With this type of shot, where I am focusing on a subject above me and close to the surface, on a clear flat day where the world ablove the surface is in view as well. When doing these kinds of tilts I normally expose for shooting at the surface. Taking time to ensure that the sky is not blooming or overexposed and that the details remain in the clouds. This is difficult to achieve when tilting upwards from the blue. What I love about this shot is how the divers come out of the depths of the dark blue. The slow-motion enables us to watch as the light trickles over the divers as they rise to the surface. Of course this technique could be used for any subject.
This type of shot is a good example of the choices you make about position in relation to your subject as due to the effect that it has on the composition of a shot and how it is read by the audience. If you compare this shot to the next in the series, my position in relation to the subjects and the shots composition even though the subject matter is the same; gives a completely different feeling one is more intimate and focuses on the subject. The other renders more of a sense of the subject in relation to the vastness of their environment.