{"id":19483,"date":"2021-12-11T09:17:43","date_gmt":"2021-12-11T14:17:43","guid":{"rendered":"https:\/\/wordpress.world.dan.org\/?post_type=dan_alert_diver&p=19483"},"modified":"2023-06-02T12:53:11","modified_gmt":"2023-06-02T16:53:11","slug":"photography-in-the-plimsoll-interface","status":"publish","type":"dan_alert_diver","link":"https:\/\/world.dan.org\/fr\/alert-diver\/article\/photography-in-the-plimsoll-interface\/","title":{"rendered":"La photographie dans l'interface Plimsoll"},"content":{"rendered":"

Dans les ann\u00e9es 1860, Samuel Plimsoll, membre du Parlement britannique, se pr\u00e9occupait de marquer correctement les navires pour indiquer o\u00f9 leur coque devait p\u00e9n\u00e9trer dans l'eau afin qu'ils ne soient pas trop bas. Son objectif \u00e9tait de r\u00e9duire le nombre de navires perdus \u00e0 cause de la surcharge. Bien que le concept de marquage des lignes de charge sur les navires remonte au moins au Moyen-\u00c2ge et probablement plus t\u00f4t, Plimsoll est cr\u00e9dit\u00e9 d'avoir initi\u00e9 le mouvement qui a finalement conduit au syst\u00e8me de calcul et de marquage des lignes de charge des navires aujourd'hui utilis\u00e9 dans la navigation commerciale. En son honneur, ces lignes de charge sont appel\u00e9es \"marques de Plimsoll\" ou \"lignes de Plimsoll\".<\/p>\n\n\n\n

Les photographes sous-marins appellent parfois l'\u00e9troite zone d'eau o\u00f9 un sujet fend la surface l'interface de Plimsoll. Cette zone offre de nombreuses possibilit\u00e9s de prises de vue dynamiques obtenues en orientant l'appareil photo au-dessus ou au-dessous de la ligne de flottaison. Le photographe sous-marin d\u00e9vou\u00e9 et cr\u00e9atif peut r\u00e9aliser des prises de vue traditionnelles avec un m\u00e9nisque droit standard et des reflets spectaculaires du sujet, de la lumi\u00e8re du soleil ou des deux dans le cadre d'une prise de vue modifi\u00e9e ou d'une photo enti\u00e8rement sous-marine.<\/p>\n\n\n\n

Shooting in the Plimsoll interface also allows the photographer to work in high ambient light or shoot through Snell\u2019s window \u2014 a cone of light that is seen when looking up near the surface \u2014 without donning a scuba tank since these are shots done at the surface. For these reasons, mastering techniques at the Plimsoll interface is a worthwhile endeavor for any serious underwater photographer.<\/p>\n\n\n\n

Trouver des sujets dans l'interface Plimsoll<\/strong><\/h3>\n\n\n\n

La consid\u00e9ration la plus \u00e9vidente pour la prise de vue en surface est de trouver un bon sujet. Les sujets fiables sont les tortues, les dauphins, les baleines, les mantas, les requins, les raies, les requins-baleines, les poissons de r\u00e9cif et tout autre animal qui s'approche de la surface. Les lagons peu profonds ou les r\u00e9cifs coralliens sont souvent d'excellents endroits. Les animaux qui remontent pour respirer, comme les baleines, les dauphins et les tortues, ajoutent une certaine pr\u00e9visibilit\u00e9 puisque vous pouvez estimer leur prochaine respiration et anticiper le moment et l'endroit o\u00f9 ils remonteront \u00e0 la surface.<\/p>\n\n\n\n

\"tortue
Une tortue de mer verte glisse dans l'eau pr\u00e8s de la surface o\u00f9 l'on peut voir les nuages dans le ciel.<\/figcaption><\/figure>\n\n\n\n

A turtle resting in a coral bed, for example, will usually need to surface and breathe sometime in the next 15 to 20 minutes. You can use that time to plan the shot \u2014 your position relative to the sun, the above-water background, other site-specific circumstances and your camera settings. When the turtle finally surfaces, prepared photographers may capture the shot they envisioned.  <\/p>\n\n\n\n

Once the subject is within the Plimsoll interface and in shooting range, it is important to remember that you may have limited time. It is critical to move patiently and time the encounter at the peak moment of surface interaction. Turtles, for example, will usually poke their heads above the water to breathe and then dip under to look around before making two to four more head raises to breathe. You might scare away a turtle if you photograph it during its first head lift. It\u2019s better to slowly approach the turtle, wait for its first breath and then take your shots on its second or third head lift.<\/p>\n\n\n\n

For larger animals such as whales, it can be helpful to wait to hit your shutter until the exact moment they hit the surface. With these types of encounters, guides often have photographers get in the water when the mother and calf are resting below. When the calf starts to surface, you can watch where it is going and try to be just in front of where it will likely emerge so you can photograph the animal coming toward the camera. Experienced guides are usually skilled at instructing photographers where to safely wait for the whales to surface. A conscientious photographer will never chase the whales \u2014 they may be scared away, plus they swim much faster than any human. It is better to be patient and let the whales approach on their own. <\/p>\n\n\n\n

When shooting faster and more agile marine life such as dolphins and sharks while using only available light, it can be useful to shoot on a high shutter-speed-priority setting. Doing so will freeze the action, since you won\u2019t know in advance where the sun will be relative to the subject, which affects the aperture setting.<\/p>\n\n\n\n

Les endroits o\u00f9 l'on peut rencontrer des sujets dignes d'int\u00e9r\u00eat dans l'interface Plimsoll sont les \u00eeles Hawa\u00ef et Bunaken (Sulawesi du Nord, Indon\u00e9sie) pour les tortues, Kona et les Maldives pour les mantas, Kona et Bimini pour les dauphins, Moorea et Tonga pour les baleines \u00e0 bosse, la Polyn\u00e9sie fran\u00e7aise et les Bahamas pour les requins, la Polyn\u00e9sie fran\u00e7aise et les \u00eeles Cayman pour les raies pastenagues, et Isla Mujeres et les Philippines pour les requins-baleines.<\/p>\n\n\n\n

Conseils rapides pour de superbes fractionnements<\/strong><\/h3>\n\n\n\n

Les prises de vue \u00e0 deux niveaux, \u00e9galement appel\u00e9es \"over-unders\", montrent le dessus et le dessous de la ligne de flottaison et utilisent pleinement l'interface Plimsoll. Ces prises de vue permettent au spectateur de voir simultan\u00e9ment deux mondes dans une photographie \u00e0 travers le port du d\u00f4me, d'une mani\u00e8re impossible \u00e0 reproduire \u00e0 l'\u0153il nu.<\/p>\n\n\n\n

\"Cette
Cette image d'une raie a \u00e9t\u00e9 prise au coucher du soleil en Polyn\u00e9sie fran\u00e7aise et convertie en noir et blanc pour mettre en valeur le magnifique contraste que l'on trouve dans la nature.<\/figcaption><\/figure>\n\n\n\n

To capture effective splits during the daytime, you ideally want abundant ambient light, clear water, and the sun behind or directly above the camera \u2014 midday offers the best conditions. Shooting early in the morning and at sunset will require the addition of strobe light. <\/p>\n\n\n\n

The bigger the equipment, the better \u2014 an 8- to 9-inch-diameter dome should be sufficient in most cases. The bigger the dome, the more surface area you\u2019ll have and the thinner the waterline or meniscus, which looks better in the picture. You need a wide-angle lens, either fisheye or rectilinear based on your personal preference. Using a smaller aperture (higher numbers such as f\/16 or f\/22) is key for focusing both topside and underwater subjects, which keeps both the foreground and background subjects sharp. <\/p>\n\n\n\n

La difficult\u00e9 la plus courante avec les fentes est d'\u00e9viter les gouttes d'eau qui peuvent se d\u00e9poser sur le d\u00f4me et obscurcir les images. Pour minimiser ces gouttes, je pr\u00e9f\u00e8re utiliser un d\u00f4me en verre plut\u00f4t qu'en acrylique, et j'applique parfois un d\u00e9sembueur de masque \u00e0 l'ext\u00e9rieur du d\u00f4me.<\/p>\n\n\n\n

Comment jouer les Reflets<\/strong><\/h3>\n\n\n\n

L'incorporation de reflets am\u00e9liore les images en ajoutant une couche cr\u00e9ative suppl\u00e9mentaire. Vous pouvez produire des reflets avec des prises de vue fractionn\u00e9es ou des images strictement sous la surface, mais une eau extr\u00eamement calme est n\u00e9cessaire pour ces deux techniques.<\/p>\n\n\n\n

\"Un
Un groupe de requins \u00e0 pointes noires passe \u00e0 la nage avec leurs reflets au-dessus de la t\u00eate \u00e0 Moorea, en Polyn\u00e9sie fran\u00e7aise.<\/figcaption><\/figure>\n\n\n\n

To incorporate a reflection into an over-under, the reflection should be just under the waterline or on top of the water\u2019s surface. To get the reflection to appear under the waterline, slightly angle the camera\u2019s housing up toward the surface while still having the upper part of the dome above the surface. Conversely, to get a reflection on top of the water, slightly angle the camera\u2019s housing downward, being careful not to cut off the underwater portion of the image. This camera angling takes a little practice until the technique becomes intuitive.<\/p>\n\n\n\n

For a strictly underwater shot, place the camera\u2019s housing just under the surface and angle the port at about 30 to 45 degrees. Using a flash will enhance the reflection, especially in low-light situations such as sunrise or sunset. <\/p>\n\n\n\n

L'utilisation d'une ouverture \u00e9troite, telle que f\/14 \u00e0 f\/20, donne d'excellents r\u00e9sultats pour la plupart des photos de reflets et permet d'\u00e9viter la surexposition de l'image, en particulier lorsque l'appareil photo est orient\u00e9 vers le ciel.<\/p>\n\n\n\n

\"Une
A lone jellyfish glides near the surface of a shallow saltwater lagoon habitat in Raja Ampat, Indonesia, with rich plant life both underwater and through Snell\u2019s window above.<\/figcaption><\/figure>\n\n\n\n

Incorporating Snell\u2019s Window<\/strong><\/h3>\n\n\n\n

One of the most interesting surface shot techniques incorporates Snell\u2019s window, which is caused by the refraction of light entering the water. Snell\u2019s window allows the underwater viewer to see what is above the surface through a cone of light about 96 degrees wide. This practice requires using a wide-angle lens; a fisheye lens offers the most surface area and a circular effect. <\/p>\n\n\n\n

To use this phenomenon, the photographer must be just under the surface and aim the camera\u2019s housing upward. The more you angle the camera, the more surface area of the sky \u2014 or what\u2019s above \u2014 you will incorporate into the picture. Use a narrow aperture and decrease the ISO when you point the lens toward an extremely bright sky. You can achieve these shots at any time of day, but incorporating a flash with low light will make the subject pop. Mangroves and shallow lagoons are excellent places to experiment with Snell\u2019s window.<\/p>\n\n\n\n

M\u00e9lange de lumi\u00e8re stroboscopique et de lumi\u00e8re ambiante<\/strong><\/h3>\n\n\n\n

Un autre d\u00e9fi de la photographie sous-marine grand angle est de combiner la lumi\u00e8re stroboscopique artificielle avec la lumi\u00e8re ambiante naturelle pour que le produit final ait toujours l'air naturel. <\/p>\n\n\n\n

For day shots, strobes dialed down to lower power will provide rapid recycling and give the foreground subject some pop while not overexposing the frame. Incorporating some fill with a flash in over-unders, reflections and Snell\u2019s window shots will also give the subject more clarity.<\/p>\n\n\n\n

Pour les prises de vue au lever ou au coucher du soleil, il est souvent n\u00e9cessaire d'augmenter la puissance des flashs pour \u00e9clairer correctement le sujet. En fonction de la proximit\u00e9 et de la r\u00e9flexion du sujet, ainsi que de la quantit\u00e9 de lumi\u00e8re ambiante disponible, vous pouvez essayer d'augmenter la puissance de 50, 75 et 100 % dans cet ordre. Lorsqu'il semble que la quantit\u00e9 de lumi\u00e8re soit suffisante, la v\u00e9rification de l'histogramme permet de s'assurer de la pr\u00e9cision des r\u00e9sultats.<\/p>\n\n\n\n

Conseils de mise au point<\/strong><\/h3>\n\n\n\n

\u00c9tant donn\u00e9 que de nombreuses prises de vue de l'interface Plimsoll impliquent un sujet en mouvement \u00e0 la surface, utilisez le mode de mise au point continue, \u00e9galement connu sous le nom d'AI Servo AF ou AF-C. Dans ce mode, l'appareil photo continuera \u00e0 faire la mise au point sur un animal en mouvement si vous maintenez le d\u00e9clencheur enfonc\u00e9 \u00e0 mi-course apr\u00e8s que l'appareil photo a fait la mise au point. Vous pouvez \u00e9galement utiliser la mise au point par bouton arri\u00e8re, que vous pouvez programmer dans la plupart des appareils photo pour assigner la mise au point \u00e0 un bouton distinct du d\u00e9clencheur, ce qui permet au photographe de prendre rapidement une photo sans que l'appareil photo ne fasse une pause en essayant de refaire la mise au point. <\/p>\n\n\n\n

\"image
Cette image fractionn\u00e9e de Casino Point sur l'\u00eele de Catalina, en Californie, montre les reflets de la surface.<\/figcaption><\/figure>\n\n\n\n

Le choix de la zone de mise au point peut s'av\u00e9rer difficile, en particulier pour les photographes d\u00e9butants. Le choix d'un point de mise au point sp\u00e9cifique est cependant moins important lorsque l'on utilise une ouverture de diaphragme \u00e9troite et des objectifs extr\u00eamement grand-angle. Une ouverture plus petite produit des photos avec une plus grande profondeur de champ, ce qui signifie qu'une plus grande partie de la sc\u00e8ne est mise au point, donc rester entre f\/14 et f\/22 offre une certaine latitude. <\/p>\n\n\n\n

For split shots, put the focus point on the underwater subject (at the bottom of the selection frame). You can move that focus point to the above-water portion of the image if the main subject is above water or you want to emphasize a portion of that animal above water, such as a turtle\u2019s head. With a narrow aperture and super-wide lenses, however, the difference in focus area is modest.<\/p>\n\n\n\n

Certains appareils photo peuvent avoir des difficult\u00e9s \u00e0 faire la mise au point sur un sujet qui se d\u00e9place rapidement et qui est \u00e0 la fois au-dessus et au-dessous de l'eau, quel que soit l'endroit o\u00f9 vous placez votre point de mise au point. Le fait de prendre plusieurs photos ou d'effectuer des tirs rapides augmente les chances d'obtenir des images.
vous aimez.<\/p>\n\n\n\n

Conseils pour le post-traitement<\/strong><\/h3>\n\n\n\n

M\u00eame les meilleurs photographes sous-marins utilisent des outils de post-traitement tels qu'Adobe Lightroom ou Photoshop pour peaufiner leurs produits finis. Pour les surplongeurs, deux des outils les plus utiles sont l'outil de suppression des taches pour \u00e9liminer les gouttes d'eau et le filtre gradu\u00e9.<\/p>\n\n\n\n

La partie immerg\u00e9e de l'image sera toujours plus sombre que la partie \u00e9merg\u00e9e, car l'eau absorbe plus de lumi\u00e8re que l'air. Lorsque le soleil descend dans le ciel, la lumi\u00e8re se r\u00e9fl\u00e9chit davantage sur la surface, de sorte que les diff\u00e9rences d'exposition entre la lumi\u00e8re du d\u00e9but de matin\u00e9e et celle de la fin de l'apr\u00e8s-midi sont plus importantes. Le filtre gradu\u00e9 et le pinceau de r\u00e9glage permettent d'\u00e9claircir les zones sombres et d'assombrir les zones relativement surexpos\u00e9es. Cependant, lorsque vous perdez des d\u00e9tails \u00e0 cause d'une surexposition importante, aucun outil de post-traitement ne peut les faire r\u00e9appara\u00eetre.<\/p>\n\n\n\n

For Snell\u2019s window shots, it can also be useful to decrease the highlights in the sky. For reflections, you can often improve your pictures by using the dehaze slider to minimize any overexposed areas and increase the contrast and clarity of the reflections.<\/p>\n\n\n\n

Ces ajustements finaux peuvent apporter une touche finale \u00e9l\u00e9gante aux photos prises avec l'interface Plimsoll.<\/p>\n\n\n\n

\u00a9 Alert Diver<\/em> \u2014 Q3\/Q4 2021<\/p>","protected":false},"excerpt":{"rendered":"

Les photographes sous-marins appellent parfois l'\u00e9troite zone d'eau o\u00f9 un sujet fend la surface l'interface de Plimsoll. Cette zone offre de nombreuses possibilit\u00e9s de prises de vue dynamiques obtenues en orientant l'appareil photo au-dessus ou au-dessous de la ligne de flottaison. Le photographe sous-marin d\u00e9vou\u00e9 et cr\u00e9atif peut r\u00e9aliser des prises de vue traditionnelles avec un m\u00e9nisque droit standard et des reflets spectaculaires du sujet, de la lumi\u00e8re du soleil ou des deux dans le cadre d'une prise de vue modifi\u00e9e ou d'une photo enti\u00e8rement sous-marine.<\/p>","protected":false},"featured_media":19484,"template":"","dan_alert_diver_categories":[67],"dan_alert_diver_issues":[474],"class_list":["post-19483","dan_alert_diver","type-dan_alert_diver","status-publish","has-post-thumbnail","hentry","dan_alert_diver_categories-imaging","dan_alert_diver_issues-q3-q4-2021"],"acf":[],"yoast_head":"\nPhotography in the Plimsoll Interface - DAN World<\/title>\n<meta name=\"description\" content=\"In the 1860s, Samuel Plimsoll was a member of the British Parliament who was concerned about properly marking ships to show where their hulls should cut through water so they would not sit too low.\" \/>\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\/photography-in-the-plimsoll-interface\/\" \/>\n<meta property=\"og:locale\" content=\"fr_CA\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Photography in the Plimsoll Interface\" \/>\n<meta property=\"og:description\" content=\"In the 1860s, Samuel Plimsoll was a member of the British Parliament who was concerned about properly marking ships to show where their hulls should cut through water so they would not sit too low.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/world.dan.org\/fr\/alert-diver\/article\/photography-in-the-plimsoll-interface\/\" \/>\n<meta property=\"og:site_name\" content=\"DAN World\" \/>\n<meta property=\"article:modified_time\" content=\"2023-06-02T16:53:11+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/world.dan.org\/wp-content\/uploads\/2021\/12\/sharks-sunset-shot-through-snells-window-moorea-1200.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"800\" \/>\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=\"In the 1860s, Samuel Plimsoll was a member of the British Parliament who was concerned about properly marking ships to show where their hulls should cut through water so they would not sit too low.\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"10 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\\\/photography-in-the-plimsoll-interface\\\/\",\"url\":\"https:\\\/\\\/world.dan.org\\\/alert-diver\\\/article\\\/photography-in-the-plimsoll-interface\\\/\",\"name\":\"Photography in the Plimsoll Interface - 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