Pietro Formis
Portfolio
issue n°47
- jan 2020
Travels: Italian Cave Diving
Biology: Pseudoanthias
Travels: Muck Diving In Lembeh
Deep Visions 2019: Deadline Extended
Biology: Cassiopea Andromeda
Monthly Contest: October - November
Dear readers another year is coming to an end, another year that has
seen the Scubashooters team working on multiple tasks to bring you an always innovative perspective on underwater photography.
2019 has been characterized by several moments for us and I would like to recall those for you. The introduction of a new app through which you can enjoy our magazine, the Scubashooters Meeting in Anilao , the launch of the new Deepvisions website. These might seem easy tasks to accomplish but believe me when I say there’s a lot of hidden work involved and they have not been easy at all. Being aware that the underwater photography industry is undergoing continuous evolutions in the coming years we will focus more and more on the just rising branch of smartphones underwater. Have you ever thought that by buying a simple housing for smartphones you could turn everyone into an underwater photographers? This freshly started market offers opportunities for all pockets and even those who couldn’t afford the costs of an underwater camera will be able to become not only photographers but also reporters from the underwater world. Imagine if all the divers worldwide would bring their smartphones underwater, imagine how many photos would become available also for scientists to monitor the health of the Ocean... this is not only possible but also becoming true. Well, we’re working also on this side so stay tuned for more. Let me take this opportunity to wish you and your loved ones a wonderful 2020.
Marino Palla Owner and Founder Scubashooters Network
Cover image by: Pietro Formis
Contents
Issue n°47
- January 2020 pag. 52
P ortfolio Pietro Formis Editorial: by Marino Palla
Biology: Cassiopea Andromeda By: Massimo Bicciato and Emilio Mancuso
pag. 3
Contest: Deep Visions Rules, Prizes, Sponsors and Categories
Travels: Dreaming in Lembeh by: Jerome Israel Review: NA-GH5 Housing by Nauticam DAN Europe: Introducing Kurt Arrigo
pag. 8 Travels: The Reborn - Cave Diving by: Rino Sgorbani Review: Led 1200 Sidemount by Hollis
pag. 12
Monthly contest: October and November 2019 The Winners
pag. 30
pag. 44 pag. 72 pag. 84 pag. 90 pag. 94
Biology: The Biting Fight Of Pseudoan-
Editor: Fabio Strazzi Assistant Editor: Isabella Maffei
Tulli
Scubashooters - Via Barucchi 37, 37139 Verona
thias by: Franco
Graphic Design and Supervising: Silvia Bogni Layout: Elisa Furlani, Silvia Bogni, Alessandra Suppo Translations: Piera Pirini
pag. 34 4
䴀䔀䔀吀䤀一䜀 倀䔀刀䤀伀䐀㨀 一漀瘀攀洀戀攀爀 ㈀ⴀ㈀㠀Ⰰ ㈀ ㈀ 倀刀䤀䌀䔀㨀 ㌀ ␀ 琀眀椀渀 猀栀愀爀椀渀最 猀琀愀渀搀愀爀搀 爀漀漀洀 䐀䔀匀䌀刀䤀倀吀䤀伀一㨀 㜀 搀愀礀猀Ⰰ 㘀 搀椀瘀椀渀最 搀愀礀猀 Ⰰ 㠀 搀椀瘀攀猀 愀琀 䄀琀氀愀渀琀椀猀 刀攀猀漀爀琀 搀椀 䐀甀洀愀最甀攀琀攀Ⰰ 䐀愀甀椀渀Ⰰ 倀栀椀氀椀瀀瀀椀渀攀猀
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competition messages or any other illegal material. The pictures must have been taken underwater while diving. Over/under shots are allowed, but aquarium or above water shots are not.
ENTRY FEE
The entry fee is calculated as follows: 10$ 1 picture 30$ 5 pictures 50$ 10 pictures Thereafter 5$ each picture.
PARTICIPANTS
The contest is open for individuals at the age of 18 or above. Any skill level is welcome. Members of the Jury and the staff of the contest are not allowed to participate. Registering to the competition automatically implies the photographer’s agreement and acceptance of all competition rules as set and stated by the competition production below.
DURATION
The upload starts on 18th November 2019. All entries must have been uploaded and paid latest on 26th December 2019 at 23:59 (CET/MEZ).
GENERAL RULES
Every picture may only be submitted into one category. The pictures must have been taken underwater. Over/Under shots are always allowed. Aquarium and Pool pictures are not allowed. Any camera type is allowed, except in category Compact Cameras “Wide Angle” and Compact Camera “Macro”, where only compact cams are allowed. A compact cam is defined as fix lens camera, including mobile phones, action cams and similar divices.
CONSERVATION AND CONTENT RULES
Conservation rules are strictly to be followed. Our underwater world should never be harmed just for taking a picture. Entries that are showing following signs will be disqualified: Photographers visibly damaging the environment (e.g. gear dragging or kicking up sand) Animals with signs of stress (e.g. puffed puffers, inking octopus). Animals moved to an unnatural environment or risky location. Marine life being touched (e.g. coral polyps, seahorse tails). Divers exhibiting poor buoyancy control. Entries to any category may not contain profanity, nudity, pornographic images, violent images, anti
1) PORTFOLIO
Every participant is allowed to present one series of 5 pictures, which are judged as an entire set.
2) WIDE-ANGLE
Eligible are any wide-angle shots taken with an interchangeable lens system (DSLR or Mirrorless). This category includes also split shots and CFWA shots.
3) MACRO
Eligible are macro and super macro shots taken with an interchangeable lens system (DSLR or Mirrorless).
4) COMPACT CAMERAS “WIDE ANGLE”
Any wide angle shots, taken with a compact cam (fix lens camera), are allowed. Of course, the use of wet lenses is allowed.
5) COMPACT CAMERA “MACRO”
Eligible are macro and super macro shots taken with a compact cam (fix lens camera). Of course, the use of wet lenses is allowed.
6) CETACEANS AND SHARKS
Pictures showing Sharks or Cetaceans as main subject.
7) FRESH WATERS
In this category, any shots are eligible which have been taken in waters with a temperature below 15°C/59°F.
8) BEHAVIOUR
The pictures have to show a special behaviour of marine live. Swimming, hiding, sleeping or just resting is not considered to be a special behaviour. Examples are: Mating, laying eggs, breeding, hunting, feeding, fighting,
9) BLACKWATER
COPYRIGHT
Blackwater photos are taken of pelagic subjects (i.e., organisms in the water column - not on the bottom) with a characteristic black background. Most blackwater subjects are macro subjects, though some may be larger, as long as the photo maintains a black background and the subject does not live on the bottom. Photos from both Blackwater and Bonfire dives are both accepted in this category. A 50% crop is allowed. Images of the most typical and common subjects of night dives will not be considered eligible for this category.
The photographers retain all copyrights to their images. They certify, that the entries are their own work and they own all rights including a model/property release, if appropriate. Scubashooters retain a non-exclusive worldwide licence to publish the contest entries in any format for publication of the results (including a press release), advertising the contest or for use at any contest related event or publication. A proper photo credit is always placed. Every participant grants that they own every applicable right on the picture, including being able to provide a property or model release.
10) NUDIBRANCH
JUDGING
In this category, nudibranch(es) have to be the main subject. Every participant can upload an unlimited amount of pictures to each category. A picture may only be submitted to one category. No text, watermarks, frames or borders are allowed. Such signed pictures are subject of immediate disqualification without any refund of the entry fees. All pictures must be uploaded as jpg, in sRGB, highest quality setting and with a minimum of 1800px longest side and max 5 MB. Winning pictures must be delivered with at least 3300px longest side.
POST PROCESSING
Minor adjustments are allowed. This includes global adjustments to white balance, exposure, contrast, sharpening, color and noise reduction as well as local burning or dodging. Cleaning is permitted, including the removal of backscatter, dust and scratches. Reasonable cropping is allowed (30%). Composing (adding, removing or moving objects) is not allowed. HDR ,Stacking, Panoramas and other techniques involving more than one picture are not allowed. Double Exposure pictures are allowed as long as they are made on location, meaning in the camera and the output of the camera is one file. Picture which have been placed 1st, 2nd or 3rd in a major contest before 31st August 2019 are not eligible to enter the contest. Major contests are annual or monthly contests in which the picture has won a prize worth more than 300$.
The decisions of the Jury are final in all aspects of the competition and may not be challenged. In case of “look alikes”, the jury has the right to present the best ranked one and to eliminate the lower ranked ones to provide a broader spectrum of winning pictures. There will be no correspondence about the competition.
PRIVACY
Any payment information is kept safe and confidential. By entering the contest you agree that the provided information about you and your picture may be passed to sponsors and media. You may be contacted by our sponsors for communication regarding the contest or promotional offers.
PRIZES
Physical prizes are shipped by standard mail. However a faster shipment can be requested on the winners cost.
LIABILITY
Scubashooters cannot be held responsible for any damages nor for the availability of the contest platform. In case of physical prize, we will take all the possible precautions in order to ship it to the winner and we will give proof of shipment. However, Scubashooters. net and Deepvisions organization take no responsibility if the shipped item goes lost or damaged by the carrier. All import fees that local governments might apply are to be paid by the winner of the prize (official importer of the item) In case of misguided delivery for whatever reason, we will ship a second time but shipping fees will be on the winner’s pockets.
Travels
The Reborn Cave Diving
Words and pictures: Rino Sgorbani
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fter the accident occurred on January 9, 2016 at the Bossi cave in Switzerland, ended with the death of my friend Borgio, I promised myself not to go cave diving again. Nevertheless, things went differently. To convince me, for this speleological diving adventure, it was my friend Luciano Tanini of Grotta Giusti during our meeting for Grotta Giusti’s 35th anniversary.
and not demanding. We need someone making a reportage with beautiful pictures ... come with us. We wait a few months, maybe before the summer, when the water decreases and facilitates entrance.” Luciano tried to persuade me with these arguments, but I was not convinced and left him with a vague answer “...we’ll see.” After the spring, Luciano got back on track.
During that evening in Montecatini Terme, they screened a movie made by my friend Davide Briccolani and the undersigned and during dinner, around the table,
“We organized everything, come with your wife ... you’ll be our guests. I’ll take you to dinner at a nice place, and then in the morning we’ll go to
. Luciano told me about his project: diving in the “Buca Del Tinello” cave.
the mountains: fantastic landscapes!
He told me “On the Tuscan Mountains there is a beautiful cave, easily accessible
We’ll take care of the equipment, and then we’ll go to lunch in a very characteristic place.” So I accepted. Let’s say he took me more by the
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throat than by the dive. The date was set for mid-July, so the night before I found myself dining in Montecatini Terme with Luciano Tanini and his righthand man, Paolo Lenaz. During dinner, Luciano beganto describe in detail what we were going to do the next day, even with some extemporaneous drawing on a paper napkin. Mountains, waterfalls, narrow passages, siphons... as the explanations became more detailed, I understood that maybe it was not for me, but now I was at stake and I could not pull back.
The next morning, after a good breakfast, I met again Luciano and Paolo, the two of them by their car and me and my wife on our pick-up. Yes, because my wife Cinzia came too:
I promised her a nice ride in Tuscany... everybody in the car, ready to leave, heading to Lucca. At the exit of the motorway to the Garfagnana, two other members of our team were waiting for us, Emanuele Buono and Giovanni Caponi. Giovanni, for those who do not know him, is a well-known cave-diver with years and years of cave exploration behind him. After the usual introductions, we set off again towards the road leading to Garfagnana, in the Apuan Alps. Breathtaking landscapes, valleys, hills, forests with green, lush trees, although we were already in plain summer.
As we progressively climbed, the road became narrow, a typical mountain road, and the forest surrounded us more and more. After more than an hour, beyond the village of Fornovolasco, in the municipality of Vergemoli, the road reaches a curve with a wide-open
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space. On the left, there is a small trattoria, on the right a bridge passing over the stream. In the middle, in the rocky wall hidden by a vault and vegetation, there is the cave. Once parked our cars, we began to prepare our equipment. First of all, I went to make a close inspection to realize the degree of difficulty I would have to face to get to the entrance. The slope’s descent is quite steep; therefore, I decided I definitely would not have done it wearing all my gear! Under the vault there is a small waterfall of perennial spring water flowing into the stream and, at about three meters in height, there is a small opening in the rock. That, they told me, is the entrance to the cave. After the site visit we started assembling our equipment: each of us had at his disposal a 7 + 7 double tank with double DIN regulator, a helmet with double lamp plus a
spare torch, reel and various accessories, all for cave diving. My buddies had a six or seven millimeters wetsuit, with protective overalls. Whereas, I had my old dry suit, certainly less suitable for this type of diving. Before getting ready, Giovanni made us a detailed briefing: the cave called Buca Del Tinello, explored for the first time in 1996, is located at 525 meters above sea level. The water passing inside is from a perennial spring, with a temperature of 8 - 9 degrees Celsius. The entrance is an opening in the small waterfall. Inside, the cave widens enough to stand up; just below, at three meters depth, there is a siphon eight meters long and after the first siphon you re-emerge in a cave a little bigger, with stalactites rock formations.
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ment and passed it to Giovanni, who was beyond the entrance hole.
The second siphon is twelve meters long then, after a large cave, there is a third siphon sixty meters long at six meters deep.
I could only see his arm and hear his voice: that hole is really tight! After handing over my camera, I put the mask on my face and the regulator in my mouth, because Giovanni told me that I had to crawl forward on my stomach and, beyond the hole, I would have slipped downwards into the water.
In the stretch between the second and third siphon, we should take off the equipment, walk and climb on the rocks. In short, from the briefing I deduced that it was not as easy as Luciano described! Outside we placed some ropes to facilitate both the descent from the escarpment and the entrance into the cave.
I had enough trouble getting in: the double tank was jamming everywhere.
After wearing all the equipment, I approached the entry rope:
I could not even raise my head that I crash with the helmet, and crawling on the slimy rock I slipped into that icy water upside down.
Giovanni was already climbing. He would be the first to get in, me second. I saw him entering into that hole above me, crawling with difficulty. I thought that if he, who is a bit bigger than me, succeeded getting in, I should have done it too.
Once I entered, I stood up with the water coming to my waist. The cave is not very wide: just a meter above my head and about three meters wide. Giovanni said to me “are you all right?” “... let’s say yes,” I replied.
I grabbed the rope and climbed up. Once I arrived at the entrance, I asked someone from below to hand over my photographic equip-
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Without wasting time I took my housing, switched on the headlights and all seemed to me more beautiful, almost surreal. Therefore, I started taking some pictures, while my other buddies came in one by one. While we were preparing to cross the first siphon, I felt a bit cold in the suit and thought, “I hope it is not flooded!” I illuminated under my feet with my headlights and, about three meters deep, at the bottom in front of me, I saw the opening of the siphon.
about eight meters long and meanwhile I shot some pictures to the buddies in front of me. Arriving in the second cave, wider than the first, I positioned myself waiting for the others, continuing to take pictures even external: the rock formations, beautiful and smooth, looked like chocolate. I began to feel cold and realized that my dry suit had flooded, and it must have been something serious because when I was standing I could feel the water up to my calves. Definitely a rip when I crawled at the entrance.
Paolo entered first, I went behind. I deflated my BCD and, dragging myself on the bottom, I arrived in front of the opening.
I thought about it for a moment, then I said, “Guys, I have to go out: I flooded my dry suit, I’m very cold and I think I cannot go on.”
Naturally, we were all without fins that in these situations are not needed.
These are tough decisions to make, but my experience tells me that you need to know when it’s time to say no.
I dragged myself into this narrow gut of rock
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Everybody agreed: I would go out and the others would continue, though Giovanni would have accompanied me to the entrance. Once there, retracing the path backwards, I was already half frozen: I could no longer feel my legs, I could not even pass in the entry hole and thus I decided to take off the double tank. As soon as I got outside, Giovanni passed me the equipment that then I lowered down through the rope. I had a lot more trouble getting out than getting in. Fortunately, the outside temperature was very pleasant and once I was undressed, I recovered quickly. My wife, who in the meantime had gone for a walk, arrived at that moment while I was undressing. I told her what happened, and she shook her head and said, “Do you understand that you are not twenty anymore!”
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After about an hour, my buddies came out, happy and joyful: for them it was like a walk. When Luciano saw that I was pretty depressed, told me, “Now I’ll take you to a place that will make your good mood come back!” A few kilometers away, in a remote place amidst the mountains, there is a kind of agritourism called “The Hermit”. The name fits like a glove and we ate very well: I think I’ve had the best “Lardo di Colonnata” in my life. Surely my good mood was back, but I think I’m done with cave diving.
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Review
Review
Hollis
Led 1200 Sidemount
Website: www.hollis.uk
T
cuitry protection is built into the battery and the charger, and charging ports inside the battery lid keeps the battery sealed from the environment during charging.
he LED1200 is a critical tool for demanding exploration dives. It is dependable and reliable, and constructed with the highest-quality materials in Lake City, FL. LED1200 features a heavy-duty light head machined from aircraft-grade aluminum with redundant sealing, and a Delrin battery canister with overcharge/discharge circuitry protection and redundant sealing. LED1200 comes in standard or sidemount configuration, making it the ultimate primary light for cave, wreck or ocean dives. Mark our words: it is our most dependable primary light ever produce, and the last primary you will ever need.
CONVENIENT STANDARD / SIDEMOUNT OPTIONS The choice of standard or sidemount configuration, both compatible with the same battery, suits every diver’s needs. Allows streamlined configuration of the cable assembly and easy to locate toggle switch. Specs: Cable Length Standard 48” or Sidemount 52” 300 mins burn time 600’ depth rating LED is by OSRAM, 1200 lumens output at 6000 Kelvin Power settings, “on” or “off” and uses a toggle switch Primary Material Light head machined from aircraft grade aluminum Light Head 6-degree MR11 reflector Choice of 2 Handles Elastic goodman (sold standard) or hard goodman grip (sold as accessory only) Battery Pack Powered by a 5.2aH (57.5wH) Li-lon battery pack Buoyancy Negative in water -.69 lbs Warranty Comes with a 3-year warranty CE Approved Certified for safe transportation UN/DOT 38.8
HEAVY-DUTY LIGHT HEAD Our strongest light head, its housing and handle are made of machined aircraft-grade aluminum for ultimate durabilitiy. It provides fast heat dissipation of the LED components, and redundant seals in the light head ensure no flooding will ever occur. Choose between two handles: elastic goodman(sold as standard option), and hard goodman grip(sold as accessory only). SECURE BATTERY CANISTER Machined solid Delrin canister has external locking Nielsen latches and is powered by a 5.2aH(57.5wH) Li-Ion battery pack. Redundant sealing, overcharge and discharge cir-
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Biology
The “biting� fight between males of Pseudanthias Words and pictures: Franco Tulli
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n nature the struggle for territorial and reproductive dominance is an ethological aspect present in many animal species: a behavior affecting also the marine fauna, although with a lower frequency and greater difficulty of observation. At certain particular times of the year, if you are lucky, while diving in the Asian, Austral regions and in the Red Sea, it is possible to observe the struggle between males of Pseudanthias (a genus that counts numerous species) for the territorial predominance and the possession of the harem. This behavior represents a real show! Anthias and Pseudanthias, although hard to believe, are members of the groupers family (Serranidae).
Some of the largest species of bony fish belong to this family, but also some of the smallest species ever. Most of the Anthias, belonging to the subfamily of the Anthiadinae, are small and colorful and inhabit coral reefs in groups that sometimes exceed even thousands of specimens. They survive by catching the food transported by ocean currents. The most common group is precisely that of the genus Pseu-
danthias. The name is borrowed from an initial error for which a number of similar species were incorrectly inserted in the genus Anthias, and thereafter relocated in the genus Pseudanthias. The sight of a school swimming over a colorful coral reef may seem at first an idyllic scene. In reality, these groups conduct a particularly “tumultuous” life. Contrary to many other species where there is no difference in “social status”, members of a Pseudanthias group constantly compete for a position in the hierarchical order inside it. These groups are mainly composed of females and non-territorial males that are found in the bottom of the social chain; other males, instead, normally one every eight females, are dominant and struggle for territory and for the defense of their harems. Also within the group of females there is a hierarchy and, if the territorial male dies, the dominant female in the harem changes sex and in a short time (about two weeks) becomes the new dominant male of that group, and therefore of that territory. In the pictures published in this article, the males are caught in the act of holding each other with their mouths, which
Two individuals of Synchiropus splendidus, mating. Indonesia, Lembeh Strait.
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During mating the mandarin fish perform very rapid vertical ascents side by side almost as if they were a single body. Indonesia, Lembeh Strait.
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like a bite, delivering each other some yank, but apparently without any damage. At other times, you may see them swimming side by side, rubbing each other.
larger males and females load, chase, and sometimes rub themselves with those belonging to the group closest to them at that time.
Even in this case it is easy to fall into a misunderstanding: similar images lead to think of a mating scene, such as for example occurs between the magnificent mandarin fish (Synchiropus splendidus) - photo below - where the male approaches as in a dance to the female, and then they perform in a repeated manner very rapid vertical ascents, side by side, almost as if they were a single body, and then, after the rapid fertilization of the eggs, each fall on the two different sides.
The struggle between two territorial males can last long, several tens of minutes, ending only with the departure of one of the two contenders. During these “battles� the skirmishes are repeated, as in a continuous replay, with the same poses and the same attacks, in a dance without music, elegant and colorful like the colorful patterning and fins, crossing and composing themselves in changing shapes.
In the case of the Pseudanthias, instead, it is to maintain the dominant position that the
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During the fight the males “bite� each other on the mouth, apparently without receiving any damage. Tulamben, island of Bali
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In some phases they swim side by side, rubbing against each other. Tulamben, island of Bali
It often seems like a dance without music, where the colors of the splendid and polychrome patterning unite
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During these battles the scenes repeat, like a continuous replay.
Two dominant males of Pseudanthias hypselosoma fighting for territory and harem. Tulamben, island of Bali.
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Biology
Cassiopea Andromeda The Starship
by: Massimo Bicciato and Emilio Mancuso
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B
iological introduction
Curiosity Undoubtedly the most obvious curiosity is linked to its most striking feature, which then gives these jellyfish the common name of “upside-down jellyfish”. This feature hides an even more peculiar curiosity: like all jellyfish, these are also equipped with stinging cells used to catch food, but in the case of Cassiopea the number of stinging cells is extremely low, and they have expanded tentacles (almost like form small spearheads) where the jellyfish have learned to “cultivate” zooxanthellae, microalgae of the same class as those that are inside the polyps of the hard corals. This reveals why the Cassiopea live on shallow depths, and reveals why they live turned upside down.
This is one of the eight species of jellyfish that are part of the Cassiopeidae family, a family that is represented ONLY by these eight species, which can be easily recognized by having a flat, circular umbrella, with dimensions that reach even 30 cm in diameter and that populate almost all the warm and temperate seas of our planet. We almost forgot the most salient feature: you will undoubtedly recognize a Cassiopea because it lives “upside down”! The flat umbrella remains in contact with the bottom and the tentacles are facing upwards, and in this position it remains, even if it is removed from the bottom, where it returns by beating its umbrella with the classic jellyfish movement, always reversed upside-down. Depth Tendentially tied to not particularly deep seabeds, both sandy and detrital, these jellyfish are found as far as the light can pass with good intensity that, in the crystal clear waters of the Red Sea, leads them to distribute even up to 20 meters deep.
The tentacles containing the zooxanthellae must be exposed to light, so that these microalgae can do photosynthesis. As a benefit for this symbiosis, jellyfish receive much of their nourishment in the form of simple sugars produced precisely by zooxanthellae due to photosynthesis.
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Approach and observation Of course, watching those still creatures stuck to the bottom may even not be the biggest thrill of the dive, but this does not allow us to mistreat these delicate organisms. First of all, a close-up view will allow us to observe the elegance of the shape and the tentacles colored from the inside by zooxanthellae ... and if you really can’t resist the thrill of seeing it twirl in the water the least you can do is taking these two precautions: • if you are in a group, do it once while everyone attends; • Don’t touch it directly with your warm, rough and dirty big hands, but rather put a finger under the sand and let the sand itself acts as protection for the delicate jellyfish. Let us remember that they are made for more than 90% by water and our eagerness could cause their death. Thus, once again let us remember to be careful observers and lovers of the sea, and not a source of disturbance and harm.
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Portfolio
Pietro Formis
“Water and Mysteries” Website: www.pietroformis.com
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Won many awards in national and international competitions like GDT – European photographer of the year, UPY (Underwater photographer of the year),Asferico, Ocean art Competition, Ocean Geographic Competition, and many others.
ietro Formis is born in Milan, Italy in 1978, Since the beginning he’s always in contact with the involved in the world of imaging and visual communication passionate about the sea since he was a child, underwater photography is his passion, almost an obsession, which led him to travel to tropical paradises, as well as dive in the Mediterranean Sea and explore italian fresh waters.
In 2019 published his first book: “AQUA: mysteries of the underwater world”. Leads photographic workshops in Italy and worldwide, and is a collaborator of EIZO, world leader in the production of professional photography monitors.
Published his work international magazines like Ocean Geographic, Photo Professional, Oasis, Scubashooters, Scuba Zone, Sub, Unterwasser, La rivista della Natura, Naturphoto, RollingStone Italia,.
website: www.pietroformis.com
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Dreaming at Yos Dive Resort Words and pictures: Jerome Israel
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or my first 50 years, I decided to finally give me a trip completely dedicated to underwater photography and to my great passion, macro photography. The choice could only be Macromania. The event, held every May in Puerto Galera on the island of Mindoro in the Philippines, is organized by the Institute for Marine Studies and Philippines Diving Dream in collaboration with Fisherman’s Cove Dive Resort.
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Travels
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ast year I took first place in macro in Scuba Shooters’ Deep Vision contest and won a trip to YOS Dive Resort in Lembeh. I had been to Bali 3 times and was comfortable there. The flight from the U.S. is always a killer, which caused me my usual trepidation. Should I venture out of my comfort zone and endure a flight to someplace new? Sometimes, at age 63, I wonder if like tread on a tire how many more flights like this I have left before I wear out. But you’re an underwater photographer! my other voice said. This is your job! So, get off your lazy rear and GO!!
from Denpasar, Bali to Tulamben. Most of the roads are straight until you hit the roller coaster ride through the hills for the last 15 minutes. We rolled into a small village where the hotel’s long thatched roof is prominent from the water. The location reminded me of my youth. On the other side of the water was Lembeh island— it felt like being in a lakeside cottage in middle America.
I didn’t regret it for a minute.
And herein lies one of the unique features of diving in Lembeh: it’s a compact area with many stunning dive sites no more than 10 minutes away by boat. As a matter of fact, practically in front of the hotel is a small island surrounded by lush corals.
The ride from Manado to Lembeh is 90 minutes, merciful compared to the 3-hour trip
At times my guide was fighting for my attention because I was mesmerized by the beauty and
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diversity of what I was seeing.
Parman was an outstanding guide and knew how to accommodate photographers. He lived in a small village near Manado where they usually see cyerce nigras.
This was a trip of firsts: my first coconut octopus, mandarin fish, hairy shrimp, and unusual nudibranchs. Shooting mandarin fish was a thrill. It was getting dark and my guide, Djangoan Parman, showed me the male on the prowl.
Say what?? My ears perked up. Can we go on a field trip? Sure, he said, and four ladies from Korea and I packed in a van and drove to Manado. I never expected to shoot these cyerces on this trip. What a bonus!
There were plenty of suitors to choose from. I moved in for the shot, my focus light blazing, and he pulled me back. He signaled to me to turn off my light and wait until they swam up above the corals. But how was I to illuminate them? Suddenly a pair went up; Parman shined his light on them. I moved in for the shot.
After each dive, you climb aboard, and the captain greets you with a fresh towel, a hot washcloth, ginger tea, and fresh fruit. Take note boat captains in Florida! The staff prepares meals every day, and most of them being a tasty amount of fish, shrimp, and chicken. And, they are eager to please, and
Too late! But now I understood the process and was able to shoot an image I was happy with.
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Tecnique
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one day made me a grilled cheese at my request.
French-style doors swing out to the patio and provide a gorgeous view of sunrises.
The rooms are spacious with plenty of narrow tables for cameras, batteries, and junk.
This was a fabulous trip, the kind that you usually only find in dreams.
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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
Review
Review
Nauticam
NA-GH5 Housing
Website: www.nauticam.com
P
anasonic hybrid camera systems have revolutionized all levels of motion imaging capture. Pairing high quality interchangeable lenses with compact camera bodies, the video camera of choice for underwater filmmakers has undergone an incredible transformation in recent years. It has become the Panasonic GH5 and GH5S. An exceptional hybrid housing to complement an exceptional hybrid camera, the NA-GH5 is designed from the ground up with both video and still shooters in mind.
THE PANASONIC GH5 AND GH5S The Panasonic GH5 is a new camera body, positioned above the successful GH4, and improving it in every way. At the core is a 20 megapixel sensor with completely revamped video functionality. When shooting motion, GH5 reads the entire 5K sensor, then resamples in camera to create each individual 4K frame. This results in increased sharpness with no
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change in lens angle of coverage! Panasonic didn’t stop there, unlocking UHD video capture at up to 29.97 fps with 4:2:2 10-bit chroma sub-sampling. Simply put, this means the GH5 can capture twice the color information with 64x the precision of a 4:2:0 8-bit system. The GH5S, featuring the same body as the GH5 is even more video focused than its sibling. The GH5S features an anamorphic 10.2MP sensor featuring Dual Native ISO technology borrowed from the high end VariCam that can record DCI 4K internally at up to 30fps with 10-bit 4:2:2 color and HDR Hybrid Log Gamma support.
Panasonic GH5 Key Features 20MP Four Thirds sensor (no OLPF) 5-axis in-body image stabilization system with ‘Dual IS 2’ support All 4K footage taken using full width of sensor (oversampled from 5.1K footage) Internal 4K/30p 10-bit 4:2:2 video capture 4K/59.94p and 50p shooting with 10-bit 4:2:2 output or 8-bit, 4:2:0 internal recording Panasonic GH5S Key Features 10MP Anamorphic sensor Dual Native ISO of 400 and 2,500 DCI 4K 10-bit 4:2:2 at 30fps internal recording with simultaneous 10-bit 4:2:2 feed through HDMI out 1.8x crop factor vs 2.0x crop factor of GH5
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Review
THE NAUTICAM NA-GH5 UNDERWATER HOUSING The NA-GH5 housing is small, but not at the expense of functionality or ergonomics. Integrated handles provide a sturdy and comfortable base to operate the system from. A sculpted shutter release lever, thumb lever for AE-L / AF-L, and well placed control dials provide the same operational feel as any Nauticam DSLR housing. Control buttons are placed within easy reach of the handles, with sufficient spacing to allow easy operation, even by feel. The NA-GH5 is a professional grade underwater housing,
built with cutting edge manufacturing technology, supporting the pro-level GH5/GH5S camera bodies to its full potential. The GH5/GH5S feature four custom White Balance Presets allowing the video shooter to store settings for various depths as well as natural/ artificial light scenes and switch between them quickly on a dive. Access to these presets is a breeze with the NA-GH5 mission control layout. A second thumb lever on the right side of the housing, easily accessed from the handle, brings up the white balance presets. Simply scroll to the desired preset and film away.
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PREMIUM PROFESSIONAL OPTICS The variety of optics solutions for the NAGH5 are staggering. Whether you’re choosing a MFT open-source standard lens such as the Panasonic 8mm Fisheye or the ultra-fast Olympus 60mm macro lens there is an N85 port system port for you. Looking for zoom-through capability and both macro and wide on the same dive? The WWL-1 and CMC wet-mate system allows for unmatched corner sharpness for your wide angle and ridiculous reproduction ratios for your macro. The bayonet mount system allows for switching underwater. TTL AND MANUAL OPTICAL STROBE TRIGGERING Add the optional Panasonic DMW-FL70 Flash inside the housing for reliable, accurate triggering of optical TTL compatible strobes. Rapid fire manual triggering is also available with the Nauticam Mini Flash Trigger . FULL SIZE HDMI OUT The GH5/GH5S camera features a full size “Type A” HDMI Connector on the camera body, providing a reliable user friendly connection for external monitors. A new Nauticam Internal HDMI Cable supports this format! Matched with the integrated tripod mounting ball attachment points the NA-GH5 can be turned into a steady macro or time-lapse platform. WHAT’S IN THE BOX? NA-GH5 Housing Spare Main O-ring O-ring Remover CR-2450 Battery (for Moisture Alarm) Lubricant Set of Allen Keys
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We are located exactly 74 km far from Trieste, near the small town of Kantrida, which is about 5 to 6 km before downtown Rijeka. Our Diving Centre is right under the swimming pools area, directly in front of the open beach. On one side, we are overlooked by Mount Major (Ucka) and on the other, we face the beautiful islands of Krk and Cherso: in brief, we are right inside the Kvarnaro Gulf. Our flagship is wreck diving by boat: three wrecks situated at different depths, each one no farther than maximum 20 minutes boat ride. And there’s more! Our shore dives directly from our Center’s beach offer an easy and colorful training ground for any kind of diving courses. Finally yet importantly, our diamond tip dedicated to macro photography lovers: a wide variety of critters to increase the pleasure of diving.
From our beach, with our boat... ...come with us and enjoy your dive!
www.diving-marcopolo.com
唀渀搀攀爀眀愀琀攀爀 攀砀瀀攀爀椀攀渀挀攀
挀⼀漀 匀琀愀戀椀氀椀洀攀渀琀漀 戀愀氀渀攀愀爀攀 ᰠ匀琀攀氀氀愀 䴀愀爀椀渀愀 渀⸀㜀ᴠ 一甀洀愀渀愀Ⰰ 䤀琀愀氀礀 吀攀氀⸀ ㌀㤀 ㌀㌀㔀 㘀㘀㈀㔀㌀㌀㤀 䔀洀愀椀氀⸀ 椀渀昀漀䀀挀攀渀琀爀漀猀甀戀洀漀渀琀攀挀漀渀攀爀漀⸀挀漀洀 眀眀眀⸀挀攀渀琀爀漀猀甀戀洀漀渀琀攀挀漀渀攀爀漀⸀挀漀洀
DAN Europe
Kurt Arrigo
Interview
Website: www.daneurope.org
Y
ing with new challenges — I feel that through diving, you learn to become a problem-solver.
ou are a renowned specialist in marine photography. When and how did you set off on a mission to capture the unpredictable nature of the ocean?
So what are the main challenges of underwater photography?
I never really set off on a mission. It was more of a natural progression in my career and it is something which still gives me a lot of satisfaction and fulfilment. I feel very connected to the marine world. Being underwater reenergises my spirit and wellbeing. It keeps me alive. Growing up on an island has definitely influenced my love and passion for the underwater world - I was only 10 when I first started diving. My dad, being one of the first pioneers of scuba diving in Malta back in the 1960s, was a huge inspiration on me growing up. I would accompany him at sea from a very early age. Then, I got into photography when I was 15 and underwater photography was an obvious thing to do. Till this day, I very rarely go for a dive without a camera. The camera has become an extension of my hand! I’ve been doing this for the past 30 years and I still enjoy the challenges. So ultimately, I’m still on a mission.
The challenges of being underwater are very different from being a photographer in a fixed studio or on land. Diving brings with it a lot of variables many of which are hard to predict and beyond our control, namely, the current, visibility, lighting, nature. As you start to read books about the subject, you’ll come to realise that successful marine photographers must possess a good sense of humour because you never know what’s coming your way! And it tests you — it tests your patience, tolerance, creativity, it tests your self as a person. One of the main challenges is actually having to work with marine life. There might be instances when you go for a dive with something in mind and it’s simply not happening. It’s there where you learn to appreciate the little things, or the topography, the stones, the caves. Then there’s the preparation. Before you embark on your assignment, you need to make sure you have the right diving and photography equipment since you’re limited to the amount of camera gear you can take — it’s not like on land where you can simply change a lens. If you’re down there with a wide-angle lens you’re limited to that style of imagery. Also, an average underwater shoot would take an hour, so time is also a limitation. “I very rarely go for a dive without a camera.
What draws you to the underwater world? To me, the underwater world has always presented an element of unknown. No matter if I’m diving in the same location or using the same equipment, I’m constantly experiencing something which is different. And so I’m constantly learning ways of deal-
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The camera has become an extension of my hand.”
Social media has definitely helped creatives express themselves and Instagram is a great platform to help me showcase my work. It hasn’t changed the way I take pictures, but it has changed the way I share them. Whereas before I took pictures for myself or to show a handful of people, now I have an audience. So it has certainly helped me carry on expressing my passion. People started engaging with my work, by commenting and passing on lovely feedback. Before I would get some work published on a couple of magazines here and there or perhaps participate in a competition to get recognition. But now it’s easier. The social platforms available have reignited me to carry on. I share an image each day to keep my audience alive and I’m very happy to communicate with the people I’m doing this for.
You’re a precocious swimmer, diver, and sailor. Has this helped you take your images? I feel lucky I was constantly by the water’s age as a young boy, and that I enjoyed it all tremendously — from the challenges to the preparation. When I talk to other marine photographers, I tend to tick a few more boxes: some might be more comfortable sailing and others not so much. So understanding all these areas has helped make my career as a marine photographer a lot easier. In your career, you’veswum with hammerhead sharks and undertaken intrepid environmental projectsinthe Galapagos Islands. How would you describe these experiences? Overwhelming. Swimming with hammerhead sharks and spotted dolphins in the Bahamas, diving with bull seals — it made me feel insignificant. And especially for someone who like me has such a connection with the underwater environment, the feeling of sharing their territory is just so deep. When you do experience something bigger than you in terms of nature there’s also the element of risk which makes it exciting. “It tests your patience, tolerance, creativity it tests yourself as a person.”
If you were to recommend one thing to Alert Diver readers, what would it be? Diving is all about knowing your parameters. Be sensible and aware. If you’re aware that things could go wrong, you will act sensibly within the diving environment. Why I’m a DAN member: I first joined DAN when I started travelling. Knowing I was part of a community dedicated to the underwater world gave me a feeling of safety and a sense of security. Apart from that, it’s also formative for me to be part of an organisation committed to understanding the nature of diving and divers.
You have almost 69K followers on Instagram. How has social media changed the way you capture images and tell your visual stories?
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IRST PLACE
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GIANCARLO MAZARESE
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匀 吀䄀夀 䤀 一 倀䄀 刀 䄀 䐀 䤀 匀 䔀
䄀 䜀 唀 匀 吀䄀 䤀 匀 䰀 䄀 一 䐀 Ⰰ 刀 䄀 䨀 䄀 䄀 䴀 倀䄀吀Ⰰ 䤀 一 䐀 伀 一 䔀 匀 䤀 䄀 䤀 一 䘀 伀 䀀 䄀 䜀 唀 匀 吀 䄀 刀 䔀 匀 伀 刀 吀⸀ 䌀 伀 䴀 䄀 䜀 唀 匀 吀 䄀 刀 䔀 匀 伀 刀 吀⸀ 䌀 伀 䴀
Indonesia MOYO ISLAND
See it, Dive it, Love it A top natural wonderland A place where the beauty of nature exceeds expectation. An exotic and luxuriant island paradise. An extremely peaceful place where you can relax in tranquility. A world-class diving destination.
info@bluemoceanresort.com www.bluemoceanresort.com +62 813.3794.6294