Many divers taking up underwater photography expect a little too much just a bit too soon. They begin a ambitiously, but are often discouraged by poor results. Macro photography is the photography of smaller subjects, typically no larger than a couple of inches, and is the ideal starting point for the beginner because it yields a high percentage of successful pictures.

It is usually productive, when discussing macro, to also consider close-up photography. Essentially, the demarcation zone between close-up and macro photography is an arbitrary one anyway, based solely on reproduction size.

An image that is life sized is said to be 1:1. By life size we mean the same size as a 35mm film frame (36x24mm). I'm guessing we still compare everything to this format because of habit and the fact it is the only format that has survived the test of time. Anyway, a subject that is twice as large as it is reproduced on the film is said to be 1:2 - and so on. In practice the usual definition of macro is an image size of less than 1:3, that is to say, the subject can be up to three times larger than its image on the film. Close-up photography deals with image ratios of slightly larger than 1:3. Macro and close-up should therefore be considered together because in many respects they both require a similar approach.

Low grain, slow film is ideal for macro and close-up use. Many photographers swear by Kodachrome 25 which can comfortably be printed to 12" X 16", most impressive when your subject is only an inch long in real life!

In terms of equipment, macro and close-up have a lot in common. With purpose built underwater cameras such as the Sea & Sea or the Nikonos, both close-up and macro photography offer pre-set focussing. With housed cameras (that can make the transition between an infinitely variable number of reproduction sizes on one lens simply by moving closer and re-focussing) the distinction between the close-up and macro is even more academic.

The definition of macro and close-up is not universal. For instance, competition organizers agree to differ on where the dividing line lies. Because it can vary from competition to competition it is best to check the rules carefully before entering this category.

Macro and close-up photography, in common with wide-angle photography, offer the advantage of keeping the least distance between the lens and the subject. This makes it possible to succeed in relatively low visibility.

Lenses for Macro

Very little in the way of extra investment (relatively speaking) is required to tackle close-up and macro subjects once you have the basic underwater camera set-up. Each camera system tackles the optics in a different way however.

The Nikonos has a detachable lens (known as a prime lens). For macro work, extension tubes are required to separate the prime lens from the camera body. The length of the extension tube determines the picture ratio. Once you put an extension tube on you are committed to find subjects of a size suitable for that one ratio, as they cannot be interchanged underwater.

close-up framers

Compact systems do not have a detachable prime lens. The prime lens is built in and, in order to use it for macro work you must screw another lens over it. Such lenses are known as supplementary lenses and have the obvious advantage of being interchangeable underwater.

With the Nikonos, either the 35mm or 28mm prime lens can be used with supplementary lenses to convert them for close-up work. You don't need to buy expensive lenses for close-up work however; land lenses can be used. One ingenious homemade design I have seen involved mounting a land close-up attachment so that it could flip over the prime lens when needed.

Focussing with macro and close-up lenses is simple. Each lens is supplied with a distance framer or probe and you merely persuade your subject to position itself at this pre-set distance!

Unfortunately, framers and probes can be more of a hindrance than a help at times. One problem inherent in using a single flash is that the shadow of the framer can be cast across the picture! Taking the flashgun off camera (or using a second flash) can cure this - as can the use of a reflector.

Close-up lenses and framers do seem designed to fall off (or go askew) and the best advice is to tie them on (with short cords that don't accidentally float in front of the lens!).

The major problem with framing devices is that they disturb your subjects. You can overcome this by removing the probes altogether and 'guesstimating' the correct focal distance. Tubeworms, for instance, are very sensitive to disturbances in the water so removing the probes (one a least) or framer is essential.

Even with the assistance of framers, imagining what the non-reflex camera sees is difficult and accounts for the majority of compositional problems. Looking along probes to the side of the camera can often give a better perspective than looking from over the camera.

The focus on the prime lens is usually set at either infinity (with extension tubes) or minimum (with supplementary lenses) and left there. Use insulating tape if necessary to ensure that the focus cannot accidentally be reset. Make sure that you don't tape them so tightly that the o-rings are distorted and will not seat properly.

Despite having pre-set distance framers, focus can still be a problem as the depth of field (the zone in your picture that appears in focus) is severely limited in both close-up and macro photography (of the order of fractions of an inch). For this reason it is worth considering exactly where the focal point of your subject should be for focussing, and bracket (take safety shots) for sharpness around that.

Incidentally, the depth of field with macro lenses is not distributed in a ratio of 2:1 around the point of focus as occurs (theoretically) with distant subjects, but extends equally beyond, and in front of, the focal point.

Housed cameras have the advantage of reflex viewing; that is to say you can see exactly what the camera sees through a viewfinder. This obviously overcomes all the problems inherent with framers.

Housed cameras are not cheap (especially D-SLR's) and neither are the special macro lenses for them; but they are optically superior to extension tube and supplementary systems. You also need to purchase a flat port for them to go behind if you don't have one already.

The most common macro lens for use in housings is the 50mm or 60mm, but longer focal lengths such as the 100mm are also popular and have the advantage of allowing you to be further away from your subject and have greater depth of field.

Apart from reflex viewing, the main advantage of housed cameras with regard to macro and close-up, is the ability to vary picture ratios. You are not limited to set frame sizes so you can more assured of filling your frame.

You must manually focus (older, non autofocus) macro lenses on housed cameras and this can be difficult when you are subject to swell or tide, or in dim light. Pre-focusing on your finger or some other suitable object can help before approaching your subject. Text is easy to focus on; you just read it (killing two birds with one stone if it is your decompression schedule?). Then, rather than continual adjustments, rock to and fro for 'fine tuning'.

It is becoming increasingly popular to use autofocus lenses in housed cameras and they are particularly suited to macro/close-up applications. You can even set them so that the shutter will automatically fire when the subject comes into (your pre-set) focus point.

As ambient light is not used, flash techniques dominate successful macro and close-up photography.

Flash for Macro

Any flash with an angle of coverage approximating a 28mm lens can be used for macro photography. Lower powered units are to be favored, especially in lower visibility, to reduce the incidence of backscatter. Smaller units are also more suited to poking in holes and confined spaces where macro life shelters.

Manual flash is appropriate in all circumstances and it is therefore not necessary to reset the ASA dial to the speed of film you are using; just set your shutter speed to that which will synchronize with the strobe. Your meter is redundant as ambient light is not a consideration; flash to subject distance determines the exposure.

Macro exposures are less critical than close-up. The loss of light optically, by placing an extension tube between the lens and camera, is compensated for, by the flash being so near to the subject.

The reflectivity of your subject should be considered. It is possible to overexpose your subject if it is lightly colored. TTL flash, such as on the Nik V, can be useful in this application (and on night dives!). Beware though, TTL can be fooled into underexposure by the reflectivity of backscatter! Remember that you can still bracket on TTL by resetting film speed.

Eliminating backscatter is still a problem to overcome with macro/close-up. Tackle the problem at source by not disturbing the silt. You may have to resign yourself to the first shot being the only one.

Certainly, when you do rest the camera down to get a low angle on your subject; avoid loose wires dragging by having previously taped them to the camera body and strobe arm.

The use of a snoot (a funnel shaped tube placed over the flash head to direct the light) can significantly reduce backscatter and give a sharper quality of light. Top or side lighting can be used to accentuate textures. A reflector can not only be as useful as a second strobe to 'fill in' with, but also has the added benefit of shielding your subject for the current!

With using your flash exclusively for exposure, you get less rolls of film per set of batteries (or charge) than you do with wide angle where you might mix 50/50 natural light shots with balanced light. If your strobe has variable power settings you can use half power to increase the number of exposures, not to mention recycling times. Remember that TTL also works with macro to conserve power.

When using flash on camera with larger framers/probes check that it covers the same area as the framers/probes by turning the camera on yourself and placing your face in between the probes and looking into the lens.

One of the features of using small apertures is that anything not directly lit by the strobe will not register i.e. is black. This includes open water, and can be used to good effect by getting down low to isolate your subject against a black background.

Black material such as neoprene gloves absorb light so effectively that they can be indistinguishable on film from a black background. This allows you to hold macro creatures and get the angle you want at your leisure. Remember though, that macro creatures are fragile, if you must handle them, be careful.

Don't be afraid to experiment, shooting against the surface may allow you to expose for natural light, to burn in some color to your background.

Finding Macro Subjects

The best place to look for, and find, macro and close-up subjects are not areas such as the top of the reef as this zone is exposed to hungry predators.

Being at the bottom of the food chain makes macro and close-up subjects conceal themselves, especially if they have no natural defense mechanisms such as toxicity. The poisonous ones are often the most brightly colored and hence more photogenic.

Simply swimming over the reef will not find you macro and close-up subjects. Much better to concentrate on one small section of seabed as those subjects that are not poisonous will almost certainly be well camouflaged to avoid predation.

Be methodical, concentrate on one small area and you'll be amazed what you find.

Macro and close-up subjects usually retreat into crevices. A small flash allows you to poke your camera in. Don't trap dangerous creatures like Morays, at least not if you want to keep all your fingers!

Piers and wrecks offer excellent cover for macro life. Areas with lots of water movement and nutrients in suspension are usually rich in filter feeders.

Most macro and close-up subjects can be encouraged to perform for the camera but usually they assume most un-photogenic postures when disturbed so patience is required.

With both close-up and macro it is good advice to start at first with the static subjects and progress to the moving ones.

Regardless of your level of photographic expertise, macro photography is a fascinating field to explore. The most valid reason to take photographs of macro subjects is that there are many good images to be had. You will miss out on half of the most interesting subjects in the sea if you ignore macro.