Split-level photography, a unique art form that captures both underwater and above-water subjects in a single shot, has become a hallmark for many seasoned photographers. This technique, which blends two vastly different environments in one frame, requires not only a technical understanding but also a creative flair. For years, I have been experimenting with and perfecting this style, seeking ways to innovate and stand out in the ever-evolving world of underwater photography. The transition from film to digital photography was a pivotal moment for me, prompting the development of new techniques to push the boundaries of what could be achieved in this field.
The digital age brought numerous advancements to photography, most notably the instant feedback provided by digital cameras. What was once a process of carefully developing film negatives and waiting days or weeks to see results has now become an immediate experience. This shift created both a challenge and an opportunity: while the barrier to entry for aspiring photographers had been lowered, I knew I had to evolve my skills to remain competitive. As a result, I began focusing on a fresh and innovative approachsplit-level shots that bridged the gap between the world beneath the waves and the world above the surface.
Initially, I experimented with the combination of a Nikon D200 housed in a Sea & Sea underwater housing and paired with a Nikon 10.5mm fisheye lens. This setup, while limited by the constraints of early digital cameras, allowed me to explore this new technique. By combining the fisheye lens with an 8-inch dome port, I could achieve an ultra-wide field of view that was impossible with traditional lenses. This configuration opened the door to a new perspective that allowed me to simultaneously showcase the beauty of both the underwater and above-water worlds. It was a thrilling challenge, one that eventually became the cornerstone of my work as a photographer.
The unique perspective offered by the fisheye lens, coupled with the large dome port, made it possible to capture the intricate details of both realms in a single frame. At the same time, it introduced challenges that required patience and precision to overcome. The underwater and above-water scenes operate under different optical properties, making it essential to understand how to balance them effectively. However, the results were undeniably rewarding, as split-level shots provided a new dimension of storytelling that resonated with viewers.
Mastering the Technical Aspects: The Science Behind Split-Level Photography
To truly master the art of split-level photography, it is crucial to understand the physics at play, particularly the behavior of light at the air/water interface. When light passes through the air and hits the water, it behaves differently, creating a magnification effect that makes underwater subjects appear closer and larger than they actually are. This optical property plays a significant role in split-level photography, where both underwater and above-water subjects must be captured simultaneously in one frame.
The fisheye lens, with its wide-angle view, was a key tool in overcoming this challenge. By providing a large depth of field even at small apertures, it enabled me to keep both underwater and above-water subjects in focus. However, this came with its own set of problems. The smaller aperture used to increase depth of field also reduced the amount of light entering the camera, which could make exposure a tricky issue. Early on, I had to contend with how to balance exposure between the two realms, as the underwater scene often had different lighting requirements than the surface scene.
One of the tricks I employed was using a strobe for fill light. By carefully positioning the strobe and using rear-sync flash, I could effectively balance the ambient light in the water with the flash, ensuring proper exposure across both parts of the scene. This allowed me to capture bright, well-exposed split-level images where both the underwater and above-water portions were visible and clear. But this was not always an easy process. Many of my early attempts resulted in images with either softness or exposure inconsistencies, which led me to refine my technique through repeated trial and error.
As digital cameras evolved, so too did my approach. Modern cameras, with their enhanced dynamic range and better low-light sensitivity, provided more flexibility in capturing split-level images. Today, I typically shoot with a Nikon D850, paired with a Zen 230mm dome port, which offers a superior field of view and image quality compared to earlier setups. With the improved dynamic range of modern sensors, I no longer need to rely on flash in many cases. The camera can now automatically adjust to balance exposure above and below the water, making split-level shots more achievable in natural light.
The Art of Composition and Framing: Crafting the Perfect Split-Level Shot
One of the most challenging aspects of split-level photography is composition. The fisheye lens, while fantastic for creating wide-angle shots, also introduces distortion that can affect the appearance of subjects, particularly those further from the center of the frame. This distortion can cause the above-water portion of the scene to appear disproportionately small compared to the underwater portion, which can disrupt the visual balance of the image. Therefore, careful attention must be paid to how the subjects are placed within the frame.
In my own work, I have found that placing the underwater subject close to the lens helps take advantage of the fisheye lens's natural distortion. This exaggerates the size of the underwater subject, allowing for a more balanced composition where both the underwater and above-water scenes hold equal visual weight. For the above-water portion, I avoid placing overly large objects in the frame, as the fisheye distortion can make them appear small and unimportant. This balance between the two realmsabove and below the water’s surface crucial for a successful split-level shot.
Additionally, split-level photography is best suited for shallow water. Shallow environments offer more control over the positioning and angle of the camera, making it easier to capture the shot without worrying about the weight and bulk of the housing and dome port. This also allows the photographer to be more agile and reactive, making it easier to adjust to changing conditions and lighting.
In terms of exposure, I rely heavily on spot focus for underwater subjects to ensure sharpness, while using matrix metering to maintain an even exposure across the entire scene. I typically shoot at an aperture of f18 or f22, which gives me maximum depth of field, and set the ISO to 400 or 800 to maintain image quality in lower light. By closely monitoring the histogram on the camera’s LCD screen, I can check for any clipping in the highlights or shadows, which helps me ensure that the final image will have the proper exposure balance.
Finally, one of the lesser-known aspects of split-level photography is the choice of dome port material. Acrylic domes, although commonly used, tend to create surface tension, which can cause water to form beads or rivulets on the dome’s surface, distorting the above-water portion of the shot. Glass, on the other hand, has less surface tension, allowing water to slide off more smoothly, leading to clearer images with fewer distortions. In order to avoid the issues of water beads and distortion, I developed a technique where I would dunk the entire dome underwater before taking the shot. This helped create a uniform layer of water over the dome, minimizing surface tension and ensuring a more accurate reflection of both the underwater and above-water scenes.
As technology continues to improve, split-level photography will likely evolve even further, but the fundamentalsunderstanding light, mastering composition, and utilizing the right equipmentwill remain key to capturing breathtaking images. By combining technical knowledge with creativity, photographers can continue to push the limits of what is possible in this stunning and dynamic genre of photography. The journey is long and often challenging, but the reward is a portfolio filled with images that transcend the ordinary, offering viewers a glimpse into the mesmerizing world where the two realms of water meet.
Overcoming Challenges in Split-Level Photography
Capturing the dynamic beauty of both the underwater and above-water worlds in a single image is a thrilling and challenging pursuit. Split-level photography, also known as over-under photography, presents unique hurdles that require a deep understanding of both camera settings and the physics of light. The challenges of this art form are not only technical but also heavily influenced by the behavior of light, the lens used, and how focusing can be managed to ensure both realms are captured sharply. Whether you're photographing marine life or seascapes, mastering the intricacies of split-level photography requires practice, knowledge, and patience.
The magic of split-level images lies in their ability to tell two stories within one frame. Above the water, the viewer might see a glowing sunset, a distant island, or the silhouette of a bird mid-flight, while below the surface teems with coral gardens, schools of fish, or a lone turtle gliding peacefully. This duality creates a compelling narrative and often evokes a sense of wonder, reminding us of the interconnectedness of terrestrial and aquatic ecosystems. However, creating this effect is far more complex than simply submerging a camera halfway into the water.
One of the most significant technical challenges is the extreme contrast in exposure. Above the surface, the sky is often bright and filled with reflections, while underwater scenes tend to be darker and tinged with blue or green hues. Balancing these two light environments demands careful attention to exposure settings, use of graduated neutral density filters, or sometimes compositing techniques in post-processing. Choosing the right time of typically early morning or late afternooncan also soften the contrast, providing more even lighting across both halves of the image.
Another vital consideration is lens choice. Wide-angle or fisheye lenses are commonly used because they offer an expansive field of view, allowing for more dramatic compositions that include both underwater subjects and sprawling skies or landscapes. These lenses, however, introduce their own set of difficulties, especially with distortion and the tendency to exaggerate elements near the edges of the frame. Careful composition and an understanding of how to use these optical characteristics creatively are essential to success.
Focusing in split-level photography is another complex aspect. Water has a higher refractive index than air, which means that objects underwater appear closer and larger than they actually are. This optical shift can confuse autofocus systems and make manual focusing challenging. To ensure clarity across both domains, some photographers rely on a small aperture to increase depth of field, although this often requires more light or higher ISO settings to compensate. Focus stacking is occasionally employed, but it's not always feasible when dealing with moving subjects or shifting waves.
The physical boundary of the waterline itself poses another artistic and practical challenge. Waves and ripples can distort the line between air and water, making it difficult to achieve a clean split. Yet, when used creatively, these distortions can become part of the story, adding movement and texture to the composition. A perfectly still waterline might be ideal for clarity, but a dynamically curved or rippled line can introduce a sense of drama or action, hinting at the chaos and beauty of nature in motion.
Moreover, environmental factors such as water clarity, salinity, and even the presence of particles or plankton can significantly impact the final image. Murky water can obscure underwater details, while overly reflective surfaces above can wash out the sky. Understanding local conditions, tides, and seasonal changes can give photographers a critical edge in planning and executing their shots effectively.
Split-level photography is as much about persistence and adaptability as it is about technical skill. The ocean is not a controlled environment. The conditions are ever-changing, and success often hinges on the ability to respond to unexpected shifts in light, weather, or marine activity. Many seasoned photographers spend hours in the water, returning to the same location multiple times just to capture a fleeting moment when everything the perfect angle of sunlight, calm water, an inquisitive fish, or a rare alignment of sea and sky.
Ultimately, split-level photography is a poetic blend of science and art. It invites the viewer into two worlds at once, each with its own rhythm and mystery. It challenges the photographer not just to document but to interpret, to bridge the divide between what is seen and what is sensed beneath the surface. As we refine our skills and deepen our understanding of this genre, we begin to see more than just the visual harmony in our frames start to appreciate the subtle dialogue between air and water, between human perspective and the wild, silent stories of the sea.
The Impact of Light and the Air/Water Interface on Split-Level Shots
One of the fundamental challenges in split-level photography lies in the interaction of light with the air-water interface. Water has a higher refractive index compared to air, causing light to bend as it travels from one medium to another. This bending results in a magnifying effect on underwater subjects, making them appear closer and larger than their actual size. Meanwhile, the objects above the water surface remain true to their real-world proportions and distances. This variation in magnification can be a challenge when trying to achieve sharp focus across both areas of the image.
The refractive effect creates the difficulty of keeping both the above-water and underwater subjects in focus. The underwater portion of the image has a different focal point due to the magnification caused by the water, while the surface section requires a separate focal adjustment. Achieving sharp focus on both simultaneously is tricky. However, using a fisheye lens significantly alleviates this problem because of its inherently wide depth of field. Fisheye lenses offer an expansive area of sharp focus, even at very short distances. When coupled with a small aperture setting, they offer the best solution for maintaining focus across both above-water and underwater parts of the image.
Despite the fisheye lens offering a practical solution, there is another complication to considerlight levels. To properly expose a scene at smaller apertures, such as f/16 or f/22, a higher intensity of light is required. Underwater photography, however, has natural limitations in terms of available light. Water absorbs and scatters light, making underwater scenes darker and more difficult to expose properly. In the past, using external strobes and fill flash was essential for achieving even lighting across both portions of the image.
Advancements in camera technology have addressed this issue to a large extent. With modern digital cameras that perform better in low-light conditions, photographers can now use higher ISO settings (ranging from 400 to 800) and still capture stunning results. These improvements in sensor technology, coupled with smaller aperture settings like f/18 or f/22, help achieve sharp focus across both portions of the image while reducing reliance on artificial lighting. The increased dynamic range of modern sensors enables better control over exposure, which is a game-changer in split-level photography. These advancements allow photographers more flexibility, creativity, and the ability to capture balanced images without needing external lighting as frequently.
The Importance of Manual Focus in Achieving Clarity Across Both Realms
When it comes to split-level photography, one of the most critical elements is achieving sharp focus across both the underwater and above-water sections of the shot. Early on, I found that autofocus systems struggled to consistently focus on both sections of the scene due to the varying distances of the subjects from the lens. The autofocus system would often prioritize the closer underwater subjects while leaving the above-water elements out of focus, or vice versa. To overcome this, I learned the importance of manual focus, which gave me greater control over where the focus point was set.
The key to manually focusing for split-level shots lies in understanding the right distance to focus on. Since underwater subjects are magnified by the water's refractive properties, they often appear closer to the lens than their actual position. To compensate for this, I would manually set the focus slightly beyond the autofocus system’s range, ensuring that both the above and underwater portions of the image would fall within the lens's depth of field. Through experimentation, I discovered that a focus distance of around 12 to 16 inches from the dome port delivered the sharpest results, allowing both realms to come into focus without blurriness.
Manual focus became my go-to solution, and over time, it became clear just how essential it was for split-level photography. The shallow depth of field created by the fisheye lens means that even slight focus deviations can result in blurry portions of the shot. By using manual focus, I could adjust the focal point to suit the composition and distance of my subjects, ensuring a sharp, balanced image that captured both realms with clarity. This technique has not only improved the technical quality of my shots but has also allowed me to capture more artistic and harmonious compositions that truly showcase the beauty of the scene.
Mastering Exposure and Balancing Light in Split-Level Photography
One of the most challenging aspects of split-level photography is managing exposure balance between the underwater and above-water elements. These two realms are often lit very differently. Above the water, the scene is typically illuminated by the sun, which can cause the surface area to be much brighter than the underwater portion. As a result, without careful control of exposure, the surface can become overexposed, with highlights losing detail, while the underwater scene may be underexposed, resulting in dark, shadowy areas that lack detail.
In the early days of my split-level photography, exposure balance was one of the most persistent problems. My camera's automatic exposure system frequently overexposed the surface elements, leading to clipped highlights. To address this, I started using Matrix Metering, a metering mode that evaluates the entire scene and attempts to balance the exposure across both the underwater and above-water portions of the shot. By selecting this mode, I could ensure that neither the underwater subject nor the surface subject was overexposed or underexposed, resulting in a more balanced exposure overall.
Despite this improvement, achieving a perfect exposure balance required constant attention. One of the most useful tools in evaluating exposure was the histogram, which provides a visual representation of how light is distributed across the image. The histogram can reveal clipping, where areas of the image are so overexposed or underexposed that they lose all detail. By closely reviewing the histogram for each shot, I was able to spot clipping early and adjust my camera settings accordingly. This could involve modifying ISO, aperture, or shutter speed to ensure the image wasn’t overexposed in the highlights or underexposed in the shadows.
The modern digital camera’s ability to handle higher ISOs and capture a broader dynamic range has made exposure balancing much easier. Nowadays, I rely less on external strobes and can shoot with a higher ISO while still achieving sharp, well-exposed results. The enhanced dynamic range of newer sensors also makes it possible to capture more detail in both the bright surface area and the darker underwater sections without sacrificing overall image quality.
Choosing the Right Subject for Split-Level Photography
In split-level photography, subject selection is critical. The fisheye lens, with its wide-angle coverage, offers a fascinating perspective, but it can distort the subject, especially as it moves toward the outer edges of the frame. This distortion can cause subjects to appear unnaturally stretched or excessively large, which, while effective in some cases, can also detract from the overall composition if not carefully managed. To avoid this, it’s important to select subjects that work well with the fisheye’s optical effects.
One of the most successful applications of the fisheye lens in split-level photography is capturing dynamic underwater scenes, such as a diver interacting with marine life or a shipwreck. The fisheye lens can amplify the diver or the wreck, making them appear much larger than life. This dramatic effect enhances the impact of the image, giving it a sense of grandeur. However, when photographing larger surface objects like distant mountains or trees, special care should be taken to position them within the frame in such a way that they aren’t distorted into unrecognizable shapes or appear disproportionately small. These subjects should be placed near the center of the frame to reduce any unwanted fisheye distortion, ensuring that they retain their significance within the overall composition.
Positioning and Angling the Camera for Maximum Visual Impact
The success of split-level photography hinges on the position and angle of the camera. With the goal of capturing both the above-water and underwater realms simultaneously, finding the right balance is key. A careful composition is essential to avoid letting either element dominate the frame. For instance, underwater scenes typically feature vibrant coral reefs, colorful fish, and marine life, which tend to be visually rich and dynamic. On the other hand, the surface portion of the shot may offer a calmer, more serene backdrop, such as a clear sky or a distant island. Striking the right balance between these two contrasting elements is what creates a compelling split-level photograph.
One of the most effective approaches is to position yourself close to the underwater subject while also ensuring the above-water portion is prominently visible. This not only ensures that both realms are represented but also allows the underwater scene to have more visual weight, which in turn creates a more engaging composition. For example, photographing a diver in close proximity to a vibrant coral reef allows the underwater world to shine, while the surface portion could include a serene sky or a distant boat. This balance between the two elements creates a harmonious composition that is visually interesting without one realm overpowering the other.
An additional factor to consider when composing split-level images is the positioning of the horizon. The horizon line can either separate the two realms or help to blend them together. If you are photographing a distant island or a boat on the horizon, you should ensure that the horizon line is not too centered in the frame, as this can create a static and unbalanced image. Instead, positioning the horizon slightly above or below the center can add more dynamism and visual interest to the scene. By carefully adjusting the horizon and considering the relative size and position of your subjects, you can create a more visually stimulating image that draws the viewer’s eye through both the underwater and above-water portions of the frame.
Enhancing the Scene with the Right Camera Angle
The angle at which you shoot plays a significant role in the final result of a split-level photograph. Whether you are capturing a vibrant coral reef or a serene surface landscape, the angle can either emphasize the subject or cause it to lose visual impact. In many cases, the best results come from positioning the camera at an angle that allows both the underwater and above-water elements to be captured in full. For example, when photographing underwater subjects, you may choose to angle the camera slightly upward, allowing the horizon to be visible while also showcasing the dynamic underwater world. Alternatively, when photographing above-water subjects, angling the camera downward can allow the underwater environment to remain prominent without losing the importance of the surface elements.
Shooting from an angle also helps to reduce the distorting effects of the fisheye lens. One of the characteristics of fisheye lenses is that they can exaggerate the curvature of lines, particularly toward the edges of the frame. By positioning the subject closer to the center, you can reduce this distortion and ensure that the lines remain more natural. This technique helps you achieve a more balanced composition where both realms of the image coexist in harmony.
In addition, the right angle can help you avoid problems with the overall structure of the image. For example, when photographing a diver with a vibrant coral reef below, angling the camera to emphasize the reef can prevent the underwater scene from appearing too small or insignificant. Similarly, when capturing a subject above the waterline, angling the camera to include more of the underwater world can enhance the sense of depth and provide a more dynamic sense of scale. Shooting from the correct angle allows you to capture the beauty of both realms in a way that feels natural and visually appealing.
Maximizing the Impact of Split-Level Photography with Composition Techniques
A key element in split-level photography is ensuring that both the underwater and above-water worlds are represented in a way that feels balanced and cohesive. While it may be tempting to focus on the more visually striking underwater elements, it’s important to remember that the surface portion of the scene can also provide valuable context. For instance, the sky, clouds, or distant landmass can serve as an anchor for the underwater scene, creating a sense of depth and perspective.
Furthermore, by adjusting the framing and positioning of your subjects, you can create a more dynamic visual flow. For example, placing a diver closer to the center of the frame while allowing the coral reef to spread out toward the edges can create a more engaging composition. Similarly, positioning a boat on the horizon and allowing the underwater world to take up the lower portion of the frame can create a sense of contrast between the calm, serene surface and the vibrant, bustling life below the waterline.
Ultimately, successful split-level photography is about creating a harmonious blend of both realms. By carefully selecting your subjects, framing the shot, and positioning the camera at the right angle, you can craft visually captivating images that tell a story of the underwater and above-water worlds. The fisheye lens, with its ability to capture wide-angle views and exaggerate perspective, adds an additional layer of intrigue, but it’s the thoughtful composition and attention to detail that will make your split-level photographs truly stand out.
Fine-Tuning Exposure and Color Balance
One of the most common challenges when working with split-level imagery is correcting the exposure and color balance. These two elements play a crucial role in ensuring that the photograph is as close to the desired aesthetic as possible. Since the lighting conditions in the underwater and above-water sections can differ greatly, it’s not uncommon for some post-processing adjustments to be necessary.
Exposure is one of the first aspects to address in the editing process. Even with modern camera technology, it’s not always possible to achieve perfect exposure for both above and below the surface at the same time. The difference in light intensitybright sunlight above the water and the often darker underwater worldcan make it tricky to balance both. In such cases, I use post-processing software to adjust the exposure levels for each section individually. The goal is to brighten up the underwater portion if it’s too dark, or tone down the brightness in the above-water portion if it's too harsh. This can be achieved by tweaking the exposure slider or using selective adjustments to target specific regions of the image, such as brightening just the underwater area or darkening the sky.
Color balance is another key element that often requires attention in split-level images. Water, especially in deeper or clearer environments, tends to introduce a blue or green tint to underwater scenes. This can make the underwater portion look unnatural or cold. To remedy this, I adjust the white balance, bringing warmth and vibrancy back into the scene. This helps maintain a natural look underwater while also ensuring that the colors above the surface retain their warmth, like the hues of a sunset or the blue of the sky. A subtle yet impactful technique I often use is the application of gradient filters in Lightroom. This helps me enhance the underwater blues without affecting the natural colors of the surface elements, like the sky or land.
Sharpening and Enhancing Fine Details
After the exposure and color balance are addressed, the next step in refining a split-level image is sharpening and fine-tuning the details. Since split-level images tend to contain rich detail both above and below the water’s surface, making sure each element is crisply rendered is vital. However, this sharpening process must be done carefully to avoid introducing noise, especially in the underwater section where noise can be more noticeable.
Selective sharpening is the best way to ensure the image remains crisp without overdoing it. By using masking techniques, I apply sharpening only to the areas that need it most, such as the subject in the foreground or important elements like fish, divers, or coral. The background elements, which are typically less crucial for the composition, are left untouched or given less attention in terms of sharpening to maintain a natural blur. This helps to draw the viewer’s eye to the focal points of the image, whether that’s a diver interacting with marine life or a detailed underwater landscape.
In addition to sharpening, fine-tuning the exposure of specific areas can significantly enhance the image's overall impact. For instance, if the subject in the underwater section, such as a fish or diver, appears too dim compared to the surrounding water, I might slightly brighten that area. Similarly, the surface portion may need some contrast adjustment to bring out the textures in the clouds or the ripples on the water’s surface. These small but effective adjustments can bring more attention to key aspects of the image, adding visual interest and helping the subject stand out in a dynamic way.
Another technique I often employ is using local adjustments to further enhance specific parts of the image. This could be as simple as increasing the contrast around the subject underwater or subtly darkening parts of the sky to make the clouds more dramatic. Each of these refinements helps to create a more engaging composition, bringing balance and harmony to the image.
Final Composition: Cropping and Adjustments
Once all exposure, color, and detail enhancements have been made, the next step is to evaluate the overall composition. While I always strive for the best possible composition in-camera, sometimes a small crop or adjustment can make a significant difference in the final result. Cropping allows me to remove any distractions or unbalanced elements from the edges of the frame, creating a more focused and aesthetically pleasing image.
It’s essential, however, to be cautious about over-cropping. Reducing the image size too much can lead to a loss in resolution and quality, especially if the image was shot with a wide frame to capture both the underwater and above-water scenes. Therefore, any cropping should be done with careful consideration of the original composition and the desired final result.
At this stage, I also take a step back and evaluate the balance between the underwater and above-water elements. A successful split-level photograph should convey a seamless fusion of both realms. It should feel like a natural connection between the two worlds, not an awkward split. I make subtle adjustments to the position of the horizon or the framing to achieve a more cohesive feel. The goal is to ensure that both the underwater environment and the surface are equally represented, allowing the viewer to appreciate the beauty and uniqueness of each.
Ultimately, the final composition should feel balanced and harmonious, with a smooth transition between the two parts of the image. This is where the careful work of post-processing truly shines, transforming a good shot into a captivating and visually stunning photograph.
Conclusion
Split-level photography is a challenging yet incredibly rewarding technique that allows photographers to capture the unique beauty of both the underwater and above-water worlds in a single image. The process begins with a careful balance of technical skills, understanding the lighting conditions, and composing the shot to capture both realms in a seamless way. However, the magic truly happens during post-processing. This is when the image comes to life, with careful adjustments to exposure, color balance, sharpness, and composition ensuring that both elements of the sceneunderwater and aboveare equally represented and visually compelling.
By mastering these post-processing techniques, photographers can enhance their split-level images, creating dynamic, engaging photographs that showcase the natural world in all its beauty. The key is to approach each image with a clear vision of the final result, then use the tools available in post-processing to bring that vision to life. With practice, patience, and attention to detail, split-level images can be transformed from a mere snapshot into a breathtaking visual story, allowing viewers to experience the wonder of both the land and the sea in a single shot.