This project was started several years ago when I began taking underwater photographs of my kids on vacation. My interest in underwater photography continued to the usual venues of seascapes, fish, and reefs. Problem of it was, I could only shoot underwater about twice a year during vacation. Luckily I have a pool, and that's where the concept came together.
Since there was nothing too interesting in the pool, I thought we should add something interesting --- people. And what if we could replicate an underwater portrait studio, complete with backdrops, cool lighting, costumes, and sets that you'd find on land?
So we set up a backdrop and threw an iron bench into the deep end. We got some amazing photos.
Just like on land. A strong theme makes everyone focus and them we can go off from there. We started with Underwater Evil Queen. From there it was Snow White meets the Little Mermaid.
So, we enlisted the least evil model we could find and got to work on hair and makeup. The crown is a left-over from a Halloween costume. The gold disco robe is from some forgotten Black Tie event in the late 80s.
Ashley Malone styled the hair. Sara Martin did makeup.
Since reflections work great underwater, we added a backdrop and a mirror. The gold robe lent a regal air to the shot. Autumn got in touch with her royal side and floated in eight feet of water for this shot.
No, it just has worked out that way so far. But there are some amazing images to be had when we do spur of the moment stuff as well. This image started out as a longboard shoot with my son James.
Daisy, our amphibous Vizsla, had other ideas and turned a photo-bomb into a cool shot we call "Walkin' the Dog".
The images take on a magical quality underwater. There is an organic feel that can't be duplicated on land. The light is unpredictable. Yes, you can control it, but part of the fun is allowing the light to do what it will do through the refraction of the water.
Shadows add intriguing patterns to the images and create a sense of motion even though the models are staying still. On bright sunny days the patterns just happen. Take a look at Juliette (below). 
That light just below her eye was one of those happy accidents, but I'l' be glad to take artistic credit.
The conditions are especially tough for models.In order to sink to the bottom of the pool they have to leave all the air out, and be able to stay there, hold a pose, keep their eyes wide open, look sensational and then return to the surface.
Great expressions are really tough. Eyes can start to burn even though we have very little chlorine in the pool. The tried-and-true land poses just may not work. Air bubbles can look like tears or they can look like a runny nose.
Even though the pool is heated to 80 degrees or above, the air temperature can be as low as 60 degrees. Models can get pretty tired, pretty fast. Makeup can run even thouogh its "waterproof".
Eyes are a huge problem. Some people have a really tough rime with keeping their eyes wide open under water for such a long time.
Leeann was able to crank out these great shots despite the fact that her eyes were burning like crazy. No the sunglasses didn't help.
Yes. I Photoshop everything. Is there a photographer out there who doesn't? But the only thing we Photoshop is the color correction and some sharpness, and some color balance. Here's a close up of a "before and after" of the shot above.
Lips were redone because the lipstick came off underwater. We did some skin smoothing and I dodged Leeann's right hand because it was about a foot from one of the strobes. I also warmed up some of the shots because they were blue. But that's about it.
Dancers seem to take to this style of shooting because they have a great sense of body position and graceful movement.
Felicia Fatale has a great show at RBar in Lower Manhattan. She also does fantastic "Retro" and Pin-Up work as well.
I've shot her before in several different shoots and I knew she'd be able to pull off some amazing poses underwater.
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I really try not to be a "gear geek", but sometimes it's helpful to show what equipment we use for the shoots.
The gear consists of several underwater housings from Aquatica. One for an old Nikon D2x. About a year ago, I sent the Nikon D2x and the housing to a camera store. I hoped someone would give it a new home. No one wanted the beast, so I took it back and started experimenting with it. The old Nikon 18mm to 35mm had a zoom ring so I could control the zoom underwater. The images were shot in .raw so I could tweak the files in Adobe Lightroom.
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I kept the D2X on the side of the pool just to experiment. Sure enough, it still banged out some great shots and I had the luxury of a quick camera change while models caught their breath.
Yes, I have what many photographers have: A.A.D. It's an affliction that makes you want to buy every gadget that's made, in hopes of improving your shots. In my case, the aquisition of the housing for the Canon 7D was a smart move. It took my shooting to a whiole new level. It usually has a Tokina 10mm to 17mm lens. It's the go-to piece of gear that becomes my underwater "point and shoot". Great images as long as there's fill flash.
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I use a Inon Z-240 strobe as a fill flash. Color temperature is outstanding.
The Ikelite Substrobe 200 kicked out a slightly yellow color tone, but it worked well with some of the closer shots. I also use the automatic light trigger, and hang the flash from the extension ladder over the pool. Colored gels add yet another light variable. And yes, grids work well as long as the model hits her mark.
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I also tried using it as an underwater hair light with mixed results.
Since red is the first light frequency you loose underwater, we tried anything red. Autumn's rendition of another reflection shot turned out great.
Everytime someone looks at a photograph and says, "Wow, you must have a great camera!", I steal a line from Photography-God, Joe McNally and say, "Thanks. I taught the camera everything it knows."
