This paper describes how to breathe underwater, a body of work consisting of a series of prints and a virtual reality (VR) experience that all use underwater photogrammetry to explore monumental decay. The source material is the sunken ships of Mallows Bay, Maryland, USA - the so-called Ghost Fleet. The work is made from the fragmented 3D-scans of these shipwrecks taken underwater. The resulting forms oscillate between the recognizable and the abstract, simultaneously disorienting and inviting. Mallows Bay is home to the largest ship graveyard in the Western hemisphere. During World War I, the United States rushed to build extra ships, but the war ended before they were used and the ships never left harbor. After years of ownership disputes, they were hauled to Mallow's Bay where they were burned to the waterline and sunk. Their rotting wooden skeletons made an ideal habitat for local wildlife and in 2019 the area was designated as a national marine sanctuary. The photogrammetry process was non-trivial due to the sediment in the bay and the small size of the camera compared to the massive size of the ships. Because of these limitations the resulting 3D forms move in and out of focus, exactly documenting the reality in some areas and fading into abstraction in others. The gradual degradation of the polygonal models and the new sculptural space it takes in the work mirror the decay of the ships and their new role as thriving habitats. This body of work engages with themes of decay and rebirth. War machines become part of the natural life cycle, creating an ecosystem from disruption and rot. This paper contextualizes that conceptual core of the work, presenting new research on the history of the site and on the process of transforming that site into multiple artworks.