Enhancing Underwater Photography with Off-Camera Strobes

What Does Using an Off-Camera Strobe Mean and Why Would We Use Them?

Generally, in underwater photography, we use two strobes attached to our camera on strobe arms. In previous articles, we have discussed how to utilize the position of the strobes on the arms and how to get the most out of them. But ultimately, it means that you can only light subjects that are within 5 ft (1 - 2 meters) of your camera lens. So when we are working in larger scenes, such as inside shipwrecks and caves, it is nice to use off-camera strobes to create great lighting in other parts of the frame that are further from the camera.

An off-camera strobe means it is completely independent of your camera and strobe arms. I generally set mine up on a little GorillaPod tripod and have it clipped to my BCD so I can set it up anytime I want.

Off-camera strobes are very effective for creating more three-dimensional images and also for making key parts of the frame stand out. Think inside a wreck, for example: you can light the back wall of a wreck, highlight an item in a wreck such as a gun or a truck, and make it stand out from the background. They are also great for backlighting models who would otherwise be lost in the frame.

So How Does It Work?

For underwater strobes, the best way to fire them is by using a remote flash trigger. The one I use is called an Anglerfish. It basically is a sensor attached to a fiber optic cable that you attach to the remote strobe. When the sensor sees the flash on your camera fire, it sends a light signal down the fiber optic cable and fires the remote strobe.

The great thing about this system is that as long as the sensor is in line of sight to the camera, you can then run a fiber optic cable of any length to the remote strobe, and it can be hidden away from sight, making for a softer and more subtle light effect.

I generally have mine on a 6 foot (2m) cable; this is usually sufficient to be able to hide the remote strobe and still have the Anglerfish visible.

One thing I would be keen to stress here is that using an off-camera strobe seems very complicated and intimidating, but it is actually far from it. The process and setup are very simple, and it is also very reliable. The only thing you need to make sure you do is to turn the Anglerfish on prior to the dive. The method to turn it on is a little frustrating to do underwater since it is actually turned on through a series of taps rather than a physical switch.

Using Remote Strobes in Wrecks

When using remote strobes in wrecks, they can be great for highlighting key points of interest or for lighting up the back of the frame, such as the wall of an engine room, so the image doesn’t fade out to black.

When using them inside the wrecks, as a general rule, it is important for them not to face the camera directly. Either they should be pointed away from the camera to light something, or they should be hidden behind something. If the camera can see the face of the strobe, the highlights will be very overblown.

When shooting inside wrecks, it is also nice to combine some ambient light into the frame. Then you can make the images much more relatable and again more three-dimensional. A combination of dark parts of the frame, off-camera lit parts, and then blue water ambient light makes for very effective wreck shooting.

Using Remote Strobes in Macro

Many people struggle to position snoots when they are attached to the main camera body. One easy way to do this is by using a remote strobe on a tripod with the snoot attached. You can then position and aim the snoot at the subject and angle one of your primary on-camera strobes away from the scene but in the line of sight of the remote trigger. This will then fire the strobe and allow you to continually change composition and focus without it affecting your snoot position.

When using this method, be very careful not to cause backscatter by knocking up the sediment and sand from the bottom when positioning your tripod on the muck.

Using Remote Strobes with Models

When using a remote strobe to highlight a model and separate them out, you will need to point the strobe directly at the camera. This is the opposite of general wide-angle shooting. But when you do this, you need to be very careful not to have the camera see any of the face of the strobe, as it will be very overexposed in your image.

In order to avoid this, you will be very surprised how close the model will need to be to the strobe—around 6 inches (15 cm) from it—in order to ensure their body blocks out the face of the strobe and makes the light flow around them to create a silhouette of the diver.

Don’t Forget Your Main Strobes

When using off camera strobes don’t forget about your primary strobes; they are still the main light source at your disposal. The on-camera strobes are fantastic for lighting the foreground and main parts of the image whilst the off-camera strobe can often be the main lightning. On both the model shots used in this article, it is still important to add some foreground light in order to stop the model only becoming a silhouette

Summary and Conclusion

Using off-camera strobes in underwater photography can significantly enhance the quality and creativity of your images. By freeing the strobe from the camera arms, you can light larger scenes, highlight specific features, and create more three-dimensional and dynamic photos. Although the setup may seem daunting, the process is straightforward and reliable with the right equipment and techniques. Whether you're illuminating the depths of a shipwreck, capturing detailed macro shots, or highlighting a model, off-camera strobes provide versatile and powerful lighting solutions. Embrace this technique to push the boundaries of your underwater photography and achieve stunning results, but don’t forget about your primary lighting.