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T H E O F F I C I A L P U B L I CAT I O N O F T H E PA D I D I V I N G S O C I E T Y

Special Edition 2016

H O T T R E N D S I N I M AG I N G + A R I G F O R E V E RY P H O T O G RA P H E R T H E ST O R I E S B E H I N D 6 I C O N I C S H O T S J U N E 2 0 1 6 VO L . 2 4 N O . 5

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Contents June 2016 Vol. 24 No. 5

The leafy seadragon is one of the critters that makes South Australia a prime spot for macro photography.

How to Start Want to set your diving memories in stone? Grab your camera and begin with our best tips for getting started in underwater photography. P. 11

How They Got the Shot Six mind-blowing images: how the action unfolded, and what it took for dedicated photographers to get the shot of a lifetime. STARTS ON P. 14

PADI Dive Life

2016

PADI’s Underwater Photography Adventure Dive is no more. But don’t worry — the new curriculum has something for photographers and videographers alike. P. 16

THE PHOTO IS SUE

The Best Gear We break down four recommended photo kits for shooters of all levels, from compact-camera hobbyists to professionals. P. 26

What Drives the Shot Six pros open up about their deepest passions, favorite moments and the biggest surprise shots of their careers. P. 32

Postproduction Tips Intimidated by editing? Make your photography shine with a few easy — and essential — post-processing tips. P. 44

Are you keen on capturing close-up shots of critters lurking in the muck of the Coral Triangle? Perhaps you prefer shooting open-ocean sharks in ambient light? We spoke with top underwater photographers to find out which sites offer the best opportunities for these types of photography, and more. BY TRAVIS MARSHALL

4 JUNE 2016 | SPORTDIVER.COM

Spend a week at the Backscatter Digital Shootout and take your skills to the next level with hands-on training. P. 58

Journeys

Hop aboard the Raja Ampat Aggressor, a floating photo workshop for beginners and veterans alike. P. 64

GARY BELL/OCEANWIDEIMAGES.COM

The Six Best Places for Underwater Photography

Summertime Shootout

GO DEEPER.

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T H E O F F I C I A L P U B L I CAT I O N O F T H E PA D I D I V I N G S O C I E T Y

Photo Fever We worked on the Photo Issue with two goals in mind: to inspire and educate issue with strong visual elements, including photos that represent the best of underwater photography, which you’ll find throughout the magazine. But we wanted to provide more than inspiration, so we’ve included tips on getting started (page 11), gear for every level of UW photographer (page 26), pointers on how to shoot video (page 66), and advice on common post-processing challenges (page 44) — giving you the tools needed to go out and record the story of your next diving adventure. Chelsea Pomales, Photo Director

f FACEBOOK.COM/SPORTDIVERMAG t @SPORTDIVER @ SPORTDIVERMAG @ SPORTDIVER EDITORIAL

Patricia Wuest EDITOR - IN - CHIEF Andy Zunz MANAGING EDITOR Roger Roy GEAR EDITOR Robby Myers ASSISTANT EDITOR Cindy Martin COPY CHIEF Noelle Campbell, Paige Wilson INTERNS ART

Elizabeth Fleener ART DIRECTOR Chelsea Pomales PHOTO DIRECTOR CONTRIBUTORS

Jim Decker, Brent Durand, Mike Haber, Joanna Lentini, Travis Marshall, Brooke Morton, Lauren Pierce, Erin Quigley Karl Shreeves DIGITAL

Martin Kuss SENIOR DIGITAL PRODUCER Becca Hurley DIGITAL EDITOR SALES

Laura Walker GROUP PUBLISHER laura.walker@bonniercorp.com

David Benz ASSOCIATE PUBLISHER david.benz@bonniercorp.com

Linda Sue Dingel TERRITORY MANAGER 407-913-4945; lindasue.dingel@bonniercorp.com

Jeff Mondle

TERRITORY MANAGER

760-419-5898; jeff.mondle@bonniercorp.com

Melissa Tone ADVERTISING SALES COORDINATOR 407-571-4580; melissa.tone@bonniercorp.com PADI DIVING SOCIETY

Theresa Kaplan

PADI DIVING SOCIETY DIRECTOR

949-858-7234, ext. 2322; theresa.kaplan@padi.com

Adrianne Miller PADI DIVING SOCIETY MARKETING CONSULTANT 949-858-7234, ext. 2513; adrianne.miller@padi.com

Thank you to all of our contributing photographers: Octavio Aburto, Imran Ahmad, Todd Aki, Mike Bartick, Gary Bell, Barry Brown, Tanya G. Burnett, Fred Buyle, Jordi Chias, Brandon Cole, Amanda Cotton, Ethan Daniels, David Doubilet, Matt Draper, Alan Egan, Tobias Friedrich, Mark Fuller, Morne Hardenberg, Jorge Hauser, Sean Havas, Jill Heinerth, Shawn Heinrichs, Scott Johnson, Noam Kortler, Michel Labrecque, Marshall Lally, Greg Lecoeur, Joanna Lentini, Qing Lin, Christian Loader, Wayne MacWilliams, Fabien Michenet, Alex Mustard, Paul Nicklen, Jennifer Penner, Joel Penner, Kadu Pinheiro, Courtney Platt, Erin Quigley, Allison Vitsky Sallmon, Andy Sallmon, Nicholas Samaras, Becky Schott, Alexander Semenov, Andrey Shpatak, Karl Shreeves, Christian Skauge, Brian Skerry, Martin Strmiska, Christian Vizl, Rodrigo Wyssman, Jeff Yonover, Michael Zeigler

Matt Hickman VICE PRESIDENT, DIRECTOR OF BRAND STRATEGIES Shawn Bean EDITORIAL DIRECTOR Dave Weaver CREATIVE DIRECTOR Leigh Bingham CONSUMER MARKETING DIRECTOR Haley Bischof GROUP MARKETING DIRECTOR Oriana Agudelo SENIOR MARKETING MANAGER , DIVE AND TRAVEL GROUP Holly Pulcher MARKETING MANAGER , DIVE AND TRAVEL GROUP David Erne BUSINESS MANAGER Lindsay Gigler CONTENT SOLUTIONS MANAGER Michelle Doster GROUP PRODUCTION DIRECTOR Andrew Prasad PRODUCTION MANAGER Julia Arana, Jennifer Remias GRAPHIC DESIGNERS Sheri Bass HUMAN RESOURCES DIRECTOR

Tomas Franzén CHAIRMAN Eric Zinczenko CHIEF EXECUTIVE OFFICER David Ritchie CHIEF OPERATING OFFICER Elizabeth Burnham Murphy CHIEF MARKETING OFFICER Sean Holzman CHIEF DIGITAL REVENUE OFFICER John Graney VICE PRESIDENT, INTEGRATED SALES John Reese VICE PRESIDENT, CONSUMER MARKETING David Butler VICE PRESIDENT, DIGITAL OPERATIONS Perri Dorset VICE PRESIDENT, PUBLIC RELATIONS Jeremy Thompson GENERAL COUNSEL All contents copyright 2016 Bonnier Corporation. No use may be made of materials contained herein without express written consent. For inquiries, please contact us at Bonnier Corporation, 460 N. Orlando Ave., Suite 200, Winter Park, FL 32789.

On Our Cover P H O T O B Y M A R K F U L L ER ; E I L AT (I S R A E L), R E D S E A

“I visited a local cleaning station hoping to capture an image of cleaning symbiosis when this coral grouper approached the station. After getting into position, the grouper moved in and rested where two cleaner shrimp immediately started getting to work. I used a single Sola 1200 video light on spot focus instead of strobes to get the moody feel.”

Publications Mail Agreement Number: 40612608 Canada Post Returns: IMEX Global Solutions, P.O. Box 25542, London ON N6C 6B2 Canada Printed in the USA Retail single copy sales: ProCirc Retail Solutions Group, Tony DiBisceglie For reprints, email reprints@bonniercorp.com.

FOR CUSTOMER SERVICE AND SUBSCRIPTION QUESTIONS,

Doing Our Part for the Environment This product is from sustainably managed forests and controlled sources.

6 JUNE 2016 | SPORTDIVER.COM

such as renewals, address changes, email preferences, billing and account status, go to: sportdiver.com/cs. You can also email PADcustserv@cdsfulfillment.com. In the U.S., call toll-free 888-333-7234. Outside the U.S., call 515-237-3697 or write to Sport Diver, P.O. Box 6364 Harlan, IA 51593-1864.

JERRY POMALES

spend my days sifting through hundreds of photos taken by some of the world’s most prominent underwater photographers, as well as those by the rising stars. At Sport Diver, we are constantly blown away by what these artists are able to capture, often under very challenging conditions. When I was a newly certified diver, I was given an underwater camera to try. The results? Let’s just say that I’m happy I returned to the boat with the camera still in hand. We have a deep appreciation for those who are able to create spectacular images — from a once-in-a-lifetime event of a small pod of humpback whales in Tahiti (page 24) to a slice of history inside the Thistlegorm in Egypt (page 62). Our image “reject” pile as we work on an issue — whether for a fulllength feature, small story or cover — is often stunning. We regularly say, “Let’s save this one for a future issue.” The idea of dedicating an entire issue to the art of underwater photography was born out of one of those discussions. We set out to create an

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H O W T O S TA R T

The Big Picture Our best tips for getting started in underwater photography B Y J I M D E C K E R , C E O O F B A C K S C AT T E R U N D E R WAT E R V I D E O A N D P H O T O

o you’ve been bitten by the shutter bug and are excited to turn every dive into an underwater photo adventure. But your pictures aren’t exactly cut out for the next cover of Sport Diver. How do the pros do it? They shoot thousands of pictures before getting the perfect shot. We’d like to welcome you to the club and share tips on how to get the most from your camera and enjoy your new passion for underwater photography.

2016

One key for beginner UW photographers: Practice buoyancy and dive skills with camera gear in hand.

THE PHOTO IS SUE

Get your diving dialed in.

The first step to becoming a good underwater photographer is to perfect your buoyancy and dive skills. Underwater photography demands excellent physical coordination to get into tight spots, or to remain in a stationary position without disturbing the reef. Practice diving with your new camera on every dive, even if you don’t plan to shoot. Get your camera rig neutral.

Struggling against a heavy rig underwater is one of the largest barriers in learning how to shoot. There are buoyancy aids such as arm floats and port floats that can help in getting your rig neutrally buoyant. Macro setups tend to be more negative than wide-angle GEAR UP

Novice photographers oftentimes get wrapped up in their camera gear, struggling

S P O R T D I V E R . C O M | J U N E 2 0 1 6 11

GLOSSARY

Talk the talk: a guide to the terms and buzzwords related to underwater photography Shutter Speed How long the image sensor inside the camera is exposed to light. Typical settings for underwater are between 1/60 and 1/250 of a second. Aperture Also referred to as f-stop. It’s the size of the opening on the front of the lens that determines how much light reaches the sensor. It also affects depth of field, with larger openings having less depth of field and smaller ones with more depth of field. For wideangle, typical underwater settings are between f/5.6 to f/16 and for macro f/16 to f/32, depending on the type of camera.

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ISO How sensitive the sensor is to light. The higher the ISO, the higher the sensitivity. The more sensitive the sensor is to light, the higher amount of noise or grain is introduced into the image. Ideally use the lowest ISO for the best image quality, typically set in the 100 to 400 range for most underwater situations, but can go higher in certain extreme conditions. Depth of Field How much of the image is in focus from near to far. Macro lenses and closer focus will have less inherent depth of field than wide-angle and fisheye lenses.

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Stop A measurement of light. Each “stop” of light is twice as much light as the previous stop.

TTL Acronym for Through The Lens. A method for automatic flash exposure where the light from the flash is measured through the camera lens and onto the sensor by the camera. Wide-Angle Any subject that is bigger than a yoga balance ball. Typically, you’ll use a lens that has 100-degree field of view or larger. Think divers, large reefs, pelagic creatures and shipwrecks. Macro A subject smaller than your fist. Supermacro is anything that is smaller than a penny. Mirrorless An interchangeable-lens camera that does not have an optical viewfinder. All composition is done on the rear screen or through an electronic viewfinder. The elimination of the optical viewfinder makes for a smaller camera than an SLR. SLR An interchangeable-lens camera that has an optical viewfinder. You physically look through the lens to see the image and frame the shot.

H O W T O S TA R T

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Getting close to creatures like sea turtles is key to capturing good images â&#x20AC;&#x201D; but learn to respect their space too.

because of heavier lenses and less air volume, and will need more flotation. Learn how to approach the reef and marine life.

If you get excited and make a mad dash to get a shot of a turtle you seeÂ on the reef, it will take off inÂ the opposite direction. You need to be a stalker. Approach calmly and let the marine life get used to your presence. Youâ&#x20AC;&#x2122;d be surprised how much closer you can get to critters when you spend the time to learn their behavior. Practice slow, steady movements when setting up on a reef shot.

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Go on underwater photography group trips.

Thereâ&#x20AC;&#x2122;s nothing worse: Youâ&#x20AC;&#x2122;ve just set up on the perfect macro shot, and then the divemaster pokes you in the arm because youâ&#x20AC;&#x2122;re holding up the group. Travel with a dedicated underwater photography group, where the main purpose is underwater imaging,

and youâ&#x20AC;&#x2122;ll get better results from having the dive operation cater to your needs. Pack your gear in a proper camera travel bag.

Unfortunately Iâ&#x20AC;&#x2122;ve seen too many people pack their camera gear in regular luggage wrapped in T-shirts and underwear, only to have it arrive to a destination in pieces. Itâ&#x20AC;&#x2122;s better to be safe than sorry; get a professional camera bag. Even if you plan to pack all your gear in your carry-on luggage, you never know when you might be forced to check it because the little island-hopper doesnâ&#x20AC;&#x2122;t have enough room in the cabin for your bag. Get a vacuum system and avoid floods.

A vacuum system will pull a negative pressure on the housing, usually in the neighborhood of 2.5 to 5 psi. The system then monitors for any loss of vacuum. If you have loss of vacuum, you have a

leak; if not, itâ&#x20AC;&#x2122;s sealed. This is great to know before you get in the water. When used properly to detect leaks, a vacuum system virtually eliminates all risk of flooding. Get close.

Weâ&#x20AC;&#x2122;ve all heard this one, but in general you need to be within a few feet for a wide shot and a foot or less for macro. Otherwise thereâ&#x20AC;&#x2122;s too much light lost between the subject and lens, which usually shows up in the image as lacking contrast.

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Use appropriate gear for the job.

To get the best results use a dedicated macro or wide-angle lens. While a midrange zoom lens sounds like a great one-lens solution, itâ&#x20AC;&#x2122;s generally not wide enough to shoot large reef scenes or shipwrecks, and it doesnâ&#x20AC;&#x2122;t have enough reproduction to capture tight macro shots of blennies or nudibranchs.

S P O R T D I V E R . C O M | J U N E 2 0 1 6 13

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Earning Some Face Time With a prototype of Nauticam’s Super Macro Converter Lens in hand, I’m on the hunt for tiny subjects in the perfect place: Indonesia’s Lembeh Strait. I spot a colorful nudibranch and opt for a classic strategy. If you are ever stuck for ideas when shooting nudibranchs, get down to rhinophore level and frame them from head-on. This species of nudibranch grows quite big, but I’m working with a small individual, so I’m still able to fill the frame with a super-strong lens. Nudibranchs are usually all about color, which shines brightest in even illumination. To achieve this, I use a pair of strobes positioned on either side of my lens and pushed right in against it to front-light the subject. Lembeh Strait is one of the world’s top destinations for underwater photography, but it is not a place for clear water or great scenery. It is remarkable because of its incredible concentration of critters — small, bizarre creatures from hairy frogfish to pygmy seahorses. This is muck-diving central, and the big photographic challenge is not find-

ing subjects but controlling backgrounds. Doing so can turn rudimentary shots into eye-catching photographs. This nudibranch is hunkered down in the sand, so I figure my best option is to get my camera low and fill the frame with the subject so it forms its own background (the gills of the slug are out of focus in the back of the frame). Mission accomplished. > C A M E R A N I KO N D 4 > L E N S N I KO N 1 0 5 M M ; N AU T I C A M S U P E R M AC R O C O N V E R T E R > STROBES INON Z240 > S E T T I N GS F /4 0 , 1 / 2 5 0 S E C , I S O 2 0 0

THE PHOTO IS SUE

2016

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14 J U N E 2 0 1 6 | S P O R T D I V E R . C O M

HOW THE Y G OT

The Shot

DIVE LIFE

Best of Both Worlds The PADI Digital Underwater Imaging Adventure Dive combines key pointers for aspiring underwater photographers and videographers B Y K A R L S H R E E V E S , PA D I T E C H N I C A L D E V E L O P M E N T E X E C U T I V E

PADI updated its Advanced Open Water Diver program to keep up with the changing realm of UW photography.

s PADI rolls out the newly revised PADI Advanced Open Water Diver program, you might notice something missing: the Underwater Photography Adventure Dive. The Underwater Videography Dive’s gone too. There’s no need to start ranting and raving , however. Yes, these dives were very popular with divers starting off in underwater photography and videography, but they’ve been replaced with something even better: the Digital Underwater Imaging Adventure Dive. This dive introduces both still and video imaging together. Why the Change?

Digital imaging is changing, and so are we as divers. A few years ago, you either shot stills or you shot video. You didn’t shoot both, at least on the same dive, because you needed two camera systems. And most divers really wanted only one or the other (usually snapshots). But that’s not how it is today. Virtually all modern digital cameras shoot stills and video. Today, most divers want both, at DIVE IN least some of the time, and you can do both with one camera system. Total Sub: St.

You can take the Digital Underwater Imaging Dive as part of your PADI Advanced Open Water Diver or Adventure Diver course, or as a stand-alone, under your PADI Instructor’s supervision with the PADI Advanced Open Water Diver Touch or Manual. It’s aimed at anyone who wants to shoot good images and video underwater but without delving into the technical aspects more than necessary for fun, quality shooting. The philosophy is simple. You learn and practice: How the underwater world affects imaging Setting up your system How to get sharp images with good color and upload them onto a computer How to care for your system Techniques for shooting still images — composition and positioning basics Techniques for shooting and editing video — telling a story

Lucia-Bound Can’t seem to get diving off the brain? Join like-minded people at PADI’s 2016 Total Submersion Dive Festival for a week of food, fun and, of course, plenty of diving. From July 16 to 23, St. Lucia’s Anse Chastanet Resort promises to delight divers with seven nights of accommodations, four days of three-tank boat dives, two night dives, meals, on-island transfers, resort activities, and a plethora of parties and prizes. Visit padi.com/ totalsub or contact PADI Travel Network at 800736-7021 (U.S. and Canada) or 407937-0754, or email ptn1@padi.com. Packages from $2,085.

Environmentally friendly diving with a camera Safety considerations when diving with a camera What to do if your housing leaks or floods Whether you’re starting out with a compact action video camera that shoots stills or a compact still camera that shoots video, the Digital Underwater Imaging Dive has you covered, getting you off on the right foot. If casual, easy imaging is all that interests you, it might be all you need to enjoy years of fun sharing your dive adventures with your diving and nondiving friends. It’s also a good beginning if you want to get more serious by completing the full PADI Digital Underwater Photographer course (the credits count toward certification) or the PADI Underwater Videographer course, or both. To learn more, see the pro at your PADI Dive Center or Resort or visit padi.com. You can find a global list of PADI Dive Operators at padi.com.

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Bursting at the Seams When it comes to taking underwater photos with your phone, more options are better. Hold down the shutter or volume button on your iPhone to use burst mode. Your phone will take 10 frames per second, letting you thumb through later and pick the best image.

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Key Largo Cottages @ Key Lime Sailing Club FREE kayaks, bicycles, sailing, ﬁshing, snorkel, sunset sail with cottage $175 NT. 305-451-3438 keylimesailingclub.com

@acottonphoto #Tahiti 446 Likes

@divecbr #Anilao (Phillippines) 104 Likes

@seainfocus #Kittiwake (GrandCayman) 119 Likes

@paulnicklen #Antarctica 43.3K Likes

@fredbuyle #CenoteCarWash (Mexico) 605 Likes

@seanhavas #Xcalak (Mexico) 338 Likes

SOCIAL

@mornehardenberg #FalseBay (South Africa) 1,160 Likes

@jchauser #TigerBeach (Bahamas) 319 Likes Photo by @rodrigofriscione

Instagram Ingenuity Underwater photography done well has the uncanny ability to take one diverâ&#x20AC;&#x2122;s experiences and emotions, and deliver them straight to the viewer. Now, with a few clicks, photographers from Grand Cayman to the Great Barrier Reef can use social media to take that to the next level. Here are a few Instagram accounts we know youâ&#x20AC;&#x2122;ll enjoy (along with @sportdiver, of course). @andrey_shpatak #RudnayaBay (Japan) 374 Likes

@aquatilis_expedition #KurilIslands (Russia) 325 Likes

@alancegan #BoyntonBeach (Florida) 1,324 Likes

PROJECT AWARE

Activism Down to a Fine Art Dive Against Debris volunteer uses photo skills to give back B Y A L E X A WA R D , C O M M U N I T Y R E L AT I O N S S P E C I A L I S T , P R O J E C T AWA R E F O U N D AT I O N

“W

hen you’re a diver, you’re going to run across turtles with missing limbs,” Project AWARE volunteer Kim Porter says bluntly. Though at first a bit shocking, Porter’s statement reflects an unfortunate truth that many divers and underwater photographers know all too well: Marine debris is not only unsightly, but it’s also incredibly dangerous to ocean animals and their Sea turtles are especially susenvironments. ceptible to becomSix hundred and ninetylearned her local site like the ing entangled and three species have been back of her hand. With every harmed by marine debris. affected by marine debris dive, Porter accelerated and — either through ingestion advanced her knowledge of the or entanglement — including underwater world; simultaneall seven species of sea turtle. Porter, ously, her passion for protecting marine an advanced and seasoned scuba pro- life grew. fessional, has witnessed more than her Today, Porter actively participates in share of injured animals underwater. Project AWARE’s Dive Against Debris However, she doesn’t allow herself to program to help keep her local dive become discouraged by these encounters. sites free of marine debris and safe for Rather, she uses her personal experience ocean animals. She frequents piers and and photography skills to fuel her ocean reefs, areas where marine life is often advocacy efforts. abundant and where rubbish can easily Growing up in Texas near the Gulf of become stuck and pose a hazard. To date, Mexico, Porter was always drawn to the Porter has conducted 20 Dive Against sea. She spent many days throughout Debris surveys, submitting crucial data her youth sailing, acquainting herself on the types and quantities of trash with the open water and its intrigue. found underwater, and utilizing her proWhen an opportunity arose to move to fessional photography skills to document Florida years later, she jumped at discarded rubbish and entangled the chance. It was there that animals. Intelligent, deeply she became scuba certified passionate and committed and, like so many others, to marine conservation, her life was forever Porter is an outstandchanged. ing leader in the fight The number of species that have With a home near against debris. been affected by marine debris – either through ingestion or the coast, Porter found Interested in lendentanglement – including all a new backyard playing a hand? To learn seven species of ground at a local Florida more about Dive Against sea turtle beach. She quickly logged Debris, visit projectaware more than 300 dives and .org/diveagainstdebris. 22 J U N E 2 0 1 6 | S P O R T D I V E R . C O M

JORDI CHIAS

693

The Islands of Hawaii

SEASPORT DIVERS Featured Dive Site: Ni’ihau

DON’T MISS THIS

Incredible wall dives, soaring lava formations, enormous caves, bountiful marine life and unlimited visibility, will dazzle even the most discriminating diver. You’re likely to see Hawaiian Spinner Dolphins, large schools of Milletseed and Pyramid butterfly fish, the rare Bandit angelfish, Spotted Eagle rays, Manta rays, Octopus, and Lobsters. The endangered Hawaiian Monk seal, Galapagos sharks, White tip reef sharks all call Ni’ihau home as well. All in all, the forbidden island is one of the most spectacular diving excursions anywhere in the Hawaiian islands.

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Jack’s Diving Locker

Dive Oahu

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Join the friendly crew of Jack’s Diving Locker on the Kona Coast of Hawaii with healthy coral reefs, lava formations, and big animals – dolphins, whales, sharks, and manta rays!

PADI 5 Star IDC Gold Palm Resort. Do Your IDC in Hawaii! Daily Boat Charters to Shipwrecks: Sea Tiger/YO-257/San Pedro. Three minutes from Waikiki. ScubaPro, Tusa, Aqualung. Rebreather Friendly. Mark 6 rentals.

Full service Lahaina dive shop, great deals on Dive Gear, sales and rentals, two tank Lanai boat dives from our custom built 37’ RIB Hoku located at 1223 Front Street in Lahaina, GoPro Dealer and Underwater Camera systems for sale.

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808-922-DIVE DiveOahu.com

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KAUAI

OAHU

MAUI THE BIG ISLAND

Seasport Divers

Kona Honu Divers

Full service dive shop specializing in SCUBA tours and Certiﬁcation Courses. We are located on the south shore of Kauai. We offer 2 dive charters 365 days a year while also running seasonal trips to the Forbidden Island of Niihau.

Join our expert crew for the best diving in Kona. Spacious 46’ Custom dive boat running 2 Tank morning charters and Evening Manta Dives. Advanced diving including the world famous Black-Water Dive. All levels of instruction available. Photographer friendly.

808-742-9303 seasportdivers.com

888-333-HONU (4668) 808-324-4668 konahonudivers.com

Group Photo Shoot

THE PHOTO IS SUE

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P H O T O B Y FA B I E N M I C H E N E T TA H I T I The sun was barely rising when my buddy and I set out aboard a little inflatable boat in Tahiti in search of humpback whales. We quickly find a group near the reef and decide to stay far enough away to observe its behavior. Severals whales break the surface to breathe and head west toward the open sea. It seems as if we’re witnessing the beginning of a heat run — a behavioral pattern in which a group of male suitors aggressively chases a female in pursuit of her attention. Jackpot. In an attempt to capture images of this rare moment, we keep our distance and avoid causing a disturbance. The goal: Wait until the whales stabilize, drop into the water about 500 feet away, and swim toward them. After a number of unsuccessful attempts, I find myself surrounded by the group. The whales brush by, all indifferent to my presence except for one. A large male stops and seemingly observes my presence directly in front of me in a vertical position. After shooting a few pictures of the big male and the group around me, I move around to find better light, positioning the sun behind my back to help illuminate the scene set before me. I stay patient, observing the evolution through my viewfinder, trying not to take too many pictures. I want the best opportunity. With the male so close, I back up in order to frame the whole group. Out of the blue, a second whale emerges from the deep; a third one pounds the surface, while the courted female sinks to the right. I can’t believe what I’m seeing and shoot. > C A M E R A N I KO N D 8 0 0 ( N AU T I C A M H O U S I N G ) > LENS SIGMA 15MM FISHEYE > S E T T I N GS F / 8 , 1 / 1 6 0 S E C , ISO 450

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HOW THE Y G OT

The Shot

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Hobbyist Shooters Just getting started in underwater photography or looking for an uncomplicated rig? Here’s our Editor’s Pick for a compact camera that’s leak-free and easy to use PHOTOS BY CHEL SEA POMALE S

2016

THE PHOTO IS SUE

5. 2.

1. Sea Dragon EVA Case Protect your camera gear in this thermo-molded case while traveling. $24.95 2. Aquapod Mini Film unique angles, get closer to marine life, and take fun selfies. $49 3. Float Strap This wrist lanyard floats the camera if dropped in water. $19.95 4. Sea Dragon 1500 Kit Add vibrant color to photos and videos; the 1,500-lumen light attaches to the Micro 2.0 with the Flex-Connect handle and tray, making the system easy to hold. Light, grip and tray, $299.95 5. Micro 2.0 The camera has a 16 MP sensor with 32 GB or 64 GB of memory. Its fully sealed body means no O-rings, while three piano-key controls make getting photos and full HD video easy. 32 GB, $499.95; 64 GB, $549.95. All gear from sealife-cameras.com

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PHOTO GEAR

Skilled Amateur Photographers Ready to flip your camera into manual and start exploring your options? Advance your underwater-photography skills with our Editorâ&#x20AC;&#x2122;s Pick for amateurs

1. DryZone DF 20L Bag Safeguard your sensitive photo gear with this padded, compartmentalized dry bag. $164.95; lowepro .com 2. GoBe 850 Wide This small light pumps 850 lumen and has a 60-degree beam in water for even lighting when shooting stills or video. $199; lightandmotion.com 3. PT-056 Housing Add a housing to the TG-4 for depths of up to 150 feet. This one accepts a wide range of accessories, including wide-angle and macro wet lenses, and a tray/handle for attaching strobes or lights. $299; getolympus.com 4. Tray, Handle, Arm and Clamp Make your rig easy to hold while shooting. $119.95; ulcs.com 5. Dive Stick Helps stability or holds your position in current. $15 aluminum; $18 stainless steel; xit404. com 6. Stylus Tough TG-4 This compact camera packs a 16 MP sensor, is waterproof down to 50 feet, shoots RAW, records full HD video, and has a microscope mode for photographing even the tiniest critters underwater. $349.99; getolympus.com 7. UW Wide-Angle Conversion Lens Expand field of view to 100 degrees for shooting wide-angle scenes, from reefscapes to whale sharks. $529; getolympus.com

5. 7.

Pro Photographers After hours of practicing and learning about the art of underwater photography, isn’t it time you invest in a new rig? Our Editor’s Pick for skilled shutterbugs

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1. DS161 Strobes Combine power with wide-angle coverage in a fast-recycling strobe. $1,000 each; backscatter.com 2. Arms and Clamps Ultralight’s products make it easy to position your strobes. $269.60; ulcs.com 3. Housing with 8-inch Dome and Macro Port; Tray and Handles Offers access to all important camera functions, simple TTL operation, and ports to support all the lenses. N/A; ikelite.com 4. Nanuk 935 Protect and transport all your gear in this rolling case without breaking a sweat. From $150; nanuk .com 5. Sola Photo 1200 A 1,200-lumen focus light with a wide flood beam plus 300-lumen red light for capturing shy subjects at night. $450; lightand motion.com 6. Nikon D810 Camera A 36.3 MP fullframe (FX) DSLR is the workhorse of many pros. Delivers incredible image quality, high ISO performance and fast processing. $3,299.95; backscatter.com 7. Lenses Nikon offers a variety of lenses, including the AF-S VR Micro-Nikkor 105mm f/2.8G IF-ED and AF-S Nikkor 16-35mm f/4G ED VR. Prices vary; nikonusa.com

7. 6.

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PHOTO GEAR

Video Shooters Whether you’re filming for fun or for work, the ocean is an underwater playground; here’s our Editor’s Pick for videographers

3. 4.

1. Urban Elite Camera Pack A crush-proof case that will keep sensitive camera gear out of harm’s way. $292; pelican.com 2. Sola Video 2500 Spot/Flood Two lights create clean fill light for macro or wide-angle scenes. $700 each; lightandmotion.com 3. Tray, Arms, Handles, Clamps and Light Adapters Ultralight products make your rig ready to use underwater. $225.70; ulcs.com 4. Sony a7S II TTL Housing The latest in Ikelite

housing technology, including great video-recording ergonomics, True Sony TTL, great port selection and a 200-foot depth rating. $1,500, plus lens port; ikelite.com 5. Sony a7S II Full-Frame Mirrorless Camera With full-frame sensor, ultrahigh ISO sensitivity, wide-dynamic range, 4K video recording, small size and great lens selection, the a7S II is the perfect camera for the underwater videographer. $2,999.95; backscatter. com 6. 8-inch Dome Port This optical-grade acrylic dome is as sharp as glass at a fraction of the weight. $550 and up; ikelite.com S P O R T D I V E R . C O M | J U N E 2 0 1 6 29

HOW THE Y G OT

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The Shot

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Ride Off into the Sunset P H O T O B Y G R E G L E CO E U R T I G ER B E AC H , B A H A M A S I take off my scuba gear and slip into the warm Caribbean water. As I look out, the setting sun provides perfect lighting, the wind starts to subside, and the water sits still except for one feature: shark fins piercing the surface. I came to the Bahamas on a quest to see sharks, so my group took a sailboat to Tiger Beach, a shallow sand flat off the west coast of Grand Bahama well-known for its toothy residents. Our guide delivered. We dove all day with tiger, gray and lemon sharks. It was fantastic to be so close to these graceful, powerful species. Late in the afternoon, we finished the last dive of our trip, but a few lemon sharks decided to follow us to the surface. During the shark dive, our guide used bait to attract the sharks, but when we reached the surface, the bait was nowhere to be found. In the water without my scuba gear, I see the lemons patrolling, and I imagine a stunning split-shot with the sunset coloring the sky above and sharks lurking in the darkening waters below. I grab my camera, turn it on, and place it in the water at the back of the boat from the rear bridge. The sharks are circling the boat but are staying too far away for the shot I envision. I wait patiently for 20 minutes and finally see the sharks swimming closer to my camera. In perfect conditions, I seize the opportunity and snap several shots. Without bait in the water, the sharks seem more relaxed and keep their distance. If you want to draw sharks closer, it is possible to take this kind of shot using bait, but I highly recommend using a pole cam. > C A M E R A N I KO N D 7 0 0 0 ( N AU T I C A M H O U S I N G ) > L E N S TO K I N A 1 0 - 1 7 M M F / 3 . 5 > STROBES IKELITE DS160 > S E T T I N GS F / 1 1 , 1 / 3 2 0 S E C , ISO 100

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2016 THE PHOTO IS SUE

W H AT D R I V E S THE SHOT S I X S H O O T E R S O P E N U P A B O U T T H E I R D E E P E S T PA S S I O N S , FAVO R I T E M O M E N T S A N D T H E B I G G E S T S U R P R I S E P H O T O S O F T H E I R C A R E E R S

BY B RO O K E MO RT O N

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TOBIAS FRIEDRICH

Greenland’s immense icebergs loom overhead as Tobias Friedrich’s colleague shoots video in the Atlantic Ocean.

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DIVERS DON’T JUST FIND THEMSELVES STARING INTO THE GAPING MOUTH OF

a great white shark, swimming directly beneath the weighty mass of an iceberg

From left: A reef manta ray ascends in natural light off Australia’s Byron Bay; a diver explores Molnár János Cave in Budapest, Hungary.

or venturing into the dark depths of a cave system per chance. No, these types of endeavors are purpose-driven. Long hours, frozen fingers and agonizing nearmisses are all too common in the world of underwater photography. And every dedicated shooter will say that there has to be a reason behind the madness. Every photographer is different, taking cues and gaining passion from his or her personal upbringing, successes and failures. We spoke with six inspirational

underwater artists who have found just that: a distinct calling that keeps them loading up gear, diving in and giving it their best shot.

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2016

THE INSTAGRAM CELEB To get the shot, you can’t stay on the couch, but you don’t always have to trek far, especially when you live in Byron Bay, Australia, as does Matt Draper. He frequents spots where whales and hundreds of cownose rays regularly cruise. Thanks to a rich hometown marine environment, his local photographs earned the attention of a conservation group that invited him east to Tonga. Away from home, Draper took a photo that became a pinnacle in his success on Instagram, a photo- and video-sharing social-networking site. It’s called Mother and Calf and captures two humpbacks, cradled by light rays.

The image is powerful for several reasons, and when pressed to name them, Draper says: “It’s an intimate moment — and it has a warming sense.” Part of that is thanks to his process. “All of my images are taken in natural light and all while freediving,” he says. “I try to keep it completely organic.” When editing, he removes a lot of color, creating what has become the signature look for his fine-art prints. For Draper, the key to a good shot is “the way the eye is looking at you.” It’s the connection. To that end, he’s patient in the water, making sure the animal — be it manta or shark — is comfortable. Draper often approaches head-on so as not to spook. His Instagram audience of more than 69,000 people will attest that these tactics are working. These same followers are also the ones snatching up his prints. “Most of these people live in Middle America, and they tell me how fascinated they are by sharks,” says Draper. “It’s so humbling to know that anyone who comes into their house now is sharing my moment with that shark.”

THE THRILL-SEEKER For shooters such as Tobias Friedrich, the goal is to trek to far and often cold corners. In other words, the more difficult

Magnum Opus The work created by these six shooters is fueled by a passion for underwater photography.

the destination, the more likely to score images nobody has seen before. “I would rather be in the 79-degree water of Barbados, but that’s too easy,” says Friedrich, whose quarry is wideangle, high-impact scenes. “And while I don’t like cold water, it’s 100 times more of an adventure.” Case in point: A recent expedition demanded navigating Greenland’s icebergs. “Diving with icebergs is thrilling because at any second, a big piece could

Matt Draper is among Instagram’s underwater shooters with the biggest followings. The New Zealand native got his start about two years ago, purchasing a camera and earning a few bucks capturing and selling images of local surfers. “I had no credentials. I was just learning by doing,” says Draper. Find him on Instagram as @mattdraperphotography.

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“I WOULD RATHER BE IN THE 79-DEGREE WATER OF BARBADOS, BUT THAT’S TOO EASY.”

TOBIAS FRIEDRICH (2). OPPOSITE: MATT DRAPER (2)

— “THE THRILLSEEKER,” TOBIAS FRIEDRICH

break off and fall on you.” Friedrich’s hands grew numbingly cold after 15 minutes. He had to change regulators every five minutes to keep his air supply from freezing. In Norway, Friedrich sought out an orca run — similar to South Africa’s sardine run but much less trafficked by photographers. It required four years of planning following a tip from a friend. A similar tip landed him off the coast of Oman in February 2012.

While in the water, the fin of one humpback hammered down on his hand and caused it to bleed. “If it was 12 inches closer, it would have hit my head, and maybe I would have become unconscious — that would have been dangerous,” says Friedrich. Experiences like that don’t instill fear in him, but more respect for his subjects. “If you want a good picture, you must overcome the fear,” he says. To do so, he reminds himself of the facts.

“The orcas are exciting — there hasn’t been one accident with humans in nature ever recorded that I know of,” says Friedrich. “So you can feel quite good, even though this animal could potentially rip you apart in seconds.” Friedrich pauses after he says this. He talks a bit more about having found a few limits in terms of risks he wouldn’t take, but otherwise, he’s in the water. “After all, if you stay home, you don’t get the picture — it’s that simple.”

Tobias Friedrich is no stranger to suffering for a shot, gravitating toward cold water and potentially threatening animals for his wide-angle achievements. The German began his professional image-making career in 2007, going on to write a how-to book in 2013 simply titled Underwater Photography. See more of his work at below-surface.com.

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“I WAS ALWAYS DREAMING OF WHAT LIES BENEATH THE DARK, OMINOUS WAVES.”

THE PHOTO IS SUE

2016

— “THE LEGEND,” BRIAN SKERRY

THE LEGEND “You should change out your tank,” says Lou Lesko, who is prodding his boss, National Geographic magazine shooter Brian Skerry, to remain hopeful. Only hours remain of their 25-day March 2013 expedition to Puerto Madryn, Patagonia, where Skerry sought to be the first to document the cooperative feeding behavior of the area’s dusky dolphins. Winds howling at 40 knots didn’t help, nor did green, plankton-rich seas. Earlier that morning,

dejection sent Skerry packing up until the captain offered one more try. At 6:43 that night, minutes before last light, the captain spies birds. “Go!” His shout cues Skerry into water. And for the next 17 minutes, he spins 360 degrees — shooting, shooting, shooting. “I had one magical frame with six dolphins, no tails cut off, and one is inches away from grabbing an anchovy, and there are scales all in the water,” says Skerry. “It proves that you can’t give up.” For his piece on dolphin intelligence,

Skerry traveled to nine locations over two years, including Patagonia and the Bahamas (above). Since 1998, he has filed 25 stories for the groundbreaking magazine. Each began with a desire to document something never before recorded — a drive born out of Skerry’s childhood dream to become an explorer. He’d first been drawn to the ocean during visits to the beaches of Cape Cod, Massachusetts. “I was always dreaming of what lies beneath the dark, ominous waves.” It’s a question he now answers daily.

Brian Skerry has enjoyed a decades-long career as a contributing photographer to National Geographic, spending roughly 10,000 hours underwater shooting 25 stories on subjects ranging from the struggle of the harp seal among frozen seas to the sharks of the Bahamas. See his work at brianskerry.com.

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moving the subject.” But if a shooter refrains from relocating the slug and instead snaps a few frames, the results might surprise. “When you see the picture on the screen, you realize the nudibranch was in the middle of eating or laying eggs. You’ve captured an amazing behavior — only it was so tiny at the time [that you didn’t realize it], but it’s very clear in the picture.” He stresses that you don’t need a Ph.D. to read behavior. Anyone can pick up a book or log time on the reef.

“When you watch fish, you get tuned in to that sort of thing — it’s not always academic knowledge, but field knowledge. Many times I grabbed shots of fights or mating behaviors because I had a sense something unusual was going to happen.” Often Mustard stacks the deck to increase the odds that he’ll be in the right place when a phenomenon is occurring. In 2003, long before coral spawns were on every diver’s radar, Mustard determined precisely when Grand Cayman’s corals would release their eggs, turning

FROM RIGHT: ALEX MUSTARD (2). OPPOSITE: BRIAN SKERRY (2)

THE MARINE BIOLOGIST Dr. Alexander Mustard’s first career as a marine biologist explains his proclivity for animal-behavior shots and gives him a certain advantage in the water. “It helps me recognize interesting behaviors and understand what I am seeing,” says Mustard. “A simple example is that sometimes you find a critter, like a nudibranch, and it won’t be in the greatest position. It’s tempting to think about

Coral spawning en masse off Grand Cayman. Opposite: Spotted Dolphins socialize around Bimini in the Bahamas.

Marine biologist Dr. Alexander Mustard has been shooting photos for 30 years, and is a five-time winner of the BBC Wildlife Photographer of the Year award. The U.K. resident also leads yearly instructional underwater-photography trips to Grand Cayman and the Red Sea. You can find his work at amustard.com.

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2016 THE PHOTO IS SUE

“WE WERE FOLLOWING A DROP OF WATER THROUGH THE ENVIRONMENT, NO MATTER WHERE IT WOULD LEAD US.” — “THE FILMMAKER,” JILL HEINERTH

Jill Heinerth diving in Florida’s Little Devil cave system. Opposite: Heinrichs swims in to snap a whale shark photo.

Jill Heinerth is an inaugural class member of the Women Divers Hall of Fame and a member of the Explorers Club thanks to her cave-diving achievements. Heinerth has dived deeper into caves than any other female. Her film We Are Water is available on amazon.com, and her images can be viewed and purchased through intotheplanet.com.

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the reef into an underwater orgy. Sometimes he can calculate when something specific will occur; otherwise, he aims to be in the water around the full or new moons. “The biggest things that shape the lives of marine animals are tides,” says Mustard. And the full and new moons bring the biggest tidal changes. This is when fish are most likely to lay eggs or spawn. “But once your eye goes to the viewfinder,” he says, “you forget the science.”

FROM TOP: MARSHALL LALLY; COURTESY SHAWN HEINRICHS. OPPOSITE, FROM TOP: BECKY SCHOTT; COURTESY JILL HEINERTH

THE FILMMAKER For cave-diving pioneer Jill Heinerth, the progression from still photography to film wasn’t so much a choice as a feeling of responsibility. “I realized that my explorations were extremely powerful in terms of being able to communicate the value of Mother Nature,” she says. To that end, she has used her skills and access as a caver to capture little-seen underwater spaces for the TV series Nova and the TV miniseries Oceans. In 2012, she felt the desire to do more. “I realized I’m swimming in people’s drinking water.” The impact of her community on the caves she loves was a story she could tell only in film. Still photography can capture, say, one tire in a cenote, but film allowed her to document the entire journey of water through her local environment, from superstore parking lot to cave systems and beyond — which she did in her 2013 documentary, We Are Water. “We were following a drop of water through the environment, no matter where it would lead us,” she says. That story required film, but day to day, Heinerth toggles between options: Sometimes she chooses film and other times photos. “I always take both, and I wonder, ‘Which do I shoot now?’ The photographer has to capture one single moment, and so much has to come into play, especially if the shot involves a diving partner. But with video, you have to tell a story, and you can do that with a lot of narrative

shots edited together.” Regardless of how she captures the moment, Heinerth is following a passion she can’t ignore. “I have this desperate urge to share what I see with others,” says Heinerth. And it’s an urge she encourages in others. “There are no barriers,” she says. “You can go out and start your own YouTube channel tomorrow.”

THE CONSERVATIONIST Conservationist photographer Shawn Heinrichs aimed for shock value early in his career — which is how he knows it isn’t the best way to inspire change. “People have become numb to that type of imagery,” says Heinrichs. “Those shots make people want to forget about the issue as opposed to lean into it. Instead, I look for the hauntingly beautiful.” Take, for example, the shot he took in Taiwan in 2011 when working with WildAid and the Pew Charitable Trusts. The image captures rows of shark fins drying in the sun, but from afar — until you realize you’re viewing death — there’s something pleasing about the image’s

geometric repetition. “I take an artistic approach,” says Heinrichs. His eye is drawn to unusual shapes, surprising contrasts or moments that reflect culture. In other words, entice with beauty, letting the conservation message reveal itself second. He’s taken photos of kids playing atop a fin whale’s head in Indonesia, and locals against a backdrop of stacked-up shark fins. Heinrichs also shoots beauty underwater, but he aims to share those only with a call to conservation action. “We are creating an illusion that everything in the ocean is brilliant, but it’s so far from brilliant.” He challenges divers to take advantage of access to the planet’s wildest spots. If you post galleries on Facebook, Heinrichs charges you to also post an image or two in the middle that document the devastation happening in that location. “It’s important to not just post a negative image. Don’t leave people depressed — give them action items.” Says Heinrichs: “If we don’t do this work, there won’t be anything beautiful left to document. It’ll be just jellyfish and empty oceans.”

Conservation photojournalist and cinematographer Shawn Heinrichs fights to save sharks, mantas and other marine wildlife, rallying support against finning and illegal fishing. For his work to save our marine environment, he was named Scuba Diving’s 2011 Sea Hero of the Year. Learn more about Heinrichs at bluespheremedia.com.

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PHOTOGRAPHING DIVERS

People Pleasers Taking photos of sharks or wrecks might be glamorous, but having a diver in your image can help connect the viewer to the experience

don’t scare off easily and typically take instruction well. To get the most out of your shots involving people, take a look at these tips. Find the Right Model

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The connection between photographer and model is key, and it doesn’t always come easily. Make sure you are working with a diver who is comfortable communicating underwater, has a mastery over his or her buoyancy, and is able to hover or swim with good trim. You don’t want a picture of a diver out-of-sync and flailing around. It’s a plus if your model can see his or her reflection in your dome port and make necessary positioning adjustments. To improve communication, use slow and deliberate hand signals that you’ve discussed before getting in the water, and consider using a slate to write messages back and forth. Start with a Silhouette

Frame your model as a silhouette to get the hang of positioning, both in regard to your model and the sun in the photo. Shoot up toward the light with the sun behind your model, and have the diver swim across the scene. This way, they won’t get uncomfortable trying to hover in one spot for an extended period of time and can better achieve a desired look: relaxed arms and straight legs, with TRY one slightly bent to give the THIS impression of movement.

harks, mantas, octopuses, jellyfish — these are some of the things divers long to see in the water, and prized subjects for photographers looking to impress their buddies. Humans, on the other hand, are notably missing from that list. Why would anyone want to photograph a person? We see those things every day. But while they’re far from a unique subject, divers can be an important subject. If you’re looking to show the scale of an immense shipwreck or whale shark, want to tell a story with human interest, or provide the viewer a face-to-face personal connection, then you’ll want to include a person in your image. Underwater photographers snapping photos of people also have some major advantages: Divers

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It’s All About the Eyes

Eye contact is key if you want your photos to pop, but it can be tricky to make your subject look just right. Make sure your model has a clear mask (with a clear skirt and wide field of view as well) to help keep his or her face lit and to reduce pesky shadows. Unless you’re scoring a selfie, try to avoid having your model look straight into the lens. It’s best for the diver to look toward the camera, but right above or to the side of the dome port. Put your free hand there so your subjects can keep their eyes on the prize.

FROM TOP: CHRISTIAN VIZL; SHAWN HEINRICHS

A freediver meets her reflection at the surface of the water off Quintana Roo, Mexico.

Selfish Shots Taking photos of divers is one thing, but it’s even better when you’re the subject. Work on timing the perfect selfie by picking a marine animal you’d like to include in the shot, and studying its movement patterns and trajectory. Style points always count with selfies, so be creative.

2016 THE PHOTO IS SUE

Gone in a Flash P H O T O B Y J EF F YO N OV ER N E A R KO M O D O N AT I O N A L PA R K , I N D O N E S I A Shooting in the diverse waters just outside Indonesiaâ&#x20AC;&#x2122;s Komodo National Park, the biggest challenge for me is to slow down to fully focus on only a few subjects. The reefscape is constantly changing, so I have never encountered a shortage of photographic targets here. On a late-morning dive, I look in closer to see the solution to my problem: a common ghost goby nestled perfectly among the tentacles of a cluster of colonial anemones (gorgonian wrappers). The combination of

the textured anemone tentacles and colorful fish is just too hard to resist. While these fish are quite common, they do tend to move quickly from perch to perch or make quick or erratic motions if you get too close. I move quickly, snapping off about 10 images over a three-minute span before the goby tires of my attention and the anemones close. Even though the bright sun is overhead, a dark background would create a more dramatic composition. To create this effect, I use my strobes as the sole light source for the image, illuminating only the foreground subject matter, leaving the water column behind essentially unexposed. > C A M E R A N I KO N D 3 X ( S U B A L N D 3 H O U S I N G ) > L E N S N I KO N 6 0 M M M I C R O L E N S > S T R O B E S S E A & S E A YS - D 1 > S E T T I N GS F / 1 6 , 1 / 8 0 S E C , I S O 2 0 0

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HOW THE Y G OT

The Shot

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After

Picture Perfect Make your underwater photos shine with a few easy — and essential — postproduction tips BY ERIN QUIGLEY

ou’ve bought a new underwater camera system, but your images look like they were taken with a toy instead of the expensive rig in which you’ve invested. You’re frustrated, but don’t blame the camera. If you want your images to shine, you have to embrace postprocessing as a critical part of your workflow. Mastering just a few techniques can make an enormous difference in your photos. Though there’s plenty of post-processing information available for topside shooters, it’s not easy to find underwater-specific

solutions. Lightroom, Photoshop and ACR (Adobe Camera Raw) can be used to address some of the most commonly asked questions about editing underwater pictures. Q: Help! Everything in my

underwater photos is blue. What can I do to fix this in postproduction? A: There are many ways to deal with color casts, but a good place to start is by setting the white balance in the Basic panel. The White Balance tool consists of three components — the White Balance Selector eyedropper,

a Temp (blue to yellow) slider, and a Tint (green to magenta) slider.

Blue and yellow neutralize each other, as do magenta and green.

1 ] Click the eyedropper out

3 ] Toggle a before and

of its dock and roll it into the image. Click on something that should be neutral but isn’t. You’re not necessarily looking for white. Good neutral examples are sand, nonspecular (nonreflective) highlights or gray scuba tanks. Don’t expect to nail the white balance with the eyedropper alone. Just use it to get in the ballpark.

after version of your image frequently as you work. In Lightroom, tap “\” (backslash); in ACR, hit “P.”

2 ] Finesse the results with

the Temp and Tint sliders.

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Q: How do I eliminate

backscatter from my photos in post? A: I wish I had a magic bullet for backscatter removal, but the truth of the matter is that to get spots out of your shots, you’ve got to master more than one technique. In Lightroom and ACR, you’re

POSTPRODUCTION TIPS

limited to a single Spot Removal tool. You simply draw over the piece of goo you want to get rid of, and the Spot Removal tool automatically selects another area in the image to heal from. If you don’t like the result, you can choose a different sampling area yourself. Although it’s possible to do significant cleaning with the Spot Removal tool, it

for about the same price as a Netflix subscription: $9.99 a month. For professional results, it’s the way to go (adobe.com/creativecloud/ photography.html). For the hobbyist, simpler solutions like Vivid-Pix are easy to learn but offer limited control. If you’re someone who doesn’t want to commit the time required to learn pro software, one of

Before

and what’s the best way to do it? A: Any time an image is not reliant on color for impact and has strong elements of form or texture, black-andwhite conversion is worth a shot. Wrecks, sharks, mantas, whales and any kind of silhouette are good subjects for this technique. No matter which method of black-and-white conversion you use, it is important to have clean black and real white somewhere in your photo. Set a black-and-white point by using the Blacks and Whites sliders in the Basic panel. 1 ] In Lightroom, convert to

black-and-white by clicking on the Black-and-White tab in the Basic panel or HSL. In ACR, click on the Convert to Grayscale checkbox at the top of the HSL panel. 2 ] Holding down OPT (Mac)

can be grueling — both for you and your computer’s processor. For tough jobs, Photoshop offers myriad tools and techniques. You’re limited only by the depth of your bag of tricks and how much time you’re willing to spend on an image. A typical workflow combines the spot healing brush, healing brush, patch and stamp tool to get the job done (see page 46).

ERIN QUIGLEY (2)

Q: What is the best

software for editing? A: It depends on what kind of photographer you are. Lightroom and Photoshop are hands-down the best editing software for serious photographers. Adobe’s Creative Cloud Photography Plan combines continually updated versions of Lightroom CC and Photoshop CC, with a handful of enticing extras

these more-basic programs might be the right option for you (vivid-pix.com). Q: How can I enhance the

colors on my reef and wreck photos? A: The Hue Saturation and Luminance (HSL) panel is Mission Control for color enhancement. Hue is native color, Saturation is the vividness of the color, and Luminance is the lightness or darkness of the color. Red, orange, yellow, green, aqua, blue, purple and magenta can each be adjusted individually in the HSL panel. For a quick overall pop of color, use the Vibrance (not Saturation) slider in the Basic panel, but don’t get carried away. Too much saturation looks hokey.

or ALT (PC) while adjusting the Whites and Blacks sliders reveals a clipping preview. Adjust until you see the teensiest bit of clipping in each preview to set a black-and-white point. 3 ] Continue finessing your

results, using the Black-andWhite panel of HSL, or in the Tone Curve panel. Add polish with Adjustment Brushes and Filters.

BEYOND THE BASICS Use the Camera Calibration panel to emulate your camera’s internal picture styles. I usually do this as the first step in my editing process. Browse through the profiles menu until you find one that makes your photo look best. Profiles differ depending on which camera you shot the image with, and this works only with RAW files. Knock back unwanted cyan (ambient) light using HSL. Slide the Aqua Hue slider to the right, and the Aqua Saturation slider to the left. Moving the Aqua Luminance slider to the right will enhance dappled light on sharks, dolphins, turtles, and the surface of the water. Learn keyboard shortcuts now! Don’t wait until you think you’re

good enough to use them. Learning the shortcuts is how you get good. If you’re not getting enough juice from the White Balance tool in Lightroom or ACR, open the image as a Smart Object in Photoshop, and apply a Camera Raw Smart Filter. You get a whole new zeroed-out set of white balance sliders to supercharge your adjustment. Make Content Aware Fill (in Photoshop) accurate by temporarily masking out pixels you don’t want used in the fill. Add a layer mask, and paint with black over unsuitable areas. When you’re done with the fill, delete the layer mask. For how-to articles and more postproduction tips from Erin Quigley, visit goaskerin .com/blog/.

Q: What is a good post-

process photo workflow? A: The most critical part of

a good workflow is creating and maintaining an organized photo library. Image processing is fun, but if you can’t find your pictures, it’s all for naught. 1 ] Build a folder structure

Q: When is it a good idea

to convert an image from color to black-and-white,

that works for you, and stick with it. Know exactly where all your images are.

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HSL panel in Camera Raw

POSTPRODUCTION TIPS

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The Spot Healing brush is the easiest to use. Simply click on an area to be repaired, and it automatically samples pixels near the edges of the brush for blending. If you find you’re getting blurred results, switch to the regular Healing brush, which does a better job of matching texture.

To use the Healing brush, first Option- or Alt-click on a source area, then paint over the pixels to be repaired. The Healing brush matches texture, lighting, transparency and shading, but doesn’t pay much attention to color. Use this brush to match texture and when you need more precision to line up edges.

The Patch tool lets you repair larger areas with pixels from another area of the same size. Draw around an area you want to repair. Click with the Patch

THE AUTHOR

tool inside the selection, and drag it to a clean area. When you release the mouse, the original pixels will be patched with clean ones from the sampled area. The Patch tool works well to speed up spot removal when you’ve cleaned up a decent amount of backscatter elsewhere, and can use the entire cleaned-up area to patch from. Use the Patch Tool in Content Aware mode to enable Structure and Color sliders in the Patch tool options bar, which can be used to fine-tune results immediately after the patch is complete.

2 ] Immediately after

6 ] Make a “round trip”

importing your images, make a quick first pass to cull the clunkers and identify selects.

words and Collections to further rate and organize.

to Photoshop if needed. A round trip is when you want to move from Lightroom to do some postproduction work in Photoshop — for example, working in layers — and then returning to Lightroom.

4 ] Make global adjust-

7 ] Export to print, or share

ments, including Camera Calibration, Basic panel adjustments, HSL color tweaks, sharpening and cropping.

to social media.

3 ] Use Stars, Flags, Key-

5 ] Make targeted adjust-

ments with local tools. Adjustment Brushes, Radial and Graduated Filters work selectively on the image.

8 ] Back up your image

library and Lightroom catalog. For step-by-step video tutorials on many of the postproduction topics discussed and more, visit goaskerin.com/links-togoaskerin-videos/.

Try black-andwhite conversion if an image is not reliant on color for impact and has strong elements of form or texture.

The Clone Stamp identically copies pixels from one place to another. Option- or Alt-click to sample an area that you want to clone. Move the Stamp tool to the area to be repaired and paint. I resort to the Clone Stamp when I’m not getting any love from the Healing brushes.

Erin Quigley is an Adobe ACE-certified digital-imaging consultant specializing in customized workflows and editing strategies using Photoshop and Lightroom. She is an award-winning photographer and regular contributor to Scuba Diving magazine.

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Ask DAN Four Safety Tips for Underwater Photographers

BY DIVERS ALERT N E T WO R K

After thoroughly researching photography equipment and shot composition, I’ve finally purchased my DSLR and underwater housing. Before I start shooting, I want to make sure I also know how to do it safely. Does DAN have any tips for how to be a safer underwater photographer? Building photography skills is an excellent choice for divers looking to expand their repertoires, and by asking this question, you’re already taking the first important step toward being a safer underwater photographer. The primary safety concern for divers new to underwater photography is task loading — an increase in responsibilities that escalates the risk for error. As a diver’s attention shifts to image composition or strobe positioning, he or she might overlook safety issues and trigger a chain of events leading to an incident. Before you start shooting, prepare with these tips. Practice Using Your Gear Topside Treat your new camera like any new piece of gear. Spend some time familiarizing yourself with your equipment in a controlled setting so you can pay special attention to your air, bottom time, buoyancy and surroundings underwater. Who knows? You might

ERIN QUIGLEY (2). OPPOSITE: ISTOCKPHOTO

GO-TO PHOTOSHOP TOOLS

D I V E H E A LT H

also develop a few new photo techniques in the meantime. Master Your Buoyancy The most important skill for any diver to master is the ability to be neutrally buoyant and maintain good trim. Divers who perfect these techniques experience less fatigue, reduce gas consumption, benefit from better control in the water, and are less likely to make errors due to task loading. One major hazard facing underwater photographers is the tendency — unintentional or not — to hold their breath to get that perfect shot. This is very dangerous and can result in pulmonary barotrauma or other serious complications. Mastering your buoyancy can help you get closer to your subjects without

disturbing the environment, keeping you safer and delivering better photo ops. Research Your Shots Before you start shooting, know what you’re likely to see. Research what is common and rare at your dive site. Study these animals’ behaviors in books and videos. Listen to your divemaster and other local

divers, who can tell you exactly what you might expect. In order to take a great photo in the water, you need to get very close to your subjects; planning your shots ahead of time can not only teach you how to approach organisms without spooking them, but it can also ensure that you’re keeping your subjects — and yourself — safe during the encounter.

Dive Smarter With DAN Membership Your Safety is Our Mission What started as a small group of safety-conscious divers has grown into a global organization serving more than one million members. But no matter how we grow, we remain focused on our mission… your safety. Your membership helps us advance dive safety through research, education and emergency assistance. Prepare smarter, and join DAN. Q Access to DAN’s Dive Accident Insurance Q Medical Evacuation through TravelAssist Q 24-Hour Emergency Hotline Q Subscription to Alert Diver Magazine Q Joining a Community Devoted to Dive Safety

DAN.org/MEMBERSHIP

S P O R T D I V E R . C O M | J U N E 2 0 1 6 47

Remember: Safety First Your dive skills are even more important than your shooting skills when it comes to the quality of your images — and your safety. When planning your photo outings, research your dive plan as thoroughly as your intended subject and, when executing that plan, stay in the moment as a diver first. Never forsake your safety for the shot. If you have any hesitation, it never hurts to take a course in digital underwater photography. Doing so will give you a chance to learn tips and tricks from the pros, meet new buddies with shared interests, and build the confidence to fully — and safely — explore your new activity. For more information, visit dan.org.

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best spots six

for U N D E RWAT E R PHOTOGR APH Y

re you keen on capturing close-up shots of unusual critters lurking in the muck of the Coral Trian-

gle? Perhaps you’d prefer shooting open-ocean sharks in ambient light, or learning to use specialized equipment to

capture the hidden fluorescence of corals and other marine life? From wide-angle to macro photography, there are styles galore to match every underwater photographer’s unique interests. We spoke with some of the world’s top underwater photographers to find out which spots offer the best opportunities for these types of photography and more.

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OPPOSITE, CLOCKWISE FROM TOP LEFT: NOAM KORTLER; ETHAN DANIELS; QING LIN; NOAM KORTLER

B Y T R AV I S M A R S H A L L

Ambient [ BA H A M A S ]

The key to great underwater photography is getting the right amount of light despite the light-absorbing properties of water. That’s why large strobes are standard equipment for underwater photographers, but they aren’t always necessary. With the right conditions, ambient light from the sun can help create the perfect image. The Bahamas is an ideal destination for ambient-light photography thanks to its crystal-clear waters and opportunities to photograph sharks close to the surface. One such spot is Tiger Beach, a shallow sandbar where underwater photographers can get up close with massive tiger sharks in just 8 to 10 feet of water. “Tiger Beach has the advantage of being very shallow with a blazing-white sand bottom that helps bounce and reflect ambient light,” says underwater photographer Tanya G. Burnett. Another great area for ambient-light photography is blue-water diving in the deep trench off Cat Island, where oceanic whitetips rule the waves. “When you photograph the oceanic whitetip sharks, there is a deep-blue background with no bottom, so you should shoot near the surface, keeping in mind where the angle of light is at all times in relation to your position and your subject’s position,” Burnett says. “For some shots, I still use a strobe as fill light unless I am shooting silhouettes.” stuartcove.com Hidden Gems Azores The Azores is another spot known for its blue-water diving, where photographers can get up close with big animals near the sunny surface of the water. The Princess Alice Seamount and surrounding openocean waters are known for congregations of manta rays, as well as blue and mako sharks, and even sperm whales.

of everything from mobula rays to sea lions, consider the Sea of Cortez. At the tip of Mexico’s Baja peninsula, divers can slip into the water among playful pinnipeds at the Los Islotes sea lion colony, or look for schooling hammerheads at seamounts like El Bajo.

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2016 THE PHOTO IS SUE TANYA G. BURNETT. OPPOSITE: MARTIN STRMISKA/SEAPICS.COM

Bahamas Ambient light allows you to capture dramatic wide-angle scenes like this shark feed at Tiger Beach.

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Fiji For close-focus wide angles, use a fisheye lens to capture the brilliant beauty of colorful dive sites like E6.

[ FIJI ]

Fiji’s scenery is as lush below the waves as it is along the rainforest-covered f lanks of its volcanic slopes. The collection of more than 300 islands is known as the Soft Coral Capital of the World for a reason: Signature reefs boast veritable explosions of color where soft corals wave and dance a delicate ballet along endless walls, bommies and gardens, making this perfect for shooting underwater scenery with a wide-angle lens.

“Fiji’s remarkable underwater vistas, bursting with vividly colored soft corals and fish life, are perfectly suited to wide-angle photography,” says Allison Vitsky Sallmon, who teams up with her husband Andy Sallmon on photo trips around the world. “We always choose the widest lens possible when shooting these brilliant reefs, sometimes even opting for a circular fisheye format, as it seems to be the only lens wide enough to effectively capture such incredible scenery.”

To get a taste of the archipelago’s vibrant marine life, head just south from Viti Levu to Beqa Island and dive Fantasea, a site teeming with life and brimming with color. Snap away at Sea Fan Alley, a sprawling collection of the site’s namesake, situated between two rocks and home to sharks and schooling jacks. Or head to Soft Coral Plateau, home to multicolored hard and soft corals and visiting eagle rays and blue ribbon eels. beqalagoonresort.com

ALLISON VITSKY SALLMON. OPPOSITE, FROM TOP: ALEX MUSTARD; GARY BELL/OCEANWIDEIMAGES.COM

Wide Angle

Macro [ L E M B E H S T R A I T, I N D O N E S I A ]

For some underwater photographers, bigger is always better — sharks, whales, towering reef walls — but there’s a whole other world waiting to be explored through a macro lens. One of the best spots to find odd, often camouflaged creatures best-suited for a magnifying lens is Lembeh Strait in Indonesia. “Mimic octopuses, hairy frogfish and pygmy seahorses are three such delights,” says underwater photographer Alex Mustard. Divers scour seemingly barren areas like Hairball and Air Bajo looking for rare creatures that hide along the seafloor. “The reality is that dives can be so productive that the only response is sometimes for the whole group to exit the water laughing,” Mustard says. “It is the only reaction that seems appropriate for sites so phenomenally packed with the weird and wonderful.” sirenfleet.com

Hidden Gems South Australia Explore the kelp beds around Adelaide to spot the strange leafy seadragon, or try the Edithburgh Jetty on the Yorke Peninsula to look for tasseled anglerfish, striped pajama squid and blueringed octopuses. Anilao, Philippines Photographers with a penchant for nudibranchs will find plenty to fill the frame around here. Mainit Muck (aka Secret Bay) also boasts wonderpus octopuses, ghost pipefish and ambon scorpionfish.

South Australia For close-ups of shy leafy seadragons, you’ll need a macro lens — and lots of patience.

Hidden Gems Papua New Guinea Situated in the heart of the Coral Triangle, Papua New Guinea is famed for the vibrant reefs that top the seamounts in regions like Kimbe Bay. Kick off the double seamount at Susan’s Reef for spectacular wide angles of pink sea whips alongside massive anemones and sea fans.

Solomon Islands Arguably one of the most pristine and least-visited dive regions in the world, the Solomon Islands are home to Marovo Lagoon, the world’s largest saltwater lagoon, where photographers can shoot reef scenes on shallow coral gardens inside and vertical walls dropping thousands of feet outside. S P O R T D I V E R . C O M | J U N E 2 0 1 6 53

BRANDON COLE. OPPOSITE: ETHAN DANIELS

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British Columbia To get the perfect split-shot of sockeye salmon, wait for the fish to swim past your dome.

Over/Under [ R A JA A M PAT ]

One of the most visually striking styles of underwater photography is the over/ under shot, a split image that shows both topside and underwater scenes simultaneously. These photos are so captivating because they capture these two worlds in contrast, showing how each unfolds on either side of the water’s surface. The key to photographing a great over/under is finding a location where there’s a buzz of life happening just below the water’s surface. Among Indonesia’s Raja Ampat Islands, piers, mangroves and shallow reefs all offer the perfect backdrop for this photographic style. “Nowhere else on this blue planet contains such a well-mixed gumbo of tropical marine life,” says photographer Ethan Daniels. “Due in part to its geography and geology, corals and innumerable other invertebrates flourish just beneath the waterline of Raja Ampat, creating remarkable shallow-water photography prospects.” Raja Ampat is also home to myriad environments ideal for creating unique and unexpected split images, like shots of juvenile fish hiding among the roots of mangrove forests or soft corals populating the pilings of old piers. “The implausible range of species and habitats, such as mangroves, sea-grass meadows, piers and fringing reefs, is sure to inspire those seeking to experience the most beautiful places on Earth,” Daniels says. aggressor.com

Hidden Gems British Columbia With the right timing, photographers can slip into the chilly waters of British Columbia’s Campbell and Adams rivers to capture incredible over/under shots of salmon as they battle upstream en masse on a one-way spawning run. These images capture two icons of the Pacific Northwest: lush evergreen forests

above, with shimmering masses of salmon below. Chinchorro Bank Some photographers look for unexpected creatures to fill the frame of their over/ under shots, and at Chinchorro Bank, off the southeastern end of Mexico’s Yucatan, it’s possible to go face to face with crocodiles in the lagoon of an atoll.

Fluorescence [ B O N A IR E ]

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Every diver knows that coral reefs boast beautiful colors under the light of the sun or camera strobe, but some put on a different display under the cover of night — if you photograph them the right way. Some corals and marine animals give off a glow when fluorescent photoproteins in their tissue are exposed to certain wavelengths of light. These photoproteins absorb light with shorter wavelengths (ultraviolet and blue, for example) and re-emit them as light with longer wavelengths (green, yellow, orange or red). The rich and healthy reefs of Bonaire are especially great for this unique photographic style. “If you’re looking for the best place to practice your blue-light-photography skills, then Bonaire is waiting for you,” says Barry Brown, a Bonaire-based photographer. “Fluorescence can be found in great numbers on any one of the easy-to-get-to dive sites, and one needs not go deep to find these glowing treasures.” Corals aren’t the only things that put off an otherworldly glow beneath the blue lights. “Pay close attention to fireworms, lizardfish, anemones, flounder and, of course, corals,” Brown says. “You won’t believe the show that awaits every diver on any given night after dusk.” buddydive.com

Hidden Gems Sabah, Malaysia Macro subjects are particularly good for fluoro photography, and the soft corals and unique creatures found around Sabah, Malaysia, offer great opportunities to practice this skill. Try the coral gardens of Sipidan to photograph feather stars, nudibranchs and seahorses under blue light.

Blue Heron Bridge, Florida Blue Heron Bridge is arguably the best macro dive site in the United States, and easy shore access and water less than 10 feet deep makes it even better for shooting fluoro photography. Scour the seabed for strange creatures like stargazers, seahorses and frogfish.

Bonaire Using blue light brings out the glowing fluorescence of orange cup corals; the oranges and reds are algae.

Black Water [ KO N A , H AWA II ]

Some of the strangest creatures in the ocean won’t be found on the reef. In fact, they don’t live anywhere near the seafloor. These creatures float on the currents, living their lives in the endless void of open ocean. For the unique opportunity to photograph this pelagic planktonic world, head to Kona on the Big Island of Hawaii, where dive operators offer black-water diving — night-diving trips to hang in thousands of feet of inky-black open ocean looking for whatever passes by. “Imagine drifting with thousands of feet of water below your fins and waiting for all sort of fascinating creatures to pass by your dive light,” says underwater photographer Michel Labrecque. “It is a real challenge to get good images, but the rewards are spectacular and mind-blowing.” Among those seen are familiar creatures, everything from octopuses to marlin, still in their tiny, translucent larval stages. It’s also possible to see Hawaii’s endemic pelagic seahorse, which lives only in the open ocean. jacksdivinglocker.com; konahonudivers.com

Hidden Gems Greece The region of Chalkidiki is not famous for black-water photography, but it has all the right ingredients to become a prime destination. Aegean Sea dive sites off Greece’s Sithonia peninsula reach great depths close to shore, allowing photographers to float and snap photos of jellyfish, shrimps, mollusks and more. Palau The deep waters off the South Pacific islands of Palau serve as nurseries for the many marine-life species found on Palau’s reef, like boxfish, octopuses and crustaceans. On special black-water diving trips, photographers can also find jellyfish, salps and squid roaming the inky depths.

CLOCKWISE FROM LEFT: BARRY BROWN; MICHEL LABRECQUE; NICHOLAS SAMARAS. OPPOSITE, FROM LEFT: CHRISTIAN LOADER/SCUBAZOO.COM; WAYNE MACWILLIAMS

Greece As night falls, the normally deep-dwelling Pandea conica makes a perfect black-water subject.

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Summertime Shootout The Backscatter Digital Shootout brings passionate photographers together for a week of fun, intensive training and new experiences BY J OA N N A L E N T I N I

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f all the lessons learned at the Backscatter Digital Shootout, one hit me hardest: Book early. As a last-minute opportunist who missed the chance to book a spot at the main venue, I — along with my back — learned quickly that camera gear feels much heavier on land than in water as I made the quartermile trek to the shootout each day on Little Cayman. Yet any physical woes were easily offset by both an edified mind and an expanded photographic tool kit. Established in 2001 by Backscatter owner Berkley White with Dan Baldocchi, this weeklong annual event unites underwater imagemakers and industry experts for a friendly competition doused with educational opportunities. Although it may be geared toward beginners, the depth of coverage will appeal to seasoned pros as well. After transporting thousands of pounds of camera gear to Little Cayman in June 2014, Backscatter practically set up a Caribbean headquarters for the week. “If you’ve ever wondered what a million dollars’ worth of camera equipment looks like, this is it,” says Backscatter CEO Jim Decker. When I asked Decker how he explains the contents of so many Pelican cases to dubious strangers, he simply replies with a straight face: “Vacuum-cleaner parts.” Of

course. Very inconspicuous! The Shootout has dozens of full rigs in various configurations, including full DSLR setups, charged and ready to go each morning for anyone interested in experimenting with new gear. Given the investment involved in purchasing underwater imaging equipment, the try-beforeyou-buy approach seems sensible, yet it is not generally an option for consumers. My photographic prowess only really got into gear once I set aside all of the “toys” and finally focused on the reef. I went on the hunt for the nurse sharks and loggerhead turtles that eluded me yet seemingly serenaded other divers all week on the

10 TIPS ON UW PHOTOGRAPHY Know your rig. Practice with the housing dials topside until it becomes second nature underwater. 1

Lowering the brightness of the camera’s monitor by -1 or -2 can help prevent underexposed images. 2

Shoot in RAW to maintain the greatest control over your images in postproduction. 3

Before heading out for a dive, always take a test shot to ensure everything is working well. Check that strobes fire, an SD card is in place and 4

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dials turn properly. But, most important, make sure the lens cap is off. When in doubt, try these go-to wide-angle settings: f/8, 1/125 sec, ISO 200. 5

Maintain proper buoyancy to avoid backscatter in your images. 6

There are exceptions, but generally try to avoid shooting downward. 7

You can’t make images with a flooded camera. Regularly clean O-rings in well-lit environments, and

always do a dunk test before diving. When shooting video, always try to keep the sun behind you and regularly check the dome port for air bubbles. 9

Don’t be shy with your images. Get feedback. Receiving critiques of your work is a critical step to achieving better images. 10

Trumpetfish are one of the many oceandwelling photo subjects for students to spot off Little Cayman.

PHOTOGRAPHY TRAINING

WHAT TO PACK: With so much demo gear on-hand, it might be tempting to travel light; however, having your own camera rig is still critical for both familiarity and confirmed availability. Bring your own laptop to download and edit images each day. Consider investing in remote luggage-tracking devices for any bags you check containing high-value cargo. Trakdot and LugLoc are two leading brands worth considering.

FROM TOP: COURTESY THE DIGITAL SHOOTOUT; JENNIFER PENNER/ THEDIGITALSHOOTOUT.COM (3). OPPOSITE: JOANNA LENTINI

Pack one or two extra TSA-approved luggage locks to help prevent theft. Plenty of zip ties are a good alternative backup and can serve multiple purposes with dive gear.

sandy shallows. It took some patience and a fair dose of luck, but ultimately I came face to face with a nurse shark snuggled inside a sandy cove in no more than 15 feet of water. But that wasn’t the best encounter of the week. On my way back to the boat, the most magnificent dinosaur came barreling across the reef toward me. It took a moment to process what I was looking at before adrenaline kicked in, propelling me in parallel to this surprisingly speedy behemoth. The loggerhead turtle’s velocity made it nearly impossible for me to look through my viewfinder. So I found shooting from the hip (or in this case, the chest) to be the best technique. When photographing fast-moving marine life, it’s always a good policy to try to position yourself where you anticipate the animal is

headed. By doing so you avoid harassing the creature while optimizing the shot for a more natural composition. The event features daily diving, seminars and critiques, ensuring that participants have enough to keep busy while also leaving enough on the table to lure them back again. (The revolving venues also help keep guests interested, with past Shootouts rotating between Little Cayman, Bonaire and Roatan.) An awards ceremony caps PHOTO TIP

When photographing fast-moving marine life, it’s always a good policy to try to position yourself where you anticipate the animal is headed.

The Backscatter Digital Shootout features seminars, loads of gear to test, pro assistance and the chance to meet fellow photo buffs.

off the event. The camaraderie I witnessed was very refreshing, with veteran participants lending a helping hand to rookies. The Shootout is broken into six categories, with one Best in Show award named in honor of Jim Watt, the first pro photographer to attend the DSO. After his untimely passing in 2007, Berkley says it seemed natural to name the top prize in his memory. Despite the machinegun pace on offer, this event has something for everyone. Work or play at your own pace — just be sure to make plans early or you might need to work a serious shoulder rub into your schedule. For more information, visit thedigitalshootout.com.

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External hard drives are great tools for backing up images. You should create three copies of each photo, so you’ll need ample space. With many batteries to charge and limited outlets available, a universal power strip comes in handy. Always have an extra set of fully charged batteries ready to go. Pack a small tool kit for any last-minute housing adjustments. Just be sure to put them inside checked baggage when flying. A small headlamp to clean dirty O-rings can be a real lifesaver in poorly lit hotel rooms. And don’t forget your housing/strobe manufacturer’s O-ring grease. With so many shooters around, it doesn’t hurt to have labels or markers handy for your camera equipment. And, most important, don’t forget to bring your energy. The event certainly requires you to tap into your reserves from time to time!

TRENDS

Emerging Photo Destinations Industry pros dish on the up-and-coming photo hot spots around the globe

– Christian Skauge

Oman

“With vast deserts and rich history, Oman is becoming an increasingly popular dive destination. Oman’s coastline is relatively untouched, and there is great diving near the capital of Muscat, Mirbat and Salalah, a paradise to photographers.” — Kadu Pinheiro

Sri Lanka “Everyone will see some whale action with Aggressor Fleet’s new Sri Lanka destination. Blue, sperm, humpback and false killer whales are among the 13 species that can be seen here.” — Wayne B. Brown Sanana “Imagine being the first divers to explore a location — that’s how it felt when we shot images around the remote island of Sanana, Indonesia. We saw schools of barracuda, sweetlips and trevally, and walls covered in soft coral and tunicates.” — Jason Isley

Cuba

“The Gardens of the Queen off Cuba’s southern flank is a maze of mangroves ringed by rich coral reefs that hold great promise — including sharks and crocodiles — for shooters keen on capturing the essence of frontier Caribbean diving.” — Brandon Cole

Romblon

“Most photographers will not switch from their macro lenses at sites off Romblon — a remote, 32-square-mile island in the Philippines — but there are also beautiful wide-angle scenes with colorful hard and soft corals and a variety of fish species here.” — Todd Aki

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CLOCKWISE FROM TOP LEFT: CHRISTIAN SKAUGE; BRANDON COLE; TODD AKI; KADU PINHEIRO

Norway

“Cold-water muck diving, at sites like the great house reef at Gulen Dive Resort in Norway, is in effect the same as in the tropics, but in rougher conditions and with a drysuit. It’s all about finding and photographing weird critters.”

Southern California “I have noticed an increase in the number of out-of-state and foreign divers looking to experience the rich kelp forests of Southern California. The dynamics of the temperate kelp forests present both unique challenges and opportunities to underwater photographers of all skill levels.” — Michael Zeigler

Get the Wheels Turning

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P H O T O B Y A L E X M US TA R D S S TH ISTLEG O RM, R E D S E A I’m no stranger to the SS Thistlegorm. The 75-year-old wreck and its fleet of more than 100 sunken military motorcycles are full of history and intrigue, but I have my mind set on a certain bike. Some were made by British motorcycle manufacturer Norton, but this is a BSA M20 bike. Of all the motorbikes on the wreck, this one is the most photogenic, being easily accessed and in good condition. I know it well too. It earned the nickname Ellie’s Bike thanks to a wellknown photo of mine from many years ago that featured my wife Eleonora. With experience in mind, I approach the bike with a plan. Anyone who has ever dived at night will recognize the atmospheric beams created when your buddy’s light silhouettes a piece of the reef or a wreck. That’s my inspiration: to photograph the motorbike with big beam backlighting. In addition to my normal camera, I take down two off-camera strobes and place them on the deck behind the wheels of the motorbike. I set them on high power and set my on-camera strobes on low power, so the only visible light in the image is the backlight. The key is to position the off-camera strobes so they are completely hidden from the camera lens. Once I get the spacing just right, their light seems to magically appear, and I’m able to expose for the beams so they are dramatic in the final image. The creative lighting works like a charm. I take another version of the shot with the motorbike illuminated by my on-camera strobes as well. Both lighting options produce great photos. > C A M E R A N I KO N D 4 ( S U B A L ND4S HOUSING; ZEN 230 DOME) > LENS SIGMA 15MM F I S H E Y E > S T R O B E S S E AC A M 150 ON HOUSING; INON Z240 OFF-CAMERA > S E T T I N GS F / 1 1 , 1 / 3 2 0 S E C , ISO 1250

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HOW THE Y G OT

The Shot

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Live and Learn Raja Ampat provides a brilliant classroom for underwater photographers in training BY MIKE HABER

CLOCKWISE FROM TOP: SCOTT JOHNSON; ISTOCKPHOTO (2). OPPOSITE, CLOCKWISE FROM TOP: SCOTT JOHNSON (2); ISTOCKPHOTO (2)

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o place on Earth is better-suited for perfecting underwater photography skills than the pristine reefs that surround the many islands of Indonesia. With warm, crystal-clear water and abundant subjects both great and small beneath my feet, I dive in to teach in the most exquisite classroom environment imaginable. Earlier this year, eight eager underwater photographers joined me aboard Raja Ampat Aggressor for the first of the year’s eight scheduled Jim Church School of Underwater Photography courses. Aggressor Fleet’s menu of exotic destinations offers students a wide range of opportunities to sample the underwater photo treasures of the world from manta rays to nudibranchs. The trip’s all-inclusive nature allows the staff to provide hands-on assistance. DIVE Since we are all together throughout the day, the IN instructors have the ability to personalize each phoLiveaboard Life tographer’s training with the biggest luxury: time. Raja Ampat From the moment guests arrive on board, the staff Aggressor is much more than makes itself available for equipment-assembly assis- a floating photo tance, advice and even simple encouragement. studio. It sails in As the 10-day trip progressed, we gathered the Coral Triangle year-round, offertogether for daily formal lectures, designed to help ing itineraries the students advance their skills with topics ranging in Raja Ampat, Cenderawasih Bay, from understanding camera settings to composition Banda Sea and Triton Bay. and strobe lighting. Some students were just starting out while others, aggressor.com who had traveled with us before, were already proficient photographers. The goal is to provide meaningful assistance to guests regardless of their abilities. Diving four times a day allows us plenty of opportunity to shoot and review, and I can’t stress enough how important this process is. Analyzing photos with a vivid memory of the shooting situation provides the necessary tools to make significant corrective action. The most time the instructors spend with students each day is during this evaluation period. It’s during those times that the theoretical and the practical come together, producing lightbulb moments — where the fun really starts. The staff knows it’s done its job at the end of the week when the students share their images in a slide show. The results, week after week, never cease to impress. I have the distinct luxury of sitting back and watching a digital display of remarkable photos that some hardly thought was possible just a week earlier.

IN FOCUS

Pygmy Seahorse Photographers love to keep an eye out for this tiny, elegant creature — a pygmy is typically less than an inch in height — on its soft-coral home.

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Blenny With a large mouth and eyes, this macro critter allows shooters to capture animated expressions — a nice ingredient for compelling images.

JOURNEYS

Day 7

Photo Composition Our first day in south Raja Ampat takes us to Sagof, Baby Rock and Balbulol, where huge blooms of soft coral dazzle us with their color. Tomato clowns, smiling tubeworms and eyespot blennies always amuse.

Postproduction Gus Ridge and Shadow Reef are both wide-angle dreams. The thriving, colorful reef impressed, but the highlight of the day was a visit by two giant black manta rays showing off at a cleaning station.

T AG G R PA

Day 5

Lighting with Strobe An impromptu visit by feeding manta rays is a breathtaking surprise at Manta Sandy. Later, an amazing night dive wows us with reef squid, bobtail squid, octopuses and the always-magical cuttlefish.

ROUTE Clockwise from left: a pair of Coleman shrimp on a radiant fire urchin off Ambon Island; Raja Ampat Aggressor; a tasseled scorpionfish off Koon Island.

THE BOAT Raja Ampat Aggressor Total passengers: 16 Cabins: 8 Total crew: 13 Length: 100 feet Number of decks: 3

Frogfish With the ability to change coloration to match its environment, the clown â&#x20AC;&#x201D; or warty â&#x20AC;&#x201D; frogfish is a wonderfully wacky subject that can be found among sponges or corals.

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Nudibranch Interesting anatomical features and exquisite coloration make the nudibranch a prized sight for underwater photographers looking to capture an out-of-the-box shot.

SOR TH

Day 3

Understanding Camera Settings Dive sites Friwinbonda, Blue Magic and Mioskon overwhelm us with macro wonders, including a blue-ringed octopus and enough pygmy seahorses to satisfy all of the photographers.

Day 1

R A JA A

CLASS HIGHLIGHTS

VIDEO

A diver keeps his GoPro video camera steady as bigeye trevally spawn in Mexico’s Cabo Pulmo National Park.

FIVE EASY VIDEO TIPS

1. Focus on the eyes.

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Critical focus on the eyes will connect the viewer with your subject, whether it’s a massive fish or tiny macro critter.

Get Started in Underwater Video

2. Use video lights or red filter. A video light will bring out the vivid colors of the reef and marine life in front of you. Filters are a great option for smaller cameras.

The skills and techniques that will help set your stills in motion BY BRENT DURAND

ictures might be worth a thousand words, but the video you want to create, and put together a sometimes video is simply the best way to tell storyboard. As you finish each day of your dive trip, a story — especially when documenting interesting you can reference the storyboard to see what shots movement and behavior underwater. you really want but haven’t captured yet. But getting started can be intimidating. There It’s very easy to point the camera at a subject, but are complex camera settings, massive amounts of you’d be surprised by how shaky the footage is. Exfootage to store and sort, and the ever-looming ed- perienced shooters make a concerted effort to hold iting process. These processes are often viewed as the camera as steady as possible throughout the shot. time-consuming obstacles to sharing fun videos Shoot with the sun at your back. The sun will light with friends, but the truth is that once you take the the reef and marine life in front of you, instead of first step, they become tools for creating creating harsh silhouettes. This will also PLUG a great video. And since many cameras bring out the most from underwater red IN shoot full HD video, there’s no reason not or magenta filters. The Underwater to try shooting on the next dive. Focus on composition for each shot. Photography The first step is to check your cam- Guide The No. 1 The same composition rules that impact era’s video settings. Most new compact, resource for learnstill photography apply for video. Fill the mirrorless and DSLR cameras record at a ing underwater frame with your subject. Consider the photo and video: 1080p resolution (full HD) and 30 frames uwphoto rule of thirds. Try to focus on the subject’s per second. If your camera has the ability graphyguide.com eye (or rhinophores for nudibranchs). to record 1080p at 60 fps, that’s a great opAfter each dive day, try to eliminate all tion since you will always be able to add a the bad clips while they are still fresh in slow-motion effect while editing. your memory. This helps make the editing Unless you simply want a short clip process less intimidating, and will get you for social media, it’s smart to think about past the most difficult step: the first. 66 J U N E 2 0 1 6 | S P O R T D I V E R . C O M

3. Use a tripod. A steady shot is key in underwater videography. Using a tripod, especially for macro subjects, will show the subject’s movement without distracting camera shake.

4. Add some lifestyle shots. Spice up your underwater video by shooting some intro and closing shots from the resort or boat, like divers entering the water, the view coming back to the dock or a sunset.

5. Include some music. Adding music to your clip or edited video will make it feel immensely more professional.

TRENDS

Something New Under the Sun Pros weigh in on how the game is changing and what is yet to come

Reverse Ring Macro

“Macro photographers can now use any lens and make it into a macro lens by simply inverting and using a step up/down ring or reverse ring adapter. The technique not only gives you magnification, but also crazy bokeh (selective blurness).”

CLOCKWISE FROM TOP LEFT: IMRAN AHMAD; ALLISON VITSKY SALLMON; MIKE BARTICK; COURTNEY PLATT. OPPOSITE: OCTAVIO ABURTO

— Imran Ahmad

Higher ISO

“I view higher ISO with less noise as the singularly most exciting advancement in photography since the Nikon D1X. Previously impossible shots, like this stingray split at dusk, will only get easier as ISO and noise continue to improve.” — Courtney Platt

Drones “One of the hottest new products to hit the underwater photography world has nothing to do with underwater photography. Consumer drones, like the DJI Phantom 4 (shown below), unlock the vertical axis for freedom of camera movement, and photographers have been bringing them to dive destinations worldwide. It’s been a long time since I’ve heard about a dive trip that doesn’t include at least one drone.” — Eric Cheng

Super Macro “Recent products, like the Nauticam SMC and Multiplier one, have taken super macro to a whole new level. I can now fill the frame with a subject that is only about 3 mm in size, and I am frequently shooting subjects that are about the size of a pinhead. If you have patience, it opens a new unseen world.” — Todd Winner

Fisheye

“Our favorite new — or shall we say revived? — gear trend is the round fisheye lens. Using a round lens enables photographers to showcase 180-degree views of subjects. I think this works especially well for round subjects (like the brain coral, above).” — Andy Sallmon and Allison Vitsky Sallmon

Continuous Lighting

“As technology and engineering improve, I hope to see lights that reduce weight, last longer and decrease disposable-battery waste. Using continuous lighting adds to creative image-making and effective fill lighting for both still images and video. ” — Mike Bartick

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HOW THE Y G OT

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The Shot

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Taking a Shot In the Dark PHOTO BY CHRISTIAN VIZL T U L U M , M E X I CO At the surface of Cenote Angelita on Mexico’s Yucatan Peninsula, there is not a whole lot to take in. But once I reach a depth of about 90 feet, the features that have drawn me to shoot cenotes for years become apparent: A magical layer of sulfur lines the bottom with tree branches sticking out, creating a dark and creepy environment. The lighting in the cenote, combined with its eerie physical features, creates a unique setting for underwater photography. My next goal was to find a suitable subject. I was hired by a local dive center to take pictures of the cenotes for its website. We spent three days shooting three cenotes, and Angelita — just a 30-minute ferry ride from Cozumel — was selected for its otherworldly beauty and enchanting atmosphere. But even in the most alluring underwater environments, it helps to have a savvy model. Before the dive, I knew I wanted to use a diver with a light in the image, so I asked the dive-shop owner to be my model. He is a very experienced cave diver with perfect buoyancy control, so it was easy for me to put him exactly where I wanted. This allowed me the ability to frame all the interesting elements of the scenery and create an interesting composition. As I start taking photos, I notice a final touch that I did not plan. I decide that the image will have a more powerful visual effect if the diver’s light is pointing straight at the camera, so I ask my model to make it happen. I was excited with the final result. I knew I had a strong image, so I rushed over to him to show him what we had created. > CAMERA CANON 5D MARK II ( AQ UAT I C A H O U S I N G ) > L E N S C A N O N 1 6 -3 5 M M > S T R O B E S N AT U R A L L I G H T > S E T T I N GS F / 2 . 8 , 1 / 1 2 5 S E C , ISO 1250

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HISTORY OF UW PHOTOGRAPHY

Milestones in Underwater Imaging Inventions, innovations and risks that helped make modern-day photography and videography possible beneath the sea

1850 1860

1870

1914 John Ernest Williamson and his brother, George, shoot the first underwater motion picture.

1856 William Thompson takes the first underwater photo using an early version of a pole camera in the U.K. Thirty-seven years later, Louis Boutan takes a photo of a diver (right) while submerged.

1926 Dr. William Longley and National Geographic photographer Charles Martin take the first underwater color photo: a hogfish off the Florida Keys.

1910

1920

1956 Jacques-Yves Cousteauâ&#x20AC;&#x2122;s The Silent World wins the Palme dâ&#x20AC;&#x2122;Or at the 1956 Cannes Film Festival.

1940

1890

1956 Luis Marden joins Cousteau for a trip from France to the Suez Canal and returns with 1,200 images, the largest collection of underwater color photos at the time.

1950

1900

1960 The first self-contained 35mm underwater camera, the Calypso, is released. It was later rebranded as the wildly successful Nikon Nikonos.

1960

1970s David Doubilet pushes the limits in underwater photography, crafting many of the techniques used as common practice today, including the over/ under shot.

2010

2008 Manufacturers offer DSLR cameras with the ability to record highdefinition video, allowing photographers to transfer quickly between capturing stills and HD video.

2000

1990

2004 The first GoPro video camera is sold, introducing a new era of underwater videography for recreational divers.

1994 Howard Hall directs the first underwater IMAX 3-D feature, Into the Deep, bringing the ocean to life for viewers in a new dimension.

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1980

1985 Oceanographer Robert Ballard and photographer Emory Kristof take the first photos of the doomed Titanic on the ocean floor.

FROM TOP: LOUIS BOUTAN; AF ARCHIVE/ALAMY; DAVID DOUBILET/NATIONAL GEOGRAPHIC CREATIVE; EMORY KRISTOF/NATIONAL GEOGRAPHIC CREATIVE

THE PHOTO IS SUE

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1930

1880

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21. Backscatter East & West Underwater Video and Photo Now with 2 locations & the most experienced staff to serve your underwater imaging needs. Page 12 www.backscatter.com

14. DAN - Leading dive safety through research, education, emergency assistance and insurance programs for 30 years. Page 45 www.diversalertnetwork.org

22. Sealife Cameras - Underwater cameras and accessories to help you explore the underwater world. Page 7, 20, 71 www.sealife-cameras.com

102. Ultralight Control Systems 25, 26

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100. Backscatter 101. SeaLife

103. XIT 404

26, 27 24

LEARN FROM THIS

Crashing the Party Rising waves put two divers — and their photo gear — in jeopardy during a shore exit BY KARL SHREEVE S

THE PHOTO IS SUE

2016

1. It’s not difficult to enter and exit with mild surf, but larger surf might require training and experience.

2. Significant surf rise during a dive is rare, but it happens. Check surf reports. If possible, check the surf mid-dive.

INCIDENT REPORT DIVERS: Albert (Instructor, 1,100-plus dives) and Dawn (Rescue, 500-plus dives) SITE: Southern California beach adjacent to a rock reef CONDITIONS: Mild

3. Large accessories complicate entering and exiting in surf. Risk of loss and damage is high if conditions become too rough.

4. Surf diving practices vary locally. See an area PADI Instructor or Dive Center for an orientation.

Take entering and exiting through surf into account when planning gas use. If your dive goes as planned, you should have your reserve when you’re ashore after the dive.

(waist-high) surf, 70˚F water, 30-foot visibility

xperienced divers Albert and Dawn watched the wave pattern, then entered the water with hopes of photographing sea lions. Albert carried a large DSLR camera system. Dawn towed their dive flag and float with a quarter-inch line on a caddy. After a routine mild surf entry, they descended outside the surf zone to 20 feet, then followed the reef out to 65 feet. There were no sea

lions, so Albert shot photos of Dawn in a kelp stand and with a spider crab. Reaching turn pressure at 38 minutes, they followed the bottom back. At 20 feet, they felt wave surge, which hadn’t been present outbound. Surfacing with 1,000 psi (Albert) and 1,200 psi (Dawn), they found large waves breaking almost head-high during the lulls, and higher during peak sets.

What They Did Wrong They didn’t check the surf forecast, failing to note the changing conditions before it was too late. What They Did Right Albert and Dawn saved ample gas for the exit. They mastered surf entries and exits before diving through surf with a large camera system. They timed the surf pattern, entering and exiting at the proper times.

Sport Diver (ISSN 1077-985X) is published 10 times per year (J/F, March, April, May, June, July, Aug., Sept., Oct., N/D) by Bonnier Corp., 460 N. Orlando Ave., Suite 200, Winter Park, FL 32789. Basic rate $19.97 for one year. (Canada residents please add $12 per year for postage; all other foreign residents please add $24 for postage, U.S. funds only.) Periodicals postage paid at Winter Park, FL, and additional offices. Contents copyright 2016 by Bonnier Corp. For subscription information or questions, email PADcustserv@cdsfulfillment.com. Contributions: Editorial comments, articles, photography or artwork should be addressed to Editor, Sport Diver, P.O. Box 8500, Winter Park, FL 32790. The editorial staff can also be reached via the Internet by addressing electronic mail to editor@sportdiver.com. Not responsible for solicited or unsolicited material. Advertisers: UPS and overnight delivery to 460 N. Orlando Ave, Suite 200, Winter Park, FL 32789. Information and media kits are available by calling 407-628-4802. The contents of this publication, including diving techniques and use of diving equipment, reflect the individual experiences of the writers and are not necessarily the recommended practices of Bonnier Corp. and are not intended for the sole purpose of diving instruction. Individuals seeking to participate in activities described in this publication should be properly trained and/or certified for such by a qualified professional diving instructor. Diving or use of diving equipment by untrained individuals can lead to serious injury or death. Neither Bonnier Corp., Sport Diver magazine nor its contributors shall be liable for any mishap claimed to result from use of such material. POSTMASTER: Send address changes to Sport Diver magazine, P.O. Box 6364 Harlan, IA 51593-1864. CANADA POST: Publications Mail Agreement Number: 40612608. Return undeliverable Canadian addresses to: IMEX Global Solutions, P.O. Box 25542, London, ON N6C 6B2. Printed in the USA.

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ILLUSTRATION: THOMAS BURNS

Five Tips from This Incident

Realizing that the exit would be challenging, they timed the lulls and peaks, and Albert made his camera as compact as possible. At a lull, they swam rapidly shoreward, switching to their regulators as they reached the surf zone. Knowing that they would likely get knocked down trying to walk out, the two divers descended, crawling out of the pummeling waves on the sand. In shallow water past the main surf zone, a wave swept Dawn’s fin away as she removed it. Albert almost lost the camera system twice; it seemed OK except for scratches and sand remaining in the controls. Their dive flag was gone, but the float survived.

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