When people think about creating lighting technique for underwater photography a few things come to mind and usually it is about tools. Snoots for example have become very popular and help the underwater photographer to increase separation of the subject from the background. I have seen some people jumping in the water with a black slate to create an artificial black background, clearly is much easier to do that for macro as everything is at end and typically the subjects are not fast moving or the diver is not fast moving.
Then of course there is strobe positioning, classic, inward, crossed, rabbit ears, backlighting etcetera here goes a long list of options.
At the end however some pictures just seem to “pop” more than others, and this usually has to do with the colours and the contrast and with the blue.
It is not a coincidence that the term Mustard Blue is what has made some shots from Alex Mustard re-known and if you read his underwater photography masterclass there is a whole section ‘The sea is blue’ where Dr. Mustard goes on about the importance of exposure and background blue.
His suggestions are to:
- Dial in an underexposure (for the water) around -2/3 to -1 1/3 Ev
- Using warm strobes
It is worth stressing out that the primary reason why the camera gets fooled by the conditions underwater is because colours gets absorbed and blue lights gets scattered instead creating that milky glare at times when the water has lots of suspended particles.
If shoot an auto mode with exposure compensation at zero your pictures will for most part come out washed out and lacking contrast underwater and this is one the primary reasons photographer like Dr Mustard do not follow the expose to the right rules.
Underexposure for the water is obtained by keeping the aperture and ISO constant as they are aligned to the strobes and changing the shutter speed accordingly. Obviously if you are shooting video your shutter speed is most likely fixed so you need to find alternative ways to get your blue as you want it but generally you would still underexpose probably not as much.
With regards to warm strobes this is a fairly subtle point linked to the camera auto white balance mechanism.
Most flash strobes have colour temperatures between 5500 and 6500 K and therefore are not at all particularly warm.
Inon has developed warming diffusers for their Z240 range and I believe also for the most recent Z330 range. They are available in 4600K and 4900K temperature. I definitely recommend the 4600K version over the 4900K as it has a stronger effect.
So how does a warm strobe work in order to get a richer blue?
When we shoot with strobes the camera is set to auto white balance, and will average for most the subject we hit with our strobes to calculate the average colour temperature and tint.
The camera auto white balance operates between 2500K and 7500K typically so a warm strobe is likely to set the colour to 4600K instead of the typical 5500K the ‘extra’ 900K do not really do anything to the subject that will anyway we white balance but give an extra kick to the blue background. Underwater colour temperature is usually higher than 9000K and easily reaches 14000K (purple tone in the water) at depth. So the warm strobes are particularly effective in shallower and clearer water as they push the blue to a darker tint like in this example taken around 12 meters.
You can see how deep is the blue other example taken on the Barge at less than 10 meters.
So what happens if you don’t have a warm strobe or if there aren’t warm diffusers for the strobe you have, or maybe you don’t want to spend the money for them?
Amazon comes to the rescue
If your strobe is around 5250 with diffusers (like Sea and Sea YS-D2 or Inon S2000/Z240/D200) get a 1/8 CTO
Rosco Cinegel sun 1/8 CTO, 20×24″ Color Correction Lighting Filter
You can find this filter also under Lee on colour 231, with a little amount you can get a half sheet that is enough for a few strobes.
This filter has a negligible -0.3 Ev light loss and will bring your strobe down to around 4600K .
If you have a fairly cool strobe you need a 1/4 CTO
Rosco un 1/4 CTO 20X24 Amber – Rosco RS340911
If you have something different you can try a mired shift calculator here
Be careful not to exceed with this technique or subject will turn too warm.
An alternative and perhaps counterintuitive approach is to use cooling filters.
In this case the strobe light will become colder to emulate the water colour and the camera will need to be set to custom white balance.
In almost all cameras except Olympus that reach 14000K colour temperatures are limited to 10000K however they can be further enhanced to reach 11000K if you have an adjustment panel like the Panasonic or Sony cameras. Pushing the adjustment to the A gives extra 1K. This technique with a bare lens has however a limitation as when the custom white balance caps the colours go completely off.
In order to see what can the colour temperature setting do we can compare a normal grey card shot with one where the colour temp is 11000K and magenta is pushed to the max.
In order to cool down the strobes you need a cyan filter, the custom white balance can correct up to 2 stops Cyan but no more. You can trim a sheet of Rosco 4360 to fit into your diffuser as below. This takes around 1 stop Ev off the strobe.
It important to stress that the predominant colour in blue and blue water is cyan not blue and this is what gives the washed out scattering. We want to keep the deep blues and get rid of light blue and green which ultimately is cyan the colour of water.
So the strobe will emulate the water and the camera custom white balance will set the colour restoring what was lost and giving us a full correct spectrum. This however only works until the water colour temperature gets to 11000K and this is not as deep as you may think it could be a low as 9-10 meters. A cyan 60 filter is approximately 9500K. You can see the colour in the image below.
In this technique the strobe is not used to give colour but to eliminate shadows the custom white balance is going to give a deep colour that penetrates the whole frame so any subject in the distance will be colourful as well.
The benefit of this technique is that you may use wider apertures and even slower shutter speeds like in this 1/60 example here.
You can clearly see the orange colours of the anthias far behind in the frame.
The ultimate stretch of this technique is to combine a filter like the magic filter this can be used with both a Cyan 2 stops and also a Cyan 3 stops in deeper water. This technique is taxing on exposure as your strobes are half power and your exposure has 1 2/3 stops less however this is easily recovered as you tend to shoot at slower shutter speeds of 1/30 to 1/60 instead of 1/125 to 1/200 because the filter will give you the deeper blues.
The magic filter adds around 3000K to you camera custom white balance ability reaching the 14000K where the water starts turning purple blue. To that regards due to the amount of red I do not recommend going to deep with the magic and keep it to a max of 13 meters as recommended on their website.
The magic filter is almost a perfect match for the Cyan 60 filter if you overlap them over the lens you get almost a neutral grey card the temperature is only 150K off while the tint is around 5 notches toward green in Lightroom.
This cave shot I believe gives an idea and is taken with filter on lens and strobes.
I have also tried the magic filter with Cyan 90 however there are some side effect to consider. Firstly you get Cyan cast on the image at shallower depths. Second the magic filter has a tendency to turn purple below a certain depth so I recommend to use the magic with the Cyan 60 as you are certain that the foreground subject and the strobe filter will give you a neutral colour. If you are in deeper water and the temperature is above 10000K this will only result in a deeper blue and a warmer light on the subject that once RAW corrected will look just fine.
In this post I have tried to give you some tips on how to use gels to give deeper blue or richer colours to your wide angle. I would recommend to start with warming diffusers and then move to cyan filters and finally to magic filter and cyan filter in combination.
I will be demonstrating extensively this techniques during my 2020 Red Sea Liveaboard
A final word for video shooters. I am not aware of any add on warming diffusers for video lights and generally I have not seen LED warmer than 5000K therefore unless you shoot at 60p 1/125 it will be very hard to get deep blue at shallow depths without a lens filter.
See my other post for video specific tips.
Full size images are available on my flickr pages all images here are reduced to 1600 pixels for storage purposes.
2 thoughts on “CREATIVE strobe filters for wide angle”
Thank you for an interesting read.
Having recently read about “Ambient Light Fiiters” for continuous lighting for video and their use with a lens filter, I did wonder if this would directly translate into Strobe photography. A lot of the wrecks I shoot are much deeper than 20m though, is it still worth using a cyan filter on the strobes and a magic or darker filter on the lens?
I shoot raw, so always do some colour manipulation, including pulling back Cyan, which as you say, becomes the main offender.
I’m also hoping to try some off-camera lighting with some video lights (with or without ambient light filters) and strobes and of course ambient light, so that should be challenging!
I would not use any filter or lens or strobe for deeper wrecks. If the shots are strobe lit you want all the power you can get and the widest lens you can get. If you shoot ambient light try using relatively slow shutter speed like 1/15 or slower for exteriors so the ISO does not go too high. Off camera lighting is a whole different story and what light is needed depends on the shots you want to take. If you look on the last flickr album you will see a truck shot that has both a strobe and a video light so they can be combined. I will run a whole tutorial on my liveaboard next year inside the SS Thistlegorm