June 3, 2024 Text by Stephen Frink; Photos and Captions by RICHARD SMITH
Diver and whale shark (Cenderawasih Bay, Indonesia): I tend to avoid having divers in my images, preferring instead to capture an animal in its natural environment. The problem with that is portraying the scale. Our group was snorkeling when one member decided to dive on scuba, which was a point of interest to the whale sharks. On a few occasions, one of the whale sharks passed close by him in the early morning light, which allowed me to capture this image.
The Synergy of Science & Art
In the opening chapter of The World Beneath: The Life and Times of Unknown Sea Creatures and Coral Reefs, his acclaimed combination coffee table book and coral reef reference guide, Richard Smith, PhD, recalls his six months of shore diving and research in 2007 at the Wakatobi reefs in Indonesia. That trip turned into the first doctorate awarded for research on pygmy seahorses.
The Denise’s pygmy seahorse was his singular focus for that project. He spent months “watching and recording the antics of these mysterious and diminutive fish.” His observations of their social and reproductive behaviors were the first recorded examples of what he said has “presumably been happening for millennia. We just didn’t know how to look.” Searching for pygmy seahorses and other reef dwellers, describing them for science, and recording them at the highest level of photographic art is what Smith does so very well.
The World Beneath will soon have its second edition, and the original 2019 version is the No. 1 bestseller in Amazon’s Coral Reefs Ecosystems category. It all began in his family’s garden in the Cotswolds, England. As a child, Smith was crazy for bugs or any kind of terrestrial wildlife. He learned to dive at 16 as a shared hobby with his father. It might be overstating their early years diving British quarries in a drysuit to call them adventures, but that would come on a 1996 Australia dive holiday with his dad.
The Great Barrier Reef was a wondrous revelation, but Smith still had his university education to navigate. His goal was to be a zoologist and end up in a rainforest somewhere. During a gap year at age 18, he spent four months on a marine conservation project in Southeast Sulawesi, Indonesia. The reef minutiae — nudibranchs in particular — intrigued him from the outset, and he began taking identification pictures of them after discovering how tedious and inaccurate it was to draw on an underwater slate. An honors thesis on the rocky shore intertidal zone for his zoology undergraduate degree was his first foray into marine science.
Knowing his advanced studies should be in the ocean, he pondered whether to stay in England and study algae or go to the University of Queensland in Brisbane, Australia, where he would learn the dynamics of the coral reef. It was an easy choice, and Smith soon joined a local dive club in Brisbane and found his people.
During a 2002 liveaboard trip, an epiphany happened when he saw his first pygmy seahorse. By 2018 he had identified a new species, Hippocampus japapigu, in Japan’s temperate waters; in 2020 he described the first pygmy seahorse from the Indian Ocean: the South African Hippocampusnalu.
He recorded all the observations for his doctorate on an A4 waterproof slate while immersed at Wakatobi’s shallow, vibrant house reef multiple hours a day for months at a time. After realizing there was a world beyond the confines of a coffee-table-sized sea fan, he began writing articles for Asian Diver and Australian dive publications, eventually giving a keynote presentation at the Asian Dive Exposition for their Year of the Seahorse.
Photography became an increasing part of his work once he realized that he had a story to tell about specific marine life and where they lived. Underwater photography was his springboard to communication.
How did you begin your sojourn into underwater photography?
My dad started taking pictures underwater before I did. He was a rally driving champion and felt diving was a bit too mundane, so he added underwater photography to his task load. For me it was more about finding things I couldn’t identify. I logged 500 dives before I took my first photo, using a very basic film camera (a Sea and Sea Motormarine 35). Small things drew me in, and the macro capability was not good enough, so I migrated to a housed Nikon F90 (called N90 in the U.S.) film camera. The 105mm Micro-Nikkor lens transformed my vision.
When did you move to digital for underwater photography, and what is your gear arsenal today?
I didn’t move to digital until 2007. For many of the things I had been shooting, 36 exposures were enough. That’s not to say I’m unhappy with more, but I was not frantic about trying a new technology just for that. Even with digital, I don’t bother downloading every day.
One thing I absolutely embraced was accurate autofocus in low light. I don’t use a focus light because I don’t want to disturb the creatures in any way. With the Nauticam housing, Nikon D850, and 105mm macro lens I use now, I can stay a respectful distance away. I always travel with a wide-angle lens and dome port but rarely dive with them. I’m a creature of habit, and my habit is reef minutiae.
We often lead photo tours in many of the same locations. Is that a big part of your life now?
Absolutely. I’ve been running dive and photo expeditions for more than a decade with Wendy Brown, a dear friend who was one of my divemasters in those early years at Wakatobi. We choose a particular liveaboard or land-based resort that gives us access to some weird creature I’m obsessed about. I lecture on marine life and share science and photo tips with our guests. Our schedule these days is three trips a year with back-to-back departures.
I know of your abiding respect for your photographic subjects. Can you impart some wisdom on your approach to photographing small and cryptic reef creatures?
I’m happy to share what works for me. I use a Nikon 105mm macro lens, which allows me a little extra distance from the subject to avoid disturbing it. I chose my camera for its good lowlight autofocus capabilities. I don’t use a focus light (aside from a very weak one for night diving) because they often scare a subject, which is the last thing you want when aiming for behavior shots. You could try a red light, because some marine creatures don’t see those wavelengths, but that works only on certain subjects.
Sometimes there simply isn’t anywhere to place a stabilizing finger, so good buoyancy control is critical. I never use a pointer stick or ask a guide to poke an animal or hunt through its habitat to find it. Unhappy animals make poor photographic subjects.
I hate stressing nocturnal animals and don’t shoot diurnal animals on night dives. It’s best to approach your subject like you would a nervous horse: quietly, calmly, and confidently without surprising it.
Explore More
See more of The World Beneath in this photo gallery and video.