Abstract
The dates of the first recorded use of underwater photography and the tendencies toward its increasing use by producers are noted, and the author's early experiences in this field are described. For work in natural settings the most useful equipment consists of submergible cameras placed on the bottom and operated by divers. The problems of and equipment for such work are dealt with and it is pointed out that studio tank work shares most of these problems. — The optical properties of water are described. Since water is less transparent than air, photography by natural light is limited to shallow depths and more power is required for artificial illumination under water. Since colors are not absorbed equally, accurate monochrome rendering and photography in natural color are complicated. Haze limits the distance at which pictures can be taken under water, but is largely confined to a part of the spectrum and can be partially eliminated by the use of color filters. It is plane polarized and can, therefore, also be suppressed by the use of polarizing plates. The advantages of this method are briefly stated—it does not distort monochrome rendering and can be used in natural color photography. — The ideal attributes of equipment for use in underwater cinematography are outlined and available equipment is briefly described.
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