News
Scubaverse Underwater Photographer Interview: Henley Spiers
In an ongoing series, Scubaverse’s Underwater Photography Editor Nick Robertson-Brown talks to underwater photographers from around the world that he admires. In this blog: Henley Spiers.
Henley Spiers’ all-consuming passion for the sea led him to quit his job in the corporate world to become a dive instructor, and then an underwater photographer. He is a regular contributor to DIVER magazine where his images can often be found on the cover. His work has been frequently awarded in competitions, including the Sony World Photography Awards, Nature’s Best and the Underwater Photographer of the Year contest. Conservation plays an important part in his philosophy and he collaborates with the Marine Conservation Society, Mission Blue and the Devon and Cornwall Wildlife Trusts. Half British and half French, he lives in Cebu, Philippines, with his wife (and favourite dive buddy) Jade and their daughter Apolline. Henley runs personalised underwater photography tours and workshops combining his love of diving, teaching and underwater photography.
- www.henleyspiers.com
- Instagram: @henleyspiersphoto
- Facebook: @henleyspiersphotography
NRB: How did your underwater photography start?
HS: Well, I first picked up an underwater camera whilst working as a divemaster and then dive instructor in the Philippines and Indonesia. However, at that stage I was very much a ‘diver with a camera’ and it wasn’t until I took a trip to Lembeh that I really had my first go at underwater photography, renting a lovely Olympus mirrorless set-up and with the sole purpose of the dive being the creation of images. I caught the bug pretty quickly from there and soon invested in my own rig. When I moved to Saint Lucia to work as a the dive manager for a new dive shop I had the opportunity to really get shooting underwater on a regular basis and things snowballed fairly quickly from there!
NRB: What is your favourite u/w camera equipment (past & present) & why?
HS: I recently upgraded to the Nikon D850 and I am absolutely in love with it. The combination of super high resolution (45 MP), strong low-light performance and an ultra-fast focus system make it a dream camera for underwater photographers. I’m currently pairing it with a Nikon 28-70mm lens and the Nauticam WACP which is a groundbreaking development in underwater optics, and I’ve only just scratched the surface of what can be achieved with this beautiful bit of glass!
NRB: What would be your advice to anyone new to underwater photography?
HS: You can learn on your own, but you’ll save a lot of time and headaches by finding a good teacher. Immerse yourself in magazines, books, webpages and exhibitions and find the underwater photographers that you admire. Then get in touch with them and see what teaching options they offer, whether it be workshops or 1 to 1 sessions. Beyond that, understand that if you truly want to make progress as an underwater photographer, it must be the sole aim of your dive and dive trip. You will struggle to create memorable images if you are with a regular dive group, drifting at speed through a variety of dive sites. Either dive with other photographers or get a private guide, giving yourself the time and opportunity to create an image. Finally, and I’m quoting Alex Mustard on this, photographers are in the unusual position of being judged solely by their best work. People will only see the images you select as your best, and those are the only ones that matter. I consider it a good day if I create one image per day of diving that I am happy with – and I will usually take several hundred! So don’t beat yourself up about the ones that went wrong, that’s part of the process for underwater photographers of all abilities.
NRB: What, or who, has been your single biggest inspiration for your underwater photography?
HS: There are many underwater photographers and indeed photographers in general who inspire me, however, if pressed to choose only one, the single biggest influence has been Alex Mustard. I have attended a couple of his workshops which resulted in a step-change in my approach to the craft, and I am forever going back and dipping into his ‘Underwater Photography Masterclass’ book for tips before a shoot. He is the benchmark that I judge my own results by.
NRB: What image are you most proud of and why?
HS: I think it would have to be ‘Battle of the Tompots’, an image of two male Tompot Blennies fighting it out for mating rights under Swanage Pier. My dream images are ones that combine unique behaviour with an artistic rendition, which is easier said than done and was achieved in this shot. The best feeling in underwater photography, which can often be an exercise in patience and frustration, is when you know you got the shot, got something special. It’s a pure, natural high which gives me a buzz long after the dive is over. Fortunately, that image was also recognised more widely, with a category win in the Underwater Photographer of the Year and placing in a few other prominent contests. In fact, it was even featured as the Sunday Times ‘Photograph of the Week’! So it was really the full package and it’s the image I am most proud of.
NRB: Where is your favourite dive location, and is it for the photography?
HS: I’m not sure I’ve found it yet, I’ve been to many beautiful spots but I’m always excited for the next expedition. This November, I’m visiting the Sea of Cortez in Mexico and am tremendously excited for all of the big animals over there, from sea lions to whale sharks and, if we get lucky, even some marlin! These days, unless I’m teaching, I never dive without a camera so those two things are inextricably linked.
NRB: What are you views on marine life manipulation, moving subjects?
HS: I find it upsetting but I think there needs to be an understanding of how it happens before you vilify all those involved. First off, there has been a drastic increase in the number of divers and underwater photographers over the last few decades. The understanding of how we impact the environment has grown hugely in that time but diving and photography standards have not quite caught up. Look back at videos of Jacques Cousteau and you will see behaviour which would be widely denounced today. However, there is no doubt in my mind that he and his team were pioneers and, overall, did far more good for the oceans than harm. They were simply less aware than we are today of the human impact on marine life and marine ecosystems.
Likewise, when there were only a few hundred underwater photographers in the world, moving subjects and kneeling on the coral was commonly practiced. Those photographers created some beautiful images which set the standard and would then be emulated by the next generation. There is this cascading effect by the standard-bearers in the diving and underwater photography industry which is what, in my opinion, has driven the bulk of marine life manipulation. People are trying to emulate the images they see their favourite underwater photographers take. In some cases, marine life manipulation makes that easier, and so the dive guides will facilitate that process to ensure their guests’ happiness. With the volume of underwater photographers pursuing the same type of marine life these days, that problem escalates quickly.
The problem is not with the dive guides – they are in a service industry and purely trying to give the customer what he/she wants. You have to go further up the chain and look at what images are being held up as the gold standard in underwater photography. Prominent underwater photographers and judges in competitions should think very carefully about what they are putting out there to the general public. Ultimately, the biggest correction to critter manipulation will happen once the images awarded are ones where there isn’t even the hint of marine life manipulation. Now, there is some frustration for photographers there because sometimes you genuinely capture a very unusual behaviour or a critter in an unusual position. However, underwater photographers (especially those in prominent positions) should not shout about or share images which could have been more easily achieved with manipulation. I think that is how you start to stem the flow when it comes to this issue.
NRB: What do you look for when you are making your images?
HS: I guess I’m looking for three things: subject, behaviour and background. I look out for engaging subjects and I look out for any signs of unusual behaviour (cleaning, mating, fighting, flirting…etc) – both of those probably seem pretty obvious. I think what can often be neglected is looking out for good background, such as a colourful sponge, sometimes you are best off seeking the background first and then finding the subject.
NRB: What motivates you to take u/w photos?
HS: At heart it is an all-encompassing passion for the sea and being able to share some of what I see and feel underwater with a wider audience. I fell in love with diving long before I first held a camera and, during that time, would wax lyrical about how incredible it was down there to anyone who would listen. With underwater photography, I have better way than words of communicating the wonders of the marine world.
NRB: If you could photograph any one thing/place what or where would that be?
HS: Hmmm well if I had three wishes, genie style, I would go for: whale sharks mating, leatherback turtles mating and thresher sharks hunting, ideally all in the same frame!
Find out more about Henley Spiers by clicking here.
News
Excerpts from Jeff Goodman’s Book Action Camera Underwater Video Basics, Part 1 of 6: Choosing a Camera
Unlike DSLR or dedicated video models, action cameras are far easier to choose and understand. One of the joys of these small devices is that they can produce excellent quality results in their full auto mode even if you have no prior knowledge about video or photography. Other than the positioning or mounting of the camera there seems to be very little else for you to do except press ‘record’ and sooner or later ‘stop.’ However, this does put the camera and the technicians who created it in full control of how it shoots the scene or action that you are filming. the camera is making the decisions for you. this can work pretty well, but does not always produce the best possible results. these cameras are remarkably clever, but alas not intelligent enough to know what it is exactly you are trying to achieve. So with just a little extra knowledge you will be able to choose the right gear, take control of the settings and create video and photos much more to your own design.
A very basic rule is that you get what you pay for. So the more expensive the camera then the more options and add-ons you would expect to be available. At the time of writing, top-of-the-line cameras can cost upwards of £300 (roughly $400) whereas a lower end model may come in at £20–100 ($25–130) and do the required job reasonably well. Let’s look at the basic requirements and discuss additional features which will make your video life far easier and more rewarding.
They will also govern the overall quality of your video. If you don’t already have a camera these are some of the optimal things to look for.
Screen
Most action cameras have a screen so you can see exactly what you are filming. Some do not. As we look to move forward from the basic point-and-shoot way of using action cameras, a screen becomes important. It gives you certainty that all the action is happening within your frame and you are not clipping off anything important. A screen will also show you how your lighting looks. this is especially important when mixing an artificial video light with ambient natural light.
If you have a camera without any sort of screen, I recommend practice and experimentation to get to know exactly what angle your lens covers at any given distance from a subject. Take a shot on land and when you play it back on an independent screen look carefully and note how much of the picture you thought you were taking is actually in frame. Try this for distance shots as well as close-ups.
Depending on what kind of optics your camera has, you will find that underwater the angle of coverage decreases by around one quarter. this is also affected by any additional lens you attach to the outside of your housing — see ‘Accessories: Lenses’ later in this chapter.
Depth rating and construction
Not all action cameras on the market are suitable for diving. Some are only designed to be water resistant, which is good for surface sports such as skiing, cycling or canoeing. Others are fully waterproof but only down to a depth of ten metres, which is good for snorkelling or surfing. For example, the GoPro or the Insta 360.
Be sure you pick a camera (or camera and housing) that has a depth rating suitable for your diving intentions. Most housings are guaranteed down to depths of 30m (100ft) or more, but do be sure and stick to the manufacturer’s recommendation.
Before buying, take a good look at how the housing seals are made and function. Are the closing clips flimsy, or substantial and well-made? The same question should be asked of the hinges.
Resolution and quality
Many cameras offer video resolution of 720p or 1080p. Most also do 2K and 4K. Starting at the lower end, 720p is ‘High-Definition’ (HD), but is only half the resolution of ‘Full HD’ 1080p. This means 1080p has twice as much image detail and produces images that are twice as large in terms of overall pixel count. However, 1080p also takes up twice as much storage space on your memory card. There then follows the issue of having enough computing power to play back the larger resolution files. This especially applies when filming 4K, which has four times the resolution of 1080p. Although you should be able to play these very ‘high-res’ video files on your TV through your camera, it is not guaranteed that your edit computer will have enough processing power to play the files smoothly.
This becomes particularly noticeable when trying to edit and add effects.
720p has 1,280 pixels displayed across the screen horizontally and 720 pixels down the screen vertically. this gives us 720 horizontal lines on the screen. Before HD came in the normal resolution was 480p, standard definition (SD). SD is now seen as very poor quality.
For most people 720p produces a very high quality image and is excellent for editing and posting e.g. on YouTube. If you are able to process and edit 1080p and have a good speed on your internet, then this is the best option for even greater quality. If you are able to process and edit 2K and 4K then the world is your oyster. In short, film at a resolution that you can edit. Do a test. Film something at 2K then try to play and edit it on your computer. If it works well without any pixelation, breaking up or freezing of the image then try 4K. If the 2K doesn’t work then go lower, try 1080p and so on.
However, although 720p is usable at the time of writing this book, technology moves so fast that it is probable this resolution will no longer be used in the near future and be fully replaced by the higher alternatives.
It is possible to edit 2K and 4K on low specification or old computers by using proxy files and online editing. This copies video files to a lower resolution which your edit software and computer can deal with. then before exporting the final edited sequence or film the proxy files are replaced with the original full resolution versions. But this is for those who are experienced with editing software and is beyond the purposes of this book.
An alternative solution is to film everything in the best possible resolution and archive those files for future use. Meanwhile, convert the files you want to edit now into low resolution copies with video converter software. Free versions can be accessed on the web, for example Any Video Converter and Freemake Video Converter.
When shooting at higher resolutions, the image size can be expanded or increased in the edit without too much noticeable loss of quality. This is particularly useful in re-framing your image or taking part of it to use as a close-up. Somewhere between 25–40% is usually as far as you can go before quality loss starts to become noticeable, but this does depend on the overall standard of the original frame where sharpness, contrast and image density are all factors. Higher resolution images are also better for extracting single frames to print out as photos or to use in publications.
NEXT WEEK:
Part 2 of 6 – Underwater Lighting
Action Camera Underwater Video Basics by Jeff Goodman is available now from DIVEDUP Publications:
https://www.divedup.com/shop/action-camera-underwater-video-basics-the-essential-guide-to-making-underwater-films/
About Jeff Goodman
Jeff is a multiple award-winning freelance TV cameraman/filmmaker and author. Having made both terrestrial and marine films, it is the world’s oceans and their conservation that hold his passion, with over 10,000 dives in his career. Having filmed for international television companies around the world and as author of two books on underwater filming, Jeff is Author/Programme Specialist for the Underwater Action Camera course for the RAID training agency.
Jeff has experienced the rapid advances in technology for diving as well as camera equipment, and has also experienced much of our planet’s marine life. He has witnessed, first-hand, many of the changes that have occurred to the wildlife and environment during that time.
Jeff runs bespoke underwater video and editing workshops for the complete beginner up to the budding professional.
In a video created exclusively for Scubaverse.com, Jeff Goodman reviews the Covert XT BCD from Zeagle.
Find out more abut Zeagle products at www.zeagle.com.
Sea & Sea is the home of Zeagle and other leading diving brands in the UK.
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