Underwater Photography in Southeast Asia: Settings, Sites, and Species
The world famous Komodo national park, Indonesia - a paradise for underwater photography
Southeast Asia is a paradise for divers and underwater photographers alike. From the coral-rich shallows of Indonesia’s Raja Ampat to the macro marvels of the Philippines’ Anilao, the region is packed with opportunities to capture unforgettable marine life images. Whether you’re a seasoned shooter with a full-frame rig or a traveler bringing a compact in a simple housing, these waters offer endless creative potential.
This guide dives deep into everything you need to know — gear setups, camera settings, top dive sites in eight countries, seasonal tips, 20+ iconic subjects to shoot, composition and post-processing workflows, travel logistics, and ethics — so you can create images that do justice to Southeast Asia’s stunning underwater world.
1) Why Southeast Asia Is a Top Destination for Underwater Photography
Unrivaled biodiversity. Much of the region sits inside the Coral Triangle, home to the greatest concentration of reef-building corals and reef fish on Earth. That means more subjects — from mantas and whale sharks to pygmy seahorses and rhinopias — often on the same trip.
Year-round options. While monsoons shift conditions, there’s always somewhere in season: Komodo when Raja Ampat is windy, the Andaman side of Thailand in northern winter, Tubbataha in late spring, and macro hubs almost all year.
Diverse environments. You’ll find sheer walls, gentle coral gardens, black-sand muck slopes, seagrass beds, thriving jetties, wrecks, and blue-water drop-offs. Each habitat favors different compositions and techniques, which is why photographers keep returning.
Photo-savvy operators. Many resorts and liveaboards provide camera rooms, rinse tanks, steady dive schedules, and guides skilled at finding rare subjects — a huge boost to your keeper rate.
2) Camera Gear & Setups That Work Here
Compacts (travel-light, macro-capable)
Who they’re for: Newer photographers, snorkelers, or anyone minimizing baggage.
Examples: Olympus TG-6, Canon G-series.
What they excel at: Macro straight out of the box, ambient-light wide in the shallows, simple video.
Upgrades that matter: One strobe (or two if budget allows), a focus/video light, and a wet wide-angle or macro diopter. A tray and dual handles add stability and better strobe control.
Mirrorless (the sweet spot)
Who they’re for: Enthusiasts wanting high quality without DSLR bulk.
Examples: Sony A7/A6700 series, Canon R7/R6, OM-System OM-1.
What they excel at: Interchangeable lenses for true wide and true macro, fast AF, better low-light.
Upgrades: Quality housing (Nauticam, Sea&Sea, Ikelite), appropriate dome or flat port, dual strobes, arms/clamps for strobe positioning, vacuum valve for leak assurance.
DSLR & High-End Mirrorless (pro results)
Who they’re for: Image-quality purists and pros.
Strengths: Big sensors, dynamic range, lens selection, great AF tracking for pelagics.
Considerations: Heavier, pricier, and more logistics. Protect ports and domes with neoprene covers; hand-carry critical components.
Must-Have Accessories
Strobes: Restore reds/yellows lost at depth; two provide even coverage.
Focus/Video Light: Lets your AF lock on precise macro details and helps composition at night.
Arms & Clamps: Longer arms reduce backscatter and allow edge-lighting for drama.
Wet Lenses: Add versatility to compacts and some mirrorless setups without swapping lenses mid-trip.
Vacuum System & Moisture Alarm: Peace of mind against leaks in humid, bumpy boat conditions.
3) Camera Settings for Tropical Waters (Cheat-Sheet + Scenarios)
Wide-Angle Reef & Pelagics (daylight, 10–25 m)
Mode: Manual
Aperture: f/8–f/11 (sharp reef + subject)
Shutter: 1/160–1/250 (freeze fish movement)
ISO: 100–400 (go higher only if ambient is dim)
Strobes: Angle outward to avoid backscatter; keep heads slightly behind the port plane.
Macro & Super-Macro (low movement, small subjects)
Mode: Manual
Aperture: f/16–f/22 (depth of field for eyes, rhinophores)
Shutter: 1/160–1/250 (sync limit)
ISO: 100–200 (clean files)
Lighting: Use a focus light; try cross-lighting for texture or a snoot for black backgrounds.
Night, Caverns & Wreck Interiors
Aperture: f/5.6–f/8 (let ambient paint the scene)
Shutter: 1/60–1/100 (avoid blur; brace well)
ISO: 400–800 (balance noise vs. scene detail)
Tip: Mix low-power strobes with ambient to keep mood; gel lights for creative color.
Split-Shots (half-in/half-out)
Dome: Large dome (8–9") helps waterline.
Aperture: f/14–f/18 for near/far sharpness.
Shutter: 1/250 (freeze surface texture).
Tip: Clean the dome meticulously; shoot with the sun behind you.
Low-Viz & Plankton Blooms
Approach: Get close. Then closer.
Aperture/Shutter: Keep shutter faster (1/200+) to freeze particles; consider single-strobe edge lighting; compose with negative space.
4) Top Underwater Photography Destinations (8 Countries, What to Shoot & When)
Indonesia
Raja Ampat (West Papua)
Why shoot here: The epicenter of coral biodiversity; fish biomass that turns the water into confetti.
Best for: Wide reefscapes, schooling fusiliers, manta cleaning stations (Blue Magic), soft coral fans with pygmy seahorses (Denise/Bargibanti).
Tips: Currents can be brisk — pre-visualize, then let the scene come to you. Edge-light sea fans to make polyps glow.
Komodo National Park
Why shoot here: Pelagic theater plus macro heaven in one itinerary.
Best for: Manta trains (Manta Alley), dramatic boulder seascapes (Batu Bolong), colorful macro (Siaba Besar/Wainilu).
Tips: 1/250 shutter for mantas; bring macro and wide on different dives.
Bali (Tulamben & Nusa Penida)
Why shoot here: The Liberty Wreck’s soft corals, macro in Seraya/Tulamben, and mantas at Penida.
Tips: Wreck at dawn with sun rays; Penida for CFWA (close-focus wide-angle) with coral foregrounds and mantas in the blue.
Lembeh Strait (North Sulawesi)
Why shoot here: The planet’s muck-macro capital.
Best for: Blue-ring octopus (ethics: no harassment), mimic octopus, hairy frogfish, flamboyant cuttlefish, wunderpus.
Tips: Small apertures (f/18–22), snoots for isolation, patience for behavior.
Philippines
Sunset in Anilao, Philippines
Anilao (Batangas)
Why shoot here: Nudibranch central, frogfish galore, the best spotters anywhere.
Best for: Super-macro creativity; back/side lighting; black backgrounds.
Tips: Shoot eye-level on slopes; a +10 diopter unlocks tiny miracles.
Tubbataha Reefs (Sulu Sea)
Why shoot here: UNESCO-listed, short liveaboard season (Mar–Jun), pristine walls packed with sharks and turtles.
Best for: Grand wide-angle; divers for scale; reef sharks cruising in blue.
Tips: Midday sun for “postcard blue.” Fast shutters for schooling scenes.
Malapascua (Cebu)
Why shoot here: Thresher sharks at dawn — ethereal tails and low ambient light.
Tips: High ISO (400–800), natural light or very low strobe power; respect distance and avoid chasing.
Dauin (Negros)
Why shoot here: Black-sand macro with easy shore entries; mandarinfish at dusk.
Tips: Plan a dusk dive for mating mandarins — no strobes, gentle focus light.
Malaysia
Why shoot here: Barracuda tornadoes, turtles everywhere, vibrant walls.
Best for: Wide-angle; pelagic passes at South Point; mixed schools at Barracuda Point.
Tips: Fisheye to “bend” schools into a vortex; include a diver silhouette for scale.
Why shoot here: Critter central a short ride from Sipadan: rhinopias, flamboyants, ghost pipefish, blue-rings.
Tips: Bring a snoot and try rim lighting for pipefish; cross-light frogfish to define texture.
Tioman / Perhentians (Peninsular Malaysia)
Why shoot here: Easy tropical reefs with macro surprises and seasonal viz.
Tips: Use natural light in 5–10 m shallows; manual WB for soft pastel coral tones.
Thailand
Similan Islands & Richelieu Rock (Andaman Sea)
Why shoot here: Granite boulders, fans, whale sharks (seasonal), a macro + wide-angle dream at Richelieu.
Tips: Keep a fish-portrait lens (e.g., 24–70 equiv.) one day and macro the next; gentle current makes fish face into you.
Koh Lanta (Hin Daeng/Hin Muang)
Why shoot here: Deep purple soft corals and occasional mantas.
Tips: Edge-light soft corals; watch current for tunicate and anthias “flow.”
Koh Tao (Gulf of Thailand)
Why shoot here: Training ground with calm dives, artificial reefs, and macro nooks.
Tips: Practice CFWA on shallow coral heads; manual WB for ambient-only shots.
Myanmar (Burma)
Mergui Archipelago
Why shoot here: Remote, wild, and photogenic: giant fans, shark action, and critters.
Tips: Viz swings 10–30 m; plan compositions around compelling foregrounds to punch through lower viz days.
Timor-Leste
Atauro Island
Why shoot here: Some of the planet’s highest coral cover; seasonal whales.
Tips: Early morning glassy seas are perfect for split-shots; keep f/16+ for near/far focus.
Vietnam
Nha Trang & Con Dao
Why shoot here: Under-the-radar macro — seahorses, pipefish, nudis — plus blue-water days in Con Dao.
Tips: Snoots and diopters for Nha Trang; wide reefs and turtles when Con Dao turns clear.
Singapore
Pulau Hantu
Why shoot here: A macro classroom in green water: seahorses, sea slugs, and cryptic crustaceans.
Tips: Tight framing; single-strobe side light to carve subjects out of the haze.
5) Seasonal Planning (Monsoons, Wind, and When to Go)
Indonesia: Raja Ampat is typically best Oct–Apr; Komodo shines Apr–Nov (south can be cooler with mantas in the dry season); Bali is year-round with seasonal manta/mola moments.
Philippines: Oct–May for most regions; Tubbataha operates Mar–Jun only.
Malaysia: Sipadan is generally good Apr–Dec; east coast Peninsular sites peak Mar–Oct.
Thailand: Andaman (Similans/Richelieu) runs Nov–Apr; Gulf sites are good May–Sept.
Myanmar: Liveaboards typically Nov–Apr.
Timor-Leste: May–Nov (calmer seas, whale season late year).
Vietnam: Conditions vary — Con Dao tends to be clearer Mar–Jul.
Rule of thumb: If viz drops, pivot to macro; if currents rise, go wide for schooling fish and motion.
A tiny pygmy seahorse
The iconic Oceanic Manta Ray which can be found in Raja Ampat
6) 20+ Iconic Southeast Asia Subjects (How to Find & Shoot Them)
Manta Rays (Komodo, Raja Ampat, Similans)
Approach low and from the side. 1/250, f/8, ISO 200–400; shoot upward for rim-lit edges.Whale Sharks (Tubbataha, occasionally Thailand/Indonesia)
Ambient light, wide-angle. Don’t chase; let them pass and frame with sunrays if possible.Reef Sharks (grey, whitetip, blacktip)
Pre-focus on likely routes. 1/320+, f/8. A diver in frame adds scale and story.Barracuda Schools (Sipadan)
Get in front and shoot head-on; a fisheye bends the school into a dramatic spiral.Bumphead Parrotfish (Sipadan, Raja Ampat)
Early morning near shallow reef crests. 1/250, f/7.1; watch for synchronized feeding “bites.”Green & Hawksbill Turtles (Sipadan, Philippines)
Eye-level portraits pop; watch exhalation bubbles for a sense of motion.Pygmy Seahorses (Raja Ampat, Lembeh)
Use 100/105 mm macro; minimal strobe power, no touching fans; focus on the eye.Flamboyant Cuttlefish (Lembeh/Anilao)
Short bursts when they flash color; f/18–22 for full body detail; try side-backlighting.Blue-Ring Octopus (Lembeh/Anilao)
Keep distance, no teasing. Low strobe power, clean background, fast shutter.Mimic/Wunderpus Octopus (Lembeh/Anilao)
Wait for a shape-shift; shoot low for drama; let arms lead the viewer into frame.Frogfish (hairy/giant) (Lembeh, Anilao, Dauin)
Side light to reveal texture; be patient for yawns; focus on the lure (esca) for behavior.Rhinopias (Anilao, Bali)
Three-quarter portraits; f/16 to hold both eye and snout; gentle fill for color.Ghost Pipefish (ornate/robust) (Mabul, Lembeh)
Backlighting through seagrass for glow; align the body diagonally across frame.Harlequin Shrimp (Anilao, Dauin)
Minimal strobe; capture the pair together; f/18+ for both eyes in focus.Nudibranchs (everywhere)
Snoots for black backgrounds; focus on rhinophores; low angle for a “landscape” feel.Mandarinfish (Dauin)
Dusk only; no strobes; pre-focus on a favored coral head and anticipate the hop.Clownfish & Anemones (Thailand, Indonesia, Philippines)
Wait for a clean face-forward moment; avoid over-flashing sensitive juveniles.Bobtail & Coconut Octopus (Lembeh/Anilao)
Look for shell/urchin props; side light; be patient with shell “arranging” behavior.Zebra Crabs on Fire Urchins (Anilao)
A narrow beam or snoot isolates the tiny crab against intense colors.Sweetlips Schools (Raja Ampat)
Shoot diagonals; f/8–f/11 to keep the front row sharp; a diver adds depth.Wobbegong Sharks (Raja Ampat)
CFWA with the carpet-like pattern filling the foreground; careful, they blend in perfectly.Seahorses (thorny/tigertail) (Vietnam/Anilao)
Compose with negative space; keep strobe power low; don’t reposition subjects.
7) Composition & Storytelling (Make Images People Remember)
Think foreground–midground–background. A coral bommie, a school, and the blue beyond create layers and depth.
Use diagonals and leading lines. Fans, ridges, and diver torches guide the eye.
Include people (sparingly). A diver silhouette offers scale and narrative.
Embrace negative space. Especially in lower viz — isolate subjects for impact.
Build a set. Wide establishing shot → medium environmental portrait → tight behavior detail → closing “surface” scene. This is gold for blog posts and social carousels.
8) Post-Processing for Tropical Water (Lightroom & Photoshop)
Review & Backup
Two copies immediately (laptop + SSD). Folder by date/dive helps later.
Create a quick “Highlights” collection for best frames.
Basic Develop (Lightroom)
Profile & Lens Corrections first.
White Balance: Start with Temp/Tint; tropical water often needs a touch of magenta to neutralize green.
Exposure/Contrast: Keep highlights tamed; bring down blacks slightly for pop.
Presence: Prefer Texture over heavy Clarity to avoid halos; Dehaze lightly for blue water.
HSL: Tame oversaturated cyans; nudge aquas to a believable hue.
Local Tools: Brush a gentle exposure/clarity on the subject’s eye or key features.
Backscatter Removal: Spot Heal in LR for small specks; for heavy scatter use Photoshop’s Content-Aware tools.
Sharpening/Noise: Mask sharpening to edges; apply NR selectively to backgrounds.
Export (Web): sRGB, longest side 2048–3000 px, 80–85% JPEG quality; add a subtle watermark if you wish.
Export (Print): Full res, Adobe RGB or ProPhoto RGB per lab specs, minimal NR, and soft proof if possible.
9) Travel & Packing for Photographers (Airlines, Boats, and Humidity)
Carry-on the critical kit. Camera bodies, lenses, ports, and strobes in padded carry-ons; put trays/arms/clamps and tools in checked baggage.
O-ring discipline. Store spares in zip bags with a tiny smear of silicone grease; inspect under good light before every trip.
Batteries & chargers. Know airline rules for lithium batteries (carry-on only, contacts taped or in cases). Bring a multi-adapter and a compact power strip.
Moisture control. Silica gel in housing cases; crack open housings in an AC room if possible, not on a sweaty jetty.
Boat routines. Assign a rinse tank “lane” for cameras only; never leave your rig baking in tropical sun; dome covers on between dives.
10) Ethics & Ocean-Friendly Shooting
Buoyancy first, shutter second. If you can’t hold position without touching, practice before approaching sensitive subjects.
No touching, chasing, or baiting. Stress behaviors ruin images and harm wildlife.
Strobe moderation. Reduce power and frequency with sensitive species (e.g., mandarins, pygmies).
Respect park rules & permit limits. Places like Sipadan stay great because limits are respected.
Give back. Share IDs with citizen-science projects (Manta Matcher, Whale Shark ID, iNaturalist), tip guides, and support operators funding conservation.
11) Quick Reference: Sample Shot Recipes
Manta at a cleaning station: 1/250, f/8, ISO 320; two strobes angled out; shoot upward as it banks.
Nudibranch portrait: 1/200, f/20, ISO 100; snoot on 10–2 o’clock; focus on rhinophores.
Schooling barracuda (vortex): 1/250, f/8, ISO 200; fisheye; get centered and wait for the swirl.
Turtle environmental: 1/160, f/8, ISO 200; include reef foreground; a diver in mid-distance.
Blackwater bobtail squid: 1/200, f/16, ISO 400; single strobe just off-axis; keep background ink-black.
12) Country-by-Country Mini Planner (At-a-Glance)
Indonesia: Raja Ampat (Oct–Apr), Komodo (Apr–Nov), Bali & Lembeh (year-round).
Philippines: Anilao/Dauin (Oct–May), Tubbataha (Mar–Jun), Malapascua threshers (year-round, best in calmer months).
Malaysia: Sipadan (Apr–Dec), Mabul/Kapalai (year-round), Tioman/Perhentians (Mar–Oct).
Thailand: Similans/Richelieu (Nov–Apr), Gulf (May–Sept).
Myanmar: Mergui (Nov–Apr).
Timor-Leste: Atauro (May–Nov), whales late season.
Vietnam: Nha Trang macro (many months), Con Dao blue days (approx. Mar–Jul).
Singapore: Hantu (macro windows with manageable currents; green water creativity).
13) Final Thoughts
Underwater photography in Southeast Asia is equal parts craft, patience, and respect. The craft comes from mastering settings and light; patience from waiting out currents, bubbles, and behavior; respect from leaving each site as pristine as you found it. When you combine those three, the region rewards you with images that feel alive — a turtle’s eye meeting yours, a manta’s glide echoing across a reef, a nudi’s rhinophores backlit like neon.
Bring the right tools, time your trips with the seasons, trust local guides, and shoot with intention. Your images won’t just look better — they’ll tell stories worth sharing.