervised introduction to
underwater still photography techniques used in the underwater envi-
ronment. Training should emphasize fun and safety. Upon completing
the PADI Underwater Photographer course, the student should be able
to:
A. Demonstrate and explain basic photographic principles, com-

position, including principles of exposure and focus, strobe and
available light photography, camera-handling techniques, and
composition.
B. Select, prepare, care for and maintain underwater photographic

equipment.
C. Take underwater photographs that are properly composed,

focused and exposed.
II. Underwater Photographer Course

Requirements
A. Prerequisite certification: PADI Open Water Diver, Junior
Open Water Diver or have a qualifying certification from
another training organization. The instructor is to ensure
that the individual can perform the skills required of a
PADI Open Water Diver.
B. Minimum age requirement: 10 years.
C. Maximum student-to-instructor ratio: 8:1, to certified assistant

4:1.
For dives that include 10-11 year olds, direct supervision is required at a maxi-
mum ratio of 4:1. No more than two of the four divers may be age 10 or 11.
D. The Elective Underwater Photographer Dive from the PADI

Adventures in Diving program may be counted toward the
certification requirements for this specialty at the discretion of the
instructor conducting the specialty course.
E. Confined water training may be added at your discretion. Con-

fined water training may be used to provide students with the
opportunity to practice basic underwater photographic skills prior
to making open water dives. As a preassessment before the course
begins, a confined water session may also include a scuba skills
1
review. The PADI Skill Evaluation or Scuba Review program is an
excellent means of accomplishing this review.
F. Recommended sequence for use of course media:

1. Student first watches PADI Underwater Photography video,
diver edition.
2. Student next reads PADI Underwater Photographer Manual,
answering exercise questions and completing Knowledge
Reviews.
3. Student attends classroom presentations and participates in
Underwater Photographer training dives.
G. Dive data
1. Two scuba dives
For 12-14 year olds, Adventure Dive maximum depth is 18 metres/60 feet or
21 metres/70 feet if they have taken the Adventure Deep Dive.
For 10-11 year olds, the maximum depth is 12 metres/40 feet.
Suggestions for an optional confined water session and optional scuba dives
appear in the Appendix of this outline.
III. Student and Instructor Equipment

Requirements
A. Student equipment
1. All personal standard diving equipment including:
a. Mask, snorkel and fins.
b. If needed, exposure suit appropriate for local diving envi-
ronment and depth, including hood, boots and gloves or
mitts
c. Weight system
d. Regulator system with submersible pressure gauge.
e. Alternate air source suitable for sharing air with other
divers.
f. BCD with low-pressure inflator.
g. Complete instrumentation, including a means to monitor
depth, time and direction.
Depth and time monitoring may be accomplished with dive computers, but it’s
recommended that students wear back up gauges, too. If using a computer, the
student must have a personal computer (no sharing) and remain within the no
decompression limits of the computer.

2
h. Recreational Dive Planner (Table or Wheel) if not using a
computer. If using a computer, it’s recommended that students
have RDPs for backup planning.
i. Dive tool or knife capable of cutting line
j. Slate with pencil
k. Whistle or other surface signalling device
l. log book (PADI Adventure Log recommended)
2. Specialty equipment
a. Underwater still photography equipment type (housed,
amphibious, viewfinder, rangefinder, SLR, twin lens reflex, roll-
film cameras) and film format (110, 135, 120, digital imaging)
will vary, but any type of still camera with a suitable underwa-
ter housing is acceptable.
B. Instructor equipment
1. All personal standard and specialty equipment required of student.
2. Recommended safety equipment
a. boat, or dive flag and surface float with descent line as required
by the local dive environment
b. first aid supplies and equipment. Recommended: first aid kit
and emergency oxygen.
3. PADI materials that may be used to teach this course.
a. General materials and teaching aids: Log book (Adventure Log
recommended).
1. PADI Instructor Manual
2. Student Record File
3. Dive roster
4. PADI Underwater Photography video, professional
edition
a. Show portions of the Diver tape in class to elaborate,
and ask questions
b. Review key skills students will practice in each dive
c. Watch the Professional tape for information and sugges-
tions about conducting the course
b. Independent study materials:
1. The PADI Underwater Photographer Manual
2. PADI Underwater Photography video, diver edition
c. Other PADI reference materials
1. PADI Adventures in Diving Manual
d. Recognition materials:
1. PIC envelopes
2. Specialty Diver wall certificates
3. Underwater Photographer specialty chevrons
3
The following presentations and training dive outlines make up the actual
course content. The presentation outlines are designed as your presentation
notes. Notes to you are in brackets, or in boxes like these. Emphasis notes to
students appear in boxes. Training dive outlines cover skill objectives and dive
sequence, and are not intended to be presented to students. The curriculum
was developed for maximum flexibility; notes will guide you to options in
conduct and sequence. Compared to many specialties, the knowledge develop-
ment section is long. Student independent study with the PADI Underwater
Photographer Manual and Underwater Photography video speeds learn-
ing and makes the presentations more efficient, and saves time. Note that the
Underwater Photography video differs from other specialty videos in that it
does not attempt to cover all the knowledge development objectives. Instead, it
lays a conceptual foundation for the student to apply knowledge learning by
reading and from your presentations. Therefore, it’s recommended that stu-
dents see the video prior to reading the manual and attending presentations.
IV. Presentation One

This presentation should precede all training dives and any optional
confined water underwater photography sessions.
A. Staff Introductions
1. [Introduce yourself and assistants. Explain your background
with underwater photography if you students aren’t familiar
with you.]
2. [Have students introduce themselves and explain why they’re
interested in underwater photography. Break the ice and
encourage a relaxed atmosphere.]
B. Course Goals — This course will help you:
1. Understand and apply basic principles of the art and science of
photography including exposure, focus, strobe photography,
available light photography, camera-handling techniques, and
composition.
2. Select, prepare, care for and maintain underwater photo-
graphic equipment.
3. Take underwater photographs that are properly composed,
focused and exposed.
C. Course Overview
1. Knowledge development
[Explain the requirements for independent study, classroom
sessions, predive briefings, etc., as well as scheduling. Encour-
age students to bring their camera systems to all sessions for
hands-on application.]

4
2. Confined water sessions
[Confined water sessions aren’t required, but you may elect
to hold some, either as predive skill evaluation sessions, or to
practice photography fundamentals. Explain session times and
locations if you have confined water sessions.]
3. Underwater photography dives
a. There will be at least two underwater photography dives,
during which you will take pictures.
b. Each dive’s objectives will help you develop your skill as
an underwater photographer.
c. The objectives for each dive will depend partly on your
interests, and on the camera system you’ll be using.
4. Certification
Upon successfully completing the course, you’ll receive the
PADI Underwater Photographer specialty certification. This
certification means that you will be qualified to:
a. Plan, organize, make and log underwater photography
dives in conditions generally compared to, or better than,
those in which you are trained.
b. Apply for the Master Scuba Diver rating if you are a PADI
Advanced Open Water Diver (or have a qualifying cer-
tification from another organization) and a PADI Rescue
Diver (or have a qualifying certification from another
organization) with certification in four or more other PADI
specialty ratings.
5. Course Requirements
a. Course costs [explain all course costs, and what the costs
do and do not include, including camera equipment use,
film, processing, boat fees, etc.]
b. Equipment needs [Explain what camera equipment
students must have for the course, and/or what you will
provide.]
c. Materials needed for the course
d. Schedule and attendance. [Cover and review points about
scheduling and attendance.]
6. Administration
a. [Complete paperwork – Enrollment, Standard Safe Diving
Practices Statement of Understanding, PADI Medical
Statement, Liability Release and Assumption of Risk. The
PADI Student Record file contains all of these forms. Using
it makes completing course paperwork easy and conve-
nient.]
5
The course is designed to accommodate the vast majority of underwater pho-
tography equipment, ranging from snapshot cameras to housed professional
equipment. If students will supply their own equipment, recommend to stu-
dents with a serious interest in photography and UW photography that they
use an underwater system with manually adjustable focus, aperture, shutter
speed and a TTL strobe. Depending on student knowledge level, you may find
it appropriate to briefly display and discuss equipment types, and advantages
and disadvantages.
Ask questions and pay attention to student reactions and interest when
presenting the course presentations. Some students may already be experi-
enced with photography, and others not. Also, many students will learn the
basics quickly through their independent study. Be flexible with your presen-
tation by moving quickly through material all your students know well, but
take time to adapt topics to their individual needs, and present more slowly
and with detail material they have not yet learned. The idea is to avoid unnec-
essarily boring your class, but to ensure that students understand the material
and have the opportunity to ask questions.
D. An Introduction to Photography and the

Underwater World
Learning Objectives.
After this discussion, you’ll be able to answer the following questions:
• What is meant by photography?
• What is a camera?
• What are the five essential components of a camera, and what does
each component do?
• What five challenges does the underwater environment create for the
underwater photographer that the surface photographer
doesn’t face?
• What environmental concern does the underwater environment pres-
ent the photographer?
1. Photography is the process of recording an image by exposing a

sensitive material — either film or a computer chip — to light.
a. A photographer controls the quantity and quality of light to
achieve a pleasing picture.
b. The amount of light available, the relative sensitivity of the
film or computer chip and the subject being photographed
all affect how the photographer manipulates the light
quantity and quality.
2. A camera is an instrument that the photographer uses to control
the quantity and quality of light reaching film or a computer

6
chip. It is a light-tight box that keeps the film or chip in the
dark until the photographer records the picture.
a. Film cameras record images on light sensitive chemicals
on a strip of plastic. The images are developed into pic-
tures through chemical processes. Digital cameras record
images using light sensitive computer chips, which store
the image in computer memory. Images are developed into
pictures through computer processing.
b. Some cameras automatically control the quantity and/
or quality of light for the photographer. Some have no
automatic control. The most popular cameras for serious
photography offer both (we’ll get into specifics later).
3. All cameras have five essential components
a. The lens — precision ground glass/plastic optic that con-
trols light by focusing it (quality) on the film or chip for a
sharp image
b. The aperture — an adjustable sized hole in or behind the
lens through which light passes into the camera
c. The shutter — a door or mechanism that opens and closes
to control for how long light passes into the camera
d. Transport system — in film camera: keeps film flat, correct
distance from lens, measures film for each shot and counts
pictures; in digital camera: electronic processing that sends
recorded image to memory, counts picture and clears chip
to receive next picture
e. Viewfinder — a mechanism for aiming the camera at the
desired subject
4. The underwater environment presents five challenges that
affect photography
a. Water affects the quantity of light available. — Water
reflects light off its surface and absorbs light passing
through it.
b. Water affects the quality of light available. — The apparent
distance of an object underwater is closer than actual for
cameras just as the human eye, which affects focus. Light
passing through water loses colors the farther it travels
— first red, then orange, yellow, green — so that the
remaining light is primarily blue. Particles in water scatter
light, making images less sharp the farther the subject is
from the camera.
c. Water easily damages photo equipment. — Surface cam-
eras must be kept protected and dry in a properly sealed
housing; amphibious cameras and strobes must be prop-
erly sealed. One drop of water inside a camera can destroy
it. Additionally, water corrodes metal and leaves salt
deposits, so underwater photography equipment requires
7
meticulous maintenance. In tropical climates, humidity
can be a factor if water condenses inside a system when
immersed in cool water.
d. Water exerts pressure — Camera housings, amphibious
cameras and strobes must be more than water resistant,
but pressure resistant or the pressure will crush them.
(Some water resistant cameras may be suitable for snorkel-
ing, but aren’t intended for scuba depths).
e. Water affects the photographer. — An underwater camera
system creates additional drag when swimming; buoyancy
and water motion can make it hard for the photographer
to hold the camera steady for a sharp picture.
5. The underwater world presents a unique environmental
concern. This is that improper photo technique can damage
sensitive aquatic life. It’s important to avoid inadvertently
bumping, damaging or kicking sensitive organisms while
trying to take a pictures. It’s also important to not harass or
disturb organisms for the sake of a picture.
6. Based on all these points, you’ll be learning underwater pho-
tography in the following steps:
a. First, you’ll learn basic photography principles, including
how to use a camera to control the quality and quantity of
light, the different types of cameras available, principles
of electronic strobe photography and the types of strobes
available.
b. Second, you’ll learn how water affects these principles,
and what to do to get good underwater photos. This will
include a look at underwater cameras, housings, strobes
and other underwater photo equipment options.
c. Once you understand how to photograph an acceptable
image, you’ll learn about composition — the art of making
the image pleasing to look at.
d. Next, you’ll learn about the unique considerations of safe,
environmentally responsible diving with a camera, and
then how to set up and maintain an underwater camera
system.
e. You’ll practice these basics in Underwater Photography
Dive One.
f. Before Underwater Photography Dive Two, you’ll gain
more indepth knowledge about what you’ve already
learned, including selecting film, and specific techniques
for different underwater picture taking situations. During
Underwater Photography Dive Two, you’ll practice taking
photos based on one of these techniques.

8
E. Photography Basics — Exposure
• What are meant by exposure and latitude?
• What four variables influence exposure?
• What are meant by film speed and ISO?
• How does a digital camera apply ISO?
• What is meant by available light?
• What is an f-stop?
• In what increments do you find shutter speeds?
• How do you use a manual light meter to determine the exposure for a
given amount of light and a given ISO?
• What is meant by bracketing?
You’ll also be able to:
• Given an ISO number, determine the ISO number for a film that’s
twice as sensitive, and a film that’s half as sensitive.
• Given an aperture, determine the aperture that lets in twice as much
light and the one that lets in half as much light.
• Given a shutter speed, determine the shutter speed that lets in light
for twice as long, and the one that lets in light for half as long.
• Given an exposure aperture and a shutter speed, determine the new
aperture if given a new shutter speed, or the new shutter speed if
given a new aperture, to maintain the same exposure.
• Given an ISO and an exposure aperture and shutter speed, determine
a new combination of aperture and shutterspeed for a given new ISO.
• Set a camera to obtain the proper exposure.
Students usually learn photography best with hands-on practice. It is recom-

mended that you have students bring their cameras, and/or provide cameras,
for practice during all presentations. As you discuss how to set, load, clean,
etc., have students practice each step, as you discuss it, with your guidance.
Remind them to bring their cameras without film in them so they can play
with the settings.
1. Exposure — the amount of light that reaches the film or com-

puter chip (quantity of light); the proper exposure is the expo-
sure that creates a pleasing image with respect to detail, color
and the range of light and dark .
a. You try to set a precise exposure, but each type film or
chip actually has a range of acceptable exposure, depend-
ing on the lighting conditions. This range is called expo-
sure latitude — the tolerable exposure range that delivers
an acceptable picture.
9
b. Proper exposure is sometimes subjective; you may prefer a
slightly darker or brighter look than someone else.
2. Variables — There are four variables that affect exposure. You
can control all of these to greater or lesser degrees depending
on the subject and the photo equipment, to get the optimum
exposure.
a. Available light — the light that’s naturally available in a
given situation. When there’s not enough light available,
you can use a flash, which we’ll discuss later.
b. Film speed/ISO — the sensitivity to light of a film or digi-
tal camera is represented by a standardized ISO number,
Note: ISO used to be called ASA, which some people still use.
1. The higher the number, the more sensitive the film
is to light. You can offset low natural light by using a
high ISO number.
2. Lower number films have better quality images. (More
about choosing Film and ISO later.)
3. The relative sensitivity of film is proportional to the
ISO number. An ISO 200 film is twice as sensitive as
an ISO 100 film. Therefore, it only needs half as much
light for a proper exposure.
4. Digital cameras don’t have film, but the specifications
usually list an ISO equivalent that tells you the compa-
rable sensitivity of the chips.
Film also has a size reference. The most popular film size is 35 mm (hence “35
mm” camera). The measurement refers to the film width.
c. Aperture — The lens opening allows you to control how

much light comes into the camera.
1. Different aperture sizes are represented by standard-
ized numbers called f-stops, which are derived from
the relationship between the lens angle of view and
the opening size. This is done so that an f-stop of a
given number passes the same amount of light no
matter what lens you’re using.
2. F-stops are numbered in the range 1.4, 2, 2.8, 4, 5.6,
8, 11, 16, 22, 32 , with different lenses differing in the
highest and lowest number.
3. The smaller the f-stop number, the more light the lens
admits (wider the opening).
4. A given f-stop passes twice as much light as the
number above it, and half as much as the number
below it. For example, f4 admits twice as much light as
f5.6, and half as much as f2.8.

10
d. Shutter speed — How long you let light strike the film or
chip.
1. Shutter speeds are represented by standardized num-
bers of what fraction of a second the shutter remains
open.
2. Shutter speeds of 1/30th, 1/60th, 1/125th, 1/250th,
1/500th and 1/1000th of a second are the most com-
monly used, though many cameras have slower
shutter speeds and faster shutter speeds. Most cam-
eras omit the top of the fraction, so that, for example,
1/250th of a second reads 250.
3. Each shutter speed lets light strike the film or chip for
twice as long as the next faster speed, and half as long
as the next slower speed. For example, 125 lets light in
for twice as long as 250, and half as long as 60.
3. Finding the proper exposure for the available light — accom-
plished with a light meter, usually within the camera. Let’s
assume the camera is completely manual using the following
steps:
a. Set the film ISO number so the camera light meter knows
how sensitive the film is. Some cameras don’t need the ISO
set because they either read the ISO automatically off the
film cartridge when loaded, or they only accept a specific
ISO film. Digital cameras know their ISO and don’t need
this set.
b. Set the desired shutter speed (more about speed selection
shortly) and point the camera at the subject. The camera
light meter tells you the required f-stop. Alternatively, you
can set the desired f-stop, and the meter will tell you the
required shutter speed.
c. Therefore, for a given ISO and amount of available light,
a light meter gives you the combinations of shutter speed
and f-stop. Once you know the exposure for a given avail-
able light situation, if shutter speed, f-stop or ISO change,
you can determine the new shutter speed, f-stop, ISO
combination based on what you just learned about f-stops
shutter speeds, and ISO.
Example
With ISO 100, the light meter shows that for a shutter speed
of 125, you need f5.6. What f-stop would you use for shut-
ter speed of 60? Answer: f8. Shutter speed 60 lets light hit the
film/chip for twice as long, so you need to let in half as much
light through the aperture. f8 is the next f-stop above f5.6,
which lets in half as much light.
11
Example
With ISO 100, the light meter shows that for f-stop f11, you
require shutter speed of 125. What shutter speed would you
use with f22? Answer: 30. f22 is two f-stops above f11 and lets
in 1/4th the amount of light as f11. To compensate, you need to
let the light in for four times as long by using a shutter speed
two speeds lower.
Example
With ISO 100, the light meter shows a combination of f-stop 8
and shutter speed 125. If you switch to ISO 200, what would
the new f-stop be if you still use shutter speed 125? Answer:
f11. ISO 200 is twice as sensitive as ISO 100 and only needs half
as much light. f11 is the next stop above f8 and lets in half as
much light.
Summary
For a given ISO and amount of available light, for each f-stop
you close the aperture, you need to slow the shutter speed
to the next speed. For each f-stop you open the aperture, you
need to raise the shutter speed to the next speed. For each
shutter speed you raise the speed, you need to open the aper-
ture one f-stop, and vice-versa. If you change ISO the shutter/
f-stop combinations change.
4. Setting your camera for proper exposure
As you discuss the following points, help students set their cameras properly.
Take the time to show them what the camera is doing. Time invested here will
make the rest of the course smoother.
a. First, set the ISO on the ISO dial or indicator (if appropri-
ate.)
b. Most modern cameras will automatically adjust exposure,
by matching the required aperture to the shutter speed
you set, or the required shutter speed to the f-stop you set,
or by setting both f-stop and shutter speed according to a
program.
1. Many cameras read out what the camera is setting for,
in case you want to override and set the camera manu-
ally (more about this later).
2. Manual cameras have indicators that tell you when
you’ve set the correct shutter speeds and aperture.
[Be sure students understand how to set their cam-
eras.]
3. Some snapshot cameras set everything and only indi-
cate low light when outside the camera’s range.

12
c. Whether using manual or automatic cameras, for a given
ISO and available light, you will get approximately the
same exposure.
5. Bracketing is used to ensure that you get an acceptable expo-
sure, especially in difficult lighting conditions. Bracketing is
the practice of taking the same picture with different exposures
above and below the metered exposure, usually by varying
the f-stop. The number of bracket exposures and the amount
of variation depends upon the importance of the picture, and
your experience with the lighting conditions and the type film.
More about bracketing later.
Ensure that all students know how to bracket. A few cameras cannot bracket.
Break from the presentation to give students time to play with their cameras
and setting exposure. Be on hand to answer questions. Take the time to assure
that students understand the basic concepts discussed, and how to apply them
to the cameras they’ll be using in the course.
F. Photography Basics — Focus and Perspective
• What is meant by focus?
• What is meant by focal length?
• What are meant by wide angle, normal and telephoto lens?
• What is meant by perspective?
• What is depth of field?
• What is macro photography, and what characteristics does it have
with respect to focus?
• Given two f-stops, identify which one gives the most depth of field.
• Given two lens focal lengths, identify which one gives the most depth
of field.
• Explain the general uses for wide angle, and telephoto lenses.
• Focus your camera.
1. Focus — Light gathered by the camera lens must be focused

properly to record a sharp image (quality of light). Focus is the
process of bending light so that the rays meet at the same point
on the film or chip; this makes the picture sharp. The type of
lens and the aperture affect the process of focusing. An unfo-
cused picture is blurred.
13
2. Focal length — the distance from the center of the lens to the
film or chip, usually measured in millimetres (mm). Changes in
the focal length change the apparent distance from the subject.
It’s recommended that you have an SLR camera with different lens so students
can look through them and see the differences.
a. A lens with an apparent subject-to-camera distance that

is about the same as you see it is called a normal lens. The
focal length that is normal varies with the film or chip size.
For 35mm film cameras, a normal lens is an approximately
50mm focal length lens. For 120mm film cameras, a normal
lens is approximately 85mm.
There’s sometimes confusion between focal length and film size because both
use mm. Be sure student understand the difference between a 35 mm film
camera and the focal length of a lens on a camera.
b. A lens with an apparent subject-to-camera distance that’s

greater than what your eye sees is called a wide angle lens.
A wide angle lens has a shorter focal length than a normal
lens; the shorter the focal length, the wider the view. Wide
angle lens are sometimes called short lenses. For 35mm
cameras, a 35 mm lens is moderately wide, a 24mm lens
is wide, and a 20mm or 15mm is very wide. A wide angle
lens that sees approximately 180 degrees diagonally and
bends the picture sides is a fisheye lens.
c. A lens with an apparent subject-to-camera distance that’s
shorter than what your eye sees is called a telephoto lens.
Telephoto lenses have longer focal lengths than a normal
lens (sometimes called long lenses.) For 35mm cameras, an
80 to 100mm is slightly telephoto, 135mm is moderately
telephoto and 200 mm and up is strongly telephoto.
d. A zoom lens is a lens that can change focal length. The
most popular zoom lenses range from moderately wide
angle to moderately telephoto, or from slightly to strongly
telephoto.
3. Perspective — The point of view as seen through the camera.
You use different focal length lenses to change the camera’s
view of a scene from a given point compared to the normal
lens.
a. Wide angle lens — Pushes the subject away visually; used
to see more area at a close distance — lets you get closer
to the subject and still have it in the frame (important in
underwater photography — more about this later)

14
1. Objects close to camera look disproportionately large;
objects far from camera look disproportionately small.
This is called perspective distortion.
2. Stretches depth — space between an object close to
camera and one far away appears longer than actual.
3. Has a wide depth of field — important in underwater
photography — more about depth of field shortly
4. Useful for landscapes, room interiors and general
snapshot photography. Most noninterchangeable lens
cameras have a moderately wide angle lens.
b. Telephoto lens — Pulls subject in visually; used to see a
smaller area more closely.
1. Objects far from camera look disproportionately large.
2. Compresses depth — space between an object close to
camera and one far away appears shorter than actual.
3. Useful for portraits, nature photography and picking
out detail at a distance.
4. Depth of field (aka depth of focus) — the range of acceptable
focus from its closest to its farthest point from the camera.
Several variables affect depth of field.
a. Aperture — the smaller the aperture, the more depth of
field. For example, if you focus on something at f8, switch-
ing to f11 will make more on the close and far side of the
subject in focus (or in better focus). f5.6 will reduce the
objects in focus.
b. Focal length — For a given focus distance, the shorter the
focal length, the more depth of field. A 24mm lens will
have more depth of field than an 80 mm lens, for example.
c. Focus distance — The closer the subject to camera for a
given focal length and aperture, the narrower the depth of
field.
Although film/chip size affects whether a given focal length is a wide angle,
normal or telephoto, the depth of field characteristics are not affected by film/
chip size. For example, an 85mm lens has the same depth of field for a given
focus point and aperture whether it is on a 35mm camera (telephoto) or a
120mm camera (normal). You may wish to raise this point if asked by students
who are comparing characteristics of different format cameras.
5. Some kinds of photography, such as macro photography, have

special focus considerations that we’ll talk about later.
6. How to focus your camera. [As you discuss this, show stu-
dents the focusing procedures and depth of field markings, etc.
for their cameras.]
15
a. SLR viewing — SLR stands for Single Lens Reflex, which
means the viewfinder allows you to see through the
same lens that takes the picture — turn focus ring until
the picture is sharp. Depth of field markings are on lens,
showing range of focus; many SLRs let you close lens to
set aperture so you can see depth of field. (Some higher
quality digital cameras have a view screen of the camera
image; this is SLR viewing for practical purposes).
b. Range finder — look through viewfinder over lens and
adjust lens until double image in marked square becomes
a single image — not as common in new cameras. Depth
field marking usually on lens if present.
c. Nikonos — estimate distance to subject and set on lens.
Depth of field indicators on lens face.
d. Auto focus — camera automatically focuses for object
in marked area of viewfinder. Higher end auto focus
cameras have manual override; many have a focus lock
that allows you to first autofocus, then lock the focus to
reframe the picture the way you want.
e. Focus free — camera uses wide angle lens and is preset so
everything from about one metre/three feet to infinity is
in focus — most common in snapshot cameras
f. Framer — a wand or frame that reaches from the camera
to the subject at exactly the focus distance — used primar-
ily in macro (extreme closeup) photography (more about
this later)
.
Break from the presentation to give students time to play with their cameras
and setting exposure. Be on hand to answer questions. Take the time to assure
that students understand the basic concepts discussed, and how to apply them
to the cameras they’ll be using in the course.
F. Photography Basics — Controlling Motion
• What are two types of motion that can make pictures blurred?
• As a rule of thumb, what is the slowest shutter speed that you can
hand-hold a camera and still get a reasonable sharp picture?
• How does lens focal length affect your ability to hand-hold a camera?
1. Motion — Besides proper focus, a sharp picture requires a fast

enough shutter speed to stop motion that would otherwise
blur the picture.

16
2. Two types of motion can blur the photo
a. Photographer motion — Unless you’re using a tripod, you
cannot hold a camera completely motionless. As a rule of
thumb, using a normal lens, you must use a shutter speed
30 or faster to stop this motion. [Note: with practice, you may
be able to hand hold slower speeds, but you still wouldn’t do so
for general photography.] Most photographers use 60 or 125
for general picture taking. Photographer motion is probably of
the most common cause of blurred photos.
b. Subject motion — A fast moving subject will be blurred
unless you use a fast enough shutter speed to stop action.
A speed of 30 will stop general motion, such as someone
walking. A car driving by at a moderate speed probably
requires shutter speed 125, and something fast such as a
pitched ball or helicopter rotor may require 500 or 1000
to stop motion [Note: You may prefer to allow a fast moving
subject to blur to show the motion.]
c. Telling the difference between out of focus, photographer
motion blur, and subject motion blur.
1. Out of focus — The subject is generally fuzzy. Some-
thing closer to or farther from camera may be sharp.
2. Photographer motion — The entire image is not sharp,
with streaks or patterns that show the same motion for
everything in photo.
3. Subject motion — The photo is sharp except for the
moving subject, which will be streaked in the direction
of motion.
3. Focal length and blur. As you increase focal length, you mag-
nify the image and increase the minimum shutter speed for
hand-holding the camera. With 35mm cameras, the general
recommendation is that the shutter speed should match the
focal length — for example, using a 200mm lens, use shutter
speed 250.
4. Electronic flash can stop motion apart from shutter speed
— more about this later.
17
G. Photography Basics — Color and the Spectrum
• What is color?
• What is the relationship between light energy and the spectrum?
• What is meant by color temperature, and how does this temperature
affect color?
• What type of light and color temperature is daylight film balanced
for?
• What happens if you use daylight film to take pictures in incandescent
and in florescent light?
• What are two techniques you can use to get proper color when taking
pictures with daylight film under incandescent or florescent light?
1. White light is actually a combination of rays that vary depend-

ing on their energy (wavelength). Color is determined by the
wavelength of light bouncing (reflecting) off an object; the rest
is absorbed by the object. If all wavelengths are reflected, the
object will appear white. If all the wavelengths are absorbed,
the object will appear black.
2. The order of the visible spectrum — red, orange, yellow, green,
blue, indigo, violet — goes from low energy to high energy
wavelengths.
3. Color is sometimes assigned a color temperature in degrees
Kelvin that indicates the relative energy and color. Lower
temperatures are toward the red end of the spectrum; higher
toward the blue. Color temperature is used to match film to
different light sources.
a. Daylight is a color temperature of approximately 5500 K to
6000 K. Most film is daylight balanced, as are most digital
cameras.
b. Incandescent light is approximately 3200 K to 3400 K. This
is why indoor pictures taken on daylight film without
flash look very yellow-reddish.
c. Florescent light varies and color temperature, and tends to
produce a greenish cast when used with daylight film.
4. When shooting pictures under incandescent or florescent light
using daylight film/digital camera, you can use two methods
to obtain proper color.
a. Use a filter that changes the light to the correct color tem-
perature.
b. Use a flash (virtually all are daylight balanced). More
about flash use shortly.

18
Summary
Available light photography consists of balancing the variables of light quan-
tity available, film/chip speed, shutter speed and lens opening, with the needs
of depth of focus, stopping action, and color.
H. Photo Basics — Camera types
• What is meant by an automatic camera?
• What is meant by a manual camera?
• What is meant by aperture priority, shutter priority and programmed
automatic exposure?
• What are the differences between manual focus, autofocus, and focus
free cameras?
In addition, you’ll be able to
• Set the camera you’ll be using in this course for automatic exposure
and/or focus, if it has those capabilities.
1. Automatic and manual cameras

a. An automatic camera is a camera that will set the exposure
for the photographer based on the film/chip ISO and the
light available. Virtually all cameras available today are
automatic.
b. A manual camera requires you to set the exposure; the
camera makes no automatic adjustments. Most manual
cameras have a light meter that guide you. Few cameras
presently available are manual cameras. [Note: This is
because most of the better automatic cameras may be set to oper-
ate manually.]
2. Automatic exposure falls into three broad categories based on
how it adjusts exposure
a. Aperture priority means you choose the aperture, and the
camera sets the shutter speed based on the light and ISO.
b. Shutter priority means you choose the shutter speed and
the camera sets the aperture based on the light and ISO.
c. Programmed means the camera sets both the shutter speed
and the aperture. Basic programmed automatic covers
general picture taking; some cameras have specific pro-
grams for action photography, portrait, etc.
3. Focus may also be automated, as you’ve already learned
a. Manual focus means you set the focus for a sharp picture.
b. Autofocus means the camera focuses for you, usually with
an indicator that tells you what the camera will focus on.
Better quality autofocus cameras can also be set on manual
focus.
19
c. Focus free means the camera uses a wide angle lens with
an aperture such that the depth of field ranges from
approximately two metres/seven feet to infinity, making
focus unnecessary. Focus free is usually found on snapshot
cameras.
4. Setting an automatic camera
Ensure that all students understand what type of camera they have, and how
to set the camera on automatic. (This varies greatly with each model, and you
may need to take some time to with an unfamiliar model.) When possible, have
various types available to show. Be sure students know how to set their camera
on automatic exposure and/or focus, and how to set it on manual (assum-
ing their camera has these settings). Take the time required to make students
comfortable with setting their cameras before continuing.
I. Photo Basics — Strobe Photography
• What are the differences between a manual and a TTL automatic
strobe?
• Why do you need a camera that’s specifically dedicated to the TTL
automatic strobe you’re using?
• What is meant by synchronization with respect to strobe photogra-
phy?
You will also be able to:
• Set the camera and strobe you will be using in this course for strobe
photography.
• Explain how to set a camera for manual strobe exposure.
• Explain how to generally set a camera for TTL strobe exposure.
1. A strobe — an electronic flash — is used when you don’t have

enough light for a picture. It is also used underwater, even
when you have ample light, to restore colors (more about this
later).
a. Manual strobes require you to set the camera manually for
a proper exposure, (even automatic cameras).
b. TTL automatic strobes provide automatic exposure — the
camera controls the strobe via an internal sensor (TTL
stands for Through The Lens).
1. To use a TTL strobe, you must have a camera that is
designed to be compatible with the strobe’s electronics.

20
2. Most TTL strobes can be set for manual use with cam-
eras that lack TTL compatibility.
3. Most TTL strobes can be set on manual even when
used on cameras with TTL compatibility.
c. Cameras with built in strobes may or may not be TTL
strobes, but once set for flash, exposure is usually auto-
matic (consult manufacturer instructions).
d. In basic surface photography, the flash is usually mounted
on the camera in a hot shoe (so named because it has
the electronic connections with the strobe) or (for large
strobes) on a bracket next to the camera connected by a
cord.
2. Setting the proper exposure for manual strobe photography
a. Shutter speed — Electronic flash is an instant light burst,
so stopping action isn’t an issue. However, the shutter
and flash must be synchronized. Synchronization is timing
between the camera and the flash so that the shutter is
open when the strobe flashes.
b. Set the shutter speed for the flash synchronization speed
for the camera (usually 60, 90 or 125 — often colored
different or has a lightening bolt icon to signify flash, or
consult manufacturer instructions). With most cameras,
speeds slower than this speed will be synchronized.
c. A few cameras (mostly larger format or older models)
have an FP or X setting. The camera must be set on X. (FP
is for flashbulbs).
d. The f-stop is set based on a scale on the strobe. Find the
subject distance and read the appropriate f-stop opposite
on the scale.
e. The exposure is based on the flash-to-subject distance.
If the camera and flash are different distances from the
subject, the camera distance may be ignored.
3. A TTL automatic strobe will control the flash exposure auto-
matically. Some will set the camera to the proper synchroniza-
tion speed automatically, too.
a. The strobe/camera vary the flash output based on ISO,
distance and f-stop.
b. Using smaller f-stops and slower films reduces the maxi-
mum distance over which you can use the strobe — see
the manufacturer guidelines.
c. The strobe usually has a guide showing the range for the
ISO and f-stop; be sure your subject is within the range.
21
You may occasionally have students who have older model strobes with an
external sensor for automation based on a preset f-stop. These aren’t covered
because they’re not used widely underwater, but you may want to show stu-
dents with such models how to set their strobes.
Make sure all students know how to use the strobe/cameras they will be
using for this course. This ends the section on basic surface photography; you
may wish to review and discuss what has been learned to assure students grasp
the fundamentals.
V. Presentation Two
A. Underwater Photography Principles — How Water
Affects Light
• What is refraction?
• How does refraction through water, glass and air affect the apparent
distance of an underwater subject?
• At what distance do you set your focus when taking underwater pictures?
• What are four causes light loss underwater, and six ways to offset these?
• For photographic purposes, approximately what distance in water does
light have to travel through to lose the colors red, orange, yellow and
green, respectively?
• What are four ways you can offset color loss underwater?
• Why do photographers usually use a strobe underwater, even during
the day?
• What is scatter, and how does it affect underwater photos?
• What is the rule of thumb for the maximum distance you should be
from your subject when taking underwater photos?
• What is the generally the best type lens to use underwater, and what
are four benefits of using it?
• How does a dome port affect lens angle and focus, and why is it used
for many types of underwater photography?
1. When light goes from passing through one medium into

another, such as from air into water, it bends. This bending of
light is called refraction.
a. When light passes through water, then glass and air, as it
does when you’re looking through a dive mask, it makes
objects appear larger/closer.
b. This is as true for a camera as it is for your eye.
c. Therefore, when focusing a camera underwater, the focus
is based on the apparent (optical) distance, not the actual
(measured) distance.

22
1. SLRs allow you to see through the camera lens; focus
until the image appears sharp.
2. Autofocus cameras will focus on the apparent dis-
tance.
3. With cameras such as the Nikonos that require setting
the estimated distance, set the apparent distance as
your eye sees it; don’t compensate by estimating the
actual distance.
2. Available light diminishes as you descend underwater through
four causes:
a. Diffusion — overcast conditions, fog, haze or smoke can
diminish sunlight before it ever reaches the water
b. Reflection — much of the light striking the surface at an
angle reflects off the water; the lower the sun is in the sky
(early morning or late afternoon), the more is lost through
reflection
c. Absorption — water absorbs light passing through it, turn-
ing it into heat
d. Scattering — particles in the water block, absorb and
reflect light.
3. There are six ways to cope with light loss underwater, which
can help independently, or combined:
a. Assure there’s plenty of light by shooting when the sun is
out and the sky is clear.
b. Stay shallow to reduce the amount of water the light must
travel through to reach it.
c. Minimize light lost to reflection by taking pictures between
approximately 10 am and 2 pm when the sun is overhead.
d. Most underwater photography employs a strobe and
available light together. (Discussed shortly) However, the
strobe can provide most or all the light when necessary.
e. Use films with higher ISO numbers that require less light.
f. Get close to your subject to reduce the amount of water the
light must travel through reflecting off of it.
4. Water absorbs light traveling through it progressively, taking
out the lower energy colors before the higher energy colors. In
clear water, the distance light must travel to absorb color (for
photographic purposes) is approximately:
Red — 3 metres/10 feet
Orange — 5 metres/15 feet
Yellow — 10 metres/33 feet
Green — 24 metres/80 feet
5. There are four primary methods of compensating for color loss
underwater.
23
a. Stay in shallow water to minimize the color loss due to
depth.
b. Use a strobe to replace the lost colors.
c. Stay close to your subject to minimize the color loss due
distance from the subject.
d. Use a filter to restore the color balance (but it cannot
replace lost color)
6. Light traveling through water strikes particles, which deflects
rays off a straight course. This is called scatter, which reduces
image sharpness. The farther you are from your subject, and
the more particles in the water, the more scatter degrades the
image. You reduce scatter by staying close to the subject.
7. As a rule of thumb, because of scatter and color loss, try not to
be farther from your subject than the lesser of 1/4 the visibility
or 1.2 metres/4 feet (there are exceptions to this).
8. Use a wide angle lens to stay within 1/4 the visibility—1.2
metres/4 feet. As you learned earlier, wide angle lenses make
the subject seem farther away, allowing you to get closer and
minimize the distance light travels from the subject to the
camera. The wide angle lens is the ideal lens for underwater
photography because:
a. Short light travel distance reduces scatter.
b. Short light travel distance improves color.
c. Wide angle lenses have great depth of field, making focus
easier.
d. Wide angle lenses tolerate more camera motion without
blurring the picture.
Because a wide lens lets you get close to your subject, be careful to avoid
inadvertent contact with sensitive aquatic life. Beginning photographers
sometimes overlook the fact that things are closer than they appear in the
viewfinder.
9. When using a camera housing, a dome port offsets the refrac-

tion so that the subject doesn’t appear closer than actual,
maximizing the value of a wide angle lens. This is why it is
used widely in underwater photography.
a. Dome ports change the optical focus distance to around
1 metre/3 feet away (this is why they don’t make domed
face masks).
b. You must choose a lenses that focuses close enough to use
with the dome port.
c. Dome ports are usually only found on housings and
camera systems for serious photographers.

24
B. Underwater Photography Principles — Submersible
Cameras, Housings and Strobes
• What are the advantages and disadvantages of a surface camera in
an underwater housing?
• What five features should you consider in selecting an underwater
housing?
• What are the advantages and disadvantages of a submersible camera?
• What two features should you consider in selecting a submersible
camera?
• What eight features should you consider when purchasing a submers-
ible strobe for underwater photography?
• What particular equipment do you need for underwater macro or close
up photography?
You will also be able to:
• Select a camera system that meets your underwater photography
needs.
1. If you already own a surface camera, you may elect to buy an

underwater housing for that camera. This has advantages and
disadvantages compared to investing in a submersible camera
(discussed next).
Advantages
a. No need to invest in a second system if you already have
accessories (wide angle lenses, etc.)
b. Usually a wider variety of lens and accessory choice than
with submersible systems
c. It’s easier to spot a leak in most camera housings than in
most submersible cameras.
d. Some types of cameras don’t exist in submersible models,
which means a housing is the only choice.
At this writing, there are no submersible digital cameras, but that may change.
Stay up to date and inform students about what options they have in this
regard.
Disadvantages
e. Housings tend to be bulky compared to submersible cam-
eras, which affects transporting them and swimming with
them.
f. For comparable high end systems (serious photography),
housed systems usually cost more than submersible
25
camera systems.
g. Setting up and changing film in a housed system usually
requires more time and effort than with a submersible
system.
h. A housed surface camera is less likely to survive a leak
than a submersible camera.
2. Housing features to consider.
a. Material — plastic housings resist corrosion, (with clear
plastic) are the easiest to spot a leak, and cost less. Metal
housings tend to be more rugged, compact and have a feel
more like a submersible camera.
b. Film changing — think about how much effort it takes
to change a roll of film or download digital memory, and
ask yourself how practical doing so would be in the dive
environments you enjoy
c. Interchangeable lens ports — For interchangeable lens
cameras, the available of different lens ports may dictate
which lenses you can and cannot use underwater.
d. Mechanical versus electronic controls — Mechanical
controls are levers and rods that control the camera. They
are simple and reliable, but each is a potential leak point
that has o-rings that must be maintained. For cameras
with electronic control systems, electronic controls can be
put in ideal locations and reduce the potential leak points.
However, electronic controls are more prone to malfunc-
tion than mechanical controls.
e. Strobe compatibility — Be sure the housing will accept the
strobe you intend to use, particularly with respect to TTL
operation.
3. The alternative to housing a surface camera is using a submers-
ible camera designed for underwater photography.
Advantages
a. If you don’t have a camera system, you can invest in one
without the additional expense of a housing.
b. Submersible cameras tend to be compact, making them
easier to transport and swim with.
c. Submersible cameras are usually simpler in set up and film
changing than a housed camera.
d. Some submersible cameras have ultrawide lenses designed
specifically for underwater use. Such lenses cannot be
designed for use in air (due to optical differences between
water and air), and are not available for surface cameras in
housings.
e. Submersible cameras are more likely to survive a leak
(though no guarantees).

26
f. Submersible snapshot cameras have a slightly higher initial
investment, but are as useful surface snapshot cameras.
Disadvantages
g. It’s usually difficult to detect a leak in a submersible camera
until you open it after the dive.
h. For serious topside photography, submersible cameras are
much more limited (accessories & lenses) compared to a
conventional SLR.
i. With only a single exception at this writing, submersible
cameras do not have SLR viewing.
4. Submersible camera features to consider
a. Strobe compatibility— most submersible strobes use the
Nikonos V TTL strobe connection, but a few don’t.
b. Accessories available — make sure you can do what you
want with the camera, which is usually affected by the
lenses and other accessories available.
5. Submersible strobes — At one time it was common to use stan-
dard strobes in a housing, but this isn’t common today, even
when using a housed camera. There are eight considerations
when selecting a strobe:
a. TTL automatic or manual (TTL is by far the most popular
and easiest to use, and can be set on manual when neces-
sary).
b. Size — larger strobes are more powerful, but bulkier.
c. Beam angle — your strobe should cover an area as wide
as the lens you’ll be using (some strobes use a diffuser to
accommodate very wide lenses).
d. Power — Usually you want the most powerful strobe you
can afford.
e. Battery types — Disposable battery strobes cost less to
purchase; rechargeable strobes cost less to use if you shoot a
lot, plus recycle (time between flashes) is much quicker.
f. Modeling light — Useful at night or low light, and aids
pointing the strobe where you want (some photographers
attach a small dive light to the side of the strobe to accom-
plish the same).
g. Variable power — Different power settings gives you more
exposure control, especially with a very powerful strobe.
h. Slave sensor — Some strobes can be set to fire when they
see another strobe go off — useful when using multiple
strobes in a large area.
6. Macro photography (extreme close up) and close up photogra-
phy require special equipment considerations.
27
a. Close up lens or extension tubes — Housed cameras usu-
ally use a special macro lens for macro photos. Submers-
ible cameras usually use add-on lenses or a tube between
the camera and the lens (interchangeable lens cameras) to
allow close up photography.
b. TTL strobe — Macro photography requires a lot of light
and exposure can be difficult; TTL strobes greatly simplify
macro photography.
c. Framer — Aiming and focus are critical when close up.
With nonSLR cameras, a framer is a wire frame that shows
you the focus distance and what is in the picture.
7. Choosing an underwater photo system — the following lists
may you help determine what type system best suits your
needs
a. Snapshot, noninterchangeable lens camera (submersible or
housed)
1. Comparatively low cost
2. Simple — point’n’shoot
3. Suitable for snaps of buddies and general scenes
4. Best in clear water
b. Interchangeable lens cameras
1. More investment in exchange for more flexibility
2. Many are automatic, but shooting is not as simple.
3. Suitable for a wide range of photo applications — best
for those with an interest in serious photography
4. Adaptable to wide range of underwater conditions
If appropriate, take a few minutes to identify the type camera system that
meets the interests and needs of each student. Tell students that it’s not
unusual to start with a casual interest and progress toward a more serious
pursuit of photography.
C. Underwater Photography Principles — Underwater

Framing and Focus
• What is parallax error?
• How do you frame a picture to include what you want and exclude
what you don’t want?
• How do you set the focus on an underwater camera?

28
1. Framing — different cameras have different ways of telling
what’s in and out of the picture; these are used the same way
above water or underwater.
a. SLRs/comparible digital cameras — Easiest to frame
because you’re looking through the lens — what you see is
what you get.
b. Viewfinder cameras have a window near the lens with a
frame showing you the picture. The closer the subject, the
more difference there is between what the viewfinder and
what the lens sees. This is called parallax error. To correct,
look for parallax correction marks in the viewfinder and
frame picture with those marks when shooting a close
subject.
c. Macrophotography uses a framer — set the frame around
the desired picture — frame is just outside the picture area.
(more about macro later)
2. Set the focus underwater just as you do on the surface.
a. SLRs — focus until picture is sharp.
b. When using a non-SLR (so you can’t see through the lens)
such as the Nikonos, remember to focus on the apparent
distance.
c. With a macrophoto framer: The lens is set for the clos-
est distance when using extension tubes. With Nikonos
closeup kit, the lens is set for infinity. The plane of focus
matches the plane of the framer.
D. Underwater Photography Principles —

Underwater Exposure
• How do you determine the available light exposure underwater?
• How do you set a strobe for TTL automatic exposure underwater?
• How do you set a strobe for manual exposure underwater?
• What is fill light?
• How do you set a TTL strobe for fill light exposure underwater?
• How do you set a strobe for manual fill light exposure underwater?
• What is backscatter and how do you avoid it?
• How do you bracket your exposure underwater?
• Set the camera and strobe you’ll be using underwater for proper expo-
sure underwater.
29
1. Available light exposure — determine available light exposure
underwater just as you would at the surface
a. be careful not to get false reading from white sand bottom
b. be careful not to get a false reading from the surface
toward the sun
c. when possible, get close to your subject for the exposure
(this ability to do this may be limited by your camera)
2. TTL strobe exposure — set the strobe underwater the same as
you’ve already learned. Your flash range will be shorter under-
water than in air, however. Be sure to check the guide chart on
the strobe to be sure your subject is within the range for the
ISO and f-stop you select.
3. Manual strobe exposure — same as in air except you must
use an underwater exposure scale for determining exposure
underwater
a. It’s a good idea to take test pictures and compare your
results with the scale — you may find you want slightly
more or less exposure.
4. Fill light — Fill light is a secondary light used to fill shadows
and create a more pleasing picture. Day photography, the
sun is usually the main light and your strobe is the fill light.
Underwater, the fill also replaces lost color — so most UW
photography calls for using a strobe.
a. Typical fill light exposure above water is usually set so that
it is one or two stops less than the main light exposure. For
example, if the ambient light calls for f11, the strobe power
may be set so that it would require f8 or f5.6.
b. Underwater, fill light may actually be equal to or some-
times greater than main light exposure.
c. Fully automatic snapshot cameras may have fill light capa-
bility.
5. Setting a TTL strobe for underwater fill light (adjustable
camera systems).
This is by far the most useful and common shooting set up for Nikonos V or
modern housed SLR system with a submersible strobe. Be sure your students
understand how to set their systems for TTL fill light.
a. Set the camera on manual at the synchronization speed,

and the strobe on TTL automatic.
b. Use the camera light meter to find the appropriate f-stop
for the ambient light. Set the aperture for the next higher
half to full f-stop (slightly underexposed).

30
c. Shoot pictures. The TTL automatic will vary the strobe
power to provide balanced fill light.
d. For a lighter background — use the aperture indicated by
the light meter.
e. For darker fill light — do the same as above, except after
setting the camera, turn the ISO dial to an ISO number
twice the actual (e.g. if using ISO100, set to ISO 200). This
causes the strobe to use less light for the fill.
Some cameras have an exposure compensation dial that you can use instead of
changing the ISO number.
f. For point-n-shoot automatic TTL fill — set both the camera

and flash on automatic. This is easy, but there will be varia-
tions in relative strength of the ambient and fill light.
6. Setting manual strobe fill light (adjustable camera systems)
a. Set the camera on manual at the synchronization speed,.
b. Use the camera light meter to find and set the appropriate
f-stop for the ambient light. Close the lens one half to one
f-stop from this setting.
c. Set the strobe so that on the exposure guide, it requires
the f-stop you’ve actually set on the lens. Adjust the strobe
power (if available), get closer or fart her from subject, or
hold strobe closer or further back from subject as neces-
sary.
d. For a lighter background, set f-stop for ambient light. Set
flash power/distance so f-stop on exposure guide calls for
the same or next wider f-stop (lower number).
e. When in doubt, set the lens for the highest f-stop number
called for, strobe or ambient light.
7. Backscatter is strobe light reflected off particles into the camera
lens — makes picture look like a snow storm, and can be a
problem even in very clear water.
a. To avoid backscatter: Aim strobe so as to minimize the amount
of light from strobe that passes between the camera and subject
that could illuminate particles near the lens.
1. Hold/mount strobe away from the camera lens at
approximately 45 degrees, on or slightly above camera
level and aim at subject.
2. With wide beam strobes, it may help to point strobe
slightly behind subject to light it with the edge of the
flash beam and reduce light passing between camera
and subject.
3. With wide beam strobes, you may have the strobe off
31
to the camera side, strobe face even with lens face, so
that the beam edge lights the subject.
It’s best to demonstrate this. Show students how to hold and to refer to the
PADI Underwater Photographer Manual to get the concept across.
b. This is why it’s desirable to have a separate strobe for UW

photography.
c. For manual strobes, hold at about same distance from
subject as camera is.
d. Strobe arms can hold a strobe remarkable far from the
camera. Be careful to avoid bumping sensitive aquatic life
with the strobe.
8. Bracketing — shooting the same picture with different expo-
sures to assure that one has the optimum exposure
a. Manual, no strobe — vary shutter speed or f-stop to shoot
photo at metered exposure, one speed/stop brighter, and
one speed/stop darker than metered.
b. Manual, with strobe — vary f-stop — shutter speed must
stay same for synchronization
c. Automatic camera/strobe systems — Vary exposure
compensation dial (if so equipped — see camera manual).
If no compensation dial, use ISO setting: Shoot one picture
at actual ISO number, one at half ISO number and one at
twice ISO number
d. May not be possible to bracket with some fully automated
snapshot cameras.
e. Manual with strobe, bracketing with strobe distance (used
in macro photography and to bracket fill light without
changing ambient light) — determine exposure based
on strobe to subject distance; shoot one picture at that
distance, one with strobe moved in approximately 1/4
the distance, and one moved out approximately 1/3 the
distance.
At this point, give students a chance to work with their camera systems in
groups of two or three and become familiar with ways to set their equipment
for strobe photography. Make up sample problems in which you give subject-
camera-strobe distances and ISO, and have students set up their equipment
accordingly. Before moving on, make sure students can demonstrate how to
set their systems, including fill light and bracketing.

32
E. Underwater Photography Principles — Composition
• What is composition?
• What are foreground, background, negative space and separation?
• What are the six basic elements of composition?
• What is the most useful and common shooting angle underwater, and
why?
• How do you hold a strobe for front lighting, top lighting, back light-
ing and side lighting, and when would you use each?
1. Composition is the arrangement of elements in a picture with

regard to positions, colors, lines and patterns, so as to create a
pleasing picture.
2. Four concepts relate to composition
a. Foreground is the area in the picture between you and the
subject.
b. Background is the area in the picture behind the subject.
c. Negative space is an area in the photo that has nothing that
draws attention — it may be empty space, or an area of
background that’s repeated sufficiently to be ignored by
the viewer
d. Separation is the ability to make the subject stand apart
from the foreground and background, giving the photo
depth.
3. Six basic elements of composition
a. Image completeness — the viewer needs to feel like the
subject has all the needed elements; avoid unnatural
cropping that makes the subject seem incomplete, such as
cropping a diver’s feet out at the ankles.
b. Noncompetitive foreground — the foreground shouldn’t
distract and compete for attention with the subject.
c. Noncompetitive background — likewise, the background
shouldn’t distract and compete for attention with the sub-
ject.
d. Subject direction — generally, place subject that can move,
has a face, or moves so it faces into the picture and toward
the camera (even obliquely).
Shots that are a composition of many elements, such as an overall shot of a

reef, may not have distinct single subject, so foreground, background and
direction may not be an issue.
33
e. Subject position — best positioning is subjective and
depends upon the picture, but a good rule of thumbs is
to mentally divide the frame into thirds horizontally and
vertically, and center the subject on one of these imaginary
lines. Don’t forget that many underwater subjects work
better with a vertical format — turn the camera on its
side.
f. Complementary colors — as a rule of thumb, contrasting
colors give pictures more snap, though monochromatic
(predominantly one color) photos — particularly silhou-
ettes — can be quite dramatic.
4. The most useful shooting angle for most underwater photog-
raphy is from a low angle, toward the surface at an angle
a. separates the subject from the foreground
b. creates desirable blue/green negative space behind/
around subject
c. gives animals and divers more apparent stature and sig-
nificance
d. minimizes distracting foreground and background
5. Strobe angles affect your composition.
a. Front lighting — strobe approximately 45 degrees from
subject and camera, at or slightly above camera level as
already discussed, simulates sunlight and is your all round
fill-light position.
b. Top lighting — strobe directly over subject, aimed away
from camera to prevent light flare in lens; good when it’s
hard to separate subject from background. Tends to create
foreground shadows.
c. Back lighting — strobe on far side of subject facing camera;
creates silhouette; tends to be dramatic, but use sparingly.
Subject must completely mask strobe, or light will flare
into lens.
d. Side lighting — strobe approximately 90 degrees directly
off of subject, aimed slightly away from camera to prevent
light flare in lens; shows texture and creates dramatic
shadows.
Make sure students understand composition principles before continuing.

34
F. Diving with a Camera
• How should you carry your camera system to be prepared for an emer-
gency?
• What are two safety guidelines regarding air checks and the buddy
system when taking underwater photos?
• How should you enter and exit the water with an underwater camera
system?
• How should you adjust your buoyancy for underwater photography?
• What’s the ideal technique for a steady shot underwater?
• How can underwater photographers avoid damaging the underwater
environment?
• What should you do if you flood your underwater camera or strobe?
1. Safety
a. You should always be able to immediately discard your
camera in an emergency — in most cases, you can recover
it later. If not, even the most expensive camera isn’t worth
risking your health or life.
b. The preferred method is to simply hold the system in one
hand.
c. A loose wrist strap is acceptable, provided you can remove
it without hesitation if need be.
d. Cameras may be clipped to the BCD.
e. Don’t neglect checking your air. Make a point of checking
more often than usual when taking pictures.
f. Maintain buddy contact. Teams of photographer model
work well. If diving with another photographer, check on
each other after each shot. Use some technique that assures
buddy contact.
2. Entries and Exits
a. Boat diving or diving from a platform
1. Don’t giant stride or roll into water holding camera;
impact can jar seals and cause a flood.
2. Have someone hand you the system, put it on the
swim step where you can reach it, or lower on a line
to retrieve after you enter (be careful not to lower
into reef or bottom, and don’t use in rough conditions
because this can damage the camera by jerking it up
and down). Reverse for exits. Keep your hands free for
handling entries and exits.
3. Show anyone who will handle the system exactly how
to hold it, and where to put it before and after the
dive.
35
b. Beach diving
1. Avoid strong surf — even if you can handle it, the
camera may not and conditions are likely to be poor
for photography.
2. A wrist lanyard may help avoid loss in mild surf.
3. Do not set your camera system down in the sand. The
O-rings will pick up sand, which can damage seals.
c. It’s usually best to have the lens/port cover on during
entries and exits.
3. Buoyancy control and underwater photography
a. camera systems usually add weight and drag — com-
pensate by adding air to your BCD — don’t dive under-
weighted because you may be too buoyant if you lose your
camera
b. swim slowly and remember to check your air more fre-
quently because you’ll tend to use it faster due to the drag
4. The ideal technique is to be neutrally buoyant; hold the camera
firmly and press the shutter button slowly.
a. Do not let your feet damage sensitive organisms; don’t steady
yourself on sensitive reef.
b. some photographers like to be slightly overweighted (1-2
kg/2-5 lbs) so they can steady themselves on insensitive
bottom — use this technique sparingly
5. To avoid harming the environment
a. be careful about your hands, feet and the camera when
shooting near sensitive aquatic life
b. remember that no picture is worth hurting the environ-
ment to get
c. be cautious about moving organisms to get a more pleasing
picture — may harm the organism, and may put it in an
unnatural setting
d. don’t allow photo equipment to dangle and drag on the
reef
e. when in doubt, be conservative and leave the organism in
question alone
6. If you flood your camera, strobe or housing
a. Surface immediately, but do not exceed 18 metres/60 feet
per minute or your computer’s ascent rate — no camera is
more important than your safety.
b. With a housing, turn so accumulating water stays away
from camera — usually lens port down.
c. Hand up to someone on boat. With a housing, advise to
not change housing position (so camera doesn’t get wet).

36
d. A surface camera will usually be ruined by even minimal
contact with water. A flooded submersible camera or
strobe may survive. Consult the manufacturer literature
about what to do after flooding, and return the equipment
to the manufacturer for service. Do not use a housing that
flooded again until you have determined the cause of the
leak.
G. Set Up and Maintenance for Underwater Photo Systems
• What tools and materials do you need for underwater photo system
maintenance?
• How should you care for a camera system after a dive?
• Clean and lubricate an o-ring using the five step procedure.
• Perform a predive battery and electronics check of a camera.
• Perform a predive lens check.
• Perform a predive strobe check.
• Set up the camera system you’ll be using for the first underwater pho-
tography dive.
The following should be a hands-on session in which students practice cleaning

and lubricating o-rings and set up their equipment. Be sure to have the recom-
mended tools and materials on hand. Students using some equipment, such as
macro equipment, may need additional guidance in setting up their gear.
1. Although underwater systems can flood due to defect, the vast

majority of floods are caused by human error. Proper mainte-
nance avoids expensive floods.
2. You’ll want these suggested tools and items for routine under-
water photo system care.
a. flat head and Phillips head screwdrivers, regular and jew-
elers sizes
b. pointed nose pliers
c. adjustable wrench
d. small allen wrench set
e. tooth brush (for cleaning threads)
f. lint free cloth
g. cotton swabs
h. lens cleaner
37
i. lens cleaning tissue
j. silicone grease
k. electrical contact cleaner
l. spares of all O-rings
Avoid spray silicone. It can damage the chemical structure of some plastics,
and has little use in underwater photography in any case.
3. Proper O-ring maintenance is the most important step in pre-

venting a flood.
a. Remove O-ring by pinching with fingers or credit card
corner (avoid sharp/hard objects, which may damage o-
ring and o-ring groove).
b. Wipe O-ring clean with soft, lint-free cloth; avoid stretch-
ing O-ring while cleaning. Gently remove all dirt/grit.
Inspect for nicks or cracks by bending gently; replace if
damaged.
Never use a damaged or questionable O-ring because there is a substantial

possibility for a leak.
c. Apply a thin coat of silicone grease to O-ring and distrib-

ute evenly. O-ring should look wet, but not excessively
greasy (grease allows O-ring to slide in place in groove;
excess grease doesn’t increase watertightness, but attracts
dirt and threatens watertightness)
d. Clean O-ring groove with cotton swab or cloth; inspect for
and remove all dirt/hair etc.
e. Gently replace O-ring.
4. Before diving, check the camera battery and electronics
a. Remove batteries and check with battery tester; replace if
weak
b. Wipe battery contacts with clean cloth or pencil eraser and
replace
c. Turn on camera and check that all systems operate. [Help
students based on their individual cameras.]
5. Before diving, check the lens.
a. Check front and rear (removable lenses) and clean with
lens tissue and cleaner if necessary.
b. Check focus and aperture settings if they cannot be reset
underwater. [Help students based on their individual
cameras.]

38
6. Before diving, check the strobe.
a. Put batteries in strobe or charge strobe batteries.
b. Connect strobe to camera and/or housing — no film in
camera.
c. Turn on strobe, wait for ready light. Test fire aiming
camera and strobe at a close subject and shooting. TTL
confirmation light (be sure camera lens cap is off) should
come on.
7. Camera systems assembly — here are the generally recom-
mended steps for assembling an underwater photo system.
a. Remove, clean and replace O-rings of housing/submers-
ible camera and strobe
b. Check camera battery, electronics and lens.
c. Check strobe function.
d. Load camera with film (if appropriate)
e. Assemble and close submersible camera, or install camera
in housing and close.
f. Assemble strobe, close battery compartment and attach
cord to strobe and camera/housing.
g. Assemble brackets and remaining system components.
8. Post dive care is important for long term reliability of your
equipment
a. After diving, submerge camera system in fresh water and
gently agitate back and forth for at least one minute. This
flushes out trapped salt and dirt. Ideally, soak another 30
minutes.
• Important: Do not let your system dry unrinsed. It is
better to keep it wet in salt water until you can rinse if
necessary.
b. Gently dry.
c. Disassemble. If diving again, inspect and clean O-rings
as necessary. If not diving, remove O-rings and store in
plastic bags.
d. Unload film or download images. Reload film if diving
again.
e. Remove strobe batteries for storage, or replace/recharge if
diving again.
f. Clean/lubricate accessories as necessary (strobe arms etc.)
for storage.
39
H. Underwater Photo Situation — Macro Photography
The macro photo and still life topics are included before Underwater Pho-
tography Dive 1 because those are the two option for that dive. If all of your
students will be doing macro or still life, you may give the other topic as part
of Presentation 2.
Also, note that the photo situation presentations may repeat previously
covered material to bring it into context.
• What are close up and macro photography?
• How do you determine the proper focus when taking close up and
macro photos?
• What is the most practical way to determine the proper exposure when
taking close up and macro photos?
• How do you bracket when taking macro photos?
• What composition considerations apply to macro photography?
1. Close up photography is photos of areas approximately 20

cm/8 in by 20 cm/12 in. Macro photography is extreme close
up photography. The image is 1/3 life size or larger on the
slide or negative, or relative to the computer chip.
a. Submersible cameras usually employ a close up kit — add-
on lenses that attach to the front of the lens — for close up
photography. Extension tubes between camera and lens
can also be used, for macro photography, usually in set of
1:3, 1:2, and 1:1 (the ratio of subject size to image size on
the film or negative; 1:1 is the closest). Close up and macro
photo setups use framers for focus.
b. Housed cameras and submersible SLRs usually employ a
macro lens or close up adapters on a normal (50 mm) lens.
2. Focus — It’s easy to determine focus because the framers mark
the focus distance. However, the depth of field is very narrow
with macro, and keeping the entire subject within it can be a
challenge.
a. Using framers — focus by putting the subject in the plane
defined by framers; with relatively little depth to or away
from camera. There’s no need to look through the camera
viewfinder. Consult manufacturer instructions, but with
most close up kits (add-on lenses), set the lens distance at
infinity for correct focus. With most extension tubes, set
the lens distance for the closest setting.

40
b. Housed cameras/submersible SLRs — focus through the
lens as usual. It may be easier to preset focus and move
camera in and out slightly than to try to adjust lens.
3. The most practical way to set exposure is to use TTL strobe
exposure. For close up photography, set the focus for infinity
(or as directed by the lens manufacturer) and the f-stop for the
smallest possible aperture in the TTL range (usually f22). For
macro photography:
a. Set lens at smallest aperture to maximize depth of focus.
b. Hold, or adjust bracket so strobe is above camera (be
careful not to put where framer will cast a shadow in the
picture). For 1:3 extension tube, put strobe approximately.
23 cm/9 in. from subject. For 1:2, 18 cm/7 in. For 1:1, 10
cm/4 in.
c. TTL will automatically control strobe output; bracket by
adjusting the compensation dial or changing the ISO set-
ting.
4. Close up and macro composition and shooting tips
a. Separation is important — look for contrasting colors
between subject and background to maximize separation.
b. A low angle is desirable, but less significant and less
important than in other types of UW photography.
c. Try to make the subject recognizable, especially when
making macro photos of a portion of something (e.g. a
close up of a fish face is recognizable; a fin and scales may
not be).
d. Experiment with flash angle for image depth and drama.
e. When using framers, you’re looking down from above,
seeing an angle different from what the camera sees. Take
this into account when composing.
I. Underwater Photo Situation — Still Life
• What is a still life?
• How do you set focus for still lifes?
• How do you bracket focus for still lifes?
• How do you set exposure and bracket exposure for still lifes?
• What composition considerations apply to still life photography?
1. A still life is a photo of a nonmoving subject, usually of moder-

ate size, such as a traditional still life of a bowl of fruit. Under-
water, a still life may be a coral head, a sponge, a group of sea
urchins, the underside of a water lily, etc. Still lifes make good
subjects for studying exposure and composition because you
41
can try many different techniques and compare them (fish
don’t usually stay still long enough).
2. You set focus for still lifes as you’ve already learned.
a. If there’s not enough depth of field to make the entire
subject sharp, you may want to bracket your focus.
b. Bracket by setting the distance for the center. Shoot one
there, then pull back so the front is in focus and shoot, and
then push forward so the rear is in focus and shoot.
3. Set your exposure and bracket it as you’ve already learned.
4. Composition considerations:
a. Most still lifes benefit from low angle shooting.
b. Experiment with strobe placement — side lighting can be
quite effective.
c. Try a silhouette: no strobe, low angle with subject between
camera and surface toward sun. Set exposure for brightly
lit water behind subject (automatic cameras will do this
automatically). Focus on subject. In shallow, clear water,
don’t shoot directly into sun — shoot with sun off to one
side.
d. Colors and negative space are important for a successful
still life.
VI. Underwater Photo Dive One

A. General Open Water Tips and Considerations
1. Under your guidance, have students prepare their own photo
systems for the dives. (This may have already been done as
part of the knowledge development presentations)
2. It helps to have qualified personnel assist with in-water train-
ing. Assistants can help students prepare their photo systems
and watch what they do underwater.
3. On each dive, provide students with a picture-taking “assign-
ment” — a short list of subjects to take pictures of (perhaps
local aquatic organisms) based on the dive objectives. Describe
or show examples of pictures to them you would like them
to take. However, don’t overload students with large assign-
ments. Have them concentrate on just a few types of pictures.
4. To reduce student frustration and increase their chance of
success, it is recommended that Underwater Photo Dive 1 be a
macrophotography dive (with equipment such as a: Nikonos
V, 1:3 extension tube, and TTL strobe). Macrophotography is
the easiest form of underwater photography for the beginning
camera enthusiast. The idea is to get students off to a good
start by setting them up for success with their first roll of
film.

42
5. Remind students of their responsibility to the environment.
6. As soon as possible after a dive, review each student’s pictures
individually. Provide the one or two most constructive sug-
gestions for improvement, but don’t point out every little flaw.
Remember, the student may be very pleased with the results
and too much critique may turn the “success” into a perceived
“failure.” New photographers can remember every nuance,
and will make better progress by concentrating on only a
couple areas at a time.
7. Keep students in as shallow water as possible. This allows
them time to complete their assignment and provides the
ambient light needed for good pictures.
8. Remind students never hold their breath when shooting, but
to exhale slowly and steadily.
B. Performance Requirements
One of the challenges with underwater photography courses is that students

entering the course may have different types of camera equipment. To offset
this, objectives for each dive may be varied to match the equipment used by
students. From the following sets of objectives, choose the set that best suits
each individual. For example, a student using a Nikonos camera and strobe
should have a different set of dive objectives from a student using a camera
that does not have as many accessories, allow the lens to be changed or have
a strobe attached. This means that different students may be taking different
kinds of pictures.
or students using cameras with macro and strobe photography

F
capability — taking macro photographs.
Performance Requirements.
By the end of this Underwater Photography Dive One, the student should
be able to:
• Prepare and assemble an underwater camera system for macropho-
tography.
• Set the shutter speed, aperture and focus appropriately for macropho-
tography.
• Frame and expose a complete roll of film, taking underwater macro-
pictures.
• Bracket the exposure of each type of photo taken underwater by vary-
ing either strobe-to-subject distance or on automatic cameras, chang-
ing the ISO number.
• Compose each macro photo with consideration of flash angle, camera
angle, subject position, image completeness, foreground, background
and complementary colors.
43
or students using cameras without macro accessories and/or a
F
strobe — taking pictures of aquatic still-life (i.e., starfish, resting
fish, plants, attached animals, etc.
By the end of this Underwater Photography Dive One, the student should
be able to:
• Prepare and assemble an underwater camera system.
• Set the shutter speed and aperture (if appropriate) for an exposure
based on manual meter readings, general film exposure information
or automatic programing information.
• Focus the camera by varying subject-to-camera distance or focus knob
setting.
• Frame and expose a complete roll of film, taking underwater still-life
pictures.
ing either shutter speeds or f/stops (if appropriate).
• Compose each still life photo with consideration of camera angle,
subject position, image completeness, foreground, background and
complementary colors.
C. UW Photo Dive One

1. Briefing
a. Evaluation of conditions
b. Facilities at dive site
c. Entry technique to be used — location
d. Exit technique to be used — location
e. Bottom composition and topography around the training
site
f. Depth range on the bottom
g. Ending tank pressure — when to terminate the dive
h. Interesting and helpful facts about the dive site
i. Special communication underwater and topside
j. What to do if an emergency arises
k. What to do if separation from buddy occurs
l. Buddy assignments
m. Overview of photography objectives
2. Predive procedures
a. Prepare personal equipment.
b. Calculate no-decompression limits.
c. Don personal dive equipment.
d. Predive safety check.
e. Entry

44
3. Students dive in buddy teams and complete assigned photog-
raphy, within limits of air, no decompression time, etc.
4. Post-dive procedures.
a. Exit
b. Check in with the divemaster (if appropriate).
c. Remove and stow equipment
d. Review dive tables for PG.
e. Attend to UW photo equipment (rinse and stow appropri-
ately).
5. Debriefing
a. Identify positives in student performance.
b. Identify negatives in student performance and how to
avoid them in future dives.
c. Review objectives; have students explain what they
accomplished and what they learned.
d. Review how student technique affected the environment
— negatively or not at all.
6. Log dive -- instructor signs log
VII. Presentation Three
If necessary for logistics, Presentation Two may be combined with Presenta-

tion One and presented prior to Underwater Photography Dive One. How-
ever, all of Presentation One should be presented prior to that dive.
A. Underwater Photo Principles — Selecting Film
The following discussion doesn’t apply to digital cameras, but should be cov-
ered even if all students are using a digital camera because typically, most will
end up using film cameras at least occasionally.
• What is meant by a slow film, and what are the advantages and
disadvantages of using one?
• What is meant by a fast film, and what are the advantages and dis-
advantages of using one?
• What are the advantages and disadvantages of using slide film?
• What are the advantages and disadvantages of using print film?
45
1. Slow versus fast film
a. Films with an ISO of 100 or lower are considered slow films
b. Films with an ISO of 200 or higher are considered fast films
2. Advantages and disadvantages of slow films
a. Slow films have finer grain for better detail, especially
when enlarged.
b. Slow films are easier to work with in bright conditions.
c. Slow films have narrow depth of field and may be difficult
to work with in dim conditions.
3. Advantages and disadvantages of fast films
a. Fast films provide more depth of field and versatility for
low or marginal light conditions.
b. Fast films may be too fast in bright conditions.
c. Fast films have less quality than slow films, and don’t
enlarge as well.
4. You can choose to shoot color print film, or color slides.
5. Advantages and disadvantages of slide film
a. Slide film costs more to buy, but less to process
b. Slides have narrow exposure latitude (less room for error),
so it helps you learn proper exposure
c. Slides have better color saturation and contrast than
prints.
d. Regular size prints from slides cost more than prints for
negatives (enlargements are generally the same).
e. Most serious underwater photographers shoot slides.
6. Advantages and disadvantages of print film
a. Print film costs less to buy but more to process.
b. Prints have wide exposure latitude, making acceptable
pictures likely even when shooting isn’t right on.
c. Prints are easier to show and share (no projector needed).
d. Regular size prints cost less than from slides.
e. Snapshooters and casual photographers usually prefer
prints.
B. Underwater Photo Principles — Using Multiple Strobes
• Why would you use multiple strobes?
• What are the two ways to trigger more than one strobe?
• What are meant by the main light and the fill light?
• What is the basic way you would position two strobes?
• How do you set the exposure for two strobes?

46
1. Multiple strobes allow you to create more natural fill light, espe-
cially when shooting very close with slow film, such as a fish
portraits. Multiple strobes may also be used to cover a wide area
with a very wide lens.
2. Triggering multiple strobes
a. Strobe cord — special cords with TTL connections allow
you to connect and control two or more strobes to your
camera.
b. Slave — Only one strobe is connect to the camera; a slave
sensor in the other strobe(s) detects the first flash and fires
the slave strobe.
3. Basic positioning for two strobes — unequal power
a. TTL
1. The main strobe is the stronger strobe and stimulates
sunlight. It is positioned much like a single strobe — off
camera and above the subject about 45 degrees.
2. The fill strobe balances the main with weaker light. It
is position on the opposite side of the subject from the
main, and is lower.
3. The TTL exposure will be based primarily on the main
strobe. The fill strobe should have approximately half
the power (or less) of the main, (by being smaller,
adjustable on TLL, using a diffuser, or distance).
Depending on the system, the TTL system will auto-
matically control the output of either or both strobes
(consult the manufacturer instructions).
b. Manual
1. The main strobe is the stronger strobe and stimulates
sunlight. It is positioned much like a single strobe — off
camera and above the subject about 45 degrees.
2. The fill strobe balances the main with weaker light. It
is position on the opposite side of the subject from the
main, and is lower.
3. The exposure is always set based on the main strobe.
Set camera for main strobe as you would if it were the
only light source as already discussed. If strobes have
different power, use the stronger as the main strobe.
4. The fill strobe is set to provide about 1/2 or less light
than the main strobe.
5. For slave systems — set the main strobe on full power
and fill strobe on 1/2 or lower power, OR, move fill
strobe 1/3 or more further back from the subject.
4. Basic position for two strobes — equal power.
a. Set strobes at same level, on either side of camera at camera
level, aimed straight ahead. In silty conditions, may be
aimed slightly away from camera to reduce back scatter.
47
b. Set strobes on TTL, and set the camera as you would for
balancing ambient light with a single strobe fill light. This
will provide wide even fill coverage — especially useful
for fill light with very wide lenses.
C. Underwater Photo Situation — Fish and Wildlife Portraits
• What equipment do you use for fish and wildlife portraits?
• What composition considerations apply to fish and wildlife portraits?
1. You can take fish and wildlife portraits with most camera sys-
tems. Systems that let you focus with in 30 centimetres/1 foot
are ideal for fish pictures.
2. Compositional considerations
a. Try to shoot animals from a low angle to give them signifi-
cance and separation.
b. Eye to eye contact with the subject makes the photo more
personal.
c. The subject should be headed toward camera (even
obliquely)
d. Showing natural behavior (feeding, mating, defending ter-
ritory) adds significantly to shot.
3. The challenge in fish/wildlife portraits is patience — move
slowly and fluidly so as to not scare the subject, anticipate
where the animal will go. Don’t chase or distress your subject.
D. Underwater Photo Situation — Diver Photos
• What equipment do you need for diver photos?
• How should you coach your model for photographs?
• What compositional considerations apply to diver photography?
1. You can take diver photos with most camera systems. The
ideal is a system with a moderately wide to very wide angle
lens so you can be within 1 metre/3 feet and still fit the whole
diver in the picture.
2. Unlike wildlife, diver subjects will cooperate. Encourage your
models to:
a. Wear streamlined attractive equipment (photos better and
doesn’t damage environment).
b. Swim slowly with feet pointed back (makes divers look
fluid)

48
c. Exhale slowly (provides nice gentle bubble trails instead of
massive clouds)
3. Compositional considerations
a. Low angle very important
b. Strobe should be on opposite side from diver’s approach
to fill mask.
c. Shots of divers doing something rather than just swim-
ming add interest
d. Colorful dive equipment contrasts better than black and
provides separation.
E. Underwater Photo Situation — Close/Wide Photos
• What is a close/wide photo?
• In a close/wide photo, what is the main subject and the secondary
subject?
• What equipment do you need for a close/wide photo?
• What is the angle used for a close/wide photo?
• How do you set up and expose for a close/wide photo?
1. Close/wide photos are some of the most dramatic underwater

photos. They consist of a very close still life subject (the main
subject) properly exposed by strobe and balanced to the sun or
surface behind the subject, often with the silhouette of a diver
or boat (the secondary subject).
2. Close/wide photos require a strobe and an extremely wide
lens that focuses close — ideally to 30 cm/1 ft. In 35 mm
cameras, the focal length must be 24mm or wider, with 20 mm
and a dome port (housed systems) preferred. You cannot take
close/wide photos with snapshot cameras.
3. Close/wide shots are taken nearly straight up — an extremely
low angle, though the result often looks like a normal angle.
The composition is vertical (camera turned on side).
4. Setting up a close/wide shot.
a. Find a main subject that at a distance of less than 60 cm/2
ft, fills approximately 1/4 to 1/3 of the bottom of the
frame.
b. Get well below subject and compose shot so that surface/
sun are behind it.
c. Set f-stop to f11 or higher (smaller aperture) based on
exposure from sun/surface.
d. Aim strobe at main subject from distance that obtains cor-
rect exposure for f-stop (TTL greatly simplifies this).
49
e. Direct secondary subject (silhouette diver) into desired
spot (if using).
VIII. Underwater Photo Dive Two
A. Performance Requirements
For students using cameras with strobe photography capability
— Balancing strobe and natural light.
By the end of this dive, the student should be able to:
• Prepare and assemble an underwater camera system for strobe pho-
tography. (Recommended: a lens with a focal length of 35mm or less.)
• Set the shutter speed appropriately for strobe synchronization.
• Set aperture based on ambient light — read with manual meter and
automatic camera readings.
• Manipulate strobe power or strobe-to-subject distance such that a
balance with the ambient light is achieved.
• Focus, frame and expose a complete roll of film, taking underwater
balanced-light pictures.
ing either strobe-to-subject distances or f/stops.
• Compose each photo with consideration of flash angle, camera angle,
subject position, image completeness, foreground, background and
complementary colors.
F
or students using cameras without a strobe — taking pictures
of a dive buddy.
By the end of this dive, the student should be able to:
• Prepare and assemble an underwater camera system.
• Set the shutter speed and aperture (if appropriate) for an exposure
based on manual metre readings, general film exposure information
or automatic programing information.
• Focus the camera by varying subject-to-camera distance or focus knob
setting.
• Frame and expose a complete roll of film, taking diver pictures.
ing either shutter speeds or f/stops (if appropriate).
• Compose each diver photo with consideration of flash angle, camera
angle, subject position, image completeness, foreground, background
and complementary colors.

50
B. UW Photo Dive Two
1. Briefing
a. Evaluation of conditions
b. Facilities at dive site
c. Entry technique to be used — location
d. Exit technique to be used — location
e. Bottom composition and topography around the training
site
f. Depth range on the bottom
g. Ending tank pressure — when to terminate the dive
h. Interesting and helpful facts about the dive site
i. Special communication underwater and topside
j. What to do if an emergency arises
k. What to do if separation from buddy occurs
l. Buddy assignments
m. Overview of photography objectives
2. Predive procedures
a. Prepare personal equipment.
b. Calculate no-decompression limits.
c. Don personal dive equipment.
d. Predive safety check
e. Entry
3. Students dive in buddy teams and complete assigned photog-
raphy, within limits of air, no decompression time, etc.
4. Post-dive procedures
a. Exit
b. Check in with the divemaster (if appropriate).
c. Remove and stow equipment
d. Review dive tables for PG.
e. Attend to UW photo equipment (rinse and stow appropri-
ately; disassemble and store if appropriate).
5. Debriefing
a. Identify positives in student performance.
b. Identify negatives in student performance and how to
avoid them in future dives.
c. Review objectives; have students explain what they
accomplished and what they learned.
d. Review how student technique affected the environment
— negatively or not at all.
6. Log dive -- instructor signs log
51
IX. Course Conclusion
A. Meet with each student individually and discuss the results of the
dives. Give a brief critique of photos, based on the results, and
based on what you learned about what the student wants out of
photography (e.g., A snapshooter doesn’t need a discourse on
improving close/wide shots).
B. Encourage students to continue their photography and educa-

tion. One way is to offer to continue to critique their photos, and
welcome them to take pictures during other appropriate specialty
training dives (not feasible in all specialities and training dives)
such as Underwater Naturalist or Boat Diver.
C. It’s recommended that you hold a social event (gathering, party,

dinner, part of dive club meeting) with the class. Encourage every-
one to share pictures, and invite others to spread the excitement.
D. Issue wall certificates, chevrons and complete any remaining

paperwork (PICs).

52
Appendix
Optional Confined Water and Open Water Sessions
Optional sessions are not required, but you may wish to include them based
on logistics and student interests and needs. Because these are optional
sessions, there are no learning objectives. Instead, they suggest goals and
activities these sessions, but you aren’t limited to these goals and activities if
student needs and interests suggest others.
I. Optional Confined Water Session

A. This session is particularly useful for students with little or no
experience with photography prior to entering the course.
B. The confined water session fits well after Presentation Two and
before Underwater Photo Dive One.
C. Suggested goals and activities

1. Equipment set up. Have students completely prepare their
camera systems for diving under your supervision.
2. Shooting practice. Have students practice taking pictures in
the manner they’ll use during the Underwater Photo Dive(s). It
helps to have colored objects, such as plastic toys, for students
practice shooting. They can also take pictures of each other.
3. Buoyancy and avoiding damaging aquatic life practice. Have
students practice steadying themselves and shooting without
touching the bottom. After they show proficiency, have them
practice with their feet near pool wall, ladder, etc. without
touching the bottom or the nearby object.
4. Equipment tear down and maintenance. Have students rinse,
disassemble and store their camera systems under your super-
vision. It’s suggested that you have them do this as though
there were diving in salt water, even if the session was held in
clean fresh water.
D. Debriefing
1. Identify positives of student performance and relate to coming
Underwater Photo Dives.
2. Identify negatives of student performance and relate to coming
3. Review the learning goals you established for the session and
have students explain what they learned and accomplished.
E. For maximum benefit from the session, meet with each student
individually and go critique the photos taken during the session.
This helps students avoid mistakes when they make the Underwa-
ter Photography Dives.
53
II. Optional Underwater Photo Dives
A. Extra dives are especially suited for enthusiastic students who want
to practice additional shooting situations, and for students who met
the performance objectives of the first two dives, but whom you feel
may improve significantly with additional practice.
B. Optional dives generally follow Underwater Photo Dives One and
Two. You may at your discretion put an optional dive(s) between
One and Two, but this dive(s) do not replace Underwater Photo Dive
Two, which has specific learning objectives that must be mastered.
C. Follow the same predive and post dive procedures as in Underwater
Photo Dives One and Two.
D. Suggest goals and activities. Some or all of these may be appropriate,
depending upon the student.
1. Practice new shooting situations not covered in Dives One and
Two. Have students practice close-wide photos, taking pictures
of people, using multiple strobes, etc., equipment allowing. If
this is the goal, the optional dive should follow Dives One, Two
and Presentation Three.
2. Extended practice to show benefit of experience. Have students
repeat the type shooting (macro, fill, divers, etc.) from a previous
dive, but applying what they learned from your critique.
3. Compositional practice. This is appropriate for students who
have mastered the technical aspects — focus, exposure, but who
want to learn to think more creatively. Assign one subject, ideally
something common and unremarkable, and have the student
take an entire roll/memory capacity of it. Tell the student to
make each picture create a different impression of the subject by
using many different angles, compositions and lighting tech-
niques.
4. Photographer perspectives. This illustrates how different people
see each the same subject. Assign all students to take pictures of
the same thing, such as a common fish or formation, among their
other subjects on the dive. After the dive, compare the different
results they produced.
E. Debriefing
1. Identify positives of student performance and relate to coming
2. Identify negatives of student performance and relate to coming
3. Review the learning goals you established for the session and
have students explain what they learned and accomplished.
F. As with Underwater Photo Dives One and Two, it’s recommended
that you meet with students individually to critique their pictures
and help them improve.
G. Log dive — instructor signs log.

54
Name _____________________________________________________________________ Date _____________
Knowledge Review Answer Key
Part I
To the student: Answer the following questions and bring this completed Knowledge Review with you to
your next training session.
1. List six ways to overcome light loss and four ways to overcome color loss underwater.
Light loss:
1. Shoot when the sky is clear. 4. Use higher ISO film or chip.
2. Stay shallow. 5. Get close to your subject.
3. Shoot between 10 a.m. and 2 p.m. 6. Use a strobe.
Color loss:
1. Get close to your subject. 3. Use a filter.
2. Stay shallow. 4. Use a strobe.
2. Define depth of field and explain the relationship between aperture and depth of field.
Range of acceptable focus from its closest to its farthest point from the
camera.
The smaller the aperture (high f-number) the greater the depth of field.
3. Write three equivalent exposures for the two examples provided.
f/16 at 1/60 = f/11 at 1/125 = f/8 at 1/250 = f/5. 6 at 1/500
f/8 at 1/30 = f/5.6 at 1/60 = f/4 at 1/125 = f/2.8 at 1/250
4. Describe how to set a nonautomatic light meter and how to program the electronics of an automatic
camera for proper exposures.
Nonautomatic: Set film ISO number. Set desired shutter speed and match
meter needle by turning f-stop.
Automatic: Set film ISO number. Set shutter speed dial or f-stop to “A” or
appropriate automatic setting as outlined in the manufacturer’s instruc-
tions.
5. Explain how to bracket exposure with nonautomatic and automatic cameras
Nonautomatic: Vary shutter speeds, f-stop, or distance.
Automatic: Change ISO settings or use provided control as outlined in the
manufacturer’s instructions.
55
6. Describe the differences between a TTL strobe and a manual strobe, and explain how to set a camera
for proper exposure with each.
TTL strobe couples with the camera’s electronic automatic exposure device.
Set the camera on either manual or automatic when using a TTL strobe.
Setting it on manual and using the camera’s light meter to set the proper
f-stop will result in richer blue background.
Manual strobe requires camera set at synchronization speed and the f-
stop set by test roll data or exposure guide.
7. Describe the best way to aim a strobe, and how to hold a camera to avoid blurring and parallax error.
Hold or mount strobe away from lens at approximately a 45-degree angle
to subject. Steady camera with one or both hands. Squeeze trigger slowly
and steadily.
8. Define photographic composition and describe basic principles for better composition.
The arrangement of elements in a picture with regard to positions, colors,
lines and patterns so as to create a pleasing picture. Image completeness,
noncompetitive foreground, noncompetitive background, subject direction,
subject position and complementary colors are basic principles.
9. Describe the recommended five-step procedure for removing, inspecting, cleaning, lubricating and
replacing an O-ring.
Remove O-ring – without sharp objects. Wipe clean – using soft cloth and
inspect. Lubricate O-ring – thin coat. Clean groove. Reseat O-ring carefully.
10. The most important step in caring for underwater photo equipment is to rinse it in cool
fresh water immediately after a dive.
Student Statement: Any questions I answered incorrectly or incompletely, I’ve had explained to me, and
I understand what I missed.
Name _________________________________________________________________ Date __________________

56
Name ______________________________________________________________________ Date _____________
Knowledge Review Answer Key
Part II
To the student: Answer the following questions and bring this completed Knowledge Review with you to your
next training session.
11. Describe what an underwater photographer should do to avoid damage to sensitive aquatic organisms.
Watch where you place your hands, feet and equipment. Eliminate any dangling
equipment. Remember that no picture is worth hurting the environment.
12. What is the most useful angle for general underwater photography?
From a low angle upward toward the surface and the subject.
13. Explain how to carry a camera underwater, and what to do if you believe you have flooded your camera
system.
Carry the u/w camera in your hand, with a wrist strap, or clipped to your BCD
in a manner so you can discard it quickly if necessary. If you suspect flooding,
ascend at a safe rate to the surface. Take camera and/or housing to a profes-
sional service center, if necessary.
14. List two safety guidelines that apply to diving while taking underwater photographs.
Check your air more often. Be careful to maintain buddy contact.
15. Describe how to set a fully adjustable camera for underwater TTL automatic fill light.
Set camera on manual with shutter speed at synchronization speed. Find
f-stop for ambient light, then set lens at the next higher half to full f-stop
number. Set strobe on TTL.
16. List the differences between fast and slow films and between slide film and print film.
Slow film has an ISO of 100 or lower and fast film has an ISO of 200 or higher.
Slow film has finer grain for better detail while fast film allows for more versa-
tility in lower or marginal light conditions. Slide film has less exposure latitude,
but better color saturation and contrast than print film.
Student Statement: Any questions I answered incorrectly or incompletely, I’ve had explained to me, and I
understand what I missed.
Name _________________________________________________________________ Date __________________
57
58
PADI Specialty Training Record
I verify that this student has satisfactorily completed all academic and/or any confined water train-
ing sessions as outlined in the PADI Specialty Course Instructor Outline for U/W Photographer. I am
a renewed, Teaching status PADI Instructor in this specialty.
Instructor Name ______________________________________________________________________________________________ PADI#_____________
Instructor Signature ________________________________________________________________________________ Completion Date ______________
Open Water Dives

Dive One
I verify that this student has satisfactorily completed Dive One as outlined in the PADI standardized out-
line for U/W Photographer including:
• Prepare and assemble underwater camera

• Take pictures of aquatic life
I am a renewed, Teaching status PADI Instructor in this specialty.

Instructor Name __________________________________________________________________________________________________ PADI #______________
Instructor Signature _____________________________________________________________________________________ Completion Date ______________
Dive Two
I verify that this student has satisfactorily completed Dive Two as outlined in the PADI standardized out-
line for U/W Photographer including:
• Prepare and assemble underwater camera

• Take pictures of dive buddy
I am a renewed, Teaching status PADI Instructor in this specialty.

Instructor Name __________________________________________________________________________________________________ PADI #______________
Instructor Signature _____________________________________________________________________________________ Completion Date ______________
I verify that I have completed all performance requirements for this Underwater Photographer Spe-
cialty. I am adequately prepared to dive in areas and under conditions similar to those in which I was
trained. I agree to abide by PADI Standard Safe Diving Practices.
Student Name ___________________________________________________________________________________________________________________
Student Signature ____________________________________________________________________________________________Date ______________
59
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Note to students: Required information. Read to students as

Important information. Read to students.

Portions of the Appendix of this guide may be reproduced by PADI Members

Published and distributed by PADI

Technical Development and Instructional Design:

Consultation and Review:

Specialty Course Instructor Outline

To apply for a Specialty Instructor rating, an individual must be certified as a

Specialty Instructor Training Course attendance is highly recommended and

Application made directly to PADI requires either: 1) use of a PADI stan-

Important Note: Prior to promoting or teaching a PADI Specialty Diver

For more information on certification as a PADI Specialty Instructor, please

Considerations for Open Water Training

Specialty Course Instructor Outline

Specialty Course Instructor Outline

A. Demonstrate and explain basic photographic principles, com-

B. Select, prepare, care for and maintain underwater photographic

C. Take underwater photographs that are properly composed,

II. Underwater Photographer Course

C. Maximum student-to-instructor ratio: 8:1, to certified assistant

D. The Elective Underwater Photographer Dive from the PADI

E. Confined water training may be added at your discretion. Con-

F. Recommended sequence for use of course media:

III. Student and Instructor Equipment

Specialty Course Instructor Outline

IV. Presentation One

Specialty Course Instructor Outline

D. An Introduction to Photography and the

1. Photography is the process of recording an image by exposing a

Specialty Course Instructor Outline

Specialty Course Instructor Outline

Students usually learn photography best with hands-on practice. It is recom-

1. Exposure — the amount of light that reaches the film or com-

c. Aperture — The lens opening allows you to control how

Specialty Course Instructor Outline

Specialty Course Instructor Outline

F. Photography Basics — Focus and Perspective

1. Focus — Light gathered by the camera lens must be focused

a. A lens with an apparent subject-to-camera distance that

b. A lens with an apparent subject-to-camera distance that’s

Specialty Course Instructor Outline

5. Some kinds of photography, such as macro photography, have

F. Photography Basics — Controlling Motion

1. Motion — Besides proper focus, a sharp picture requires a fast

Specialty Course Instructor Outline

1. White light is actually a combination of rays that vary depend-

Specialty Course Instructor Outline

H. Photo Basics — Camera types

1. Automatic and manual cameras

I. Photo Basics — Strobe Photography

1. A strobe — an electronic flash — is used when you don’t have

Specialty Course Instructor Outline

1. When light goes from passing through one medium into

Specialty Course Instructor Outline

9. When using a camera housing, a dome port offsets the refrac-

Specialty Course Instructor Outline

1. If you already own a surface camera, you may elect to buy an

Specialty Course Instructor Outline

C. Underwater Photography Principles — Underwater

Specialty Course Instructor Outline

D. Underwater Photography Principles —

a. Set the camera on manual at the synchronization speed,

or students using cameras with macro and strobe photography

Name _______________________________________________ Date

Name _______________________________________________ Date