First Underwater Shoot

For my first photo shoot, I was mainly trying to get use to my surroundings, as well as working in the new environment of underwater. It was incredibly fun, yet it was mainly trial and error, as it took a bit of getting used to. I mainly used the Nikon D200 and experimented with a Sea and Sea camera. By the end of the shoot, I was working with a recurring concept, responding to Emma Critchley’s work. I was happy with my results for my first time exploring underwater photography, and favoured the D200.

This photograph shows a figure from above from the chest upwards, wearing diving attire, floating on the surface with their arms spread out. After taking the shot, I raised the black for a stronger contrast and focus on the subject matter, and heightened the clarity to strengthen the reflection and texture on the surface of the water. I also adjusted the blue and green RGB paths until I felt I had the best colour tones throughout the image. I’m really happy with the surface of the water in this image, with the textures and bubbles making the surface almost seem like space. Unfortunately, I feel the appearance of the subject matter being in diving clothes is rather mundane, and doesn’t particularly compliment the aesthetic of the surreal surface.


 This next photograph shows the surface of the water at the bottom of the image, with what seems like a cloud like explosion with a pair of feet emerging at the top of the disturbance. To take the shot, I had my model dive bomb into the pool, causing the cloudy disruption in the water. In post production, I rotated the image upside down before heightening the clarity to define the surface of the water, as well as the cloud of bubbles. I then proceeded to heighten the green RGB path slightly, as I felt the unique colours would compliment the abstract element of the image. I decided to rotate the image as I wanted to experiment with the concept of how we can interpret and image differently when seen from a different perspective. I think I’ve been successful in presenting this concept, yet I’m wondering if the image would be stronger if the feet could not be seen.

ImageThis next photograph shows a figure lying a the floor a swimming pool, their leg pointing upwards following a trail of bubbles to the surface. Once again, to take the shot, I had my model dive bomb into the pool, causing the disturbance in the water and the surface. I then desaturated the colour from the image slightly but kept the blue prominent, causing more of a silvery blue colour tone, which I felt complimented the atmosphere within the image. I then heightened the clarity to define the texture of the water, and darkened the edges of the image causing a vignette effect, which I felt helped draw the attention to the main focal point. The aim of this image was to depict the figure falling away from the surface, expressing the same struggle that Liat Aharoni’s image depicted. With the ambient lighting almost being like a spotlight on the subject, I also felt this image expressed the concept of “falling from grace”, with the focused light glorifying the figure. I’m really happy with this image, especially the posture of the figure and the position of the leg. I do wonder if the image would work better without the surface of the swimming pool floor, and I think I need to darken the right hand side to destroy the visibility of another object that was not meant to be captured in the image.


This photograph shows a figure in the foetal position, surrounded by darkness. After taking the shot, I darkened the surroundings of the figure to make the focal point more prominent as well as portray the overwhelming darkness surrounding the subject. This image was my response and interpretation of Emma Critchley’s “suspended” photograph. The aim was to depict being a far away from the surface as possible and being engulfed by the abyss, with the foetal position representing the figure’s fear. I’m happy with the image, although I would have liked the figure to be slightly more prominent and sharper.


This next photograph shows a figure upside down from the waist upwards – the rest of their body above the surface – their arms are spread wide out as they fall into darkness. In post production, I simply darkened the areas surrounding the figure once again. The aim of this image was to depict the figure leaving the surface and embracing the darkness, which I feel has worked well due to their posture, yet I’m not certain I’m happy that their head has been lost in the darkness, or whether this compliments the concept of being engulfed by darkness.


This photograph shows a figure falling backwards into through the surface of the water, falling into darkness. Once again, after taking the image, in post production I darkened the surroundings before then heightening the clarity to define the texture of the surface of water. This image is the last in the series of three, this time depicting struggle and fierceness due to reluctantly falling away from the surface of light, portrayed by the posture – displaying struggle – and the roughness of the water.


The photo series displays a set of the three images in a series I’ve named “Abyss”. The concept behind this series is portraying the confrontation of our fears when they arrive before us. I portrayed this through the use of the light surface of the water representing safety and harmony, whilst the darkness portrays the abyss, representing the current fear these figures are faced with being engulfed by. The three different images represent different realities one might turn to; The first shows complete fear, hiding away , feeling engulfed and hopeless. The second represents hostility, and the third represents facing fear with tranquillity. I’m pretty happy with this concept, and I feel the series can work well, but I’m not entirely sure it represents my theme “surface” strongly enough.




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