In Conclusion

Apart from the drama of the wreck itself, wrecks also play host to a multitude of marine life. Dramatic lines and structures will test your compositional skills to the limit. There is scope for everything from ultra-macro to marine life to diver shots and still-life studies. Find a wreck that suits your needs, is easily accessible and is preferably in shallow water. Explore it, get to know it and the creatures living around it. Research its most photogenic aspects and angles and then get to work with your camera.

FIG. 9.51 Recognisable feature of the Shinkoku Maru. The urinals were located below deck and in total darkness. I used the 'catch all' setting of f8 at 1/125th sec with ISO 100 and lit the entire frame with my two Inon flashguns and my 10.5 mm fisheye lens.

FIG. 9.52 Fujikowa Maru corals and Kingposts. I'd recognised a good composition of the huge Kingposts but it took me a few dives to recognise a foreground interest which would complement the background. I'd swam over numerous options throughout the week without recognising them, which I didn't until I swam around with the viewfinder close to my eye in an effort to see what the lens would see. I used Sylvia with a light and adopted a position which clearly separated the colourful girder in the foreground from the strong angular lines leading from the Kingposts. Eight to ten swim-pasts from Sylvia achieved the look I was hoping for. Nikon D200, 10.5 mm lens, f9.5 at 1/20th sec, ISO 100, one Inon 220 flashgun on the foreground.

FIG. 9.52 Fujikowa Maru corals and Kingposts. I'd recognised a good composition of the huge Kingposts but it took me a few dives to recognise a foreground interest which would complement the background. I'd swam over numerous options throughout the week without recognising them, which I didn't until I swam around with the viewfinder close to my eye in an effort to see what the lens would see. I used Sylvia with a light and adopted a position which clearly separated the colourful girder in the foreground from the strong angular lines leading from the Kingposts. Eight to ten swim-pasts from Sylvia achieved the look I was hoping for. Nikon D200, 10.5 mm lens, f9.5 at 1/20th sec, ISO 100, one Inon 220 flashgun on the foreground.

FIG. 9.53 The potential for black and white image conversion is infinite in wreck photography. Fig 9.54 depicts a section of the Chrisoula K in the Red Sea. The sun needs to be high in the sky for the sunbeams to pervade the hold. I have composed this scene so that the corners are containing the light which radiates from the middle of the frame. Nikon D200, 10.5 mm fisheye lens, f4 at 1/30th sec, ISO 400, natural light.

FIG. 9.53 The potential for black and white image conversion is infinite in wreck photography. Fig 9.54 depicts a section of the Chrisoula K in the Red Sea. The sun needs to be high in the sky for the sunbeams to pervade the hold. I have composed this scene so that the corners are containing the light which radiates from the middle of the frame. Nikon D200, 10.5 mm fisheye lens, f4 at 1/30th sec, ISO 400, natural light.

FIG. 9.54
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