Achieving Balance: Tips and Techniques for Split Level Underwater Shots

Split level underwater photography, also known as over-under or half-and-half photography, captures both the underwater world and the scene above water in a single frame. This technique offers a unique perspective and is particularly popular in showcasing the contrast between the two worlds. While challenging, with the right equipment and techniques, anyone can master split level photography. This guide provides a comprehensive overview, step-by-step instructions, and tips to help you capture stunning split level photos.

Many photographers struggle with split level shooting, and find it a frustrating task. Common complaints: the focus is hunting, not all of the image is in focus, and water droplets in the frame. The way I learned to eradicate these basic issues was from attending a photo workshop with renowned underwater photographer Alex Mustard. The basic process Alex has put together simplifies taking a split image and makes all of the difference in taking a difficult task and making it repeatable, consistent and much more productive.

Since learning these basic principles it has given me a foundation to be able to very quickly take a split level shot when the opportunity arises, and to build on to adding more creative ideas into shooting splits as the basics are correct.

Step-by-Step Guide

1. Equipment Preparation

• Camera: Use a camera with manual settings for better control over exposure and focus. DSLRs and mirrorless cameras are ideal.

• Lens choice: A wide-angle lens is preferred to capture more of the scene above and below the water. Many of these shots are taken using fisheye lenses, as these offer the widest field of view enabling you to capture much more of the scene. However be aware that all straight lines will bend when using a fisheye, so the meniscus (the line where the water ends and the surface begins) of your photo will have a curve to it. For this reason, it is also common to use other high quality wide optics such as a rectilinear16-35 lens.

• Dome Port: Attach a dome port to your underwater housing to create a smooth split between air and water. The larger the dome, the easier it is to achieve a clear split level. I would recommend a minimum size of 8 inches for successful shooting. Matty Smith makes a selection of domes specifically built for this purpose, but they are very niche as they can’t be used for regular diving but can make a lot of difference to split level shooting.

• Underwater Housing Buoyancy: Since you will be doing this on the surface it can be great to add flotation to the camera housing so it sits nicely on the surface. A whole host of different things can be used from lifejackets, buoyancy arms, and all sorts of floaty things. The aim is to get the camera to sit nice and level with the water half way across the dome.

• Additional Gear: Strobes, generally you are trying to light the bottom half (Underwater) of the image. To do this you need to use strobe lights. They are more applicable when shooting in low light conditions such as sunset where the light doesn’t penetrate underwater like it does during the day time. When shooting day time spits in tropical conditions you can usually shoot using ambient light.

2. Camera Settings 

• Mode: Set your camera to manual mode to control exposure and all variables.

•  Focus: The key to getting both the underwater and above water part of the image in focus is to focus underwater and use a small enough aperture to get the above part in focus. To achieve this, get in the water and focus your camera on a fin on an outstretched leg, then turn the autofocus off from your shutter release. This will then stop the camera hunting whilst you shoot and prevent the camera trying to decide what will be in focus.

• Aperture: Use a smaller aperture (F18-22) to ensure both the underwater and above-water scenes are in focus. Now that you have turned the camera focus off, these settings will ensure both the top and bottom half of the image are both in focus.

• Shutter Speed: A faster shutter speed (1/125s or higher) can help freeze motion, especially if the water is moving.

• ISO: Keep ISO as low as possible to reduce noise, typically around 100-400 but your conditions might differ.

• White Balance: Set a custom white balance to balance the colors between the underwater and above-water parts. This is great to do when shooting ambient light only splits. There is something rewarding about seeing a more realistic finished image on your LCD.

•  Viewfinder: If you are shooting on a mirrorless camera with exposure compensation on the viewfinder and ambient light only, then turn off your image review as this will only delay the process of fast shooting. You know how the finished image is because of the compensation on the viewfinder. When shooting with strobes I leave the image review on.

 3. Location and Timing

• Location: Choose a location with clear water and an interesting above-water scene. Tropical locations with colorful marine life are ideal. Often people make the mistake of not having anything of interest in the top half of the frame, a blue sky is not very exciting. Think more exciting cloud formations, islands, geological features, people, sunsets etc

• Timing: Shoot during calm water conditions to make achieving a clean split easier. Early morning or late afternoon can offer soft tones to the sky and clouds.

4. Composing the Shot

• Split Line: Position the dome port so the waterline is about halfway up the dome, splitting the frame between air and water.

• Vertical and horizontal: People generally shoot splits as horizontal shots showing a wide scene, but don’t forget about verticals. They can offer a very interesting perspective and also give you more control of the frame and less distortion on the meniscus.

• Models: Models or fish can be used to swim through the frame; they can add an extra dimension to an image rather than creating something that’s more like a landscape shot.

5. Taking the Shot

• Stability: Hold the camera steady to maintain the split line. Use a float or rest the camera on a stable surface such as a if needed.

• Multiple Shots: Take multiple shots, adjusting the angle slightly each time. Small changes can significantly impact the split line and overall composition. When shooting ambient light, shoot rapidly; taking additional frames costs nothing.

• Managing Water Droplets: This is one of the most talked about things when shooting splits. Ultimately, the best thing to do is to just not get the top half of the lens wet. However the practicality of this may be a little different. There are many things people try to use; everything from rubbing a potato on the dome before using it to spitting on it. I personally have found Rainex to be useful; it does a good job of beading the droplets off the dome. I combine this with a dip and shoot method, where I dip the dome in the water, lift it up then shoot.

 6. Post-Processing

• Software: Use editing software like Adobe Lightroom or Photoshop for post-processing. See last issues article for a more detailed Lightroom workflow.

• Basic Adjustments: Adjust exposure. As a general rule the top half of the image will need a little decrease in exposure and the bottom half a little boost. Use graduated filters for this.

• Split Line Enhancement: Pay attention to the split line, ensuring it’s clear and not distorted. Use selective adjustments if needed. Don’t be afraid to take out anything on the meniscus such as bubbles.

Conclusion

Shooting split level underwater photos is a rewarding but challenging technique that requires patience, practice, and the right equipment. By understanding and mastering the fundamental aspects—from equipment preparation and camera settings to location selection and post-processing—you can create stunning images that beautifully capture the worlds above and below the water’s surface. Experiment with different compositions, and don’t be afraid to take numerous shots to find the perfect balance.

For inspiration, check out David Doubilet’s book “Two Worlds: Above and Below the Sea”. Happy shooting!