When not finishing up her film-production degree on the coast of California, Sarah Lee spends as much time as she can in the water. Be it Hawaii, Australia, or any coastal beach, she loves diving in to see what photos can be captured beneath the waves. Her natural love of swimming led to photographing swim meets, and her interest in photography grew until she started taking her camera in and under the water to photograph other swimmers, surfers, and good friends. Sarah’s passion has led to her work being featured in Italian fashion magazines and for adventure companies in Australia and New Zealand.
How long have you been a photographer?
I started taking pictures in high school, and I never thought I’d do it professionally. I grew up surfing for fun and swimming competitively. Someone handed me a camera during a swim meet one day, so I started taking pictures. When I started shooting, I really enjoyed the way it allowed me to interact with people and capture what was happening. And it evolved from there.
How would you describe your specialty?
What I do is 90 percent focused around the water and ocean. I grew up around it—and in it—and it’s very important to me. I would describe what I do as water and lifestyle photography. It’s people interacting with nature, in water.
My approach to photography is more spontaneous, because, for me, it’s more about capturing what’s actually happening than trying to make something happen. With water, many things are out of your control, and I love that. Whatever the water and light decide to do, you have to adapt to capture it.
Have you worked on a lot of surf photography?
Probably my favorite thing to do is surf photography, but I approach it more as something to do for fun. I was in Fiji two years ago during one of the surf contests, with 15- to 20-foot waves. I just love swimming and shooting in huge waves!
Is that the coolest place you’ve traveled for a shoot?
Actually, there’s this spot in New Zealand called Blue Duck Station. I traveled there with the Alison’s Adventures series I was working on. It was this amazing farm filled with sheep and horses and rivers—just the most majestic place. Imagine riding horses up the tallest mountain at sunrise to watch the fog separate over the mountains. It was incredible.
Are there any other shoots that are particularly memorable for you?
I did a shoot for a high-fashion design company, forte_forte. This Italian clothing company found me online, and they sent me their capsule collection that they wanted to have photographed underwater. They were these gorgeous, expensive gowns, and I told them, “You know they’re going to get destroyed, right?” They didn’t blink.
For that commission, I got some of my friends together—swimmers and surfers—and we swam under really big waves with these really heavy, long dresses, and it was an incredible feat, especially for the models. forte_forte loved it. It got published in Marie Claire Italy, too, and all over the Internet.
Did the models have to change in the water?
Yes. I swam with a huge backpack filled with the dresses, and the models had to change in the water between waves. That’s also why I use only experienced swimmers and girls whose swimming abilities I am familiar with.
It sounds challenging!
It’s extremely challenging! Especially for the models since they have to swim in the dresses, too, without fins. It can be really tiring for them.
Have you done any more fashion shoots?
I did one a couple months ago for another Italian company’s swimwear line. They had these expensive Italian leather boots they wanted shot underwater, as well as purses and jackets with bikinis. Styling is a bit impossible, but there are approaches to having a purse underwater and having clothes in motion.
And the model—huge props to that girl. She had to wear high heels and a jacket while holding a purse under the waves, and she was amazing. I tried to put on one of the shoes just to see what it was like, and it was a disaster.
How do you find models for your underwater shoots?
Mostly it’s people I meet surfing or swimming. I’ve never really used a professional model before. Because water is such a difficult element to deal with, it’s important the models are strong swimmers and are aware of what the ocean can do—and be able to hold their breath well. It takes a really special person to do that.
Do you have signals to direct the models while underwater?
We actually wait to surface to give direction. It’s all about timing so we can talk above the water and give direction, then go back underwater to continue shooting.
What kind of conditions do you look for when you go out for a shoot?
It depends what kind of shoot it is. My favorite kind of shoot is early in the morning or sunset underwater—just like any photographer’s ideal timing. Condition-wise, it depends on the spot and if it will be high tide or low tide. Each spot is different in terms of when water clarity is best. There are so many elements to consider, like surf size, tide, wind, and weather.
For shooting underwater, you want bright sun and less cloudy weather. But above the water, like for surfing, I love cloudier, darker skies with light—like when a storm has cleared and the clouds are dark but there’s so much light. That’s the best.
How far do you usually have to swim out?
It depends on the spot. For some places it’s 50 feet off shore, and others it’s a couple hundred feet. Lighting for underwater is best between 1 to 8 feet from the surface. Too deep and you lose a lot of light and clarity, and it affects skin tone.
Is everything you shoot natural light only?
Ninety-nine percent of what I do is all natural light. I’ve tried flashes underwater, but I haven’t really gotten into it. Lately I’ve been shooting underwater at sunrise or sunset to experiment with natural lighting.
Have you ever used props other than dresses and other items your models wear?
For one shoot, I really wanted to build something that looked like a jellyfish. We found a plastic umbrella, bought some beaded chandeliers that go over windows, took them apart, then stitched them onto the umbrella and added ribbons. That was really intense to deal with in the water.
Was the umbrella easily tossed around by the waves?
We didn’t take it into the waves because of the risks of having a huge umbrella underwater, so we took it out into deeper water for that shoot. It worked out pretty well—and no plastic pieces were lost in the process!
What gear could you not live without?
If I could just have one lens and body to walk around with, it would be my Nikkor 50/1.2 and 5d MkIII.
Lately I’ve been using an Outex, which is a silicone camera cover. It’s rad because you can use different lenses in it and it has a tripod neck strap. It’s worked really well underwater in lots of situations.
And of course fins—and goggles, sometimes.
Do you have to decide on which body and lens you’re using before you swim out for a shoot, or do you ever swim back to shore for a lens change?
I have to choose one and go out for the entire shoot so no; I have to make a choice and stick with it and shoot it all on manual, adjusting aperture and shutter speed as I go. I’ve done it enough that, based on the conditions, I know what’ll work best. For anything underwater, you’re usually shooting fisheye or wide angle.
It must be like manual zoom, too, but instead of walking you’re using your fins.
Totally! It’s cool because you can just be underwater, floating and swimming. It’s not always just a “walk in the park,” and that’s what I love most.
Any advice for an aspiring photographer?
I like to approach every photo session as an experiment. Be open to whatever nature and the elements give you, and work with it. Take it easy, and adapt to whatever happens. So far that approach has worked out for me.
Find Sarah online: