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Fotografía Submarina Fotografía Submarina Un desafío técnico Melina Contogiorgakis 18/07/2017 Licenciatura en fotografía Investigación Diseño y producción de objetos, espacios e imágenes Índice Índice de figuras………………………………………………………………………………….3 Introducción………………………………………………………………………………….…...4 Capítulo 1: Conceptos básicos de la técnica fotográfica…………………………………8 1.1. La luz y sus propiedades…………………………………………………………………….8 1.2. Exposición: diafragma, ISO y velocidad de obturación…………………………………10 1.3. Equipo fotográfico: cámaras, objetivos y flashe…………………………………...........11 1.4. Composición…………………………………………………………………………………14 1.5. Fotografía digital…………………………………………………………………………….16 Capítulo 2: Principios del buceo con escafandra autónoma…………………………...19 2.1. Equipo estándar para buceo recreativo…………………………………………………..21 2.2. Física y química aplicada al buceo………………………………………………………..27 2.3. Fisiología……………………………………………………………………………………..33 Capítulo 3: El medio Acuático………………………………………………………………..41 3.1. Fauna y flora acuática………………………………………………………………………41 3.2. Ecosistemas…………………………………………………………………………………47 3.3. Sitios de buceo……………………………………………………………………………...52 Capítulo 4: Técnicas de Fotografía Submarina…………………………………..……….61 4.1. La luz y el color bajo el agua…………………………………………………......……….61 4.2. Equipo fotográfico……………………………………………………………..……………65 4.3. Iluminación: luz ambiente y flash…………………………………………..…………......70 4.4. Técnicas para fotografía macro…………………………………………..……………….73 4.5. Técnicas para fotografía gran angular……………………………………………………76 4.6. Retoque Digital………………………………………………………………………………78 Capítulo 5: Aplicaciones prácticas……………………………………………………….....82 5.1. Desarrollo histórico de la fotografía submarina…………………………..……………...83 5.2. Grandes Fotógrafos………………………………….………………………………….….87 5.3. Análisis de imágenes………………………………………………………..…………….. 96 5.4. Utilidad de la fotografía submarina en la ciencia y la conservación marina…….…100 5.5. Utilidad de la fotografía subacuática en el arte………………………………………...104 Conclusiones………………………………………………………………………………......110 Imágenes seleccionadas…………………………………………………………………….115 Lista de referencias bibliográficas………………………………………………………...123 Bibliografía……………………………………………………………………………………..125 Índice de figuras Figura 1: Equipo de buceo básico…………………………………………………….………115 Figura 2: Tabla PADI………………………………………………..……………….…………115 Figura 3: Esquema macro………………………………………..……………..……………..116 Figura 4: Esquema gran angular……………………………………………………..……….116 Figura 5: Fotografía de Clark Little……………………………………………………………117 Figura 6: Fotografía de Amanda Cotton……………………………………………………...117 Figura 7: Fotografía de Alex Mustard………………………………………………………...118 Figura 8: Fotografía de Alex Mustard………………………………………………………...118 Figura 9: Fotografía de Brian Skerry………………………………………………………….119 Figura 10: Fotografía de Eric Cheng………………………………………………………….119 Figura 11: Fotografía de Noam Kotler………………………………………………………..120 Figura 12: Fotografía de Elena Kalis…………………………………………………………120 Figura 13: Fotografía de Koga Mananu……………………………………………………...121 Figura 14: Instalación de Forlane 6 Studio…………………………………………………..122 Figura 15: Instalación de Andreas Franke …………………………………………………..122 Introducción La fotografía submarina es un arte multidisciplinar, que le permite al ser humano conocer y registrar en imágenes las profundidades del océano. Gracias a los avances de la tecnología, es posible descubrir el 70% del planeta que de otra forma permaneceríaa oculto. A través de fotografías submarinas se ha logrado explorar el punto más profundo del océano, la Fosa de las Marianas, lo que demuestra la importancia de las imágenes en la investigación científica. Además la fotografía submarina juega un rol significativo en la divulgación científica y la conservación marina, ya que es uno de los principales medios de difusión y el de mayor alcance comunicativo. Por sus características ambientales y físicas, fotografiar bajo el mar es completamente diferente a hacerlo en tierra y por eso es necesario realizar una adaptación de la técnica fotográfica conocida al medio acuático. El siguiente proyecto de graduación pretende plantear una posible respuesta a la pregunta ¿Qué desafíos técnicos presenta la fotografía submarina? Esta problemática parte de la intención de determinar que dificultades aparecen al fotografiar en el medio acuático y como este es diferente del medio común, el terrestre. La fotografía submarina es esencialmente la sumatoria de dos actividades: el buceo y la fotografía. Ambas son sumamente técnicas, centradas en la utilización de equipamiento especializado y requieren de cierto conocimiento teórico. Por lo que este PG se encuadra en la categoría de Investigación, ya que se analizarán los antecedentes del buceo deportivo con escafandra autónoma y de la fotografía digital, para luego comprender los principios de la fotografía submarina. Se investigarán los procedimientos, habilidades, principios teóricos y equipamiento utilizado de ambas áreas. A partir de esto se analizara como estas dos actividades se relacionan para desarrollar la técnica de la fotografía submarina. El objetivo principal de este trabajo es investigar las técnicas de fotografía submarina utilizadas en la actualidad a nivel profesional, para comprender las dificultades que se presentan fotografiando en un medio distinto al habitual, el agua. A su vez, este trabajo tiene 4 como objetivo secundario explorar la utilidad de la fotografía submarina en la ciencia y la conservación marina. Gracias al avance tecnológico, la fotografía submarina se ha desarrollado considerablemente en los últimos años, haciendo posible que más fotógrafos se involucren en esta actividad. Desde sus orígenes la fotografía submarina ha sido desarrollada por profesionales que no pertenecen al campo de la fotografía, como por ejemplo biólogos o investigadores, haciendo difícil plantear sus principios teóricos. Este trabajo busca analizar la fotografía submarina desde una perspectiva fotográfica pero sin dejar de tener en cuenta su implicancia en el buceo y su utilidad para la ciencia. Además se pretende realizar un aporte académico a la bibliografía sobre este tema, la cual es sumamente escasa dado los orígenes de su desarrollo. Por su gran exigencia técnica, es imprescindible conocer en profundidad la técnica fotográfica para luego poder adaptarla al medio submarino. Este PG desarrollara los conceptos incorporados durante las materias centrales de la carrera, como Taller de Fotografía y Diseño Fotográfico, las cuales buscan dar una base de conocimiento fotográfico. Por lo que este trabajo demostrara la formación técnica teórica aprendida a lo largo de este proceso académico y también la capacidad de relacionar los conocimientos incorporados con otras áreas disciplinares. Para desarrollar este trabajo se hará un análisis de diversas fuentes bibliográficas pertenecientes a las tres grandes áreas a las que se dedicara este trabajo: fotografía, buceo y biología marina. Para luego hacer una profunda relación entre estos temas y formular una posible interpretación de la técnica de fotografía submarina. Para realizar esta última parte del PG se recurrirá a dos metodologías de investigación, se entrevistara a profesionales reconocidos de la disciplina para indagar acerca de sus experiencias y procedimientos de trabajo. Además se realizara un análisis de imágenes donde se intentara demostrar las aplicaciones prácticas de los conceptos teóricos desarrollados previamente, en este análisis de casos se estudiaran distintas fotografías de producción propia tomando como parámetro 5 las variantes técnicas exploradas en los capítulos anteriores, con el fin de mostrar como las decisiones técnicas repercuten en la estética y porque es imprescindible conocer los fundamentos técnicos para poder así tomar decisiones creativas consientes. Se tomará como antecedente académico de la Universidad de Palermo el proyecto de grado titulado El diseño al servicio de la ciencia (Torres, 2013) el cual plantea las contribuciones del diseño gráfico a la investigación científica argentina, para comprender los aportes del diseño a la investigación y la divulgación científica y la forma en que diseñadores e investigadores trabajan conjuntamente para desarrollar un mismo trabajo. También se tendrá como referencia el proyecto profesional titulado Cine ecológico (Núñez, 2014) el cual elabora procedimientos y herramientas para disminuir el impacto ambiental ocasionado por las productoras cinematográficas. Este antecedente es útil para determinar el impacto ambiental que puede llegar a generar una producción audiovisual y la responsabilidad de los realizadores en minimizarlo. Otros proyectos de graduación pertenecientes a la Universidad de Palermo que se tendrán como antecedentes son: Álvarez F. (2013) La ecología como base de diseño: Mobiliario sustentable; Bermúdez M. (2012) La fotografía híbrida: Intervención del color en la imagen blanco y negro en el siglo XX; Didier M. (2014) Blanco y negro: Revelado alternativo de película fotográfica para la realización de un libro de autor; Glossman H. (2015) Revolución en el video digital: El cine independiente y las nuevas tecnologías; Gómez A. (2013) La manipulación fotográfica en el fotoperiodismo: Fotografía que miente; López C. (2011) Aplicación de estrategias a la enseñanza de la fotografía; Paladines L. (2015) La Evolución del Cine Digital: Flexibilizar la elección de formatos y flujos de trabajo; Wong H. (2013) Retoque fotográfico en tiempos modernos: Naturalizar lo artificial. El siguiente proyecto de graduación se organizara en cinco capítulos. Los tres
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