Only when all the different processes of photography come together correctly, can you bring out the best from your images.

After you have captured the pictures, you need to store them securely—the sooner, the better. The underwater photographer seldom works in a practical studio environment, but usually under much more extreme conditions, such as dive boats and tent camps.

Therefore, it is of outmost importance that a proper workflow already kicks in here, even without a reliable energy source available—starting with your choice of memory card.

Cameras are everywhere nowadays — on our computers on our phones. In fact, most people have a digital camera of some sort with them at all times. The same is now true for many divers. Entry-level cameras are now so cheap, compact and effective, that they can be carried on every dive — slipped into a BCD pocket for a quick snapshot if the opportunity presents itself. Most divers now enjoy early success with their photography. Whereas, in the past, entry-level film cameras took a lot of time and attention to get pleasing results.

Inside the festival halls, entrants from 32 nations were competing for positions and prizes for best photos and movies in a number of different categories. Images in the competition were on display in the very first hall just behind the entrance where they were impossible to miss.  

Some of the most important parts of your camera equipment are the o-rings. Without watertight o-rings there won’t be any underwater photography. It doesn’t matter if they are made of neoprene, silicon or viton, they need to be in perfect shape.

All those fantastic colors you find underwater are still the main goal for underwater photographers. On other hand, the black and white medium gives you an great opportunity to get creative.

Taking photos underwater without a flash is not common, but it actually is easier than using a flash. I have a few tips and advice for getting good results.

Underwater photography can be challenging. It is not easy. On dry land, you don’t encounter to many obstacles, but under water, you have to ‘fight’ for every single ray of light. Not only is light diffused by the water but also absorbed by particles and scattered everywhere.

Natural light photography can be divided in two categories. The first category affects the motive, in which colour is subordinate - for example when you shoot wrecks and backlit images. The second category affects shooting in shallow water (less than 3 metres depth).

Filters

On land, you can use UV-filters, skylight or a polarizing filter, but underwater anything but a magenta or red filter is useless. These filters enhance the red colour in the water, and under good conditions, also the blue tones. An ideal solutions is the so-called “magic filter”.

Kurt explains the humble beginnings of his love for the sea and underwater photography, which began in, of all places, land-locked Switzerland, where he was born and raised near Lake Zurich. At the time, no one dived in Switzerland. There were no dive shops or divers. So, Kurt, the adventurous and resourceful ten-year-old boy that he was, inspired by the books of underwater legend Hans Hass, devised his own underwater breathing apparatus with the help of some friends and the local bike shop, the owner of which loaned the use of the shop’s bicycle pump to Kurt on Saturdays.

When and where

Close-up photography under water is not technically challenging. Thanks to TTL metering or the immediate feedback offered by shooting digital, exposure is a piece of cake. Also, all your tried and proven techniques that you have learned on dry land works under water as well.