Beneath the Surface: Richard Robinson’s Guide to Underwater Wildlife Photography

Discover how award-winning wildlife photojournalist Richard Robinson pushes the Canon EOS R5 Mark II to its limits in extreme underwater environments. In this practical, example-led guide Richard explains why underwater work is uniquely demanding, how he composes in poor visibility, how he tracks fast-moving animals, how he nails macro sharpness, how he swaps setups instantly, and how he minimises disturbance. Each tip includes what the technique is, why it works, a real-life story from Richard’s assignments, the gear he used and key settings to try.

The challenges of underwater wildlife photography

Underwater wildlife photography is a constant exercise in problem solving. Light disappears quickly under the surface - reds and yellows go first - leaving an increasingly monochrome blue as you descend. Particles in the water reduce contrast, animals move in three dimensions, and every small movement from you can stir silt and ruin a frame. Add the physical constraints of diving - cold, limited air, bulky gloves - and you have one of the most technically and physically demanding photographic environments.

Richard has spent his life learning to work in those constraints. He knows that good images come from preparation, patience and a willingness to adapt. He relies on the Canon EOS R5 Mark II because its low-light capability, bright EVF, reliable autofocus and file quality let him push settings that older cameras could not handle. But the camera is only part of the story - the following tips are about workflow, behaviour and technique as much as kit.

Tip 1 - Compose cleanly in low visibility

One of the biggest challenges Richard faces is the simple reality of murky water. New Zealand’s coastline is rich in nutrients, which is great for marine life but not always for photography. Tiny particles suspended in the water scatter light and reduce contrast, which makes scenes look hazy and cluttered. The solution is not to fight the low visibility, but to work with it.

In murky water, composition matters more than ever. Reduce the amount of water between lens and subject, look for clean backgrounds and use the EVF to preview exposure and framing without moving.

Getting close restores colour and contrast and reduces backscatter. The EOS R5 Mark II’s bright electronic viewfinder (EVF) lets Richard evaluate exposure, check histograms and confirm focal length without moving his head in the water - a tiny movement can spook a subject or stir up silt.

Richard spent hours searching for hāpuku in Wet Jacket Arm, Fiordland, after a local charter reported regular sightings. The seafloor was muddy and visibility poor. When he finally found a lone hāpuku, he hovered carefully off the bottom so his fins would not disturb the silt, and waited for the fish to approach. Fiordland’s gloom shaped the image: Richard exposed for the dark background and used twin strobes on manual power to restore natural colour and freeze detail. The result reveals every scale at 100 per cent - but only because he accepted the gloom and composed tightly against open water rather than filling the frame with silt.

Gear and settings to try
• Camera: Canon EOS R5 Mark II in an appropriate housing.
• Lenses: RF 10-20mm f/2.8L or RF 15-35mm f/2.8L for close wide-angle work; RF 100mm f/2.8L Macro for tiny subjects.
• Example settings Richard used for the Fiordland hāpuku: 20mm, 1/20 sec, f/8, ISO 800, twin strobes on manual.
• Workflow notes: use the EVF to preview exposure and histogram; settle and wait for the subject to come into a clean patch of water.

Tip 2 - Track fast-moving subjects with Servo AF

Marine animals do not move like land animals. They twist, accelerate and change direction without warning, often disappearing behind kelp or into pockets of shadow. Richard learned early that guessing where a subject will be simply doesn’t work underwater. To capture clean, well-timed frames, he relies on autofocus that can keep up with animals that behave more like liquid than flesh.

Use continuous Servo autofocus and Whole Area Tracking to lock on to unpredictable movement. Combine that with high-speed continuous shooting and back-button focus to maintain control.

Marine mammals and schooling fish move in erratic ways; a reliable tracking AF takes care of micro-adjustments so you can concentrate on composition and timing. The R5 Mark II’s Whole Area Tracking and animal-aware AF are extremely useful in low light and awkward angles.

An inquisitive octopus once approached Richard and began exploring his housing with its tentacles. After encouraging it off the gear, he followed slowly along the seabed as it hunted. To convey movement he used a long exposure with rear-curtain sync - the strobes froze the subject while allowing foreground motion blur, giving a sense of pace and the creature’s tactile curiosity. He kept the camera tracking while choosing moments where the octopus paused, then fired bursts to capture both sharp detail and motion.

Gear and settings to try
• Lens: RF 10-20mm f/4L IS STM for wide scenes and quick AF.
• Example settings: Ambient light continuous shooting, Servo AF, 1/500-1/1000 sec, aperture f/5.6, ISO variable depending on light. For “flash and blur” try 1/10-1/30sec with rear-curtain sync and strobes on manual for freeze.
• Technique note: use the rear LCD when shooting under ledges or tight spaces where an EVF is impractical.

Tip 3 - Nail macro sharpness: micro adjustments matter

Macro underwater is a different discipline entirely. Everything becomes magnified: tiny movements, slight currents, even your own breathing. When the subject is only a few centimetres long, depth of field shrinks to a razor-thin plane. Richard sees macro as an exercise in patience and precision, where the smallest adjustment determines whether the image sings or falls apart.

Macro requires absolute precision: lock focus with AF then switch to manual focus for micro adjustments, or preview at 100 per cent in the EVF before you press the shutter.

Tiny subjects live and move in a very small focus plane. Small changes in camera position can be the difference between tack-sharp and soft. The EVF/Live View zoom and instant playback let you verify critical focus without moving the camera away from your eye.

On the wreck of the HMNZS Canterbury, a colony of jewel anemones was synchronously spawning. These 1-2 cm anemones release eggs into the water column; any movement risks disrupting the scene. Richard used the RF 100mm Macro and set strobes to carefully balanced manual power to preserve colour while not startling the animals. He locked focus, switched to manual and nudged his position by millimetres to hit precise focus. He tries where possible to use a fast shutter, low ISO and a small aperture to produce black backgrounds and make tiny subjects pop.

Gear and settings to try
• Lens: RF 100mm f/2.8L Macro IS (up to 1.4x).
• Example settings: 1/60 sec, f/9-f/16, ISO 100-800, strobes on manual, use fibre-optic triggering or TTL with manual override.
• Technique note: limit movement, preview on the EVF and set automatic image playback after capture to check focus without moving.

Tip 4 - Switch setups fast with custom modes

The ocean rarely gives you time to prepare. One moment you’re lining up a macro scene, the next a shark drifts out of the gloom and you have seconds to respond. Richard learned that underwater success depends on reducing decision-making friction. Custom modes became his way of switching mental and technical gears instantly without losing the moment. Pre-program custom modes for common scenarios so you can change the camera’s whole personality instantly - wide-angle ambient, wide-angle flash and macro - without fumbling underwater.

Underwater you don’t have time to dive into menus. Custom modes let you swap from high-speed Servo AF and fast shutter to low-FPS, strobe-optimised settings or change to a macro configuration with one dial turn when setting up the camera in a housing.

On a dive where a Broadnose Seven Gill Shark surprised him in the gloom, Richard’s ability to change quickly mattered. The shark made several passes; it began shy, then grew bolder. Richie started at 20mm, then moved to 10mm as the shark closed. His custom mode for wide-angle flash (mechanical shutter, lower FPS, strobe-ready sync) let him settle exposure and get the precise frames as the shark’s attitude changed. The shark never showed aggression - staying calm and still kept the encounter safe and productive.

Suggested custom modes
• C1 Wide-Angle Ambient: electronic shutter, exposure simulation, whole-area tracking, continuous high FPS.
• C2 Wide-Angle Flash: mechanical shutter, lower FPS, strobe-friendly sync, animal AF or one-point AF depending on subject.
• C3 Macro: electronic shutter, single shot, Servo One-Point AF locked or manual focus.

Tip 5 - Get close but minimise disturbance

Every underwater ecosystem is sensitive, and every species reacts differently to a diver’s presence. The closer you get, the more the balance shifts between making a compelling image and disrupting natural behaviour. Richard treats this as a core part of the craft. Remaining calm, slow and unobtrusive is not just ethical - it dramatically improves the quality of encounters and images.

Approach slowly, stay still, and avoid focus lights unless absolutely necessary. Use wide lenses so you can be near without chasing. Prioritise the animal’s comfort. Closer = less water between you and the subject, better colour and clarity and less backscatter. But proximity must be balanced with respect; too much disturbance changes behaviour and can stress animals.

Richie spent two years documenting New Zealand’s eels in dark, murky rivers. Eels live under banks and in confined spaces where visibility is almost zero. He often relied on his rear LCD because he could not put his eye to the viewfinder, holding the camera out and easing forward while the eels passed between the housing and his face. He avoided focus lights to prevent spooking them, instead relying on the R5 Mark II’s low-light strengths. On one shoot he even photographed eels from above after lighting the stream with video lights to silhouette them against the murky water - an example of thinking laterally when conventional approaches fail.

Gear and settings to try
• Lenses: RF 10-20mm for tight wide-angle work at close range.
• Example settings: 10mm, 1/20-1/30 sec, f/7.1-f/8, ISO 1800-1600 depending on light; avoid focus lights unless night diving.
• Technique note: position strobes to minimise backscatter; use short arms if you want steadier control.

Conscious and considerate shooting

Underwater photography happens inside someone else’s home. Richard believes the responsibility is twofold: protect yourself, and protect the wildlife that makes the work possible. Every decision, from lighting to proximity to dive planning, shapes the impact you leave behind. Ethical practice is not an optional extra but a foundation of underwater storytelling.

Being a good underwater photographer is as much about ethics as it is about technique. Richard stresses training, dive planning and humility. Never dive beyond your skillset for a shot. Always check local rules and permits for marine mammals and protected areas. Consult scientists when working with unfamiliar species and establish boundaries that protect the animal’s welfare.

If an animal shows stress - fleeing, colour change, hiding - stop. Richard treats repeated avoidance as a clear signal to back off; he considers that the animal’s way of saying “no”. Practice buoyancy control on land and in easy water before attempting sensitive shoots, and favour operators who respect conservation. These choices keep sites healthy for other divers and for the wildlife that lives there.

Photograph: Jason Burton - Journey into the world of New Zealand's longfin Eels

The ultimate underwater setup - essential kit and workflow

Richard often travels with two Canon R5 Mark II bodies: one permanently in a housing, the other topside with an RF 24-105mm for quick grab shots. He recommends you choose kit that matches your objectives rather than simply buying the most expensive housing or the biggest rig.

Gear and settings to try
• RF 10-20mm f/2.8L - ultra-wide, focuses close, great for ambient scenes and split shots with a natural rectilinear look.
• RF 15-35mm f/2.8L - versatile wide-angle for larger shy subjects and environmental portraits.
• RF 100mm f/2.8L Macro IS - up to 1.4x magnification for detailed macro.
• EF 8-15mm fisheye via adapter - creative fisheye when desired; program the control ring for ISO or other quick adjustments.

Housing and ports
Choose a housing rated for the depths you dive and with compatible dome or flat ports for your lenses. Aluminium professional housings are heavy but robust; polycarbonate housings are lighter and often more travel-friendly. Ensure clean, dry rig assembly, maintain O-rings, and use a leak detector where possible.

Lighting
Richard almost always uses two strobes with high guide numbers and fast recycle times to match high frame rates. Two strobes give even coverage and help eliminate backscatter when positioned correctly. For photographers who also shoot video, video lights can be useful, but strobes freeze motion and are usually more powerful for still photography.

Final thoughts

Underwater wildlife photography demands more than technical knowledge - it demands patience, respect and the ability to improvise when conditions turn against you. Richard Robinson’s approach is pragmatic: master your buoyancy, learn animal behaviour, get as close as ethically possible, and use tools like the Canon EOS R5 Mark II to give yourself the flexibility to push ISO, rely on a bright EVF and trust modern autofocus. When you combine that with careful strobes and practice, the ocean will reveal images that are technically strong and emotionally honest.

See more of Richard’s work:
Richard Robinson on Instagram
Depth
Richard Robinson on New Zealand Geographic