What camera do I use for underwater?

Hi, I am going to use this post to go into a bit more detail about my camera set up, since I often get asked, ‘what camera do I use for underwater?’

Last time I updated this article in 2022, I’d just ‘upgraded’ to a Fantasea housing. Two years later and the kit has come of age, growing (as they tend to) by adding various bits and pieces.

Start slow and build up

When you buy a topside camera, it’s usually a body and one or two lenses. My underwater setup comprises 31 separate parts. The configuration has evolved to suit my personal needs and experience. I have a specific photography style which I use to produce trip reports. I shoot journalistic, story-boarded portfolios and for this, I have to be versatile and capable. This setup I use is far too complex for most everyday users.

This is why I always recommend starting with something small and building up over time. Even I started with a single light and arm; the went to two arms; then two strobes/lights; then added additional lenses; and finally floats. It’s taken me four years to become comfortable with doing underwater photography.

Each time you add a new component you start learning all over again as many of the settings are completely manual. Over time I’ve learnt to set up my camera on approach to a subject so I am ready to hit the shutter momentarily. This means less time bothering the subject and a greater chance of getting the shot.

This shot was taken in an instant. But I’ve learnt to always have the wide angle on between shooting closeup subjects. Aperture is set to f5.4, shutter speed 1/250s. I was already prepared before this happened.

My setup

Camera housings are designed for specific makes or model of camera and can cost you anything from a couple of grand to many thousands of dollars. Fantasea is more than just an entry-level system. In my case, I bought one to fit the Sony RX100V series. They have large frame (13.2 x 8.8 mm) sensors, offering 20.1 MP photos and low light capability.

These cameras have been superseded by the RX100VI which has a 200m zoom which doesn’t fit this housing. It would be a disadvantage though. When using diopter lenses, at 24-70mm the RX100s are the perfect balance between telephoto and macro. It’s hard these days to find a compact camera that is as well suited. So far I have not been able to better this configuration. So I bought a second Sony RX100IV as a backup camera in case the other gives out any time.

Diopter Lenses

These fit onto the front of the housing. Other systems that use SLR cameras house the lenses inside. Which means you have to decide whether to shoot wide angle or closeup before you enter the water.

This is what allows the setup to be so versatile. I have four lenses which attach to quick-release systems on the arms. This offers me five different permutations.

I can stack the macro lenses to photograph a sheep nudi 3mm long; then rapidly switch to the wide angle, to photography a whale shark swimming past. Of course this makes it much more complex to operate.

Sheep nudibranchs (actually a sapsucking slug) are about 3mm long

Two years later and this could not have been a more rewarding choice though. I say choice but this was the advice I received from Tim Hochgrebe at Underwater Australasia. I strongly recommend talking to Tim before buying any setup.

It’s not just about the camera

The techniques used to get a nice photo and rich colours are composition, lighting and so on. They are not generally created by the camera or the housing. I use this set up because it allows me to shoot high quality images and have immense versatility around the size of my subjects. You can use a smartphone housing and get similar outcomes. If you photograph near the surface near sunrise and sunset, you don’t even need lights. Good photography is mostly about knowing what your camera is capable of doing.

The flash provides some fill in the foreground but mostly this photo is enabled by the low angle of the sunlight. A wide angle lens makes it nice and crisp, despite some sediment in the water.

Knowing when not to take a photo

The advantage of my setup, is I can think in advance, and use settings to increase the opportunity. But I still disregard attempts in some instances simply because it won’t work. Knowing when not to take a photo is more important than trying to shoot everything. I can’t imagine how many times I would have missed a great photo if I’d tried to shoot everything I saw. 

There is a level of skill needed to produce great photos and the only way to learn is through lots and lots of practice. This includes some  ‘processing’ of digital images. I can’t explain that much here. Underwater, the camera interprets colour different to the human eye. Getting this right is a sensitive balance between shooting correctly and minimal post-production.

I shoot RAW images which capture massive amounts of data and enable the user to calibrate the image to real conditions.  Set to JPG, a camera’s software makes assumptions and modifies the images according to average criteria.

My camera setup

My camera sits inside the Fantasea housing with the flash open. In front of this, on the outside of the housing, is an adaptor into which two fibreoptic cables fit. These trigger the lights. The lights, of which there are two, can emit red light (useful at night) but when the flash goes off, triggers a 10,000 lumen flash. This isn’t as bright as most strobes but it’s adequate for my needs. I like to create reasonably natural-looking images and the lower light levels help to maintain a realistic level of saturation.

On the front of these I’ve created some home-made diffusers. These flip on and off. The diffusers ensure I get a flat light and fewer hotspots on any close up subjects.

The lights fit onto arms with an elbow, enabling me to position them for subjects. Wider apart for large animals and close together for macro. The arms include two carbon-fibre floats. These create about 1.2kg of lift in the water.

The rig weighs about 5.5kg out of the water and 2kg when submerged. The reason for this difference is the buoyancy of the airspace inside the housing. While it’s not pretty, a piece of high-density foam shaped around the camera neck creates about another 800g of lift, meaning the whole setup is only slightly negatively buoyant, ending up at about 200g.

Attached to the arms are also two diopter lenses. These are 6x and 12x lenses that can be fit together to create an 18x unit. I also carry a smaller 6x in a pouch on the left arm so, on rare occasions, I can shoot at 24x. On the front of the camera is a wide angle wet lens. When entering the water I have to empty this of air, otherwise a bubble impairs the image. The same goes for the loupe on the back of the camera. This magnifies the display enabling me to focus carefully.

The system I use now comprises:

The right camera for you – get advice!

A lot of photographers try to push their equipment too far. If you shoot to within the limits of your skill and your equipment, you can get great results using anything. An iPhone in a waterproof case can capture wonderful images if you rely on natural light and don’t try to be too fancy.

If mine isn’t the right set up for you, then take advice from a specialist. I buy all my underwater camera gear from Underwater Australasia.

Call Tim Hochgrebe at https://underwater.com.au/ who will be able to advise you on the best starting point for you. He is highly respected and extremely knowledgeable. It’s not so much about the camera but what you’re like to need it for, your level of skill and ability.