UNDERWATER PHOTOGRAPHY
THAT’S A MORAY
Our resident photo pro Mario Vitalini continues his series looking at specific photo-friendly critters, this time focusing on the humble moray eel PHOTOGRAPHS BY MARIO VITALINI
S
ome of us might not be able to go diving at the moment, however we can use this ‘dry’ time that has been forced upon us to look at a great subject that can be sometimes overlooked. Plan what to do when we next encounter them, or even revisit old images and re-edit them with a different perspective. I look at a moray sticking its face out of a hole on the reef and the image of a witch always comes to mind. With their green skin and a big nose, morays have beady little eyes, long faces and generally look a bit miserable. They are not the prettiest creatures we encounter, but without a doubt, they do have a lot of personality. These are super subjects for photographers. Here are my tips and tricks to get the best shot of a moray on your next dive.
Ribbon eels can be hard to photograph as they live in messy areas with loads of rubble. A shallow depth of field will help with this problem
THE CHALLENGE
Morays come in different sizes and colours. Species like the pretty coloured ribbon eel are constantly moving, others are easier to spot at night when they patrol the reef in search of an easy prey. But for the most part, the vast majority of morays stay in their holes or around the same area day after day, poking only their face out. This can make them simple to locate and shoot.
For spins, use a very slow shutter speed (around 1/10 of a second), pull your strobes back and use inward lighting. This will light only the face of the moray freezing the movement while the rest of the photo gets the spinning effect
Best of Bunaken
A relatively stationary subject is a gift to us underwater snappers. Morays have a tendency to pull back into their holes if you get too close, especially when using a wide-angle lens. Getting close enough to fill the frame can be challenging. The next problem to solve, is how to get a good separation between the background and the subject. This is essential because most of the time you find morays hiding in areas of the reef that are not very photogenic. Finally, remember, a lot of morays are dark coloured. They suck in light, especially juvenile ribbon eels and older giant morays. You may have to be more creative with the lighting (snooting or cross lighting) to sculpt texture and shadows. Eye contact becomes even more important.
ESCORTED BY MARTYN GUESS
29th Jan 2021 £2675 excluding flights
Holiday highlights... Join photo pro Martyn Guess on a workshop in the the heart of the coral triangle, the Bunaken Marine National Park with Siladen dive resort. The workshop package includes 8 nights garden view villa on an full board basis – optional room upgrades available. 21 nitrox boat air boat dives. Local taxes are prepaid. Return airport transfers in Manado are included. Ask for a quote to add international flights.
+44 1483 411590 www.scubatravel.com/photography Book your holiday with the...
