420 Dive Log Australasia OCTOBER 2026

Knowing where a species is likely to live makes the search far more efficient. Some animals favour exposed reef; others remain beneath ledges, among kelp, inside sponges or along the boundary between sand and rock. As I learn these associations, I stop searching the entire dive site at random and concentrate on the areas most likely to hold the subject. Night diving changes the process. Animals that remain concealed during daylight may emerge to hunt, feed or search for mates. Octopuses move openly across the sand, squid enter the shallows and nudibranchs appear where the reef seemed empty only hours earlier. Small creatures can also be easier to locate at night because darkness removes much of the visual clutter. Instead of trying to absorb an entire site at once, I search within the narrow beam of my torch. Reflective eyes, a slight movement or an unexpected edge can immediately draw my attention. The restricted view slows me down, which is often exactly what macro photography requires. On night dives, I frequently use the red focus light emitted by my strobes. In my experience, many animals react less strongly to it than to a bright white beam, and it attracts fewer planktonic organisms and small shrimp into the area in front of the camera. It also preserves more of my night vision, allowing me to look beyond the illuminated area without repeatedly readjusting to the darkness. It still needs to be bright enough to create visible contrast for the autofocus. If the setting is too low, the camera may hunt for focus even though I can see the animal on the screen. Red light is not invisible to every species. I still watch the animal closely; if it turns away, retreats repeatedly or attempts to escape the beam, I reduce my presence and give it space. Once I locate a potential subject, I rarely begin photographing immediately. I first watch how it moves, where it appears to be going and how it responds to me. With repeated observation I become better at recognising feeding, hunting, defensive and mating behaviour. That knowledge helps me anticipate a moment instead of chasing it after it has already happened.

Sometimes the most productive action is to stop moving. On some dives I simply settle and allow the animals to decide what happens next. Fish emerge from shelter, squid begin to circle and shy but curious creatures may approach or surround me. By becoming a quiet observer rather than an active pursuer, I have a better chance of witnessing natural behaviour and, occasionally, becoming a temporary part of it. That does not mean every encounter produces a photograph. The best opportunity may develop only after I have watched the animal through several descents, or it may never develop at all. Chasing, touching or cornering an animal usually creates a weaker image as well as unnecessary stress. I do not block an escape route or force a subject into a position because the background would look better. If it continues to move away, I accept the answer. Bottom: The result — this shot really reminds me of a pair of lovers having a ciggie and trying to catch their breath after a hot sesh in bed. The female occy is still in the pipe, while the bigger male is outside, looking clearly proud of himself. Top: The process — I’m photographing a pair of pale octopuses at around 5 metres. This is an ambient-light shot, so to get a sharp image I really need to keep the camera as steady as possible. Balancing the rig properly with a floatie makes a big difference.

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DIVE LOG Australasia #420 October’ 26

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