1. By: Rogelio Zaragoza David Doubilet

2. Early Life Born November 28, 1946 New York City, NY - David began snorkeling at the age of 8 while at summer camp - By the age of 12 David was taking pictures underwater using a Brownie Hawkeye camera stuffed into a rubber anesthesiologist bag.

3. Becoming a Photographer - First assignment from National geographic in 1971 - He has been a contract photographer for National Geographic since 1976 and has shot numerous articles for the publication Graduated from Boston University in 1970 National Geographic 1975 edition

4. Photography Career David lives with his wife and photographic partner, Jennifer Hayes in Clayton, NY David has mastered the techniques of working with water and light to become one of the world’s most celebrated underwater photographers

5. King Crab, Tasmania Lighting: The lighting used is natural outside even though the picture was taken underwater. The lighting seems to come from the left of the picture illuminating the right claw of the crab. There is also a light coming from within or coming from behind this sort of cage placed behind the crab. The lighting creates this effect of enlargement on the crab’s claw and size of the overall crab. The light coming from the back creates this sense of mystery. Main Subject: The main subject of the photograph would clearly be the giant crab. Even though the cage like object sort of melds with the crabs body the crab’s colors create enough contrast against the object and the background to become distinct. Composition: The claw could be a leading line towards the main body of the crab or the lines leading to the crab’s claw. The rule of thirds matches well with the picture by emphasizing on the crab’s claw. The texture of the crab is shown as being rough and edgy. Communication: The photograph emphasizes on the immense size of this creature. The photograph shows what magnificent organisms live in the ocean. Along with how many are not dangerous even with their size many remain passive. Why: The photograph of this crab was chosen for its portrayal of this crab by showing its size and the size of its claws. Making the crab look less of a crab and more of something out of a monster movie.

6. Okavango Delta, Botswana, Africa Lighting: The lighting used is natural outside and seems to light from the top to the bottom most likely coming from the surface of the water. The lighting goes well with all the particles in the water making the water seem murky with what seems to be sand. Main Subject: The main subject would have to be the baby crocodile emerging from the murkiness of the water. Most of the background is shrouded by the particles and what appears to be a plant is only partly showed. Showing the size of the baby animal and showing its fragility. Composition: The texture of the water along with the particle make the photograph as if there is a soft kind of cotton feel. The particles shroud the baby crocodile creating a mysterious feel to the photograph. The texture of the baby crocodile is clearly shown with it’s body feeling rough and scaly along with an edge to it. Communication: The photographer is capturing the essence of this baby crocodile. Showing it emerging from the murky water. Blurring out the background leaving everything but the crocodile and the plant which its seems to be swimming around. Why: I liked the murky water covering up the image of the baby crocodile. I liked the blurred out background leaving much of the rest of the photograph up to the viewer’s imagination.

7. Wreck of MV Keith Tibbetts, Cayman Brac Lighting: The lighting used is natural outside even though it is underwater. The lighting comes from the surface of the water moving down towards the ship wreck. The light creates this sort of frightening shadow on the wreck in the ocean. Main Subject: The main subject would have to be the ship wreck in the ocean yet one could argue that the main subject could also be the diver on the side of the shipwreck. The shipwreck does not overshadow the diver and the diver does not over shadow the ship wreck. Composition: The rule of thirds applies well with the main subject being the ship covering most of the top left of the photograph. There is little to no texture on the photograph but the it fells dark and almost gloomy. Along with the lighting this creates a frightening fell to the shipwreck. Communication: The photograph is showing the immense size of this ship compared to a human being. Possibly to show that nothing is invincible especially to the sea. By showing such a large object it draws the attention away from other interfering objects in the photograph. Why: I liked how most of the picture was about this huge ship which had been sunk and is now resting at the bottom of the ocean. The photograph itself had this ominous feel to it.

8. Elephant Underwater Cleaning Tusks, Okavango Delta, Botswana, Africa Lighting: The lighting used is natural outside yet the photograph is taken from underwater. The light like all other underwater photographs comes from the surface of the water. Yet this one is closer to the surface of the water which creates reflection on the surface. Main Subject: The main subject would have to be the elephant under the water. It is the only object big enough to capture the viewer's attention. Much of the rest of the background is blurred out naturally by the sand making the water murky. Composition: The texture on the elephant fells rough and leather like. The sand resting at the bottom feels soft and grainy. Why the water feels murky and fresh. With the elephant emerging from the left of the photograph and getting closer to the front of the photograph as it emerges it creates an image of the elephant as it being a giant. Communication: This photograph shows the behemoths that can live in water and not just sharks and other fish but other animals such as whales and dolphins but those aren't all the mammals that can survive the water environment. Other animal that don’t necessarily have to live in the water but depend on it. Why: I like how the elephant was portrayed in this photograph as being a gentle giant. With the trunk of the elephant emerging out of the water masking its size.

9. Australian Sea Lion, Little Hopkins Island, Australia Lighting: The lighting used is natural outside yet underwater. The light illuminates the surface of the ocean with a glow to it. For a couple of seals the light creates almost outline of the seals. Main Subject: There is no clear main subject with the being many seals in the photograph but one clear subject would have to be the seal at the bottom right of the photograph which points it’s head towards the top of the photograph. This is the only seal which shows most of it’s composition. Composition: The texture of the bottom sort of sea grass. The water feels clear and cool. The main subjects are mostly in the middle of the photograph with a few other seals on the right of the photograph yet they are far back enough to not obscure this pattern very well. Like stated before the lighting creates these shadows of some of the seals at the top of the photograph. Communicate: The photograph show the grouping of these sea mammals which live evidently together like a family. They are plainly swimming around and just playing in the water. With no one to attack the seals or them attacking nothing the photograph feels calm and playful at the same time. Why: I liked the grouping of the animals and the lighting used in the photograph. This along with how the bottom right of the photograph shows this playful seal looking upwards.

10. References http://www.daviddoubilet.com/ http://en.wikipedia.org/wiki/David_Doubilet http://photography.nationalgeographic.com /photography/photographers/photographer -david-doubilet/http://photography.nationalgeographic.com /photography/photographers/photographer -david-doubilet/