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N
ot long ago, underwater shooters
were largely divided into two
camps: still photographers and
videographers. This factional
division was based on practicality
more than argument — cameras
were dedicated to either still or video imaging, and,
given the associated costs, it made sense to pick a side
and stick with it.
In more recent years, however, the lines have
blurred. Most cameras now feature both
still and video capabilities. Many topside
photographers and videographers have
embraced this versatility, but adoption has been slow in
marine photography because of the particular lighting
needs of underwater shooters.
Historically, underwater still photographers have
carried strobes, which use capacitors to provide a
momentary burst of light when the camera’s shutter is
triggered. While some strobes have built-in continuous
light functionality, these were more often used for
aiming or assistance during night dives rather
than emitting constant light bright enough
to allow high-quality video imaging. At the
same time, dedicated underwater video
lights did not produce enough light to
IMAGING
PHOTO TECHNIQUES
102
|
WINTER 2016
USING LED LIGHTING FOR
UNDERWATER STILL PHOTOGRAPHY
LED lighting works very well for close-
focus, wide-angle images with small- to
medium-sized foreground subjects
such as this cabezon, as it is already
necessary to get close to the subject.
Text and photos by Andy and Allison Sallmon
A DIFFERENT LIGHT