Scubashooters net e mag issue n37 apr 2018 by Scubashooters Underwater Photography

ISSUE

N°38

A P R 2018

Portfolio by Beth Watson

Conserve and Preserve

Travels

Alien’s Tale The Pialassa Baiona

Marine Biology by C. Fasano&Wyland Tiger Sharks

Tecnique by A. Giannaccini

in honokohau

When UWP meets Art

Preview

Deep Visions 2018

Hugyfot HFN-D850

Judges, Prizes, Categories, Rules

is back!

Share the beauty and win amazing prizes Entries accepted from 1st March till 22th May 2018

sponsors

DED N E T X E E N DEADLI

categories DSLR MACRO DSLR WIDEANGLE CC MACRO CC WIDEANGLE SHARKS AND CETACEANS PORTFOLIO (5 TO 7 PICTURES) FRESHWATERS BEHAVIOR BLACK & WHITE DIVE DESTINATION (3 TO 5 PICTURES) NUDIBRANCH

special prizes BEST OF SHOW BEST SNOOTED PHOTO BEST MIRRORLESS PHOTO BEST ENVIRONMENTAL PHOTO

Dear readers, this month we launched Deepvisions 2018 UWP Award. This year we managed to bring together a prize pane worth well over 60000 USD and I would like to take this opportunity to thank again, publicly, all our sponsors those like INON Japan which has been supporting us since the first edition and those like Crystal Blue Resort and Deepblu which entered later but still show us a great trust and of course all the others. Deepvisions organization is possible thanks to you dear sponsors: visit https://bit.ly/2FqSl6I to have a look at our prize panel and join Deepvisions 2018. A special thanks goes also to our International Jury, Mr Henry Jager from Switzerland ( Head of Jury ), Mrs Beth Watson from USA, Mrs Isabella Maffei from Italy, Mrs Ivana Orlovic from Serbia, Mr Roland Bach from Spain, Mr Davide Lopresti from Italy and Mr Fabio Iardino from Italyâ&#x20AC;Ś. they have done a great job so far and another tough one is awaiting them after 22nd may, dead line of Deepvisions 2018. So stay tuned if you want to feed your eyes, your imagination and your soul with the amazing winning shots of this yearâ&#x20AC;&#x2122;s Deepvision edition.

Marino Palla Owner and Founder Scubashooters Network

Cover image by: Beth Watson

CONTENTS April 2018 3

EDITORIAL by Marino Palla

CONTEST - DEEP VISIONS 2018 - Category and Prizes

10 TRAVELS: Alienâ&#x20AC;&#x2122;s Tale: The Pialassa Baiona by M. Maccarelli & M. Zannini

MARINE BIOLOGY: Tiger Sharks in Honokohau by C. Fasano & Wyland

CONTEST - DEEP VISIONS 2018 - The Judges

CONTEST - DEEP VISIONS 2018 - Prizes

PORTFOLIO: Beth Watson Conserve and Preserve 4

102 PREVIEW: Hugyfot HFN-D850

112

TECNIQUE: When UWP meets Art by A. Giannaccini

126 TRAVELS: YOS Dive Lembeh Diverâ&#x20AC;&#x2122;s Paradise

136 DAN EUROPE: Snorkel Pro & Cons

146

CONTEST - DEEP VISIONS - Rules

V erein S cubashooters - 8952 S chlieren G raphic

E ditor : F abio S trazzi - S witzerland 38668878

design and supervising :

S ilvia B ogni L ayout : E lisa F urlani , S ilvia B ogni T ranslations : P iera P irini

Categories and Prizes PORTFOLIO: 1) MALUKU DIVERS (7 nights full board + 3 dives each day x 1 pax)+ EMOZIONI (4 fine art stamps 60x40) 2) DAWOSUB (Athos M3 Speleosub torh) 3) INON (LF 1300 EFW torch + UV variable red filter M67)

COMPACT CAMERA WIDEA 1) CASA BAHIA ANIL board x 1 pax + 2 2) FLEXARM (2 carb FOTOSUB SHOP ( compact cameras 3) ISOTTA (100$ v

DSLR MACRO: 1) CRYSTAL BLUE RESORT ANILAO (7 nights full board x 1 pax and dive package) 2) INON (S2000 strobe) 3) IKELITE (Gamma Mark 2 torch) + FLEXARM (Plastic carbon arm 12 cm) + FLEXARM (clamp)

CETACEANS AND SHARKS: 1) CELEBES DIVERS pax full board + 2) SUBAIA â&#x20AC;&#x201C; CAMPAN pax + 3 dives in a 3) PRINK (trolley by FLEXARM (clamp)

DSLR WIDEANGLE: 1) DHARAVANDHOO DIVERS (7 nights for 2 pax fullboard + 10 dives) 2) CARBONARM (2 Silver Carbon arms 50 cm) 3) IKELITE (Gamma Mark 2 torch) + FLEXARM (Plastic carbon arm 12 cm) + FLEXARM (clamp) COMPACT CAMERA MACRO: 1) GIOSIM (DSLR UW housing) 2) SHEIKH COAST DIVING CENTER (10 dives package) 3) ISOTTA (100$ value voucher)

FRESHWATERS: 1) COCOTINOS LEMB + dive package + 5 2) BINTANG DIVERS 3) FLEXARM (carryn + 2 triple clamps

BLACK AND WHITE: 1) CASA ESCONDIDA pax full board) 2) CAMPI FLEGREI D x 1 pax + 4 dive 3) HAYBOLS ANILAO shore dives)

ANGLE: LAO (4 days/3 nights full 2 dives each day x 1pax) bon fiber arms 25 cm) + (Auto magic filter for s) value voucher)

(7 days and 6 nights x 1 2 dives each day) NIA DIVERS (2 nights bb x 1 archaeological area of Baia) y American Tourister) + )

BEH (1 week full board x 1 pax 50% discount for the 2nd pax) S BALI (10 dives package) ng handle with 1 inch balls s)

A ANILAO (4 days/3 nights x2

DIVING CENTER (2 nights bb es in Baia) O (2 nights bb x 1 pax + 2

BEHAVIOR: 1) FISHERMEN’S COVE PUERTO GALERA (7 nights full board for 1 pax + dive package) 2) FOTOSUB SHOP (Noodilab Moby macro lens) 3) IKELITE (Gamma Mark 2 torch) + FLEXARM (plastic carbon YS mount) + FLEXARM (clamp) DIVE DESTINATION: 1) CAPE PAPERU RESORT (6 nights full board for 1 pax + 10 dives) 2) SHEIKH COAST DIVING CENTER (10 dives package) 3) IKELITE (Gamma Mark 2 torch) + FLEXARM (plastic carbon YS mount) + FLEXARM (clamp) NUDIBRANCH: 1) YOS DIVE RESORT LEMBEH (6 nights/7 days full board for 1 pax in twin sharing + 14 dives) 2) FISHERMEN’S COVE PUERTO GALERA (10 dives package) 3) IKELITE (Gamma Mark 2 torch) + FLEXARM (plastic carbon YS mount) + FLEXARM (clamp)

BEST SNOOTED PHOTO: DEEPBLU Cosmiq+ dive computer BEST MIRRORLESS PHOTO: DEEPBLU Cosmiq+ dive computer BEST “ENVIRONMENT” PHOTO: DEEPBLU Cosmiq+ dive computer BEST OF SHOW: ASIA GRAND VIEW CORON (4 days/3 nights bb x 2 pax) REGGAE DIVING CENTER CORON (3 days of dives x 1 pax) FIXNEO (Fixneo torch 1500 SWR) FLEXARM (Plastic carbon arm set Universal light mount)

TRAVELS Alienâ&#x20AC;&#x2122;s Tale The Pialassa Baiona Words and Pictures

Marco Maccarelli & Massimo Zannini

Behind the coastal line of Porto Corsini in Ravenna, placed between the Lamone River and the Candiano port channel, there is a particular lagoon environment of transitional water: the Baiona valley. By “Pialassa”, we mean that portion of the swamp where the waters both from underground and from the veins connecting it to the sea converge. Possibly the name comes from the Latin “Pilasca”, meaning wineskin or sinkhole, which “Pialassa” is the Venetian form, seeming to confirm the idea of “place that takes and leaves” the water. It stretches for about eleven square kilometers and it is disturbing its proximity to the industrial area, consisting of production facilities of some among the largest Italian companies. The eyes inevitably fall on the huge chimneys standing out in the sky, releasing smokescreens that often saturate the air of foul-smelling essences, thus imposing legitimate doubts about the quality of the surrounding waters. The presence of old fishing huts tells the story of this place and characterizes its particularly evocative landscape, especially at sunset. 12

Just inside of one of these huts, still available to visits, Giuseppe Garibaldi found refuge during his escape in 1849 and there, on August 4 of the same year, his beloved Anita met her death. The lagoon is characterized by large stretches of water and long canals, partly man-made, partly natural, where strong tidal corrent favor deposi-

sediments forming sporadic emerged areas. The surrounding vegetation provides an ideal habitat for several species of birds that nest there. There are, in fact, both resident and migratory birds as the Pygmy Cormorant, the Glossy Ibis, the Whiskered Tern and other Charadriiformes, and Anatidae. Under the water surface, in a sediment seabed, find their place both native species and alien ones from distant seas. There are several hypotheses about how these organisms have come up to here. The most credited is due to a controversial technique: the management of ballast water by merchant ships. The water, loaded in far seas to compensate the navigation trim, is discharged by large ships off the coast (fairly subjective limit) before docking and perform cargo operations. The adoption of this practice would explain the presence of foreign organisms in the local environment, which obviously find the

ideal conditions such as temperature, calm water and regular tidal currents, to colonize the area and reproduce. In addition to alien species, also sea slugs and nudibranchs, seahorses, crabs and shrimp, tiny organisms and other microscopic life forms, typical of the Mediterranean Sea, take advantage of these peculiar conditions. 17

Among the detected species, especially nudibranchs are the masters. During the breeding season, in early spring, they are literally covering the seabed with their eggs, coloring it with multiple hues. A little later, after the hatching of the eggs, the new-

borns will enliven the seabed. A true explosion of life appears in this period to anyone infringing the water surface, arousing astonishment and disbelief. Advancing in the murky water, incredible forms of life unveil themselves in all their flamboyance. The “locals” Among the native species, it is easy the encounter with the Janolus cristatus, the Cratena peregrina and other aeolid nudibranchs like Flabellina affinis and Facelina bostoniensis, small shrimps, crabs, short-snouted seahorses, blennies including the flashy peacock blenny and other species, typical of the Adriatic Sea. The “aliens” What is amazing is the massive presence of organisms that until a few decades ago could only be found in geographic areas far away. An example is the presence of the red alga Agardhiella subulata, native to the Gulf of Mexico and the Atlantic coasts. Among his round and fleshy branches, it is easy to find the Caprella scaura 20

and the Caprella penantis: precisely merchant ships most likely introduced the first, native to the Indian Ocean, particularly Mauritius. There are also nudibranchs like the Spurilla neapolitana, common on both extremes of the Atlantic, from Brazil to the European coasts, as well as the Facellina auricolata, distributed in the North Atlantic area up to Norway. Many others would be to list, like the Eubranchus pallidus, a native of the north Atlantic up to the Barents Sea, the Polycera hedepthi, native of the northeastern Pacific, not to mention the Favorinus branchialis, native to the North Atlantic. In short, a real invasion taking place slowly but relentlessly, due to the hidden hand of the humankind who has changed, with dramatic consequences and on several other circumstances, entire ecosystems. However, this does not seem to be the case of “Pialassa Baiona”. A paradise for macro photography, where curiosity and patience will be rewarded with surprising encounters, transporting us for a moment to distant seas: the undisputed reign of the “muck dives”. Diving tips: Period: The best season to dive there is spring. Being an area subject to strong tidal ranges, it is useful to consult the web sites with updated specific forecasts, such as www.meteopesca.com/it/emilia-romagna/porto-corsini, so that you can program the dive during the pause occurring between low and high tide. It is also important to consider the tidal index, that is, how much is the level difference between the one and the other. 21

Logistics: The diving takes place directly from the shore, from the parking area. Therefore, accessing the water is really easy and convenient, as well as the exit. How to reach Baiona: Take the highway towards Ravenna and follow the signs to Port Corsini, state road 309, then follow the signs towards Baiona industrial area. The valley will be on your left, immediately after the bridge over the harbor channel.

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MARINE BIOLOGY An Anomaly Of Nature Tiger Sharks In Honokohau, Hawaii Words and Pictures

Charlie Fasano & Wyland

Another summer day in Hawaii begins with the sun cresting over the ridge of Mauna Loa. Inside Honokohau harbor, the busiest harbor on the Big Island of Hawaii, numerous commercial and recreational vessels begin their preparations for their day’s activities on the ocean. The sea is calm and the air still as we load our gear onto our vessel. From my many years of personal experience diving this bay, I knew it would be another pristine day just outside the Harbor. THE HARBOR Nested inside Kaloko-Honokōhau National Historical Park, along the southern boundary, an anomaly of nature exists. The bay has been called many names: “Crescent Beach”, “Alua Bay”, “Dog Beach” (because dogs are allowed to run here), “Naked Beach” (since it was once a nude beach), “The Can Dive” (for the infamous green aid to navigation), “Manta Ray Bay” (because manta rays frequent the cleaning stations), “The Harbor”, and now, as I call it in summer, “Tiger Alley.” The harbor proper, where the vessels are sheltered, was built by the US Army Corps of Engineers in 1970. The lava rock was blasted with dynamite and carved with large hydraulic chisels to form a protective harbor that houses more than 230 vessel slips. Of the approximate 190 km of shoreline along the west side of the Big Island, this is the busiest bay. Starting many hours before dawn and through the hours after midnight, vessels enter and leave the harbor. At the “wash down” area, many different vessels gather to 28

either begin their preparations for the work day ahead or are finishing the clean up from hours, days, or even weeks at sea. THE NATURE As vessels leave the harbor mouth, a single green buoy, an aid to navigation, assists their path. Underwater, the amount of biodiversity along this path is greater than in most hikes through dense rainforests. If you could remove the water from the bay, you would see an expansive underwater coral reef playground.The wealth of nature along this path boggles many marine naturalists and scientists. On any given day, the usual players can easily be found. As you jump off the lava rock, you are immediately part of a young and healthy coral reef ecosystem. Humuhumu-nukunuku-āpua’a (Reef Triggerfish; Rhinecanthus rectangles), the official State Fish of Hawaii, are aggressive to anyone who swims within vicinity of their nests. Schools of Yellowfin Goatfish (Mulloidichthys vanicolensis; Hn*: week ‘ula), Raccoon Butterflyfish (Chaetodon lunula; Hn: kīkākapu), and Heller’s Barracuda (Sphyraena helleri; Hn: Kawele’ā) are found at their usual spots on the reef. Spotted Eagle Rays (Aetobatus narinari; Hn: Hīnīmanu) fly about like birds of prey, visiting the numerous cleaning stations that are frequented by many other fish, including Manta Rays (Manta birostris; Hawaiian: Hāhālua). Diving and observing everyday for a whole year is needed to view all the various fish and invertebrates living in this area, especially inside the coral structure.The path through the coral, heading towards the green buoy, ends when the coral ledge meets a large sand shelf at 20m. The coral ledge gives way to an all sand bottom that also hides a wealth of marine life. A large population of Hawaiian Garden Eels (Gorgasia hawaiiensis) populate the sandy bottom, They sway uniformly with the water flow to catch prey floating by. Various forms of crab and mantis shrimp hide in the sand. This is also a great place to view Flying Gurnards (Dacttylotena orientalis; Hn: Loloa’u) and be mesmerized by their colorful wings. The bay also offers the most wonderful anomaly in my opinion: Spinner Dolphins (Stenella longirostris; Hn: Naia) that frequent the bay for resting and sleeping. Again, this is the busiest bay along 190 km of coastline, yet large pods of dolphins still elect to use this bay as a daytime resting site. It is a widely held belief that spinner dolphins need 29

quiet and undisturbed rest to regain their energy for their nighttime open ocean fish hunts.Yet against this conventional wisdom, they still elect to use this busy harbor mouth as a place of rest and sleep. Even with the threats of numerous vessels racing above, tiger sharks congregating in the vicinity, and popularity of scuba divers swimming in the bay, the Spinner Dolphins are seen resting and sleeping frequently. ULIULI KAI HOLO KA MANĹ&#x152;: Where the sea is dark, sharks swim For many decades, the fishing vessels, both commercial and recreational, have had a habit of throwing overboard their filleted fish carcasses and unused bait along this path. Inside the harbor, near the mouth, an official weigh station is overtly located and frequently used very near the alley. Over the years, tiger sharks have been known to visit the weigh station for an easy meal. This is such a well-known occurrence that, as every vessel leaves or enters the harbor, there almost always will be a person on the bow scouting for tiger sharks. Ancient Hawaiians, and still in todayâ&#x20AC;&#x2122;s populace, have a cultural con30

nection to the oceans. Their survival was dependent on sustainability of the reefs. They understood, and knew, that if there were no fish in the oceans, they would not survive. They also saw how individual fish roles for the betterment of the reefs were similar to individual human’s roles for the betterment of society. These assimilations were written down as olelo no’eau, proverbs, that were told through generations. Hawaiians knew that as you dropped off the reef into the dark deeper waters, the big sharks roamed. But besides the danger that this posed, they also respected the sharks as aumakua, the spiritual embodiment of ancestors,. These sharks were revered and respected. When an aumakua was made present, it was the sign of forthcoming good or ill will, depending on how the aumakua was treated. “He manō holo ‘āina ke ali’i.” The Chief is a shark that travels on land.” The tiger shark was also known to be the top of the ocean animal chain. It ruled all the waters and all the fish. Much like the reverence of the tribal chief, who ruled over the land and people, he was assimilated to be a shark that walks on the land. 31

THE TIGER SHARK APPEARS Wyland and I entered the water from our vessel that was moored to one of three subsurface mooring balls. Our short swim began along the lava ledge and right into the sandy path, passing over healthy corals and the many fish that inhabit the reef. vessels overhead skimmed across the surface at normal speed, leaving a wake that danced with the light rays penetrating the water surface. As we approached the path, I could see a fish carcass lying on the sand, an obvious throw-over from one of the passing vessels. Seeing this gave great hope that one of Honokohau’s resident tiger sharks would surely appear. We positioned ourselves in the sand about 10 meters away from the carcass, hiding behind boulder sized coral heads. Within minutes, a small male tiger shark (~2.75m) came along to investigate. He made a couple of circles of the area (one pass was about 1m above my head), but the beautiful little animal showed little interest in the carcass, and quickly swam off. As I wondered why the shark didn’t eat the carcass, a large female tiger shark (~4.5m) appeared directly in front of me, obviously scaring off the smaller shark. It is amazing how this large animal suddenly appeared. I liken its appearance to the Cheshire Cat of “Alice in Wonderland” fame. I was staring at a single small coral head when the shark just materialized in front of it. Imagine - A 4.5m shark was able to simply appear in front of me from just 3 meters away! This lends proof to the concept of the 32

tiger shark being a professional hunter. The animal knows how to stay out of your visual range and only appears when it allows you to see it. I was looking directly in the direction if the shark before realizing that I was looking at it, and only then did I see it because it allowed me to. This happened about 3 times within 1-2m of me. The amazing ability of this large animal to just appear in such close proximity in just a sudden moment is chilling. It was like watching a magician on stage, except this wasnâ&#x20AC;&#x2122;t a trick. This wasnâ&#x20AC;&#x2122;t slight of hand or use of mirrors. This animal is a true hunter and a master of the sneak attack. After the animal ate the carcass, it swam off hastily and left a sandy cloud in its wake. Seeing this wonderful display reminded me of how 33

important a role these animals play in the environment. They are apex predators and are needed for the reef ecosystem because they clean dead and rotting animal flesh. The naming of the shark as “tiger” goes beyond the stripes that define it. These animals move as stealthy as a feline, with just the same confidence and nonchalant attitude of being the owner of the area. Just as the Cheshire Cat moves invisibly through Alice’s world, appearing with a sneer of confidence and seen only when it wants others to see it, tiger sharks move through the water with the same confidence and grace of the clandestine feline, and then disappears behind its own sandy cloud screen. The best seasons to scuba dive this wonderful anomaly is spring, summer, and autumn. Hawaii Diving Tours, a scuba diving tour company, dives this site almost everyday of the week, and at different times of the day. Their knowledge and experience in Honokohau are unprecedented. They offer personalized eco-tours and underwater imaging 34

consulting. Also, other dives such as the Manta Ray night dive and BlackWater are also available. You may visit their website and book tours at: HawaiiDivingTours.com

THE GLOBAL SHARK PROBLEM (by Wyland) Sharks need protection. Unfortunately, the thing that can protect them is the same thing that’s killing them each year in massive numbers. In case you haven’t guessed, that “thing” is us. People. We’re the biggest threat to the future of these apex predators. Sharks, like terrestrial apex predators, maintain the environmental equilibrium. They keep our oceans and marine ecosystems healthy. It is shown that without healthy shark populations, many other species are affected. The end result, is an unhealthy planet. It is estimated that we are killing over 100 million sharks a year, mostly for the demand of shark fin soup. Yet, we do this even as scientists have confirmed that sharks are critical to the health of the ocean, that without them, the entire balance of our ocean ecosystem could crash. Without healthy populations of sharks, the life in the sea will continue to decline and will collapse. Shark populations can no longer take the extraction numbers that are seen today. Many species of shark populations have declined dramatically; some species are less than 80% of the original populations. Great white sharks, for example, have thrived for at least 16 million years. Today, they are listed as vulnerable by the IUCN. Sharks can take years to reach maturity. The slow ability to regenerate combined with unsustainable fishing practices are a devastating combination and clearly show the remarkable ability of humans to change the world in a very short time. Sadly many of the sharks are killed only for their fins. They are inhumanely chopped off and thrown overboard to die slow death. The fins are then frozen or dried and most often shipped to Asia where they are used for soup. 35

Now, we humans have a choice. We can keep killing these animals until all the dire predictions come true. Or we can become the protectors of one of our most ancient and vital species. This can only be done by using the old environmental motto of: Think globally, act locally. Sharks recognize no political boundaries. They migrate where they need to, across the oceans, covering many territories and, therefore, are susceptible to being harvested in places that offer no protection. To ensure that shark populations recover, we need as many local bans on shark finning as possible, until one day we can banish this terrible practice from the earth once and for all. The good news is many countries are creating laws today that protect sharks. Governments are starting to see the value of healthy shark populations in relation to the health of coral reefs, our ocean, and tourism. A dead shark has very little value, while a living shark can provide thousands of dollars to a city or country for tourism, not to mention that healthy sharkpopulations provide more fish that provide sustainable tourism like diving and snorkeling, giving value to the region. It’s time for all countries and all people to unite and be champions for conservation of sharks and healthy oceans. It is time to put transparency on shark finning and overfishing that threatens all of us today. For a list of the 24 currently named Tiger Sharks ID’d in Honokohau Harbor, please visit Jeff Milisen’s tiger shark page at: http://milisenphotography.yolasite.com/tiger-shark-id.php

You’ll see a shark by the name of “Ralphy,” which is named after the author’s son. Authors: CHARLIE FASANO has a degree in Marine Biology from the University of North Carolina at Wilmington. He was previously employed by 36

NOAA Southeast Fisheries Science Center and University of Miami Collaborative Institute of Marine and Atmospheric Science as a Reef Restoration Scientist. Since moving to Hawai’i, he started his own underwater production film company. WYLAND is an internationally renowned marine artist and conservationist. For the 3 decades, he has painted the large life sized ocean murals on the sides of buildings and other structures around the world. There are 100 “Whaling walls” found around the world. Since Wyland had an event the evening that we filmed the tigers, he asked me to make a video of the day to show his audience. So I made this rough cut of the dive that day. You can watch it here, it’s only 2 min. http://www.youtube.com/ watch?v=DTuHInSdHoU

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CONTEST

Deep Visions 2018 - The Judges Roland Bach

Jury Member

Roland Bach is a german CMAS 3Star instructor who owns a Dive Club “Marina Divers” on the spanish island Menorca (Balearics). A diver since 1988 with over 10.000 dives, started with serious underwater photography in 2008. From that time on he has been placed in many national and international competitiond. Roland is in love with the landscape (caverns and caves) of the Mediterranean sea. But his special interest is with jellyfish and ctenophores. While everybody else gets out of the sea because of too many jellyfish, Roland is getting ready for an underwater shooting session with his favourite subjects. Especially his “Jelly Art” shots are worldwide published.

Beth Barklage Watson

Jury Member

Bethâ&#x20AC;&#x2122;s love for photography began years ago when she received her first gigiral camera. The concept of capturing, editing and printing an image intrigued her. It was not until she learned to dive and took a camera underwater that her true passion was born. The underwater world is fascinating to her and she enjoys the challenge of photographing wide-angle reefs and wrecks but also has a deep adoration for the tiniest creatures in the sea. Her goal is to capture images that are unique, creative and thought provoking, hoping to raise awareness to the importance of conserving and preserving the health and vitality of our ocean environment.

Fabio Iardino

Jury Member

Fabio Iardino was born in Udine (Italy) in 1971. Starts to approach to diving in 1983 and in 1992 obtained the first CMAS underwater certificate. Over the years he became CMAS instructor and underwater TRIMIX instructor. He has always been passionate about photography. He partecipated writing “Underwater digital photography” and “Trimix Manual 62”. In 2009 writes “The two faces of a pearl of Adriatic” dedicated to the Dalmatian island of Vis. From 1993 to present, he dived and photographed all around the world. Since 2006 he partecipates in contests and competitions of underwater photography. On September 2015 he won the Italian Championship of UW Photography on Team Competition.

Henry Jager

Head Of Jury

Henry Jager is a passionate underwater, nature and experimental photographer with an incredible sense for an unexpecred view on the subjects. His pictures are appreciated around the Globe and have been exhibited nationally and internationally. National Geographic and many others have awarded Henry’s pictures. Henry publishes in travel and dive magazines as well as on scuba diving related webpages and blogs. He wites tutorials, critics about travel destinations, photo courses and about special photo techniques. “My passion is to picture this fantastic underwater world as well as the topside life and amaze the people with the beauty of nature. Only what you know and love, you are willing to protect”.

Davide Lopresti

Jury Member

Davide Lopresti was born in 1980 in Fezzano, a small town near Portovenere (La Spezia) and it will be the proximity to the sea and to the water that will mark also in the sports of youth practicing swimming and water polo for many years. The first dive certificate arrives in 2007 collecting dives in quick succession, and in 2009 began his career as an underwater photographer estabilishing itself in the early years in the most important national and international competitions with images of great effect and published in major magazines and underwater naturalistic. Davide currently shooting with Nikon D600 in Nimar housing and Inon stobes. Its favorites lenses are the Sigma 15mm fisheye and his inseparable Nikon 105 mm VR Micro.

Isabella Maffei

Jury Member

Born in Varese (Italy) in 1973, where she still lives, Isabella always liked to swim and she made her first dive with mask and snorkel when she was 16 years old. A true passion por the ocean drove her to become a scuba instructor and manage her dive center “Deep Avenue”, in Mendrisio (in the Italian side of Switzerland). She started to take underwater photos to her scuba diving students as first tangible results of a new adventure. However, this initial business approach devolved soon into a true deep genuine passion. “My way to take underwater photography is my way to communicate using an universal visual language, it comes from my strong ambition to tell, to describe without words the marine underwater perfection. I fancy the idea to shoot dynamic pictures in order to draw the observer inside the image. I love so much and I cannot consider anymore a picture as a static bi-dimensional image... In such trend, I want to develop my future experimentation. I do know is hard, in photography nothing can be improvised and rules, for a perfect canonic composition, must be respected. However, with no challenges, there is not gain “.

Ivana Orlovic

Jury Member

Since ten years, Ivana has been dedicated to underwater photography. Everything started with disposable underwater camera, followed by compact cameras in underwater housings and finally, now in recent years, with DSLRs. Today Ivana is using Nikon D7000 in Subal housing. Her specialities are underwater selfies with inhabitants of underwater world and her great split images. Her commitment and exceptional quality were recognized by American Underwater Products Company wich promote Ivana as their Oceanic Worldwide Ambassador since January 2015. “After all these years that I spent under the surface, I can’t imagine my dive without a camera. I think that underwater photography is the most powerful way to promote this amazing world to common people, non-divers. I am certain that after they see my photographs that they will be more eager to come with us in our new adventures that lay beneath the surface of the water”.

Puerto Galera - Oriental Mindoro - Philippines

Share your passion for diving wishlist exploring the magical underwater world of Puerto Galera. This fabulous destination offers the perfect mix of diving and culture, hiding surprises for even the most expert of divers in its unique biodiversity and colourful marine creatures. An ideal destination for macro photographers.

www.fishermenscove.com

+63 917 533 2985

info@fishermenscove.com

From 1992 Diving & S.P.A

Nature

Archeology.

The magic of

’

men s art and

’

nature s art

in a wonderful place to be discovered

Via Miliscola, 163 80078 Pozzuoli (NA) - Italia Cell.: +39 3292155239 - tel./fax: +39 081 853 1563 from Tuesday to Sunday from 9.00 a.m to 8.00 p.m.- (monday we’re close) Email: info@centrosubcampiflegrei.it Web site: www.centrosubcampiflegrei.it

PORTFOLIO Beth Watson

“Photography is a niche that allows me to express my creativity which fuels the artistic portion of my soul.” ~ Beth Watson Photography and scuba diving are Beth’s passions. Adoring the ocean and everything it has to offer, she focuses on capturing images that are unique, creative and thought-provoking. Through her imagery she strives to illustrate the beauty and wonders of the sea, hoping it will inspire others to conserve and preserve our ocean environment. Fascinated by it all, she enjoys the challenges of photographing wideangle reefs and wrecks but also has the deepest adoration for the tiniest animals in the sea. Beth is an international multi-award winning photographer. Her images have been published in books, magazines, newspapers, brochures, websites and have been selected for juried art exhibitions. Please visit her website: www.bethwatsonimages.com for additional information. Beth Watson, USA Photographer/Writer 70

UNDERWATER HOUSING

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Located in the center of the Gulf of Kvarner - Croatia, our diving center is in the ideal location for countless different dive sites. Three wrecks, colorful walls and ideal sites for macrophotography. We offer the opportunity to dive for every level.

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SPECIFICATIONS • • • • • • •

400 ft (120m) depth rating 350 lumen concentrated 10° beam Color temperature 6500K Over 10 hours run time Accepts 2 CR123 batteries Dimensions 5.6 x 1.4 in (142 x 36 mm) Weighs only 4 oz (113 g)

PREVIEW Hugyfot Hfn-D850

Hugyfot manufacturing The HFN-D850 housing is machined out of a solid block AlMgSi1 high strength aluminum. Each housing is sanded by hand, sandblasted and finished with a hard anodisation and Teflon coating. The housing is pressure rated to 100m. Camera control All Nikon D850 camera controls can be accessed (on/off, shutter release, shutter speed, aperture, program dial, main dial, push buttons, lens release).

Standard housing configuration - HugyCheck system - 1 Nikonos 5-pin bulkhead - 2 optical oulets (for 2 fiber optical cables - cables not included) - 2 rigid aluminium handles with ball mount - soft neoprene handle for one-hand photography (right hand side) - gearwheel drive for manual zoom or focus control - standard viewfinder - Hugyfot bayonet catch for port mounting -Â latch closing mechanism - large window for back color LCD screen - small window for top screen - ball mount on top of housing

Ports The housing can be equipped with the Hugyfot: - flat ports - wide angle ports - fish eye dome - extension rings - adapters that allow the use of other manufacturersâ&#x20AC;&#x2122; ports More info at:

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A New Partnership PADI and

Weâ&#x20AC;&#x2122;re excited to be collaborating with

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TECNIQUE

When Underwater Photography Meets Art Words and pictures: by

Alessandro Giannaccini

Expressing art through underwater photography is possible and is a wonderful technique. It allows you to create artistic images expressing yourself, showing your way of being through the emotions you manifest. Art is whatsoever work allowing you to creating what was not there before, expressing yourself in any form of human activity as evidence or exaltation of its inventive talent and its expressive ability. Art, in its broadest meaning, includes every human activity that leads to forms of creativity and aesthetic expression, relying on technical devices, innate or acquired skills and behavioral standards arising from study and experience. Therefore, art is a language, which is the ability to convey emotions and messages without using words. Photography is the ability to stop a fragment of time and to reproduce endlessly what took place only once: it repeats mechanically what can never be repeated existentially. Our aim is to create a link between the two techniques, expressing emotions through the creativity and experience of the underwater photographer, creating images that recall the art, but which represent a realistic underwater photography and not science-fictionary or surreal. Like photographers and artists of all kinds, through their work even underwater photographers tell about themselves, their vision of the world, or that part of it that they observe and from which they draw inspiration. They tell their own feelings together with those of others. They show their point of view. In essence, they express. The main reason why we take a picture is to show others what we have seen, how we saw it, how we â&#x20AC;&#x153;feltâ&#x20AC;? it. Sometimes to remember it and to make it remember. 112

It may happen that someone succeeds in this undertaking so well that many others end up wanting to see or “feel” like him. Or, even make others see the way “he” sees, the way “he” feels. Let’s try for a moment to think about artistic photography and all its forms. Not everyone will be interested in this topic, and many naturalists will turn up their noses, but let’s think about it: photography is universally recognized as a form of art, so why cannot we try to make of submarine subjects like microorganisms, worms, algae, fish, mollusks, crustaceans, reptiles and many others some real pieces of modern art? If you have not yet caught the point, continue following my reasoning and you will understand what I am trying to tell: the goal is to stimulate your creativity to search for the art in every detail, and to transform your photos into real “artistic paintings”, ready for printing and framing. The “artistic underwater photography” is a higher level of photographic technique we usually employ, because this type of photography can be better defined as “photographs created in accordance with the artistic vision of the person who shoots.” This means that this type of photography will be completely contrary to following “the technique only” and “the usual patterns”, but will be based entirely on the photographer and on what he thinks and feels at that moment. The artistic underwater photography allows you to express yourself through pictures, even at the cost of violating every concept you have had so far about photographic technique, making sure that your shots express more yourself than the subject itself. Photographers embracing this artistic form, exploit certain subjects to express their ideas and reinterpret the underwater environment surrounding them. Each photo made with this “photographic style” has a very strong message inside, as the photographer who created it has not only composed a shot, but has put into practice his idea: he tried to expose his way of being and his feelings. Very often, these are photographs focused mainly on the details, so to seem almost studied and drawn by an artist rather than captured by a camera. 113

The first thing you need to do is develop your visual skills, in addition to the so-called “photographer’s eye.” Next, we will look for a deeper vision, able to recognize beauty and art in every smallest detail. Now, let’s better understand two basic things. The first is that, clearly, we must be very familiar with our camera and have an immense mastery of it and of the housing that protects it from water. The ideal housing is the one that allows you to having all the commands you would have on dry land, in order to express yourself without limits and take advantage of the camera to 100%. The second is to know the different techniques, the parameters and the settings, knowing in principle what will be the final result. Then, clearly, a photograph will never be as we imagined before shooting: it will certainly be worse or better. At this point, we have to unleash all our mastery, and put into practice everything we have thought and tried before, maybe on our home table. Today we have at our disposal some really amazing digital cameras, by an immense potential. We can create double exposures directly on camera, image overlapping, and go wild by experimenting picture control: a system designed to offer the photographer a very high level of customization of his picture’s aesthetic appearance, already at the time of shooting. We can play with the use of flashes and the different lighting techniques, such as selective lighting through a snoot, which allows us to illuminate the desired portion of the subject excluding everything else by not illuminating it, consequently eliminating it from our image. We can also backlight the subject, making the background completely white or colored by using colored panels or textures. Try different lenses, no matter if macro or wide-angle: the important thing is that you use them in the right context. And always remember that the final target is to fulfilling your idea by expressing what you see, the way you see it. Take your time to study the subject, shapes, patterns and colors, looking for something that can have a meaning or that conveys emotions. Those who will see your photos will react differently depending on what you have managed to capture and convey through your shots. 114

In order to developing this skill, take pen and paper, make a selection of the best and worst shots youâ&#x20AC;&#x2122;ve made and start writing why you think some are better and other worse. Then stop and think about what you have written and ask yourself how to reach the target of improving the items that you have referred to as â&#x20AC;&#x153;worstâ&#x20AC;? within your composition. Try to do this even with pictures by other photographers, and you will realize that your ability to read and assess each shot will improve day by day. Do whatever you can to develop your creativity and imagination, seeking inspiration even in the little things. Before taking a shot, plan and imagine exactly what you want to represent and only then try to make some shots. To make the colors very sharp, perceptible and strong, use flashes, which also allows you to enlighten the desired subject the way you want, with the right intensity and eliminating the problem of unwanted shadows. Using flashes is essential in this kind of pictures. Therefore, practice the correct positioning, the power settings and the light beam angle. Experiment different techniques, varying them according to the subject and avoiding reproducing the same setup every time. Another primary factor is to know the underwater environment where we act, the habits of those inhabiting it, the atmospheric phenomena, and the best or worst periods. You will often find yourself face to face with microorganisms for several minutes, and you will return many times to the usual spot during subsequent dives, because previous results were not satisfactory. We now understand that the artistic photography is not to simply capturing pictures, but is to enhancing images details or creating real works of art. You have to keep on trying and experimenting, because beautiful shots may come out whenever. Another item that will help you greatly, if you choose to continue this path, is post-production: the correct use of Photoshop and Lightroom, for example, will allow you to complete or obtain the best out of your shots. 115

Why not, since we are talking about artistic photography, although in my opinion we must always draw a limit to our creations, because the beauty lies in creating artistic images but real, natural and not surreal as the photomontages: there, we are going towards science fiction, and I do not like it. As we can see in these pictures we clearly notice a particular search for lighting in the different techniques and frames, but we do not see something that is not real, that does not exist. We are talking about artistic photography and not about sci-fi surreal photography. The photos you see are not the result of processing, but are pictures created through lighting techniques, double exposures and images overlapping. Now itâ&#x20AC;&#x2122;s up to you to create artistic images expressing yourself, your way of being. Communicate through images, find your photographic identity and carry on your theories. With the greatest hope, I wish I could see more art in underwater photography around the world.

116

Img 1: wide-angle shot made in a cave using fisheye lens, lamps and long shutter speed. 117

Img 2: double exposure photo taken with a 105 micro lens and selective lighting 118

Img 3: double exposure picture with selective lighting realized using a 105 micro lens and a +5 additional magnifier lens. 119

Img 4: photo with selective lighting realized using a 105 lens and additional +5 lens 120

Img 5: double exposure with selective lighting of the usual subject shot from two different sides, made with 105 lens and additional +5 lens 121

Img 6: image overlapping effected directly on camera and cropped during post production of the usual subject, taken with and without the additional +5 lens 122

Img 7: photo with selective lighting made with compact camera.

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TRAVELS Yos Dive Lembeh

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Yos Dive started in Bali 1989 and YOS Dive Lembeh-Eco Beach Resort as a sister company exists in Lembeh since 2010. A dive company with more than 27 yearsâ&#x20AC;&#x2122; experience in the marine business in the Indonesian Archipelago. Owned by a Balinese architect Pak Yos Amerta who is also an avid diver and an underwater photographer who was trained in Berlin-Germany. An idea came into mind to build a resort catered for photographers. Every single thought was created from a divers experience and needs as a photographer. Located on the coast of North Sulawesi near the end of a small local village, 90 minutesâ&#x20AC;&#x2122; drive from Sam Ratulangi International Airport in Manado. There is frequent air service from Singapore, Kuala Lumpur, Jakarta, Surabaya, and Bali. Airport-toresort transfers are included in all dive packages. Yos Dive Lembeh offers you the opportunity to relax and enjoy a wonderful experience vacation while you in captivate the underwater world. 128

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A beautifully designed resort, Yos Dive Lembeh offers 11 rooms consist of 1 Beach Villa, 5 Seaview and 3 Gardenview rooms as well as 2 Gardenview Bungalows.

Every material used was put into thought to create an eco friendly resort while helping the locals to establish themselves giving economical benefits to the villagers. As nature is a part of life so is the resort. A resort that offers Photographers are specifically in mind with the room design, with an abundant of working space and electric sockets (we know how important charging are!). For photographers, this place is heaven and a home away from home. The resort includes a well-maintained compressor, Nitrox, four dive boats and a ratio of just two guests per dive guide to give you the very best Lembeh experience. Yos Dive Lembeh consist of 7 guides all trained to spot even the small130

est critter. 2 of them are certified instructors and are trained to certify new comers to the world down below. All of them has a passion for photography which makes them excellent guides on helping amateurs and professional photographers.

Trained in marine life behaviour they also do blackwater diving where the more exotic critters are at mid water during the night. Food is simply amazing at the resort. Fresh halal authentic Indonesian culinary is served from different parts of the islands and halal Asian food is served 3 times a day. Tea time desserts are given after the third dive to replenish a divers appetite after a long day with cool breeze blowing while enjoying the sunset. Yos Dive Lembehâ&#x20AC;Ś a divers paradiseâ&#x20AC;Ś. A way of lifeâ&#x20AC;Ś. why dive with us We take great pride in our personalised service, experienced staff and small dive groups ensuring you have the best diving experience in Lembeh. 131

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Via Milano 177/B - 37014 Castelnuovo d/G (VR) ITALY Tel. 0039 45 6450480 - info@isotecnic.it

DAN EUROPE

Snorkel: Pro & Cons

The snorkel has been considered a standard piece of diving equipment for decades. It provides the simple but useful ability to swim face down on the surface without having to lift your head to breathe. Snorkels can also conserve compressed gas for the dive and help minimize accidental water intake in rough waters when breathing through the regulator is not an option. The impact of snorkels is not all positive though. They are a source of drag in the water, which is not a good thing when they tug on the mask, a decidedly critical piece of equipment. They can also be a source of entanglement, for example, with kelp or hair. And they can be incompatible with some equipment configurations. So, what to do? Pro position: A snorkel provides an option that can be helpful in normal situations. This is a straightforward argument. When a snorkel is needed it is likely to be needed quickly, so having it readily available is a valid choice for preparedness. Con position: The need for a snorkel is low when carrying ample gas supplies or on sites where surface swimming is unlikely, where entanglement is likely (wrecks or caves), or where they offer little utility (ice or caves). The irritation of it getting in the way when hanging from the mask also makes it less desirable. Where to Put It? Since the hose for most open-circuit regulators comes over the right shoulder, a snorkel is usually least intrusive if mounted on the left side of the mask. Closed-circuit equipment has large hoses on both sides of the head, so keeping the snorkel in a pocket or pouch is likely the best option. Design Features A wide variety of snorkel designs have been marketed, ranging from simple J-shaped tubes to complex shapes for streamlining, reducing water entry and facilitating clearing. A long, straight J-tube snorkel is probably not desirable because of the increased risk of entanglement; snorkels with a curved upper tube 136

typically provide a lower profile. The bore (internal diameter) and length of snorkels is important. A large bore offers less resistance, but bringing fresh air to the alveoli, where gas exchange occurs, requires inspiring a volume larger than that of the upper airway and the snorkel combined (the functional dead space). The dead-space gas will have an elevated fraction of carbon dioxide, which will stimulate hyperventilation. This is not a problem if the volume of air breathed is sufficient to bring in the required fresh air. However, carbon dioxide will accumulate if the inspired volume is too small, generally forcing the user to stop breathing from the snorkel fairly quickly. A long skinny tube (think garden hose) is unworkable as a snorkel because of its volume and the difference in pressure on the surface and in the compressed lungs. Drawing air a long way down from the surface is simply not practical. A simple rule of thumb is that the bore of a snorkel should easily exceed the width of your thumb (a little more for those with small hands), and a snorkel should not be much longer than those typically sold by reputable manufacturers. An early effort to keep water from entering a snorkel (to avoid having to clear it) was to put a 180- degree turn at the top, covered with a basket holding a ping pong ball, which, in theory, would block water from entering the snorkel. The idea was creative but the effectiveness poor and the likelihood of failure high. The modern approach to making it easier to clear a snorkel involves a one-way valve positioned so that the diver does not have to work as hard as would be required to blow the water from the top of the snorkel. These valves can help, but technique can make them unnecessary. For example, if an ascending diver tilts back his or her head and exhales a modest amount in the final stage of surfacing, flipping his or her head forward upon surfacing will leave most snorkels clear. Corrugations on the outside of a snorkel are fine if they let the mouthpiece fall out of the way of the regulator mouthpiece (a rotating mouthpiece can be similarly useful), but the internal bore of a snorkel should be smooth to reduce the effort of moving gas through it and to reduce the trapping of water that could be inhaled with a strong inspiration. Foldable snorkels may be effective for pocket storage, making them acceptable to divers unwilling to carry a snorkel otherwise. The key is to make sure they perform well upon deployment. 137

High-visibility colors offer a safety benefit for all diving equipment. A high-visibility snorkel is not as effective as a fluorescent hood or suit, but it is still a good idea. Snorkels and Freediving Freediving is usually separated from snorkeling by intent; snorkeling is more casual and freediving more extreme. Competitive freedivers would not use snorkels because of the added drag and additional dead space. Other freedivers might use them, however, and this raises the question of whether water would more easily enter the mouth during blackout. While there are lots of opinions, there are few facts to support either position. It does seem that there is a period immediately after blackout when sufficient muscle tone is preserved to prevent water entry through a normally closed mouth. Getting the victim to the surface immediately and then keeping the airway clear of the water is often sufficient for rapid recovery. An open mouth holding a snorkel filled with 138

water could lead to faster water entry, but this is a difficult question to test ethically. It might be prudent for freedivers to avoid snorkels, but this position is offered with little empirical evidence. More important is to avoid excessive hyperventilation (exchanging more than two or three lungfuls of air beyond metabolic need), which can dramatically increase the likelihood of blackout. Snorkel Choice Ultimately, the choices of whether to carry a snorkel and which snorkel to carry are up to the individual. It is convenient to not have one get in the way unnecessarily, but it is also great to have it when the need arises. Options for managing gas supply and emergencies are important, and it is nice to have a snorkel on the day the dolphins choose to swim with you after a dive. I favor having a snorkel, typically a more compact version that is easy to wear or carry as the situation demands. Snorkel Trivia Many people know that the term “skin” diving refers to snorkel gear, but few know its origins. When military personnel were required to bring mask, snorkel and fins to water sessions, the acronym SKIN was posted on the roster to stand for “swim kit is needed.” 139

Scubashooters Annual Contest Rules Participants

1) Portfolio

Duration

2) Wide-angle