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In underwater photography, a split image—often called an over/under photo—shows a scene above the water and another below it in the same composition, with the waterline dividing the frame. Photographers can capture both sides together in one exposure or create a similar appearance by combining separate photographs. “Split image” has other meanings, including camera viewfinder focusing aids and digitally divided image files; this article covers the waterline technique.
How an over/under image is made
The defining feature is the waterline: the image includes both the scene in the air and the underwater scene. A camera positioned at the surface can record both in one exposure, provided the camera and lens are protected and positioned for underwater use.
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The term also describes a constructed image. In a December 2011 discussion of photographer David Dubilet’s work, Katrina Kocialkowska notes that digital editing can splice two photographs to create the appearance of an over/under shot. That approach joins separate captures rather than recording both environments in one frame; it can give the editor more control over the two portions.
What makes a waterline split image challenging
Keeping both halves readable
Place the waterline where it supports the composition, and make sure there is a clear subject or visual detail both above and below it. A technically visible waterline is not enough if one half reads as empty or obscured.
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Balancing exposure across air and water
The two environments can differ in brightness and contrast, so a single exposure may not render both halves equally clearly. Kocialkowska identifies this difference as an exposure challenge. The available account does not establish a universal exposure setting; conditions and camera systems vary.
Accounting for refraction and focus
Refraction affects the underwater portion and its focus behavior. Wide-angle lenses, including fisheye lenses, are discussed as relevant approaches, but no specific lens or camera setting is established as a general prescription. Treat depth of field and focus as part of the composition rather than assuming that a setting that works above water will behave identically below it.
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Matching housing and dome to the camera system
The underwater housing and its port matter. Kocialkowska’s 2011 post discusses dome shape and width, but it does not establish a universally suitable dome or verify compatibility with particular cameras, housings, or lenses. For an in-camera attempt, check whether your housing supports a dome port and verify that the port is compatible with your exact housing and lens. Do not assume that a port that fits one system will fit another.
Choose between one exposure and a composite
| Approach | What it involves | Best suited to |
|---|---|---|
| Single-exposure capture | Recording the above-water and underwater scenes together with the lens at the waterline. | Photographers with suitable underwater protection who want both environments captured in the same frame. |
| Composite | Combining separate above- and below-water photographs in editing software. | Situations where a waterline capture is impractical or where separate control over each image is useful. The result is a constructed image, not a single exposure. |
The 2011 post discusses both the exposure and refraction challenges of in-camera work and the option of compositing. It does not provide a tested workflow, software instructions, or camera settings, so those choices depend on the equipment and editing process available to the photographer.
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What the historical technical use shows
“Split image photography” is not limited to artistic underwater pictures. A NASA technical report identified as N7719152 describes an engineering application: “In OWL Test Series P-015, P-029, and C-143, data cameras were mounted above and below the waterline, while split image photography (with the centerline of the camera lens at the waterline) was used in NOL Test Series P-022 and TMS-J33.” The report also gives a camera speed of 250 frames per second for its test context. That is a historical engineering detail from a 1977 report, not a recommended setting for creative photography.
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