I’ve been covering the Coney Island Polar Bear Plunge for quite a while now, and you want to know the one thing I’ve learned in all that time, Chief?
The ocean wants to destroy you and everything you own.
I don’t know what it is. Maybe I made fun of it one too many times as a kid, or something. Maybe it’s just the way I look at it. But the hard truth is that the ocean just plain wants to ruin your day, every day. I’ve learned that protecting both yourself and your gear from the Ocean’s vindictive nature can save yourself a ton of trouble down the line.
Dunking your gear in the ocean isn’t like dunking it in the pool. There’s a ton of salt and sediment mixed into the water; stuff that you won’t notice for days or even weeks after the fact. By the time you notice the crust of salt growing out of your camera, it’s already too late. Seawater can be a death-sentence when it comes to electronics; but it will also permanently wreck leatherette and rubber.
There are two ways I’ve used to protect my gear over the last few years. The first (and most obvious) is to buy an underwater housing. The poshest housings, like the Aquatech Base Underwater Housing can run you about a thousand dollars for the basic kit. The less expensive ones, like the Dicapac WPS10, offers less protection, but is much more affordable for the average shooter. During the Polar Bear Plunge, I brought the Diapac out into the water for testing.
The first thing you should examine before deciding on a housing is what your needs are. What kind of shot are you going for? Will you be diving fifty feet underwater, or do you just want to protect your body against accidental dunks?
For the Plunge, I didn’t plan on shooting underwater, but I knew that there’s a good chance the camera would get dunked. Standing out in the freezing water, waiting for the first group to come storming down the beach is a bit like staring down a highland charge on LCD. You’ve got this crowd of manic, variously inebriated, mostly naked thrill-seekers running straight towards you; and they have no compunction against knocking you down. They’ve got a very important date with Lord Neptune, and that’s not a dude you keep waiting.
So, with the expectation that my camera may be briefly submerged, but not used for extended periods underwater, I went with the Dicapac. Essentially, it’s a heavy duty plastic bag with an extended plastic front to shoot through; the Dicapac seals by a sandwich bag style lock followed by several layers of velcro. That may not sound like a lot, but for my needs it was more than enough. On paper, it’s rated for depths of fifteen feet, and the built-in finger socks allow you to adjust your settings and zoom without having to open the housing back up.
For those of you looking to cover the Plunge next year, here are a few tips.
– Get there early. The crowds there are huge, and there’s a ton of photographers there to match those numbers. Getting there early gives you some time to catch some more intimate shots.
– Know what kind of shots you’re looking for, and plan accordingly. Do you want great action shots from the water? Be sure to get out there before the first rush, and stick around until the last. Want some great, lit portraits? Don’t plan on getting in the water with all that lighting gear. Practicalities aside, dropping that flash or strobe into the water could seriously hurt both yourself and a lot of people around you.
– Know your cold tolerance. When you get into the water, your body slowly acclimates to the extreme cold, but there’s still a danger. Hypothermia can set in without you even noticing it. Also, bring a change of clothes for once you’re out of the water. A train ride back in freezing, wet clothes is no fun at all.
