Sarah Teng (@sarah.teng) is a New York-based photographer and adventure enthusiast with a passion for travel and underwater exploration. We came across this image she created as part of a workshop series exploring movement, texture and the way water transforms both fabric and form underwater. Read more about how she created it below and ask her your questions firsthand during her Alpha Universe Community Forum Takeover through February 7.
Product Preview – In This Article You’ll Find:
–Sony Alpha 7R III
–Sony 24mm f/1.4 G Master
Photo by Sarah Teng. Sony Alpha 7R III. Sony 24mm f/1.4 G Master. 1/200-sec., f/1.4, ISO 250
Sarah’s Go-To Camera & Lens For Underwater Photography
For this shot, I used my Sony Alpha 7R III paired with the Sony 24mm f/1.4 G Master prime lens, housed inside an Ikelite underwater housing rated to 200 feet.
I specifically chose the 24mm f/1.4 GM for its fast aperture, knowing that cenote lighting can be tricky—especially since it wasn’t the sunniest day. The f/1.4 aperture not only let in more light but also allowed me to use a faster shutter speed to freeze the motion of the fabric underwater, ensuring the image stayed tack sharp. The wide focal length also worked well for capturing the full movement of the model and fabric without feeling too distant.
"The combination of this fast, sharp lens, high-resolution sensor, and strong natural lighting conditions made all the difference in bringing this image to life." – Photographer Sarah Teng
The Sony A7R III’s 42.4MP sensor played a huge role in the final image quality. It gave me plenty of resolution to work with, allowing me to maintain sharpness even when cropping in for the close-up black & white version of the image. I also took full advantage of Eye AF, which helped keep the model’s face in focus—even through the translucent fabric. This made all the difference in ensuring her expression came through clearly while the rest of the shot maintained its ethereal, dreamlike feel.
Photo by Sarah Teng. Sony Alpha 7R III. Sony 24mm f/1.4 G Master. 1/2000-sec., f/1.4, ISO 250
I didn’t use any artificial lighting for this photo, relying entirely on natural light filtering through the cenote. The sunlight was partially diffused by clouds, which softened the scene beautifully. This particular cenote had a partial overhang, meaning one side was illuminated while the other remained dark. That contrast helped the water appear almost black behind the model, creating a natural backdrop that made the fabric and her face stand out even more. Combined with the crystal-clear freshwater and minimal movement in the cenote, the model appears to be floating in mid-air, making for a really cool scene!
The combination of this fast, sharp lens, high-resolution sensor, and strong natural lighting conditions made all the difference in bringing this image to life.
For this shot, I used a 24mm focal length at f/1.4, 1/200-sec. shutter speed, and ISO 250, shooting in continuous shooting mode (mid) to capture the subtle movements of the model and fabric in real time.
Since we were relying entirely on natural light, we had to stay relatively close to the surface—around 1.5–2.5 meters (5–8 feet) down—to retain as much color as possible. The deeper you go, the more colors get stripped away by the water, so staying near the surface allowed me to keep the natural tones intact without needing artificial lighting.
Photo by Sarah Teng. Sony Alpha 7R III. Sony 24mm f/1.4 G Master. 1/800-sec., f/1.4, ISO 250
Creativity In A Cenote Cavern
This photo was taken in a cenote near Tulum, Mexico, during an underwater photography workshop I attended in July 2022. It was only my second trip using my Ikelite underwater housing that I purchased the year before, so I was still getting used to handling the setup and figuring out how to move efficiently with it underwater.
If you’re not familiar, cenotes are natural sinkholes that expose underground rivers and cave systems. The ones in the Yucatán Peninsula make up the largest underwater cave system in the world, and there are hundreds of cenotes scattered throughout the peninsula as a result, even hundreds more yet to be discovered. The water in cenotes is usually fresh and crystal clear at the surface, but deeper down, it can turn into saltwater that intrudes in from the coast. The water temperature stays at a steady 75ºF (24ºC), which doesn’t sound that cold until you’ve been shooting for 45 minutes-1 hour and your whole body starts to go numb.
Photo by Sarah Teng. Sony Alpha 7R III. Sony 24mm f/1.4 G Master. 1/200-sec., f/1.4, ISO 250
When we began shooting, I actually didn’t have this shot in mind when we first got in the water. We brought a few different props to experiment with, including this massive piece of porous ivory fabric, and figured we’d see what we could do with it. Since the fabric was translucent, we thought it could be interesting to shoot through it and play with the way it moved underwater.
At first, we kept it simple—Fernanda (the model) and I tried some basic movements about 2 meters (7–8 feet) below the surface, watching how the fabric interacted with the water. Then, at one point, she instinctively pushed her hand through the fabric to clear it from her face before surfacing for air. That tiny moment immediately sparked an idea. I asked her to keep repeating that movement—continuously reaching through the fabric in front of her face—and it completely transformed the shot. The way the fabric twisted and folded around her was mesmerizing, like it had a life of its own.
Since we were shooting completely on breath-hold, we had to work fast. We’d take deep breaths at the surface, dive down, shoot continuously, and then come back up to review and adjust. Once we landed on this ‘reach-through’ movement, it only took about four more tries to get this final shot, which still feels just as special as the moment I took it.
Photo by Sarah Teng. Sony Alpha 7R III. Sony 24mm f/1.4 G Master. 1/2500-sec., f/1.4, ISO 250
The Challenges Of Underwater Photography
The hardest part of shooting underwater isn’t just the technical side—holding your breath, staying in position, making sure the fabric moves the way you want it to—it’s also about knowing how to direct a model for an underwater shoot.
But beyond that, the real difficulty is clear communication with the model—making sure they understand and can execute your vision between dives. Since we’re both working on breath-hold, every descent has to be intentional. We’d take deep breaths at the surface, go down, shoot as much as possible in one short window, and then resurface to review, give feedback, and try again.
Photo by Sarah Teng. Sony Alpha 7R III. Sony 24mm f/1.4 G Master. 1/200-sec., f/1.4, ISO 250
An experienced underwater model makes a huge difference in how a shoot plays out. Moving gracefully underwater is a specialized skill—one that requires being comfortable diving, controlling buoyancy, and adjusting movements to match the photographer’s vision. Fernanda did an incredible job staying relaxed and fluid, which allowed us to experiment with different motions while still maintaining a natural, weightless feel in the water. Working with someone who understands how to move underwater (and how to hold their breath long enough to get the shot) is just as important as nailing the camera settings.
On top of that, the cold water is no joke. While I was wearing a wetsuit, Fernanda was in just a dress, which made the chill even worse for her the longer we stayed in. And then there was the fabric itself—at first, it felt completely uncontrollable underwater. Every movement of the water would send it drifting in unpredictable ways, so we had to figure out how to manipulate it just enough to get the right balance of fluidity and structure.
Along with this shot, we also experimented with variations where Fernanda reached upward instead of in front of her face. These created a completely different feel—elongating her form and making the fabric flow in new, unexpected ways. Some of my favorite frames from the series came from these subtle shifts in movement, where the fabric seemed to take on a life of its own.
Photo by Sarah Teng. Sony Alpha 7R III. Sony 24mm f/1.4 G Master. 1/1250-sec., f/1.4, ISO 250
By the time we finished, I knew I had a good shot, but I honestly didn’t know I had “the shot” until I went through everything later in Lightroom. With all the commotion of diving, staying steady, and directing Fernanda, it wasn’t until I reviewed the images afterward that I found the gems—the moments where everything had come together perfectly.
Looking back, I’m so happy with how this shot turned out—it’s still one of my favorite photos I’ve ever taken. The combination of Fernanda’s movement, the floating fabric, and the lighting in the cenote came together in a way that feels completely surreal. I also created a black and white version of the image to highlight the details in the fabric surrounding Fer’s hand. Without color, the intricate textures and tonal contrast became even more striking.
Photo by Sarah Teng. Sony Alpha 7R III. Sony 24mm f/1.4 G Master. 1/200-sec., f/1.4, ISO 250
Join Sarah Teng in her Alpha Universe Community Forum Takeover through February 7.
See more of Sarah Teng’s work on her Alpha Universe Profile and on Instagram @sarah.teng.
