Hong Kong based underwater photographer Andrew Lau offers tips and techniques on how to shoot mermaids underwater:

Shooting underwater models, mermaids in particular, has become very popular in recent years, and many divers are looking to try their hand at this new trend in photography. Here, I share some of my own experiences with shooting models underwater, in the hope that it will help you to test out new ideas and improve on your photography techniques.

Mastering the basics

Finding a model

First of all, you need to find a model who feels very comfortable and natural when she goes underwater. It’s not easy. Many models struggle to open their eyes underwater, and the photographer can easily read from their face that they are uncomfortable, or even suffering, because of the stinging sensation in their eyes.

Facial expression is one of the main factors when shooting models, so you need to find the right candidate as your underwater model.

Picking a location

When you start out photographing mermaids, I suggest doing your shoots in a shallow pool. It’s not good practice to throw your model into the deep end, so to speak.

After you have found the right candidate, let the model do some simple posing or wear the mermaid tail to swim. Allow your model to relax and get used to the water. In the meantime, you can explain the theme of the shoot and take some test shots.

Communication

It is easier to communicate by talking than via hand signals or slate. In shallow water, you and the model can stand up out of water and talk. Practise the pose or theme in shallow water until the model knows exactly what you want to shoot.

After practising in shallow water, you are now ready to hit deep water and start the real shoot.

Shooting in the blue

Understanding motion

Keep in mind that a mermaid tail motion is a completely different motion to that of a long freedive fin, or mono-fin. It is unique. Observe the movement of the tail and how the model swims, catch the rhythm of the motion, angle your shot and wait for the correct pose of the model.

Choosing a lens

A model with a mermaid tail is “big” – three metres or more. You will need an ultra-wide lens or diagonal fisheye lens to reduce the water column between you and the model. A zoom lens with zoom gear will work even better.

Mermaids wear mono-fins inside the tail so that they can move quickly underwater. To catch them at speed, set your lens to the tele-side during the beginning of the shoot, and when the mermaid swims towards you, zoom out to have a wider window of time to shoot.

Shoot as many as you can

You should have a desired picture in mind – shoot until you get that shot. Even after you get the picture that you want, keep shooting.

Sometimes the best shot is not the shot that you wanted, but the shot you didn’t expect.

Using strobes

A good strobe allows you to capture more pictures during the model’s single breath. The model holds her breath to swim or pose, so time is limited. Normally, the best strobes have shorter recycle times. The more pictures you take, the higher the chance of you getting a nice capture. Setting the strobes to a different power level can give the mermaid’s tail more texture.

Shooting mermaids or underwater models is just like other underwater photography: You won’t master it in one or two dives. But the good thing is, it’s easier to communicate with a model!

Practise more and you will get better. Enjoy this exciting trend in underwater photography!

Born in Varese, Italy, Isabella Maffei has recently burst onto the underwater photography scene. A strong passion for the ocean drove her to become a scuba diving instructor and manager at her dive centre, “Deep Avenue”, in Mendrisio, Switzerland. From there, she became an underwater photographer to capture the experiences of her students learning to dive, and then to capture the marine world.

Always diving with her Nikon camera in hand, Maffei has created a spectacular body of work that has impressed international publications and dive events. We caught up with her for a quick Q&A about her career and her evocative images:

What made you want to become an underwater photographer?
I have always been attracted by photography, but what made me want to become an underwater photographer was a commercial necessity, a marketing strategy. I have a diving centre in Switzerland and usually dive with students and friends in our lake. To give something to my newly certified students, to capture a picture of that wonderful experience of their first breath underwater, this pushed me to become an underwater photographer.

Your first underwater shot?
My first shot was made with an old Sea & Sea film camera in Portofino Marine Protected Area (Italy). The subject was a classic sea star on the seabed. When you start out taking pictures underwater, sea stars seem to be the most well-behaved subjects!

The story behind your most memorable underwater shot?
7.00 am, I was on the jetty of Camogli Harbour, Italy. I was going to dive in one of the oldest tuna fisheries in the Mediterranean Sea, the “Tonnara”. During the summer months, the Tonnara is full of trapped moonfish (Mediterranean sunfish). They are a shy species, hard to approach in clear water. I wanted to capture a shot in a school of moonfish.

After 15 minutes, we arrived at the destination. A fisherman called “Rais” commanded the operation – unfortunately, two dolphins were trapped in the fishing net. As the fishermen closed the net, we quickly jumped into the water, and this was to be the start of my most memorable adventure as an underwater photographer.

The dolphins were quiet and not scared, and we swam together for 50 minutes, and they played with each other and were intrigued by me. Time went by quickly, and their moment of freedom came. When I jumped out of the fishing net, they suddenly became a little nervous, but seemed sure they would soon be free. The bigger dolphin pushed the fishing net downwards with his nose and the little one was freed first, passing in front of me for the last goodbye. Immediately after, the big one freed himself and swam very fast to reach the other one.

I will never forget that.

Where is your favourite dive destination?
I love Raja Ampat. I love wide-angle pictures, especially of schools of fish. I can find everything I need there.

The site you’d most like to dive, but never have?
Socorro Island, Mexico, without a doubt.

The weirdest thing you’ve seen underwater?
I was in Raja Ampat, below an old jetty on an island. Not many people dive here. I think I am one of the few.

The island’s fishermen had told me that I would find something interesting. A school of fish called the place home, but there were also predators. I was in the water alone, shooting step by step with each movement of the school. The predators, species of trevally, were making inroads fast. At one point, the fish were trying to position themselves behind me, so the predators could not attack them because they were intimidated by my presence. What I thought was strange was what little time they have taken to adapt to exploit my presence – and people say that they are “only fish!”

What camera equipment are you currently using?
I currently use a Nikon D8OOE in Nauticam housing. When shooting wide angle, I use the Sea & Sea YS-250PRO and Ikelite DS161.

What is the highlight of your career?
This year when I was invited to TDEX in Bangkok. It was my first time outside of Italy to present my photography.

…And the low point?
When I was a very inexperienced photographer, I was too sensitive to criticism and other opinions on my photography. My artistic sensibilities suffered, because I was trying to make my style too similar to others’. My pictures were just “nice images”, but my “soul” was missing.

Have you any advice that you’d like to give aspiring underwater photographers?
Be yourself. Watch and learn from others, from the environment, but make your vision unique!

Is there any particular shot that you still want to get?
Yes, there is! My dream is to swim with and capture pictures of whales.

For more of Isabella’s incredible work, click here.