{"id":18839,"date":"2021-09-01T21:23:28","date_gmt":"2021-09-02T01:23:28","guid":{"rendered":"https:\/\/wordpress.world.dan.org\/?post_type=dan_alert_diver&p=18839"},"modified":"2023-06-26T14:54:03","modified_gmt":"2023-06-26T18:54:03","slug":"shooting-in-a-turbid-environment","status":"publish","type":"dan_alert_diver","link":"https:\/\/world.dan.org\/id\/alert-diver\/article\/shooting-in-a-turbid-environment\/","title":{"rendered":"Memotret di Lingkungan yang Keruh"},"content":{"rendered":"

Turbid water can be a challenging environment for underwater photographers, particularly when shooting wide angle. In Southern California, where the water quality is predictably poor, many shooters completely shy away from wide angle and instead rely on macro. It\u2019s one thing to be on a day boat or to be able to quickly change lenses, but what happens when we take a long-range trip and find the water quality is worse than anticipated? While we can use a macro lens for some images, it is difficult to capture a tropical reef\u2019s full beauty without a wide-angle lens.<\/p>\n\n\n\n

Turbid water may not appear brown or green from the surface \u2014 in many cases the water looks entirely different once we drop in and begin the dive. All water is turbid to some degree. Understanding what causes turbidity and knowing how to work around it can make a world of difference when shooting in those conditions.<\/p>\n\n\n

\n
\"Ikan
Ikan kelelawar Batavia ini difoto di lingkungan yang keruh dan berlumpur dengan menggunakan bukaan diafragma terbuka.<\/figcaption><\/figure>\n<\/div>\n\n\n

A gamut of environmental reasons \u2014 such as rain, runoff, pollution or algae blooms \u2014 can increase turbidity. Some factors are more seasonal and predictable, while others are more difficult to explain. Afternoon or evening rainfalls are common in tropical areas. These sporadic showers can create a layer of fresh water near the surface, resulting in a halocline effect that pushes natural sediment and salt water downward in the water column, where water temperatures cause further separation into suspended, visible layers. Sudden temperature changes and visible haze often mark thermoclines. Haziness can be as prevalent in the open ocean as near the shore, where runoff from local mountains or riverbeds adds sediment to the water. <\/p>\n\n\n\n

Polutan, debu, dan faktor lingkungan lainnya dapat menciptakan kabut di permukaan dan di bawah air. Sebagai salah satu efek samping terburuk dari air keruh, kabut mencegah sinar matahari menembus kolom air dan menyaring kualitas warna cahaya yang masuk, mengurangi getaran dan kontras, efek yang terjadi bahkan ketika air tampak bersih.<\/p>\n\n\n\n

Salah satu keterampilan terbaik yang bisa dikembangkan oleh seorang fotografer, khususnya untuk pemotretan sudut lebar, adalah mempelajari cara membaca kualitas air. Lihatlah secara horizontal melalui kolom air untuk memindai partikel yang mengambang atau tersuspensi, kabut, lapisan, sedimen, dan air keruh. Setelah Anda dapat menilai air, Anda dapat menyesuaikan diri dengan situasi dengan mengubah teknik pemotretan dan pencahayaan Anda.<\/p>\n\n\n

\n
\"sekolah
Using flat or domed diffusers will spread your strobes\u2019 beam angle so you can illuminate your subject without pointing your strobes directly at it.<\/figcaption><\/figure>\n<\/div>\n\n\n

Posisi Strobo<\/strong><\/h3>\n\n\n\n

When shooting wide angle in turbid water, avoiding backscatter will be one of the main challenges. Position your strobes approximately 3 feet apart at the 10 o\u2019clock and 2 o\u2019clock positions with the strobe heads behind the lens port. Use your housing\u2019s arm handles as references when aligning your strobes, and make this your \u201cjump position,\u201d or reset point. Strobe placement will require some trial and error, but using a strong reference point for positioning will help shorten the learning curve.<\/p>\n\n\n\n

Quickly and carefully review your images underwater to check for flaring and backscatter on the sides of the frame. Zoom in, check each side of your image, and then adjust. If you see backscatter, move your strobes further behind the handles or point the strobe heads slightly outward while remaining at the 10 o\u2019clock and 2 o\u2019clock positions. Make sure not to flash the water column with your strobes when making adjustments. You may also need to tip your strobe heads slightly downward to keep the water column as free from backscatter as possible. <\/p>\n\n\n\n

Getting closer to your subject is also a great way to restore natural contrast in hazy conditions. The old rule is, \u201cIf you think you\u2019re close enough, get closer.\u201d<\/p>\n\n\n\n

Memotret dengan aperture terbuka, seperti f\/8 hingga f\/13 memungkinkan lebih banyak cahaya masuk ke latar depan dan membantu memadukan partikulat ke dalam gambar apabila tidak disinari oleh lampu kilat. Aperture f\/14 atau lebih kecil akan menggelapkan gambar dan dapat menampakkan lebih banyak partikulat dan pantulan balik dalam bingkai. Apabila terpaksa memotret melalui banyak air di mana strobo tidak akan efektif, cobalah mematikan strobo, meningkatkan pengaturan ISO, menyesuaikan kecepatan rana, dan mengatur white balance pada saat pascaproduksi.<\/p>\n\n\n\n

Alat utama Anda untuk mengatasi air keruh adalah kedekatan dengan subjek Anda, pencahayaan, pembingkaian dan komposisi. Lensa basah dan lensa konversi juga merupakan pilihan yang sangat baik. Pastikan untuk sering meninjau gambar Anda.<\/p>\n\n\n\n

Kedekatan Dengan Subjek Anda<\/strong><\/h3>\n\n\n\n

Lebih dekat ke subjek Anda akan membantu menyinari subjek dengan intensitas dan getaran yang lebih besar. Sesuaikan strobo Anda, dan perhatikan apakah ada cahaya yang berkobar pada sisi bingkai. Cobalah untuk tidak menyinari air terbuka atau latar belakang secara tidak perlu, dan tahan keinginan untuk menyinari model Anda.<\/p>\n\n\n\n

Pencahayaan<\/strong><\/h3>\n\n\n\n

Light the foreground, and let Mother Nature do the rest. You can\u2019t light the entire reef, so pick an area, preferably colorful, and illuminate that part well. Having a well-lit foreground with a dark background on a sunny day doesn\u2019t make photographic sense, so try to avoid that by letting in more light. Adjust your ISO and shutter speeds to allow more light into the frame, and blend the light from the background with the foreground strobe flash. Keeping the sun at your back is also effective. A vibrant foreground enhances the entire image.<\/p>\n\n\n\n

Pembingkaian dan Komposisi<\/strong><\/h3>\n\n\n\n

Cobalah mengisi bingkai dengan struktur dan warna menggunakan komposisi lubang kunci atau menimbang komposisi Anda pada satu sisi bingkai sambil menerangi dengan satu strobo. Jika Anda memotret kipas laut, ikan kodok yang menjulang tinggi, atau spons yang aneh di dinding, cobalah menggunakan strobo tunggal secara eksklusif pada sisi bingkai tersebut.<\/p>\n\n\n\n

Konversi dan Lensa Basah<\/strong><\/h3>\n\n\n\n

Lensa konversi dan lensa basah merupakan alternatif yang bagus untuk para pemotret yang menggunakan kamera digital single-lens reflex (DSLR), kamera mirrorless dan kamera saku. Untuk pemotret DSLR dan kamera mirrorless full-frame, lensa konversi mengubah lensa makro 60mm menjadi sekitar 22mm. Lensa basah menggunakan adaptor flip diopter standar, yang memungkinkan Anda membalik lensa ke tempatnya kapan saja selama menyelam. Lensa sudut lebar basah bergaya bayonet untuk kamera saku akan mengubah bidang pandang menjadi lebar. Di lingkungan yang keruh, Anda harus bekerja dekat dengan subjek Anda, berapa pun ukurannya. Keserbagunaan makro dan sudut lebar dengan lensa konversi basah adalah pilihan yang baik.<\/p>\n\n\n\n

\"\"
Lensa konversi menambah keserbagunaan untuk subjek yang sedikit lebih besar dengan meningkatkan bidang pandang dan depth of field.<\/figcaption><\/figure>\n\n\n\n

Meninjau Gambar Anda<\/strong><\/h3>\n\n\n\n

Review your images often while underwater. Check the sides of the frame for flaring, and zoom in to check the open-water portions of the frame for backscatter. The LCD\u2019s pixels are highly condensed, so everything may look perfect until you zoom in.<\/p>\n\n\n\n

Air hijau yang indah di lepas pantai Monterey, California, bisa saja pekat dengan partikulat dan kabut, serta sering kali tidak memiliki cahaya sekitar. Ketika memotret di sana, berkonsentrasilah pada latar depan, biarkan cahaya sekitar menangani latar belakang, dan jaga agar komposisi Anda tetap kecil. Menggunakan cahaya sekitar mungkin memerlukan kecepatan rana yang lambat, jadi stabilkan kamera.<\/p>\n\n\n\n

On a dream trip to Papua New Guinea, I was shocked to find very hazy water. Water runs off the lush mountain peaks directly into the ocean during the rainy season. Lack of water movement leaves the particulate suspended for a long time. We arrived in November, which was months after the rainy season, expecting clean, clear water, but it was murky in many areas. The large particles had long settled, but fine sediment was still suspended in the water column. Instead of battling against the haze, try to use it creatively in the image\u2019s design.<\/p>\n\n\n\n

\"\"
Partikulat yang berat dapat memerlukan tindakan drastis.<\/figcaption><\/figure>\n\n\n\n
\"\"
Cobalah cahaya latar dengan menggunakan lampu selam atau matikan lampu sorot Anda. Gunakan bukaan diafragma Anda untuk mendapatkan bayangan, dan sesuaikan kecepatan rana untuk mengontrol cahaya yang masuk ke dalam bingkai. Jika semuanya gagal, alat penghilang bintik pada perangkat lunak pengeditan bisa sangat efektif.<\/figcaption><\/figure>\n\n\n\n

Avoid backscatter by using keyhole compositions, such as framing a diver through a wreck\u2019s porthole or a hole in a sea fan. Weighting your scene to one side of the frame will also allow for using a single strobe while providing for negative space and natural light.<\/p>\n\n\n\n

When turbid water forces you to shoot macro, it\u2019s hard to beat a 60mm lens. For best results, keep the frame bright, your strobes positioned high and the aperture open. Use a steady light instead of strobes, and close down the aperture to allow the particulate to intensify the image design.<\/p>\n\n\n\n

Lensa 60mm dengan lensa konversi untuk fokus dekat, pemandangan sudut lebar akan memungkinkan Anda untuk fokus sangat dekat ke port lensa sambil mempertahankan sudut pandang yang lebih luas. Kedalaman ruang yang dangkal juga membantu menciptakan gambar yang lebih baik dalam air yang berkabut.<\/p>\n\n\n\n

Pascaproduksi<\/strong><\/h3>\n\n\n\n

Penyuntingan pascaproduksi memungkinkan Anda menyesuaikan dan membersihkan sebagian hamburan cahaya dalam gambar Anda. Saya menggunakan Adobe Photoshop untuk menghilangkan bintik-bintik dan gumpalan yang membandel dengan kuas penyembuhan bintik dan opsi pencocokan jarak.<\/p>\n\n\n\n

\"penyelam
Mengubah gambar menjadi hitam dan putih dalam pascaproduksi bekerja dengan baik pada bangkai kapal, hiu, dan foto yang kurang kontras.<\/figcaption><\/figure>\n\n\n\n

Pergeseran dari warna ke hitam putih juga bisa sangat efektif untuk gambar yang monoton atau sangat kurang kontras dan dapat menambahkan kesan dramatis atau kuno. Hiu dan bangkai kapal adalah subjek favorit saya untuk gambar hitam putih. Banyak alat pascaproduksi yang memungkinkan Anda untuk menghilangkan sebagian besar hamburan cahaya pada foto. Namun, dengan pencahayaan yang cermat dan pertimbangan subjek Anda, hal ini mungkin tidak diperlukan.<\/p>\n\n\n\n

Memotret dalam air yang keruh dapat menjadi salah satu tantangan terberat bagi seorang fotografer bawah air. Cobalah untuk memenuhi tantangan tersebut dengan menggunakan sedikit kreativitas dan beberapa teknik yang telah dibahas. Pelajari cara membaca kualitas air, jaga agar pikiran Anda tetap fokus pada pemecahan masalah, dan dorong diri Anda untuk mengembangkan keterampilan fotografi yang kuat dan intuitif.<\/p>\n\n\n\n

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

\u00a9 Alert Diver<\/em> \u2014 Q2 2021<\/p>","protected":false},"excerpt":{"rendered":"

Turbid water can be a challenging environment for underwater photographers, particularly when shooting wide angle. Turbid water may not appear brown or green from the surface \u2014 in many cases the water looks entirely different once we drop in and begin the dive. All water is turbid to some degree. Understanding what causes turbidity and knowing how to work around it can make a world of difference when shooting in those conditions. One of the best skills a photographer can develop, particularly for shooting wide angle, is learning how to read water quality.<\/p>","protected":false},"featured_media":18840,"template":"","dan_alert_diver_categories":[67],"dan_alert_diver_issues":[464],"class_list":["post-18839","dan_alert_diver","type-dan_alert_diver","status-publish","has-post-thumbnail","hentry","dan_alert_diver_categories-imaging","dan_alert_diver_issues-q2-2021"],"acf":[],"yoast_head":"\nShooting in a Turbid Environment - DAN World<\/title>\n<meta name=\"description\" content=\"Turbid water can be a challenging environment for underwater photographers, particularly when shooting wide angle. In Southern California, where the water quality is predictably poor, many shooters completely shy away from wide angle and instead rely on macro. It\u2019s one thing to be on a day boat or to be able to quickly change lenses, but what happens when we take a long-range trip and find the water quality is worse than anticipated?\" \/>\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\/id\/alert-diver\/article\/shooting-in-a-turbid-environment\/\" \/>\n<meta property=\"og:locale\" content=\"id_ID\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Shooting in a Turbid Environment\" \/>\n<meta property=\"og:description\" content=\"Turbid water can be a challenging environment for underwater photographers, particularly when shooting wide angle. In Southern California, where the water quality is predictably poor, many shooters completely shy away from wide angle and instead rely on macro.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/world.dan.org\/id\/alert-diver\/article\/shooting-in-a-turbid-environment\/\" \/>\n<meta property=\"og:site_name\" content=\"DAN World\" \/>\n<meta property=\"article:modified_time\" content=\"2023-06-26T18:54:03+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/world.dan.org\/wp-content\/uploads\/2021\/09\/keyhole-compositions-work-well-for-eliminating-the-chance-of-backscatter.jpg\" \/>\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=\"Turbid water can be a challenging environment for underwater photographers, particularly when shooting wide angle. In Southern California, where the water quality is predictably poor, many shooters completely shy away from wide angle and instead rely on macro.\" \/>\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\\\/shooting-in-a-turbid-environment\\\/\",\"url\":\"https:\\\/\\\/world.dan.org\\\/alert-diver\\\/article\\\/shooting-in-a-turbid-environment\\\/\",\"name\":\"Shooting in a Turbid Environment - DAN World\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/world.dan.org\\\/es\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/world.dan.org\\\/alert-diver\\\/article\\\/shooting-in-a-turbid-environment\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/world.dan.org\\\/alert-diver\\\/article\\\/shooting-in-a-turbid-environment\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/world.dan.org\\\/wp-content\\\/uploads\\\/2021\\\/09\\\/keyhole-compositions-work-well-for-eliminating-the-chance-of-backscatter.jpg\",\"datePublished\":\"2021-09-02T01:23:28+00:00\",\"dateModified\":\"2023-06-26T18:54:03+00:00\",\"description\":\"Turbid water can be a challenging environment for underwater photographers, particularly when shooting wide angle. 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In Southern California, where the water quality is predictably poor, many shooters completely shy away from wide angle and instead rely on macro.","twitter_misc":{"Est. reading time":"9 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/world.dan.org\/alert-diver\/article\/shooting-in-a-turbid-environment\/","url":"https:\/\/world.dan.org\/alert-diver\/article\/shooting-in-a-turbid-environment\/","name":"Memotret di Lingkungan yang Keruh - DAN World","isPartOf":{"@id":"https:\/\/world.dan.org\/es\/#website"},"primaryImageOfPage":{"@id":"https:\/\/world.dan.org\/alert-diver\/article\/shooting-in-a-turbid-environment\/#primaryimage"},"image":{"@id":"https:\/\/world.dan.org\/alert-diver\/article\/shooting-in-a-turbid-environment\/#primaryimage"},"thumbnailUrl":"https:\/\/world.dan.org\/wp-content\/uploads\/2021\/09\/keyhole-compositions-work-well-for-eliminating-the-chance-of-backscatter.jpg","datePublished":"2021-09-02T01:23:28+00:00","dateModified":"2023-06-26T18:54:03+00:00","description":"Air yang keruh dapat menjadi lingkungan yang menantang bagi fotografer bawah air, terutama ketika memotret sudut lebar. 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