Very often the only difference between a good photograph and great
one is in the background. This is what photographers refer to as
"negative space," the part of the photograph exclusive of the
subject. A complete photograph is one in which the subject is in
focus, well lit, and has a interesting pose. However, the background
must also complement the subject.
Backgrounds or negative space are often overlooked by photographers as they focus in on their subjects. Cluttered backgrounds should be avoided since they distract the viewer. One should not have to search for the subject in a photo, it should be readily identified. This is what photographers call separation. You can achieve hue separation by selecting backgrounds of different (and complementary) color, or shade separation by selecting backgrounds of different brightness.
For example, if you photograph an orange garibaldi right against an orange sponge, you might have a hard time finding where the fish ends and the sponge begins. Now imagine the same fish against the same sponge, but now the fish is farther from the sponge. The different strobe-to-subject distance between the fish and sponge will render the fish brighter against a darker background. Should you shoot the same fish against a dark (or black) background, the fish will jump out of the photo at you.
Obtaining jet black backgrounds is quite easy underwater. Simply select a small aperture (f22 or f16) and aim your camera away from the sun. Proper exposure will be determined by your strobes alone and the background will go jet black. This background is very effective for brightly colored or white subjects.
Alternatively, you can achieve blue-water backgrounds by aiming your camera into the water column, but not at the sun. You will need to you use your light meter, since your exposure will be determined by how far from the sun you aim your camera as well as water/sky conditions. This technique produces sky blue to royal blue backgrounds, depending on exposure and the film you are using and is particularly effective for dark subjects - blue rockfish, sea lions, etc.
Taking this to extreme you can position your subject directly in
front of the sun. You will need to take a light meter reading very
near, but not at the sun. You don't want to meter on the sun since
you want to overexpose the sun itself, but not too much so that it
bleeds into the remainder of the photograph.
The above discussion is mainly for subjects that naturally put themselves in the "right" position or can be herded there. Often you simply aim your camera at the appropriate background and wait for (or entice) your subject to swim into the photo.
However, most subjects are not that cooperative and you will have to shoot them in place. If you find one photogenic creature, there are often others of the same species nearby. Should you find a critter sitting on an uncomplimentary background, avoid it and spend some time looking for one on a better background. Be selective in choosing critter-background combinations.
Some subjects can be safely and effectively moved from one background to another. Examples are sea stars, crabs, shrimp, octopuses and some species of nudibranch. I often hesitate to do this since touching any sea creature can injure of kill it. Should you choose to move an animal, please be selective. Only move animals that you know you will not harm. Be gentle, protect them from attack of predators, and always put them back where you found them.
Photographic backgrounds can and should be controlled. If you spend some time thinking about what is behind your subject, you will surely end up getting more "keepers" out of each roll.
Bruce Watkins is a frequent contributor to California Diving
News, as well as author of the books A Diver's Guide to Monterey
County and A Diver's Guide to Northern California.
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