Scubashooters net e mag issue n10 dec 2015 by Scubashooters Underwater Photography

ISSUE

N°10

D E C 2015

LIGHT, CAMERA, ACTION by Beth Barklage Watson

PORTFOLIO Pietro Cremone MONTHLY CONTEST Tanya Houppermans wins the “Night dive” contest

BEGIN WITH THE END IN MIND road to technical dive - part 5 DEEP VISIONS 2015 Categories & Judges

BORNEO FROM BELOW by Aaron “Bertie” Gekoski THE MAGICIAN OF LIGHTS: the art of Francesco Pacienza

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Dear scubashooters, Sometimes I am amazed by the gift UW photography is for our world. We, the underwater photographers are the privileged witnesses of what is happening below the surface. Our cameras become the eyes of an often blind society, we are the first sighters of the changes that take place in our seas and ultimately affecting the whole Earth. I’m always willing to sit and listen to the stories that older UW photographers sometimes share; stories of richer waters, stories of un-bleached coral reefs , stories of incredibly big shark schools. The elders are the witnesses of these amazing sightings once common ,getting rare nowadays. Through our lenses we document the beauty of the sea but we also document its fragility. One of the missions of Scubashooters.net is to bring this beauty and fragility to the surface and offer it to the eyes of everybody to see what we are endangering day after day, following uncontrolled fishing, uncontrolled pollution of the atmosphere ( which affect the waters temperature throughout the globe ) and uncontrolled pollution of the sea. So stay tuned if you think you want to refine your sensibility towards our beloved seas and fall in love with them even more. For those of you interested in UWPhotography competitions, did you have the chance to review and enter the Scubashooters’ Deep Visions UWP international award? After receiving many requests from all over the world, we decided to extend the dead line a couple of weeks in order to offer the chance to everybody to enter the contest. So the Deep Visions contest will remain open just till before Christmas. Join now! Don’t loose the chance to win amazing prizes and have your name and work exposed on our medias. Marino Palla Owner and Founder Scubashooters Network

Cover image “Starship”

By: Pietro Cremone

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BORNEO FROM BELOW THERE’S FAR MORE TO BORNEO THAN ORANGUTANS AND PYGMY ELEPHANTS IN THE FIRST OF ITS KIND, A NEW SERIES WITH BRING BORNEO’S COASTLINE INTO OUR HOMES

TRAVELS Words and Pictures

Aaron “Bertie” Gekoski

12 ----------“Trust me, this place is off the charts. It’s the epicenter of marine biodiversity. Along every stretch of coast there are stories that need telling. There are sharks, nomadic sea gypsies, more turtles than you’d believe, incredible macro life, plus of course Sipadan Island! It’s like nowhere on Earth!” I’m sitting outside Starbucks in Covent Garden on a wet, bitingly cold day in December, being catapulted into a place so foreign it might as well be on a different planet. Simon Christopher puts his sandwich down and takes a breath. Co-founder and CEO of Scubazoo, “Pieman” is as renowned for his enthusiasm as he is his voracious appetite. This is the man who went from filming dive customers in 1996, to building one of the world’s top underwater production companies with his close friend, underwater photographer Jason Isley. In the years that followed, cameraman Simon Enderby, underwater cameraman Roger Munns, and 15 others joined them in their office in Kota Kinabalu, Sabah - that’s Malaysian Borneo to you and I. From a video recorder with a bunch of tapes, to filming for the BBC, National Geographic and Discovery Channel. The famous turtle mating scene in David Attenborough’s Life Story? Scubazoo shot that. The Emmy Award-winning Human Planet piece about Borneo’s freediving sea gypsies? Also Scubazoo. When it comes to telling underwater stories, few do it better. Pieman continued: “We’re in the process of launching a new online channel which will give a platform to these stories. We want to bring our world into the homes of fellow ocean lovers. Never before has anyone attempted a project like this! And we’d like you to front it.” -----------

What is it about the word Borneo? Few places carry such exotic connotations. Jungles filled tree-to-tree with pygmy elephants, proboscis monkeys, sun bears and orangutans. Head Hunters, crazy-looking bugs, rainforests, mountains. And that’s just above the water. Borneo from below does little to dampen the romance. This massive coastline – Borneo is the 3rd largest island in the world – is home to world-class muck diving and coral reefs, and inhabited by some the ocean’s largest creatures, as well as its smallest and most bizarre. It doesn’t take much persuasion to join the Scubazoo team and I leave the UK laden with lenses, bound for Borneo.

MARVELOUS MABUL Just an hour’s boat ride from the unprepossessing fishing town of Semporna, eastern Sabah, Mabul island is small enough to walk around in 20 minutes, yet large enough to host a sizeable population of Bajau Laut (aka sea gypsies) who have formed settlements here over recent years. Set up by Scotsman Ric and eccentric German, Tino, Scuba Junkie is the largest of a handful of operators on the island. In just over a decade since opening, Scuba Junkie has grown into the busiest operator in Malaysia, serving up to 100 customers a day in Mabul alone. Conservation lies at the heart of the company’s success. A newly opened rehabilitation centre and turtle hatchery has not only had a marked impact on local turtle populations, but turned the community into conservation rangers. Traditionally, turtle eggs are either eaten or sold at markets. Now, locals receive a financial reward for notifying Scuba Junkie when a turtle is nesting. The eggs are then carefully relocated to a safe environment by in-house marine biologists, Dave and Cat. Along with this, the Irish couple even organise annual Turtle and Shark Weeks, and are in the process of setting up a Sabah Shark Alliance to offer protection to the area’s shark populations. In an attempt to combat Mabul’s litter problems, Scuba Junkie’s staff also undertake weekly beach cleans with guests. In a relatively short space of time, locals have gone from eating out of nice biodegradable banana leaves, to food coming wrapped in a shiny plastic coat. Keeping the island clean is a daily battle.

Due to the sheer volume of interesting stories, coupled with its proximity to Sipadan and other superb dive spots, Mabul was the ideal place to launch Borneo From Below. The plan was to be based here and produce short, weekly online videos on the area’s main characters (both above and below the water) and key environmental stories, whilst offering viewers tips to improve their underwater photography.

AROUND THE ISLAND Whilst Sipadan grabs most of the headlines, the diving off Scuba Junkie’s jetty turns out to be surprisingly fishy. Dive site Awas plays host to dozens of green turtles, some the largest I’ve ever encountered. On artificial reef structures they endure divers with good grace, whilst wrasse pluck parasites off them. On and around these structures are candy crabs, broadclub cuttlefish the size of rugby balls (I get lucky and snap one with a rabbitfish protruding out of its mouth), frogfish, schools of snapper, ornate ghost pipefish and mantis shrimp. And all located no more than a couple of minutes swim from the jetty. Other interesting sites around the island include Sea Ventures (a converted oil rig turned dive centre with superb macro underneath), Lobster Wall (slope with lots of nudis) and Froggies Lair (lovely coral and great macro life). At the impossibly pristine Si Amil Island, some 40 minutes boat ride away, cameraman Will and I produce an episode on muck diving. We present Dave with a rather ambitious wish list of 10 critters, which includes spiny devilfish, flying gurnard, stick pipefish, peacock razorfish, dragon sea moth, seahorse and more.

16 Over the course of the day he finds us all but one. We even have time to head into the blue and search for the large schools of devil rays that are often seen here. Surface intervals are spent on the tropical, empty beach trying to master the art of palm tree climbing.

TWO HEADS ARE BETTER THAN ONE But perhaps the most exciting photographic subject isn’t found at Si Amil, but instead at nearby Kapalai – a sandbar with a luxury hotel on top. Over breakfast one morning news spreads: a tiny two-headed nembrotha has been spotted by eagle-eyed instructor, Nas. Despite much Googling, we can’t find any references online to two-headed hermaphroditic sea slugs. With full filming schedules, the earliest we can head to Kapalai is in three days’ time. Whilst nudis aren’t renowned for their speedy migrations, they can still travel a fair distance over the course of 72 hours. Skeptically, we embark on a mission to film it. To our overwhelming surprise, Nas spots the double-domed slug in precisely the same spot. Perhaps its heads pull in difference directions, bringing it to an eternal stand still? Whatever the reason, I’m grateful to spend 42 minutes waiting for the funky critter to get in the right position for a head(s) shot. Will finally drags me away as a solar-powered nudibranch has been spotted nearby, along with a juvenile painted frogfish the size of a pound coin. It’s been one of the most extraordinary macro dives of my life.

SIMPLY THE BEST Whilst the miniature life is outstanding, most people come to this region for the bigger things in life. And for these it doesn’t get much better than Sipadan. A shoe in on lists dedicated to the world’s top dive spots, divers travel from all over to spend time with the resident schools of barracuda, bumphead parrotfish, jackfish and sharks, along with giant turtle populations. Formed as a result of living corals growing on top of an extinct volcano cone, the island was famously referred to as “an untouched piece of art” by Jacques Cousteau. Whilst our oceans are plundered at an alarming rate, rendering once-famous dive destinations fishless and broken, Sipadan has changed little in the 30 years since Cousteau made these remarks. This, in part, is due to protection offered by the Malaysian authorities who have banned fishing around the island and only hand out 120 dive permits a day. Because of this, divers must book their trip here well in advance. Having waited years for the chance to dive Sipadan, my first trip begins in ominous fashion. Storms and heavy rains make for an uncomfortable 20-minute boat ride. The gloominess is far from ideal for underwater photography. Dave assures me this is, in fact, a positive thing: stormy weather + early morning start = hunting. We drop in on 40-50 bumphead parrotfish. A thick school of jackfish lines their unmistakable profiles. White tip reef sharks dart amongst this silver wall and are joined by a few plucky fish who clean themselves by rubbing up on the sharks’ scaly skin. It’s dark, it’s gloomy, and diving doesn’t get much better.

As the storms lift, we dive again in brilliant sunlight - this time in search of barracuda. Vast coral reefs and table corals larger than me confront us. The hope is that they’re ‘tornadoing’: a schooling technique barracuda do in order to intimidate predators. This is the iconic Sipadan scene and every visitor’s fantasy to be amongst the middle of. Yet again the diving delivers and we spend an hour with them, as they sporadically form scaly vortexes with us in the centre.

BEST OF THE REST Over the coming weeks, we explore more of the area’s top dive spots. This includes the northern islands, such as Sibuan. Dive site Hawksbill Highway’s blanket wall of coral is the perfect amphitheater for four massive pharaoh cuttlefish.

Sipadan Barrier Reef, on the other hand (despite possessing little fish life), provides some of the area’s most spectacular coral formations. Along with diving, Will and I tackle some of the region’s back stories. We film a local fisherman catching mantis shrimp with a piece of bamboo and fishing wire. The animals are then stuffed into bottles and served as delicacies at local restaurants. We also attend a local fish market, which churns out devil rays, dried seahorses and more. I attend the Regatta Lepa, an annual celebration of the Bajau’s traditional boats (a fascinating, sweaty experience you can read about in the next issue). We even get lucky as a hawksbill and green turtle nest on the same night. Some 60-days later, we shoot the ‘turtle volcano’ as the hawksbill hatchlings make their bid for freedom. Unfortunately, not everyone will get to experience these moments, or Borneo, for themselves. It’s our hope that this series offers the next best thing: a chance to live vicariously through the eyes of those based here. Because Pieman was right: there’s nowhere on Earth quite like it.

To watch Borneo From Below’s weekly episodes and get regular updates, you can like their Facebook page: www.facebook.com/borneofrombelow www.scuba-junkie.com

LIGHTS, CAMERA, ACTION!

Of course there is no substitute for adequate working knowledge of the camera system, and a good eye for composition is a bonus, but the key factor in creating dynamic, creative and impactful underwater images is understanding the light. Learning and understanding how light falls on the subject and having the ability to control and shape the light is crucial! The lighting is what creates the mood and atmosphere of any image.

CHARACTERISTICS OF LIGHT The harshness and softness of the light plays a key role in the shape, appearance, dimension and texture of an image. It is important to know when to add light and when to subtract it. Direct light will cast harsh shadows while diffused light will create a much softer look. Shadows will be cast on the opposite side of the light source. A small light source produces hard, directional light with a narrow beam, while a large light source will produce a softer light with a wider beam. The direction and angle of light will dictate its quality. Light coming from an angle will produce texture, drama and creates character. Direct light coming from the standard flash camera position will usually be flat and unflattering, revealing minimal shape and texture. Angling the light sources will produce more interesting results. The color temperature is a characteristic of visible light and refers to the warmth or coolness of an image and affects its mood and feel. A warmer image will have more yellow and red tones while a cooler image leans towards the blue spectrum.

Beth Watson

Color temperature is measured using the Kelvin scale, a higher number reflects a cooler temperature and a lower number reflects a warmer tone. The white balance setting on the camera, photo editing software and filters will give the shooter control over the color temperature. Water is denser than air resulting in the loss of visible colors very quickly. Red is the first color to be absorbed and is no longer seen at 5m (15ft), orange, yellow, green and blue are the next colors to be absorbed. Due to the absorption of light, artificial lighting is needed or images will lack color and contrast.

TECHNIQUE

Words and Pictures

ONE STROBE LIGHTING TECHNIQUES FRONT TOP LIGHTING Front lighting is typically done by placing a strobe directly above the lens port. Aim the strobe downwards at a 45 degree angle, this will give the image depth, texture and the colors will pop. Positioning the strobe directly on the subject will result in a flat and lifeless image. Another alternative is to place the strobe directly over top of the subject directing the light downward, this will create interesting shadows.

SIDE LIGHTING This technique can be very effective in producing high quality images, especially when using a single strobe. Positioning the strobe to the left or right side of the camera creates shadows, giving the image depth, and accentuating textures.

BACKLIGHTING Place the light source behind the main subject, visualizing how the light is falling upon it. What is the desired outcome? Use of a constant light source often works well in this situation and can provide instant feedback. Double check the exposure of each image, as overexposure presents a problem when too much light spills out from around the subject. Camera angle, distance and height of the subject in relation to the camera, and distance from the subject to the light source are other variables that need to be taken into consideration.

TWO STROBE LIGHTING TECHNIQUES WIDE ANGLE LIGHTING The basic set-up for wide angle underwater photography is to extend both strobes arms bilaterally. Angle each strobe slightly outwards, away from the center of the camera. This will help to minimize backscatter. Extending the strobe arms to their maximum length will most likely be required for a reef or wreck scene, but a smaller subject will require the strobes to be drawn in closer to the camera. Use diffusers when shooting wide-angle scenes, they will allow for increased coverage and soften shadows. Keep in mind that diffusers will decrease the amount of light and contrast in an image, adjust the camera settings accordingly. Position the strobes slightly behind the housing to avoid unwanted light spilling into the image.

MACRO LIGHTING Aiming the light source directly at the subject underwater can be a problem. The light hits particles in the water and is reflected back on to the camera sensor, creating unwanted backscatter. However, this does necessarily apply when shooting macro subjects because of the close proximity of camera to subject. Reducing the amount of water between the camera lens and subject significantly reducing the chance of recording backscatter. A basic strobe position for a macro lighting it to draw the strobes in very close to the camera and direct the light towards the subject.

30 SUPER MACRO Super macro photography involves adding a device that adds magnification such as a diopter, tele converter, extension tube. In theory, most strobe positions and lighting techniques can be modified is some form and applied to super macro subjects. To be effective, the strobes should be drawn in close to the camera. Due to the higher magnification, the power output of the light source will need to be reduced to avoid over-exposing the image.

CROSS LIGHTING A method by which both strobes are pointed inward towards the subject. This lighting technique creates a lovely quality of light and gives the image nice balance. Increasing the shutter speed will create a black background, produce vivid colors and provide depth.

FRONT AND SIDE LIGHTING Position one strobe over the lens port at a 45 degree angle facing the subject and place the other strobe to the left or right side of the camera depending on the desired effect. Position the strobes so the edge of the cone of light gently hits the subject. This technique gives the image a 3-dimensional look.

32 DIAGONAL LIGHTING Diagonal lighting will illuminate the subject nicely providing texture, color and dimension. To achieve this effect, place one strobe top right and the other back left or vice versa. The height and angle of the light depends on the subject and desired effect. Experiment with various strobe power ratios, set the strobes manually and take control of the lighting situation.

INWARD LIGHTING If the subject is hidden in a crack or crevice pull the strobes in very tight and aim them towards the camera lens. This helps to eliminate unwanted shadows. This technique is most effective when shooting super-macro subjects because of the increased magnification and short working distance from lens to subject.

34 SNOOTING Snoots have become very popular in recent years. A snoot is a device placed on a light source used to direct light onto a specific portion a subject. This creates a spotlight effect, highlighting the subject and blocking out distracting backgrounds. Snoot lighting grabs the views attention, produces vivid colors and creates a wow-factor. Learning to use a snoot requires patience and perseverance. Trial and error is part of the process, but when success strikes, and that stunning image is captured, it is very rewarding.

OFF - CAMERA LIGHTING Using this technique requires thought and preparation. Whether the off-camera light source is placed on a wide-angle wreck or behind a translucent leaf fish, the images will be creative, dynamic and eye-popping. The strobe will be detached from the housing and hand-held or placed on a tripod. Several triggering mechanisms can be used to trigger the off-camera strobe. Using an extended sync cord is a good way to begin experimenting with this technique. For more creativity and flexibility investigate fiber optic triggering systems.

GET CREATIVE WITH MULTIPLE LIGHT SOURCES It is the angle of light that ultimately determines the quality of light. Using more than one strobe opens the door for an endless array of lighting possibilities. Experiment with unfamiliar lighting techniques and apply changes to favorite tried and true methods. Visualize how the light will fall on the subject before pressing the shutter, attempt to “see” the image before it is captured. In the words of Ansel Adams, “The concept of the photograph precedes the operation of the camera. The print itself is somewhat of an interpretation, a performance of the photographic idea.” Be creative, explore and observe. TIPS AND HINTS Proper buoyancy is perhaps the most important factor in becoming a good underwater photographer and diver. Practice buoyancy skills often Disturbing the environment, moving or harassing animals for the sake of capturing an image is unnecessary and unacceptable Strobes are most effective when the subject is 1m (3ft) or less from the camera Always perform a pre-dive check, making sure all strobes are firing correctly before the dive Take control, shoot in RAW, use manual settings on the camera and strobes Experiment, try new techniques

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nd exhilarating encounters found anywhere in the ocean, the Sailfish hunt. orthern Gulf of Mexico drive nutrient-rich waters south over the shallow continental shelf, it. bands of sailfish savage the wary baitfish. Understanding the dynamics of a bait-ball is ess of these magnificent fish in action. kel, which allows us the best encounters with these fast moving fish. we will encounter static (non moving) bait balls, which typically stay close to the divers and s and it is possible to jump in with manta rays, sharks and schooling golden rays

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THE MAGICIAN OF LIGHTS THE ART OF FRANCESCO PACIENZA Words and Pictures

Virginia Sazedo and Francesco Pacienza I believe that students and teachers choose each other in some way, and when they dialogue and share, the work done together become unique and unforgettable. Francesco Pacienza and I are in the beautiful Salento region for a customized photography course, without having specific targets; we go where our creativity will take us, in a special trip between colors, lights, scents and harmonies of our Mediterranean. In this context, spontaneous reflections about underwater photography generically, and about underwater photography practiced in our beautiful Mediterranean Sea particularly, sprang out. Virginia: You were already a successful photographer in the field of advertising photography, particularly â&#x20AC;&#x153;still lifeâ&#x20AC;? and fashion. When and how did you approach underwater photography? Francesco: In most cases, divers get into underwater photography. My case was the opposite, since I became a diver only in 2006 and started even to realize underwater images. This difference, which may seem subtle, actually is not that thin, because I constantly apply all the technical knowledge, and 25 years of professionalism in the advertising industry, in underwater photography too. For this reason, my mental approach is totally different from the one most of the

Virginia: You have always said that it does not matter much what kind of camera you use. Your first camera was a compact, right? Francesco: The camera is simply a tool that enables us to expressing ourselves, exactly as it could be the use of a typewriter or computer for a writer, or the canvas and the brand of colors and brushes for a painter. They are only tools. The person using such tools makes the difference. Therefore, taking pictures with a compact, a mirrorless or an SLR is nothing but taking pictures. It is not the instrument to make the difference. The same is true when you use a flash of a brand rather than another. The important thing is that I know the guide number of the flash I use.

INTERVIEW

underwater photographers have, whom in the end are merely photography enthusiasts trying to document as best as they can the beauties of the seabed.

If I know this data, using a flash rather than another makes no difference. Virginia: I was lucky enough to dive often with you, and my feelings were of a professional working passionately. Why are your photos so special? Francesco: Like all forms of art, the first satisfaction should be for who realizes the photo. It is clear that, in order for others to feel the same way, it is necessary that the graphical and / or photographic representation include every element so that others can perceive the same emotions and feelings the photographer felt first. Now, talking about photography, which in fact means writing with light, knowledge and management of light represent the essence of photography itself. It is obvious that light makes a difference. We can illuminate the same subject in an anonymous fashion or enlighten it to create emotions, and this is where the difference is. Sometimes many fossilize on some aspects not so much “technical and practical” but “technical / trendy”. Whenever it is trendy using a certain tool, then I realize all my photos using that tool. I might obtain the same effect without using that specific tool because I know the light, how to modulate and manage it according to the result I want. The knowledge of light is fundamental and basic to me. The light must always be consistent with the composition and with the scene we photograph. The consistency of light and composition are the two elements that make the difference between a souvenir snapshot and a photograph having its artistic and expressive value.

Virginia: You’re an innovator. For your photographs, you use special techniques and instruments, ranging from a pleasant and harmonious white background, to the use of a mirror. Lately, we have seen some of your pictures with a blurred outline and a sphere in the center, bringing back to a feeling of a fairy, suspended world. What drives you to take pictures always different and to break the mold? Francesco: We assume that today in photography, as in many visual art forms, is difficult to invent something really new. Pioneers were many. There were people who actually invented things innovative indeed. We can only take a cue from these things of the past, updating and developing these old techniques under our specific style. For example, talking about my photos with the white background, I did nothing but bringing underwater a technique already widely used in “still life” photography. I invented nothing. I only took something already existing and adapted it to a different environment. The important thing is to know, consciously, when and for what subjects using this technique, avoiding overusing massively and generically. Same thing concerns the mirror, which I applied to nudibranchs, some fish and situations of the underwater environment. My idea was to create images where you can see both side A and side B of the subject, for

50 creating a three-dimensionality that otherwise is unlikely to obtain in photography. As for the sphere, however, I got inspired from a story I read in the Nikon monthly issue, which reported about a photographer from the Czech Republic who made a series of images where, in the middle of some squares and landscapes, appeared a steel sphere. Inside said sphere, he made to reflect what was actually behind the camera. From there I got the idea to imagine a sphere floating under water where to enclose another world. Then I started thinking about how to realize it, with all the difficulties you can imagine. Little by little I began to realize the first images, until I found the system (which still has to be refined) to create these very impressive images. A small part of the marine world is contained within this sphere, becoming in turn a world of its own, striking the observerâ&#x20AC;&#x2122;s imagination. Virginia: Scuba diving with you, I was impressed by your great knowledge of the Mediterranean, which is one of the most difficult sea environment to photograph, less impacting than the more colorful and bright tropical seas. Tell us about your Mediterranean, the way you live it, how you feel when you dive to photograph it. Francesco: Even with regard to the choice of the sea where to dive there are undoubtedly trends. In fact, some people snub totally the Mediterranean, while others prefer some tropical seas despite others. I believe that you must understand distinctiveness of every

situation, highlighting its best features. This is why I love the Mediterranean, which is a sea where there is nothing taken for granted and where we can dive in the same place for ten times in twenty-four hours and find each time different situations. To the contrary, there are some tropical seas undoubtedly beautiful for colors and variety of life forms, but where is all too obvious. Iâ&#x20AC;&#x2122;m always very happy in tropical seas, but having the Mediterranean at hand, I can find also inside it situations just as varied. For example, in Italy there are places that have nothing to envy, for biodiversityâ&#x20AC;&#x2122;s quantity and quality, to the Indonesiaâ&#x20AC;&#x2122;s most famous muck dives. As well as we have a coral substratum, that has nothing to envy to the colors and the beauty of the tropical sea fans. Each sea, in my opinion, has its own characteristics, its beauty and its uniqueness. It is up to the photographer to have the ability to see what others cannot see.

52 Virginia: Which picture are you missing in your archives, the one that you still have to shoot? Francesco: Everyone. To me, photography is a continuous discovery. Discovery of the seabedâ&#x20AC;&#x2122;s beauties and discoveries of emotions brand new to me. Each new picture, even of the same subject, always causes different emotions compared to the previous. Therefore, to me, the photo I miss is the one I still have to shoot, without forgetting those I already made.

Virginia: Do you have a picture you are particularly related, a picture of the heart? Francesco: My pictures of the heart are all those I shoot having the person I love to share these things with by my side. Virginia: You taught photography for several years at the European Institute of Design in Rome and now hold underwater photography courses. I believe that you are a fussy teacher but also very generous. What is the relationship with your students? What do you like to pass on to them? Francesco: I never thought of being able to teach until the director of the school where I studied photography noticed me out in this ability. One week after graduation, he called me and asked me two things: first, to write a book about using the optical bench (which in Italy had never been written before), second, to prepare a specific educational program to teach

how to photographing jewelry. While I felt flattered, on the other hand I was terrified because I did not know where to start. So, I discovered the passion for teaching. To me teaching means giving to others without omitting anything, and at the same time means taking something from every single student. Teaching means passing on knowledge, skills and experiences, but at the same time you also know that in that moment each of the students, through his mistake or his remark, is giving you as much. Therefore it should be a mutual growth. In my training period

I was taught that, in order to create images having a certain thickness and a certain communicative strength, you had to be very strict with yourself first. This would involve choosing of technique to use rather than selecting the images to be presented and more. This meant that my character became a bit fussy, indeed Virginia, as you love saying, a bit gruff. In fact, when I have a student in front, particularly when I realize that this person has a very high potential, I see myself again like when I was studying photography. Then I adopt the same methods adopted for me, because I want to pull out all the potential that person has in itself. The good Master should always be sincere with his student, even in the critique, pointing out mistakes and defects, always in a constructive manner, explaining what the mistake is and, above all, how to correct it. Virginia: Concluding, your plans for the future? Francesco: I am planning a series of workshops abroad. Another project is to continue creating new forms of communication and visual lan

guage, without freezing on a technique rather than another, trying to bring innovations increasingly, even to my style. In my future, there is still a strong partnership with Easydive and Fabio Benvenuti. Our friendship and cooperation relationship lasts since 10 years. Moreover, Easydive is the only Italian manufacturer for universal housings, with a very high level of design and manufacturing. Personally, I could not say that if I had another kind of housing I would have done different things. To me a case is nothing more than a tool. If I know how to use it then I know it, otherwise, I donâ&#x20AC;&#x2122;t. Good light to everybody.

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Henry Jager is a passionate underwater, nature and experimental photographer with an incredible sense for an unexpected 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 Henrys pictures. Henry publishes in travel and dive magazines as well as on scuba diving related webpages and blogs. He writes tutorials, critics, about travel destinations,

photo courses and about special photo techniques. Henry describes his passion as follows: “Water is inspiration and source of uncountable secrets. Our earth’s biodiversity is amazing. Especially underwater, you find the craziest creatures as well as the cutest, most colourful and most impressive ones. 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 was born in 1980 in Fezzano, a small town near Portovenere in the province of 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 certification arrives in 2007 collecting dives in quick succession, and in 2009 began his career as an underwater pho-

tographer establishing 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 . David currently shooting with equipment Nikon D600, in custody Nimar, and Inon flash. Its optical favorites are the Sigma 15mm fish eye and his inseparable Nikon 105mm VR Micro.

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 for 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 developed 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 it 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. “

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 which 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” – says Ivana Orlović Kranjc, underwater photographer.

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 now over 10.000 dives, started with serious underwater photography in 2008. From that time on he has been placed in many national and international competitions. Roland is in love with the

landscape (caverns and caves) of the mediterranean sea. But his special interest is with the biology of 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.

Fabio 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 underwater Instructor and underwater TRIMIX instructor. He has always been passionate about photography, in 1996 attended a course on underwater photography. Participates writing of the book “UNDERWATER DIGITAL PHOTOGRAPHY” used by the Italian Federation of Underwater Activities for underwater photography courses. Participates writing of the book “TRIMIX MANUAL 62” used by the Italian Federation of Underwater Activities for Techical diving

courses. In 2009 he is the author of the book of photographs “THE TWO FACES OF A PEARL OF ADRIATIC” dedicated to the Dalmatian island of Vis. From 1993 to present dived and photographed in Italy, Croatia, Slovenia, Greece, Austria, Egypt, Spain, Indonesia, Malaysia, Philippines and Serbia and atlantic ocean. Since 2006 he participates in contests and competitions of underwater photography of national and international circuit and on September 2015 win the Italian Championship of Underwater Photography on Team Competition.

Bethâ&#x20AC;&#x2122;s love for photography began years ago when she received her first digital 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 chal-

lenges 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.

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PORTFOLIO

Pietro Cremone

PORTFOLIO

I was born in Feb. 1964 in Castellammare di Stabia (Italy) and since when I was a kid I was enchanted by the sea. I went underwater with mask and fins at 5 years and since then my love for the underwater realm has always grown up. When I was a teenager I started to spearfish, but then I left the speargun for an underwater camera, a small Minolta. Then I housed my first SLR, a Nikon Fg, but it was really difficult to get good pictures, doing freediving and having to manual focus! Finally I had my first digital camera and gradually I started to improve my skills and the quality of my pics. The passion for underwater photography became so important to me that I decided to turn it in a work, so in 2009 I founded Digital Media Service, to sell underwater photo equipments. And in 2012 I have become the official Nauticamâ&#x20AC;&#x2122;s distributor for Italy.

Since 2012 I entered the world of competitions, starting to achieve important achievements, with many first places got in the last years, and become also Photographer of the Year in the Eilat Red Sea online 2012 competition.

One of my images has been choosen from Natureâ&#x20AC;&#x2122;s Best Photography to be displayed at Smithsonian Museum of Washington DC (USA).

In 2015 I founded, with some friends, the Italian Underwater Photography Society, to promote underwater photography and environmental conservation trough the best underwater images (www.fotosub.net)

I have used several housings of different brand in the past, since when I known Nauticam. It was love at first sight, and since 2010 I am using Nauticam housings , both for compact or DSLRs. I found that the Nauticam ergonomy and easy of use is unmatched compared to other housings that I have used or hold in the hand. I appreciate also the constant improvement that Nauticam brings in each new model. I started using Canon DSLRs with the NA-550D, then NA-60D and NA-7D, but in 2012 I decided to switch to Nikon, and I got my first D800. Actually I shot with a Nikon D800 and a Nikon D7200, logically in Nauticam housings! My preferred kind of photo is wide angle, but I also enjoy the macro and supermacro shots.

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Kantrida, which is about 5 to 6 km before downtown Rijeka. in front of the open beach. On one side, we are overlooked by Mount and Cherso: in brief, we are right inside the Kvarnaro Gulf. different depths, each one no farther than maximum 20 minutes boat each offer an easy and colorful training ground for any kind of diving ro photography lovers: a wide variety of critters to increase the

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BEGIN WITH THE END IN MIND Road to technical diving (part 5) Words

Job Kuperus Pictures

Case Kassenberg

TECH DIVE

As you may have read in the previous issue, all members of Team Pitch Blue managed to pass the brutal T1 course. Amazingly enough, the whole team stayed together after that and we did a lot of diving together. In fact, since then we have been joined by Cees (nicknamed Case / father of team-member Jeroen), Richard (nicknamed UMM) and Thomas (nicknamed TL). These divers were certified a year earlier, but unfortunately Case saw his team fall apart due to a combination of money- and time constraints of his other team and UMM… just wants to dive as much as possible and is actually diving in two teams. Team member Thomas is also our technical support. If TL can’t fix it… no one can. With his ridiculously heavy toolbox he more than once managed to save dives that otherwise would have been cancelled. They were more than welcome in Team Pitch Blue and an additional benefit for us is that Case is a more than gifted underwater photographer. The pictures in these articles and all pictures on our Facebook page are of course taken by Case. They have joined us to keep practicing and we maintain our team dive skills every Sunday at Scuba Academie Vinkeveen. But they also plan to take the next step in our journey with us: T1+. It appears that at this level of diving, buddies are very thin on the people who have the same mindset as well as the time, money and opportunity to train every Sunday. Weirdo’s that want to endlessly fool around with excessive amounts of dive gear are hard to find. Also the necessary investment that has to be made after the T1 level is really considerable, both in terms of training as well as in materials (thus financial). Additional material, regulators, stage bottles are a significant drain on the household budget, I can tell you. Diving in a team is super nice to build trust and confidence, but it is also very difficult to keep that team together. Partly because the margin for error is getting smaller and smaller. Several teams are thus disintegrated as individual

110 team members place their personal limit at the level of T1. The T1+ course has the same gas limits (21/35) but allows for an extra bottom stage for extended bottom time. This gives you new challenges to solve, because longer exposure causes the slow body tissues to saturate. To solve this, long decompression times with 50% and 100% oxygen are necessary. In particular 100% oxy is very handy to allow off-gassing in the most effective way. But this has a downside too: pure oxy requires a high level of buoyancy control. The deco is performed on a maximum ppO2 of 1.6. We do this at 21 meters with nitrox 50% and switch at 6 meters to 100% O2. However, where nitrox 50 is still somewhat forgiving, pure oxy is not. It’s super super effective for off-gassing, but absolutely not forgiving to any mistakes. It is therefore very important to stay focused on the long and boring deco’s and tightly stay in trim at six meters. There is no other choice. Ascend and you risk DCS, descend and there is a - possibly even nastier result – the chance of an oxygen hit. For this reason all foundations are laid in the Intro to Tech / Fundamentals courses. It proves that the long hours of training we spent on this, and the harsh lessons learned from Cees, Ron and Rob were really really important. Now that we actually dive the dives we trained for, our basic training falls more and more into place. To have every item always in the same place and always dive with the same equipment causes your muscles to do things automatically. The exercises that we first experienced as difficult and in fact could not understand “the how and why” very well only form a complete picture if you go further and expand boundaries and equipment. “Begin with the end in mind” is what technical diving is about really. We do not have to unlearn things, but only have to add things in our already familiar system. Why certain things are in a certain place / are stored in a specific pocket only becomes clear when you’re at 50 meters, packed with gear and you come to the conclusion that you just cannot physically reach an item because it is not on the spot you are told to keep it. Mental note: listen to your instructor. He probably knows ;) You will never forget to have a good look above you for other divers if you have been hovering in deco formation at 6 meters - 20 minutes to go - and some dumb-arse at 21 meters shoots his SMB straight through your formation almost pulling your entire team up with it. You always double check and analyze your gasses before every dive. Always. It becomes clear when receiving a very completely different gas mix you expect / ordered. “Trust-me-dives” on mixed gas diving is out of the question. Gas analysis marking at the correct place only hits you if you have three stage bottles with three different gasses – of which two are simply not breathable at the depth you are at. You really do want to see and check the gas before you are going to breath it. Endless exercise and practicing lost-deco-bottle scenarios seems useless until you actually need it. Not because you lost a stage bottle, but because your second stage just decides it will no longer work – making the entire tank useless. These are but a few examples where the “Oooh that’s why Rob was such a pain in the arse to us. That’s why he kept whining about the little stuff” got obvious.

Practicing the little stuff makes the big difference when you need it. With these dives it is not the question if-, but when problems will happen. On the T1+ course the theory is again challenging, but if you got it with T1, the method is very well known and we only need to learn the other figures by heart. What actually is very different are the additional stage bottles. We learn the rules of the proper handling of multiple stages. To help solve this, we have access to an extremely handy, essential and illustrious part of the equipment of every

112 self-respecting tech diver. The so called “leash”. An investment in a double-ender and a rope through a piece of garden hose. No more… no less.. . On this leash three stages can be stored without any problems. The double-ender is clipped on your hip D-ring and by the sophisticated feature of this piece-of-rope-through-a-garden-hose the tanks hang between / above your legs so you are actually not bothered by them at all. The bottom stage and the first deco-gas are situated under your left arm. Life can be simple !! The only trick is to get everything where you need, when you need it. We come back to: “Plan your dive and dive your plan” motto of the intro and T1. Everything has an order and a place for a good reason and it all comes back with greater extent again on T1+. Because we have all been training and juggling with the extra stages for more than a year and because we understand the how and why of deco, this course is more of an in depth training of what we already know than something entirely new (although the fingertips of my gloves are totally worn from clipping stage bottles on- and off the leash) It seems better not to describe the grief the instructors Cees den Toom and Ron Baars hand out to us. I’ve already done that in previous issues. And believe me, they once again succeed in having us make very strange underwater decisions. Fortunately this time no decision we made during the training would be “lethal” in a non-training situation. We did manage to learn something. Yet some actions were still stupid enough to be ashamed beyond belief when we surfaced. What started as a team of three rookie divers on the intro to tech, years later turned out to be, on entering the T1+ program, a tight team of six tech divers. With pride I can say, “Good afternoon, the whole Team Pitch Blue is T1+ certified!!! In this part I will describe the procedures of a common T1+ dive. A “regular” T1+ dive goes like this: Before getting all the equipment on the boat, all gasses are analyzed and tanks are labelled with the MOD of that specific gas. We make a good habit out of doing this ourselves. There is only one person down there that is going to put the regulator in his/her mouth and breathe the gas: you! So you better make sure it’s the correct gas. After that it is a team effort to get all equipment on the boat. Although a “normal” tech team usually consist of three, because we do a lot of photo-shoots, we dive with two teams of three. Just to give you an idea for the amount of equipment we need for just two boat dives: twelve doubles, twenty-four 80 cuft stages and six 40 cuft stages, thirty first- and second stages and not even to mention the underwater scooters, camera equipment, strobes, flashes we need for a specific photoshoot. It is almost a military exercise. After that we do the SADDDD (see part 4.1) and final equipment check on the boat and jump into the water. Bottom stage and 50 nitrox on your left D-ring. 100% oxy on the “leash” in your hand. Once in the water the 40 cuft stage on the leash is clipped onto your hip-D-ring and out of harm’s way. A free tip on this one: you want to double check before you let go. Your stage just might want to travel to the seabed on its own….Trust me. I know…. Next: longhose deployment and the last bubble check. Then first gas-switch to

bottom stage and a controlled, but steady descent. The actual runtime has started so all time lost here shortens the dive. On the wreck a quick check on time, depth and spg. At a depth of 52 meters up to 130 liters per minute are used, so somewhere around minute 13 there is still approximately 50 bar in your bottom stage. According to the dive-plan this is where we do our second gas-switch: to back-gas and stow our regulator on the bottom stage. Every gas-switch is a serious part in the dive so extra attention is needed. Checking correct gas, checking correct flow and ask for the final okay from your team members. Slow is smooth and smooth is fast on this one. Once the whole team is switched to back gas, the dive is continued. At this depth minimum gas for a D-12 is 100 bar so we can use another 100 bar before we have to start the ascent. Plenty of time to have a good look at the wreck and to get into the desired positions to let Case do his artwork. Everyone has a specific task. At these depths excessive lighting is essential for a great picture so some team members carry ridiculous amounts of it. Both in their hands and/or on the back of the doubles. Sometimes standalone lights are placed on or even in the wreck to generate a specific effect. Other divers are capable of insane tight trim so they are usually the models hovering around the wreck. Last, but most certainly not least, there is always one team member keeping a close eye on

114 Case whilst he is looking through the lens of his camera. As you can imagine, communication is difficult so besides the planning of the dive considering gasand deco strategies, we also spend a lot of time planning the actual dive itself with all photo moments and team positioning. According to the dive plan we gather at the line to start the ascent. The last adjustments are made and everything that needs to be stowed should be stowed. Thumbs go up and we take a deep breath to start the ascent. According to our pre-calculated schedule we ascend to 21 meters in 11 minutes. At 21 we all do our third gas switch to nitrox 50 and start the 45 minutes deco. This slow ascent gives us more than enough time to get the “leash” 100% oxy to the front and switch this with the empty (and therefore positive) bottom stage. The full 100% goes on top of the 50% nitrox already under your left arm. Empty stages are neatly clipped together as this bunch has done its job. We no longer need them and therefore they are placed on the leash and hung on the butt ring. Basta di pasta: out of harm’s way and I find it adding to my buoyancy and stability. Deco from this depth and with these gasses are done on 21, 18, 15, 12, 9, 6 and 3 meters. The last two minutes of the 9-meter-stop we do our fourth gas switch from 50% to back gas so as to not get into trouble with the hoses and to maximize the impact of the 100% oxy as much as possible. At six meters we do our fifth gas switch and let the gas-of-the-gods do its job. It’s a crazy sensation that I feel through my whole body. After the back gas with 21/35 (and even more in T2 with 18/45) pure oxygen breathes different, it tastes different and sounds different. Not for nothing do we wait three full breaths after a switch before you give the “OK” sign. We are halfway on our deco schedule. So close to the surface, but still so far away ... With deco’s in this range it’s not really necessary, but we make it good practice to do a gas break. After twelve minutes, we switch to back gas again to avoid lung damage because of breathing pure oxygen under high pressure for too long. We switch and after a break of five minutes our lungs are clean again. After that we switch again and continue our deco on pure oxy. Last stop is at three meters. Here, we hover for the final step. The last three meters to the surface take us another three minutes, after with we surface with a big grin on our faces. Dive executed as planned! Weather allowing we add at least 10 minutes or so for surface decompression. Just doing nothing on the surface. Floating calmly and letting our bodies adjust to the ambient pressure. It is not scientifically proven, but it can most certainly do no harm. I always test my pee valve on this surface deco… just so you know not to get too close to me when I’m smiling. Calmly all stages are attached to the leash so we can get out of the water with as little as effort as possible. All equipment: stages, camera’s, lights, scooters etc. is handed to the crew on the boat and they make sure all is neatly stowed for the surface interval or ride back. We try to be as light as possible when climbing the ladder. A high percentage of deco problems occur when divers stress themselves to much directly after a dive. Again: slow is smooth and smooth is fast. As said: we all completed our T1+ course as a team and have been making many fantastic dives since (of which many pictures are on our TPB Facebook page). We really felt that it was important to gain a lot of experience at this level and

be fully comfortable with all procedures and extra equipment before taking the next step. However….. there were more wrecks luring us to the “pitch blue” depths. Because of the added bottom stage, T1+ was for allowing longer bottom time. T2 allows for different gasses and greater depths. A team decision was made. Tech 2. Of course you will read about that in the next issue. For now: safe diving! Hope to see you at the waterfront and do not forget to like and follow Team Pitch Blue on Facebook

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19° “NIGHT DIVE”

FIRST PLACE

TANYA HOUPPERMANS “The Night Watch”

MONTHLY CONTEST

MONTHLY CONTEST:

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SECOND PLACE MATTEO VISCONTI “Manta”

THIRD PLACE THIERRY LAGRAVE “Sepia”

FOURTH PLACE GIACOMO MARCHIONE “Whale shark”

FIFTH PLACE JOVAN TASA PETROVSKI “Night dive”

SIXTH PLACE MATTEO VISCONTI “Maya Thila”

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Behind the shot:

TANYA HOUPPERMANS I captured this shot of a great hammerhead while diving at night off the coast of Bimini. This was the first time I had ever photographed at night underwater, so there was a huge learning curve.Â After looking at the first few shots I had taken, I quickly realized that it was very easy to blow out the highlights on the hammerheadâ&#x20AC;&#x2122;s light-colored skin. Instead of having my focus light set on white light, I changed it to red light so that the sharks would still be illuminated enough for my camera to focus on without adding more white light than necessary since I was also using two strobes. Backscatter was a huge issue due to the fine sand around Bimini which is easily kicked up by the movements of both divers and sharks. There were a couple ways I dealt with the backscatter problem. First, because the sharks were coming so close (within just a couple feet), I was able to pull my strobes in closer to only illuminate what was right in front of me, thus reducing backscatter around the sides of the image. Second, I angled my camera upward since the sand being kicked up was more dense closer to the sea

floor. That required not looking at my LCD monitor while shooting since I was holding the camera down but angled upward. Fortunately I was shooting with an 8mm fisheye lens, which tends to be more forgiving when â&#x20AC;&#x153;shooting from the hip.â&#x20AC;? I had each strobe set on around 1/3 power, which was enough to illuminate the shark without over-exposing the highlights. Shooting sharks at night definitely presents some challenges, but taking the time to work through those challenges often results in unique images that show these beautiful animals in ways that the public is rarely able to glimpse.

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TIOMAN ISLAND DIVING (part Tioman Dive Site Map: Courtesy of MV White Manta This article is fondly dedicated to MV White Manta with my utmost gratitude.

Isabella Lee

TRAVELS

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Words and Pictures

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Popular Dive Sites around Tioman Island Tiger Reef As far as Iâ&#x20AC;&#x2122;m concerned, this is the most beautiful dive site in Tioman without a doubt. This submerged underwater pinnacle, situated between Pulau Labas and Pulau Sepoi, begins at 12 m deep and slides down to deeper than 40 m, embracing small boulders & caves covered with colorful soft coral and underwater swim-through formations in between, which makes perfect for wide-angle photography. The rock formation is simply amazing because everything is covered in soft coral, hard corals, sea whips, crinoids, sea fans and barrel sponges. The coral life here is relatively well-preserved because this site is rarely dived. Strong currents often bring schools of yellow snappers, fusiliers, barracudas, jacks, turtles and sharks whilst colorful tropical reef fish such as angelfish, butterfly fish, emperor angelfish and parrot fish, etc.often wander carelessly through diversely shaped sea fans & barrel sponge corals at the deepest part. At 45-48m deep, there is also a weirdly shaped sponge coral area, looking like a kind of sculpture museum, which is the best theme park that Iâ&#x20AC;&#x2122;ve ever visited. Bahara Rock / Bahara Light House Locally knwon as Tokong Bahara, this is my second favorite dive site on Tioman Island. These isolated sea mounts host a navigation lighthouse since this area is regarded as a main shipping line for fishing trawlers and passenger boats. Due to its isolated location in the middle of open sea, strong currents often bring large pelagic animals such as manta rays, eagle rays, sharks and GTs. Perfect for a drift dive, this small sunken rock, located on the southwestern corner of Tioman Island gives a great wall formation covered with colorful soft coral and sponge coral, making home for many reef fish species. I often dived this site very early at sunrise on Sunday mornings before sailing back to Singapore and crystal-clear water & strong current brought many pelagic animals like giant trevallies, black-tip reef sharks, green turtles, manta rays and eagle rays. It is told that once a whale shark was spotted here on 01 April and that everybody considered this whale shark as an April foolâ&#x20AC;&#x2122;s joke. Magicienne Rock This dive site got its name from its discovery by Admiral Keppel who first came to Singapore in 1837. The vessel HMS Magicienne, the 24 gun frigate was passing through these waters at the moment when this rock formation was discovered. The rock pinnacle rises from 8 m below the surface and the surrounding coral plateaus are the habitat of large manta rays, whale shark (normally spotted in the

early part of the season March/ April), rainbow runners, barracudas and other equatorial reef species. It is a wonderfully large reef with an abundance of marine life and the coral diversity here is fantastic. Giant moray eels, hunting jacks & trevallies, green sea turtles and schools of yellow reef fish are almost guaranteed here.Some of the largest Gorgonian sea fans can be found here, too. This sunken reef, ranging between 8-40 m, is spread widely in the middle of the ocean. Located at the northern tip of the island, this area is filled with golden hard coral boulders covered in green moss looking like a Christmas tree. Hard cabbage coral on this site is relatively pristine and untouched. This is the dive site where I have seen the most black tip sharks around the island. As it is located in the open sea, current can be quite strong sometimes. Normally, divers jump in up current and drift one time along the large reef. Pulau Chebeh Chebeh Island offers 2 main dive sites; North & South. The choice can be made depending on the current direction. This dive site is characterized by being a cluster of large volcanic rocks that go down to a sandy flat bottom at a depth of 27 meters. The rocks form crevices and tunnels large enough to allow divers to enter and explore. Sea conditions are usually calm but visibility reaches 8 meters only.

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There may be a swell and some currents on the surface, but they soften up as you reach greater depths. The highlight of Pulau Chebeh is many swimthroughs and tunnels in the shallow area (6-15m) created by huge volcanic rock formations. Mini wall diving, underwater canyons, incredible boulder formations mixed with rich and dense colorful soft corals as well as the gorgonian sea fan gardens make this a very popular site. The topography of this site is fascinating with swim through between granite boulders, mini-tunnels and small caves. At 20 m deep, there is also a big cave filled with yellow reef fish to explore. When it comes to fauna and flora, the most common species are soft corals, black corals, colorful gorgonians, pufferfish, angelfish, butterflyfish, wrasses, morays, mutton snappers, blennies and lizardfish. In the sandy bottom, youâ&#x20AC;&#x2122;ll be able to observe hard corals, Christmas tree worms, annelids, starfish, cushion stars, scorpionfish and stingrays. Pulau Chebeh also offers great night diving by giving opportunities to spot red cowries, hermit crabs, sleeping baby sharks, stone fish and crocodile fish. Pulau Labas This island resembles a piece of Swiss cheese due to it abundance of caverns. Pulau Labas has two dive sites depending on the conditions; the head and the tail, both of which

138 being equally fascinating to swim through. This is a really beautiful reef with many caverns and huge labyrinths of swimthroughs full of tropical reef fish. Labas with its overgrown rock formation makes a very easy and perfect dive for beginners as there is usually no current and the reef is quite shallow. You can see black tip reef sharks as well as many Titan trigger fish and moray eels. This is also a good place for underwater photography in Tioman. This dive site is characterized by a cluster of large volcanic rocks that slide down to a flat sandy bottom at a depth of 17 meters. The rocks form crevices and tunnels large enough to allow the diver to enter and explore. There is also a small steel wreck on the northwestern side of this site which is the remains of a Japanese fishing boat, but what remains of this wreck is just its skeleton. Sea conditions are usually calm but visibility reaches 5 meters only. You should take special caution due to the strong swell that can occur in this area. The site has no signaling buoy because the whole island can be circled in a single dive. About fauna and flora, the most common species are soft corals, black corals, colorful gorgonians, pufferfish, angelfish, butterfly-

fish, wrasses, morays, mutton snappers, blennies, lizardfish, cuttlefish, hard corals, annelids, starfish, cushion stars, scorpionfish and stingrays. Titan Triggerfish here can be a little feisty and sometimes attack divers. Though they are not really capable of serious direct damage, the experience can be unnerving and lead to greater problems. This is my favorite place for night diving around Tioman for its variety of small creatures, such as anemone crabs, squat shrimps, nudibranchs, gobies and sea horses, which is good for macro or super macro photography. Pulau Renggis Renggis Island is located just minutes away from Lalang beach and Kampung Tekek which is the main village in Tioman Island. To be exact, this small island is located right in front of the boat jetty to Berjaya Beach, Golf & Spa Resort. Island-bound visitors from Mersing will surely pass by this tiny forest-clad rocky outcrop. This is a popular site for beginners because itâ&#x20AC;&#x2122;s shallow (5-12 m) except when descending to the shipwreck at 25 m and there is very little current. Visibility is quite average if not slightly poor at about 8-10 m. Usually, weekend live aboard operators departing from Singapore stop here first on Saturday mornings to do a check dive after sailing overnight from Singapore on Fridays whilst the boat crew clear the customs at the main jetty located near the island. The number 1 highlight of this dive site for me is definitely its extra-large resident green turtle with shiny purple eyes that I see almost every time I dive this site. This turtle is often nesting among the hard corals and eating dead jellyfish bodies or soft coral remnants. It is the most friendly creature on Tioman Island for it appears to be enjoying trying different postures in front of my camera as if it was waiting to be photographed. Blue spotted rays and black tip reef sharks are also a main attraction of this dive site. Apart from these big animals, there are many kinds of reef fish to spot, such as gold-band fusiliers, peacock rock cods, spine cheek breams, different types of wrasses and parrot fish. The variety of hard corals of this dive site is rather decent. Beautiful fields of green stag horn (Acropora loisetteae) corals do create a beautiful underwater scenery. Otherwise, most areas are filled with brown hard corals, plate corals, leaf corals and encrusted plate corals. You can also find different type of sea anemones with several

140 colors. In fact, I even saw a colony of multi-colored sea anemones hosting both false clown anemonefish and tomato coral anemonefish. Perhaps due to its topography of mild sloping gradient, the dive site lacks of spectacular soft coral species such as large gorgonians which are more prevalent in a boulder wall diving spot. This dive site noticeably hosts a colorful selection of sea sponges such as green sponges and blue tube sponges. Otherwise, the soft coral species are mostly dominated by leathery finger corals and knobby finger corals with bright green star feathers. You can also find a kind of wooden structure with a rusty bike and a running machine attached here and sometimes, cute black tip baby reef sharks and blue spotted rays swim through it, which makes a comical, fun scenery for my underwater photography. I am assuming that this was put in here by one of the dive shops to have their open water students practice their buoyancy. Another particular highlight of this dive site is the existence of a shipwreck a few hundred feet away from the rocky outcrop of Pulau Renggis. In fact, there is even a stone monument before entering the shipwreck zone on which the details of this wooden fishing trawler were etched. According to the information that I gathered through the internet, this ship was sunken by a team of Dive Logic members. As far as I am concerned, this shipwreck is not quite interesting to explore due to poor visibility and lack of soft coral life. Pulau Renggis is also a popular site for night diving due to its great macro life such as nudibranchs, anemone crabs, blue ribbon eels, gobies, etc.

Pulau Jahat Pulau Jahat is another spectacular rocky dive site in Tioman. The name, â&#x20AC;&#x153;Pulau Jahatâ&#x20AC;? means naughty island in Malay. The locals also call it Batu Jahat. Batu means Rock in Malay language. With depths varying from 5 to 25 meters, the dive here is exciting and extremely challenging during strong currents. This rocky island is surrounded by large boulders that create tunnels to swim through plus caves and corridors. As this site has a dramatic series of underwater pinnacles and coral bommies, the tour around the caves is one of a kind. Pulau Jahat has everything from giant rocks with swim throughs, hard & soft corals & vast arrays of fish; whether it be a small clown fish, or a group of giant bump head parrot fish. Torches are necessary to witness the beautiful scenery inside the caves. There are also coral garden beds filled with diversely shaped sea fans and purple soft coral species here at the deeper part below 20 m and this is really beautiful to photograph. The marine life on the current side can be simply amazing, including jacks, GTs, dogtooth tunas, mackerels, barracudas, common tropical reef fish, green sea turtles and the must-see sharks. On top of this amazing pelagic life, a myriad of small critters such as nudibranchs, blennies and sea horses can also be seen here for those who like shooting macro.

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Salang House Reef Salang Village is located in the northwestern tip of Tioman Island, which is the last stop of the ferries arriving from Mersing. The jetty area connecting to Dive Asia delivers an amazing shore dive including Roger wreck, which is a small broken wreck which used to be a wooden Thai fishing trawler which lies at 20 m deep sandy bottom. When you ascend to the deck of this wreck at 12 m deep, you can swim through hundreds of schooling yellowtails, which is an amazing experience. A buoyancy structure with a rusty bicycle was deliberately placed by local dive instructors. Right below the arrival jetty, a huge twirling school of shiny silver bait fish can be spotted. On top of this shallow reef built of Staghorn, Tabletop, Brain and Blue corals and anemones, schools of bumphead parrot fish and hawksbill turtles often swim through. There is a good macro life, too, including a variety of sea horses, pipefish, hingebeak shrimps, saddleback clownfish and nesting cuttle fish. Night diving here can be fascination also as you can often spot parrot fish sleeping in their cocoons, hunting yellow head moray eels, scorpion fish, rabbit fish and sleeping green turtle.

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Tioman Wreck Diving The deepest, the biggest and probably the most interesting wreck for experienced divers to explore on Tioman Island is KM Sipadan; This former Royal Malaysian Navy warship was sunken on 29 March 2012 to become an artificial reef. KM Sipadan was commissioned about 48 years ago under the name of KD Sri Sawarak and the warship was later renamed as KM Sipadan. It was decommissioned by the Malaysian Maritime Enforcement Agency in 2005. Prior to its sinking, it was cleaned not to pollute the South China Sea and its engine as well as weapons was removed. She is 31 m long and 4.5 m wide and lies now at the Sawadee dive site at the depth of 32 meters with the deck at around 25 meters. Sawadee is just south of ABC. Due to the depth of the wreck, it is especially suitable for Nitrox, Wreck and Deep Specialty courses. It is attracting lots of fish life and thanks to its large openings, it can be penetrated both from stern to bow or vice versa. This wreck sits upright 32 m deep and is connected with lines to the 2 former fishing vessels (the Sawadee Wrecks). It is better to dive these wrecks using Nitrox to have a longer bottom time so that you wonâ&#x20AC;&#x2122;t go into deco. So far, only 1 diver death was reported on this wreck, which occurred during an Advanced Open Water Course. This is the only wreck with its shape relatively well preserved on this island. Apart from KM Sipadan, there are several nameless illegal Thai fishing trawlers sunken all around the island but these are mostly bits and pieces, therefore, not very photogenic. Tioman Macro Life I have seen a wide variety of crabs during night dives at Pulau Renggis, Pulau Labas and Pulau Chebeh, such as hermit crabs, anemone crabs, spider crabs,

porcelain crabs and some peculiar looking shiny red crabs with black dots, of which I don’t know the names. I also have encountered many kinds of sand gobies accompanied by partner shrimps, cute hard coral blennies, a wide range of nudibranchs, colorful reef fish sleeping in their cocoons and scorpion fish on the sandy bottom while I was shore diving at Salang House Reef, departing from Dive Asia. The most special macro creature that I saw for the first time in my life at Tioman is an Indian devil walker toddling clumsily on the sandy bottom of Salang House Reef; I didn’t even know its name until a Facebook friend of mine told me what it was. As all the weekend live aboard boats departing from Singapore mandatorily schedule one night dive for Saturday evening (I don’t know why), I had to change into macro port & lens because wide angle photography is not interesting during night diving for me, even though I am not that into macro photography which I suck at and find rather boring, but for those who are passionate about macro / super macro photography, I think Tioman Island can be as interesting as Lembeh Strait or Anilao for many unknown and unusual species of crabs and weird reef fish behaviors that you often see during night diving.

About Myself; Mini-Bio of Diver, Isabella Lee (Korean Name: Young Hee Lee) Born in Feb 1971, South Korea, I had left Seoul at the age of 19 and lived in France, Germany, Australia & Papua New Guinea. I currently reside in Singapore since Nov 2014. I have been taking underwater photos for over 15 years now since Nikonos / film era and I currently own 4 sets of DSLR cameras; Canon 7D, Canon 5D Mark II, Canon 5D Mark III and Nikon D810 which is my favorite for its focusing speed, image clarity & functional versatility. I have been diving in many countries such as Thailand, Malaysia, Singapore, Indonesia, Philippines, Solomon Islands, Fiji, Vanuatu, New Caledonia, Seychelles, Mexico, Palau, Jamaica, Dominican Republic, etc. and my favorite diving places are Miline Bay in PNG, Great Barrier Reef in Australia and Maldives. I am a zero gravity breather. I like spending my time underwater because it offers me a kind of escape and sanctuary from noisy above ground reality. I love living this illusion of being on another world underwater, breathing peacefully in no gravity environment. Every minute, every second spent underwater is memorably special and immensely precious for me whereas time spent on earth between my dives is nothing but an annoying process of finding & preparing means for my next dive trips so that I could go back to underwater world quickly and spend maximum of my time there again and everything else seems quite trivial to me.

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