{"id":18827,"date":"2021-09-01T21:04:13","date_gmt":"2021-09-02T01:04:13","guid":{"rendered":"https:\/\/wordpress.world.dan.org\/?post_type=dan_alert_diver&p=18827"},"modified":"2023-06-27T12:04:45","modified_gmt":"2023-06-27T16:04:45","slug":"models-and-marine-life","status":"publish","type":"dan_alert_diver","link":"https:\/\/world.dan.org\/fr\/alert-diver\/article\/models-and-marine-life\/","title":{"rendered":"Mod\u00e8les et vie marine"},"content":{"rendered":"

Les photographes sous-marins \u00e9voluent g\u00e9n\u00e9ralement vers une sp\u00e9cialit\u00e9, mais la premi\u00e8re \u00e9tape de leur parcours consiste g\u00e9n\u00e9ralement \u00e0 d\u00e9finir leur int\u00e9r\u00eat pour la photographie d'histoire naturelle - la vie marine en particulier - ou \u00e0 se concentrer sur des travaux \u00e9ditoriaux et commerciaux qui impliquent in\u00e9vitablement de photographier des personnes sous l'eau.<\/p>\n\n\n\n

My career has been a bit of a hybrid. Most of the images I\u2019ve shot on assignment for magazines and dive equipment catalogs were wide-angle work with divers, while I often photograph marine life purely for fun. Photos of charismatic marine life, however, help tell the story of a dive destination or might be used for photo d\u00e9cor or stock photography. Compositions that illustrate people interacting with marine life bridge both disciplines and combine each approach\u2019s rewards and challenges. <\/p>\n\n\n\n

\"crocodile
Working very near the croc\u2019s gaping maw with a fisheye lens enhances the drama.<\/figcaption><\/figure>\n\n\n\n

Composition<\/h3>\n\n\n\n

Photographers may plan to have a diver as a significant part of the composition, ideally working with an underwater model who is cognizant of the photographer\u2019s directions. That\u2019s the way I prefer to work. It begins with communication on the boat so the model clearly understands my underwater signals and the shoot\u2019s objectives. We can\u2019t speak while diving, and writing instructions on a slate is too time-consuming, so we work out hand signals that confirm where I want the model positioned in the frame, whether we are shooting a vertical or horizontal format, how close the model should be to the marine life and where the model should focus their eyes.<\/p>\n\n\n\n

La pr\u00e9sence d'un plongeur dans la composition peut \u00e9galement \u00eatre le fruit du hasard. Le photographe peut se trouver au bon endroit pour la vie marine et avoir la chance de voir un plongeur nager dans le cadre. C'est moins productif qu'une composition contr\u00f4l\u00e9e et reproduite, mais c'est parfois le mieux que l'on puisse esp\u00e9rer. Dans les deux cas, il est utile de visualiser \u00e0 l'avance la composition et la position de la faune et de la flore marines, qui se trouvent g\u00e9n\u00e9ralement au premier plan. <\/p>\n\n\n\n

\"Plongeur<\/figure>\n\n\n\n
\"photographe
Le photographe avec le requin tigre et le vid\u00e9aste avec le requin de r\u00e9cif sont des \u00e9l\u00e9ments de composition fortuits.<\/figcaption><\/figure>\n\n\n\n

When I see a creature that might be amenable to a diver\u2019s approach, I first think of two things: the zone de tir<\/em> et le champ de vol<\/em>. Water is more than 800 times denser than air and has a cool color cast (usually cyan or green). To get good color generally requires using an artificial light (strobe), which has the greatest effect less than 4 feet from the subject. The size of the subject relative to the lens\u2019 angle of view defines the shoot zone. Wide-angle zooms are more forgiving in refining the composition, but there will be an optimal distance from any subject in terms of composition, which needs to be near enough to get good color and resolution through the water column. <\/p>\n\n\n\n

The field of flight, which is the finite distance we can approach without scaring the fish, will influence the optimal distance. A careful approach is helpful, but the marine life will ultimately set the pace of the encounter. A fish at a cleaning station is often more tolerant of proximity, while fish acclimated to visitors within a marine protected area can likewise be far more forgiving. Tolerance is important in the marine-life-with-model paradigm, for not only does the photographer need to get near, but the model also needs to appear in the frame. A distant silhouette model won\u2019t scare the fish, but their position must be much closer for intimacy and eye contact. With the fish sandwiched between the photographer and the model, everyone\u2019s approach needs to be exceedingly stealthy and benign. Some fish, however, sometimes couldn\u2019t care less. Those are the most special encounters.<\/p>\n\n\n\n

Distorsion de perspective<\/h3>\n\n\n\n

Alors qu'il est possible de photographier des poissons plus petits dans le cadre d'un portrait de plongeur en utilisant un objectif macro, les photos de plongeurs avec des animaux marins utilisent g\u00e9n\u00e9ralement un objectif grand angle, ce qui peut souvent donner l'impression que les sujets les plus proches de l'objectif sont anormalement grands par rapport au plongeur \u00e0 l'arri\u00e8re-plan. Parfois, cela peut \u00eatre un avantage pour la composition, comme dans le cas du grand requin blanc avec la cage \u00e0 l'arri\u00e8re-plan.<\/p>\n\n\n\n

\"grand
Le grand requin blanc est beaucoup plus proche de l'objectif grand angle et semble donc massif par rapport \u00e0 la cage \u00e0 requins.<\/figcaption><\/figure>\n\n\n\n

I shot that image using a 14mm wide-angle lens, with my camera mounted on a pole protruding from my cage. When the shark swam very near my camera, it looked immense relative to the scale of the distant cage. The British tabloids published and sensationalized this photo as if it were of the world\u2019s largest great white shark. Any experienced underwater photographer would recognize it for what it is: perspective distortion. The diver in the background can provide dramatic scale, enhancing an already impressive creature.<\/p>\n\n\n\n

Some of those same tabloids published the shot of a crocodile in Jardines de la Reina, Cuba, with my daughter in the background and ran it with a caption to the effect of, \u201cUnderwater photographer places young daughter in peril with fierce saltwater crocodile, all for the sake of a photograph!\u201d Obviously, that\u2019s not what happened.<\/p>\n\n\n\n

\"seiche\"
Le fait d'avoir une cr\u00e9ature marine plus petite, comme cette seiche, \u00e0 proximit\u00e9 de l'objectif grand angle permet une distorsion de la perspective qui la rend plus impressionnante visuellement.<\/figcaption><\/figure>\n\n\n\n
\"Le
Le m\u00e9rou goliath est grand, mais la distorsion de perspective le fait para\u00eetre encore plus grand.<\/figcaption><\/figure>\n\n\n\n

Contact visuel<\/h3>\n\n\n
\n
\"\"
Un mod\u00e8le intuitif portera son regard sur l'action la plus significative de la photo.<\/figcaption><\/figure>\n<\/div>\n\n\n

Nothing will spoil a great composition more than to have an astonishing marine creature in the foreground while the diver model is staring right into the camera\u2019s dome port, totally indifferent to the wonder before their eyes. The best models will have an intuitive sense of where to look so that when the viewer later examines the photograph, the diver\u2019s eye contact will reinforce visual involvement with the main subject. <\/p>\n\n\n\n

In one of the illustrative photos, my model saw me set up my camera and strobes pointed at the large stand of pillar coral, but she couldn\u2019t see the action between the queen angelfish and Spanish hogfish at the cleaning station. She realized something was happening, however, and kept her eyes cast in that direction, trusting that I would catch the decisive moment.<\/p>\n\n\n\n

Avec les dauphins tachet\u00e9s, l'interaction serait in\u00e9vitablement br\u00e8ve. Pendant le court laps de temps o\u00f9 le mod\u00e8le et le photographe pouvaient suivre les dauphins, je devais m'assurer que mon point de vue permettait au plongeur avec tuba d'appara\u00eetre visible et engag\u00e9.<\/p>\n\n\n\n

<\/div>\n\n\n\n

Comportement<\/h3>\n\n\n\n

Les s\u00e9ances photo comportementales sont difficiles \u00e0 pr\u00e9voir. Vous connaissez peut-\u00eatre suffisamment le sujet pour savoir que quelque chose pourrait se produire, mais le mieux que vous puissiez esp\u00e9rer, c'est que le photographe et le mod\u00e8le soient en mesure de faire face \u00e0 la situation.<\/p>\n\n\n\n

I\u2019ll typically set up in front of the primary subject and begin a series of photos. If the fish tolerates my presence, I\u2019ll photograph the model first as a distant compositional element, never knowing how long the interaction may last. If the fish shows no alarm, I will bring the model closer and closer until we both sense that the encounter would terminate if we closed in further. I will then signal for my model to hold their position without touching the coral or stirring up sediment in the background that could ruin the photo with backscatter. Having a strobe that recycles quickly is a blessing in situations like this, where the action is fleeting and catching unusual behavior is paramount.<\/p>\n\n\n\n

\"poisson
The foreground crocodile fish is more impressive because of the model\u2019s position relative to the photographer for this spontaneous fish behavior.<\/figcaption><\/figure>\n\n\n\n

Le photographe au travail<\/h3>\n\n\n\n

La pr\u00e9sence d'autres photographes sur les lieux n'est pas sans inconv\u00e9nients. Parfois, il n'y a qu'un seul endroit id\u00e9al pour photographier la vie marine, et la concurrence pour ce point de vue est souvent ennuyeuse et improductive. En revanche, la pr\u00e9sence d'un autre photographe au travail peut s'av\u00e9rer int\u00e9ressante en raison de l'\u00e9chelle et de l'int\u00e9r\u00eat humain qu'elle suscite. Il a l'avantage r\u00e9ciproque de vous avoir dans le cadre pour la m\u00eame raison. Dans le meilleur des cas, chaque photographe d\u00e9tourne son regard du viseur et se concentre sur la mod\u00e9lisation de l'autre. N'oubliez pas que leur photo est tout aussi importante pour eux que la v\u00f4tre l'est pour vous, et que l'\u00e9change d'un peu d'attention est un petit prix \u00e0 payer pour une photo convaincante du photographe au travail.<\/p>\n\n\n\n

Boule de soleil<\/h3>\n\n\n
\n
\"\u00e9ventail
Un plongeur en silhouette peut \u00eatre tr\u00e8s efficace lorsqu'il est plac\u00e9 dans la boule du soleil.<\/figcaption><\/figure>\n<\/div>\n\n\n

Digital camera sensors usually have a hard time holding detail when shooting into bright sunlight, and photographers often try to obscure or diffuse the effect. The underwater model\u2019s body is a good device to obstruct the brightest sunlight, which provides the corollary advantage of putting the diver in a stark silhouette. A skilled model will know about the sunlight issue and position themselves accordingly.<\/p>\n\n\n\n

The image of the sea fan is part of a series I shot with my wife in the Solomon Islands. When we got back aboard and I was editing images from the day\u2019s dive, I commented on how lucky we were to get nearly every shot with her in the middle of the ball of sun. Only then did she reveal that she could see her reflection in my dome port, knew what I was going for and why, and maneuvered herself to make it happen.<\/p>\n\n\n\n

Collaborations like this \u2014 between photographer, model and fish \u2014 are some of the most rewarding in underwater photography.<\/p>\n\n\n\n

<\/div>\n\n\n\n

\u00a9 Alert Diver<\/em> \u2014 Q1 2021<\/p>","protected":false},"excerpt":{"rendered":"

Underwater photographers usually evolve a specialty, but the first fork in their road typically involves defining an interest in either photographing natural history \u2014 marine life in particular \u2014 or concentrating on editorial and commercial work that inevitably involves photographing people underwater. Photos of charismatic marine life help tell the story of a dive destination or might be used for photo d\u00e9cor or stock photography. Compositions that illustrate people interacting with marine life bridge both disciplines and combine each approach\u2019s rewards and challenges.<\/p>","protected":false},"featured_media":18828,"template":"","dan_alert_diver_categories":[67],"dan_alert_diver_issues":[465],"class_list":["post-18827","dan_alert_diver","type-dan_alert_diver","status-publish","has-post-thumbnail","hentry","dan_alert_diver_categories-imaging","dan_alert_diver_issues-q1-2021"],"acf":[],"yoast_head":"\nModels and Marine Life - DAN World<\/title>\n<meta name=\"description\" content=\"Underwater photographers usually evolve a specialty, but the first fork in their road typically involves defining an interest in either photographing natural history \u2014 marine life in particular \u2014 or concentrating on editorial and commercial work that inevitably involves photographing people underwater.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/world.dan.org\/fr\/alert-diver\/article\/models-and-marine-life\/\" \/>\n<meta property=\"og:locale\" content=\"fr_CA\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Models and Marine Life\" \/>\n<meta property=\"og:description\" content=\"Underwater photographers usually evolve a specialty, but the first fork in their road typically involves defining an interest in either photographing natural history \u2014 marine life in particular \u2014 or concentrating on editorial and commercial work that inevitably involves photographing people underwater.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/world.dan.org\/fr\/alert-diver\/article\/models-and-marine-life\/\" \/>\n<meta property=\"og:site_name\" content=\"DAN World\" \/>\n<meta property=\"article:modified_time\" content=\"2023-06-27T16:04:45+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/world.dan.org\/wp-content\/uploads\/2021\/09\/whale-shark-biggest-fish-ocean-size-reference.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"800\" \/>\n\t<meta property=\"og:image:height\" content=\"533\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:description\" content=\"Underwater photographers usually evolve a specialty, but the first fork in their road typically involves defining an interest in either photographing natural history \u2014 marine life in particular \u2014 or concentrating on editorial and commercial work that inevitably involves photographing people underwater.\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"9 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/world.dan.org\\\/alert-diver\\\/article\\\/models-and-marine-life\\\/\",\"url\":\"https:\\\/\\\/world.dan.org\\\/alert-diver\\\/article\\\/models-and-marine-life\\\/\",\"name\":\"Models and Marine Life - 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