Macro Photography History

Equipment
Whether it's a shrimp's translucent anatomy or the bizarre colors of a squid's eye, you have three basic ways to achieve the image magnification necessary for macro photography: an external magnifying lens (called a diopter), an extension tube or a macro lens on a housed camera system.

Diopters. The Motor Marine II-EX and MX-10 by Sea and Sea have accessory lenses that easily mount in front of the primary lens to magnify the view. Nikonos cameras have a close-up kit consisting of an external diopter, focus wand and wire framers each sized for the 80mm, 28mm or 35mm lens. One advantage to these systems is that they can be removed in the water, allowing the photographer to shoot both close-up and standard lens images on a single dive.

Extension tubes. Because of its lens interchangeability, the Nikonos can also employ extension tubes - aluminum cylinders that position the entire lens farther from the camera body. The longer the tube, the greater the level of magnification, typically expressed as a ratio: 1:3 (one-third life-size), 1:2 (half life-size), and 1:1 (life-size). Two tubes can be stacked together to achieve 2:1 (twice life-size) magnification.

Single-lens-reflex systems. Macro SLR photography usually means a continuous-focus lens, allowing a range from infinity down to 1:1. Within the Nikon family, the best choices are the 50mm Micro-Nikkor for the Nikonos RS and either the 60mm or 105mm Micro-Nikkor for a housed SLR.
Although all three lenses are bright (maximum aperture f/2.8) and share the same level of maximum magnification, the 105mm gives the photographer the unique ability to work from a distance of 12 to 18 inches and still fill the frame with a small subject. As a result, elusive creatures on the reef - tiny anthias, reclusive jawfish, delicate pipefish, and camouflaged denizens like the frogfish - all reveal their secrets to the 105mm. In contrast, with a 60mm macro lens, you would have to be no more than four inches away from the same subject to fill the frame. Most creatures simply will not allow you that near, no matter how stealthy your approach. The 60mm macro lens is better suited for medium-sized fish, fish that allow the photographer to approach, or environmental portraits (when the background is used to complement the primary subject).

Basic Technique
The framer photographer merely composes the subject within the confines of the wire target and shoots. The camera's aperture and focus are usually preset for the entire dive: minimum aperture to enhance depth of field, and either minimum focus for the extension tube or infinity for the Nikonos close-up kit. Because the strobe is so near, there is plenty of light available for even f/22 with a fine-grain ISO 50 film. Because of the high percentage of background reflecting light back to the sensor, a TTL strobe's automatic exposure is generally accurate for macro shots.
However, a greatly narrowed depth of field can be challenging. With 1:2 macro the depth of field is only about an inch, and with 2:1 there is virtually no depth of field and the image is sharp only at the plane of the framer. If framer and subject are parallel, focus is optimized corner to corner. But when this is either impossible or undesirable, a decision has to be made as to what portion of the subject should be rendered in sharp focus. With marine life, you'll usually want the eyes to be sharp (and also the teeth if possible).

Macro Self-Assignments
Each of the following seven assignments challenge you to explore macro techniques with subjects found on a typical Caribbean reef.

Subject: Fire coral
Purpose: To show how creative lighting can transform the mundane into the fascinating

Technique: Fire coral is a good place to begin: it's practically everywhere and won't swim away. Find a blade of fire coral and gently place the framer next to it. Use open water to provide negative space (empty space) so that the blade and its stinging nematocysts stand out alone. Shoot first with standard lighting: 45 degrees above. Now, remove the strobe arm and hold the strobe behind the subject for backlighting. Continue to make minute adjustments in the strobe's position so that you can see the subtle differences between front light, hard side light, top rim light and back light. Note especially how the varying light renders the nematocysts.

Subject: Moray eel
Purpose: To determine optimal depth of field for varying compositions

Technique: The moray eel provides a good example of a dimensional subject that requires careful consideration of depth of field. Fortunately, the eel will often stay in position long enough for you to try out some compositional variables. Try shooting the eel first from the side, basically parallel to the film plane. Next, move more to the front and compose the eel at a 45-degree angle. This shot will require you to consider where optimal depth of field should be. Try to get both the eye and teeth in crisp focus. If the level of magnification is too great to hold both in focus, try to get the teeth in sharp focus and let the background go soft.

Subject: Sponge and crinoid
Purpose: To show the effect of exposure control on color saturation

Technique: These stationary subjects also allow the framer photographer to approach and shoot multiple exposures. For those using a TTL automatic strobe with ISO 100 film, bracket down first to 50 ISO for a second shot, then up to 200 ISO for a third. The results will allow you to fine-tune your personal preference for macro. For those with a manual camera system, try moving the strobe closer, then farther away. It is much better to work out these exposure variables on a static subject so that when the squid swims by you can make it count.

Subject: Pufferfish
Purpose: To practice ecologically sensitive photography

Technique: The pufferfish is more of an advanced subject because of its mobility, but with a careful approach, a framer or an SLR shooter should have good luck. The goal is to avoid the trite and cruel "puffed puffer," where the fish is forced to balloon itself. Instead, move gently to the puffer and try to capture it in its natural environment and normal, unexcited state. Move slowly, consciously controlling your breathing and buoyancy. Pay attention to depth of field and make sure the eye stays sharp. Sometimes a pufferfish is tolerant enough for you to get a tight head shot with a 1:2 or even capture the iridescence of the eye with a 1:1. Pufferfish are usually easier to approach at night.

Subject: Cleaning station
Purpose: To practice approaching shy subjects

Technique: The symbiosis of the cleaning station provides an example of how the natural rhythms of the coral reef can be used to approach otherwise shy subjects. Depending on its past experiences with divers, a grouper that might normally flee will likely be more tolerant of a photographer while it is being cleaned. Although the fish may be too wary to accept a wire framer in its face, an SLR shooter should be able to come quite near with a slow, non-threatening approach. Try to shoot the cleaning shrimp or gobies as they work around the gills and eyes. Watch especially for the fish to open its mouth for cleaning, and be ready.

Subject: Sand environment
Purpose: To practice exposure compensation

Technique: A world of life exists in the sand plateau, if you slow down and look. Peacock flounders, jawfish, lizardfish, flying gurnards, stargazers, harlequin bass and spotted snake eels are all found in the sand near a coral reef. But for these creatures to blend in with their environment, they exhibit a white or light tan protective coloring. You must compensate for their adaptive coloration to prevent overexposing the film. On your first shot, use a normal exposure setting, then bracket to create underexposure. Those shooting ISO 100 films with TTL strobes should try shots set at 200 and 400 ISO. Those shooting manual systems should try brackets of full, half and quarter power settings on the strobe.

Technique: At night, several species of parrotfish find a coral crevice for hiding, then spin a mucous cocoon, one function of which is to alert the fish to potential predators. Merely touching the cocoon with a wire framer will signal the end of this photo-op, as well as put the fish in danger. The challenge, therefore, is to capture the subject without causing it to swim away. With the SLR there is little likelihood of disturbing the fish. However, for those using the Nikonos close-up kit, try taking the framer off and using only the wand to estimate focus. Because of the relatively generous depth of field, you should be able to get near enough for a sharp photo without touching the cocoon. As you become more adept at estimating distance, take off both wand and framer from the close-up kit, or remove the wire framer from the extension tube, and estimate focus. Sometimes the cocoon is too translucent to record, so try sprinkling a few grains of sand on it to make it stand out.