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Spring Break Group Returns

March 22, 2011 By 2 Comments

Ann, Steve and Nigel just returned from a Spring Break week in Utila, Honduras and they cannot stop talking about it. The group had such a good time that they all want to go back! While a norther blew in and tried to dampen their spirits, they did not miss a dive and spent days basking in the sunshine and enjoying the lush tropical island that Laguna Beach promises. There were a number of photographers along, including Ann, Karen, Steve and Nigel. They all tell me they got some incredible photographs.

Ann put together a quick video for the trip. You can watch it here or  jump over to the OceanicVentures channel on You Tube.

Filed Under: Caribbean, Digital, Photography, Scuba Dive Training, Travel, Video Tagged With: , ,

In the Company of Big Animals

January 18, 2011 By Leave a Comment

I want to introduce you to Amos Nachoum, a self-proclaimed Ambassador of the Big Animals. He is an award winning photographer who has publised photographs in magazines around the world including National Geographic. In a presentation Amos made top the Explorer’s Club in New York City, he said “to live up to that ambassador role I’ll be in the city, presenting my best stories and information about some of the most fragile regions of the underwater world. I’ll be showing and discussing photographs from my expeditions around the world and will probably include a few “classics” from the hundreds of my images that have appeared in National Geographic, Time, Life, The New York Times, Condé Nast Traveler, Le Figaro, and Der Spiegel. You can also see more of my images on my website, plus news about my latest expeditions. It’s all part of spreading my message that only through observation and interaction with these animals can people understand and respect some of the most impressive citizens of our planet. In a few words, “you have to go there and experience this firsthand.” Amos recorded a presentation for Google entitled “In the Company of Big Animals.” You will hear Amos and he talks about his expeditions and shos his photographs. Sit back, pour yourself a cocktail and be prepared to be wowed…

Filed Under: Digital, Photography, Presentations, Scuba Diving Activities, Travel, Underwater, Video

The Importance of Buoyancy Control for Scuba Divers and Photographers

January 10, 2011 By Leave a Comment

To be or not to be…Buoyant that is.  With all due respect to the Bard, in reality, neither is appropriate- when we dive, adhering to the Third Rule of Scuba, “Maintain Neutral Buoyancy at Depth”, is clearly important and possibly, no more so than when we think about taking photographs underwater.

In our Open Water Diver training we learned the critical Three Rules of Scuba.  Continuous breathing is absolutely a requirement for our safety, as is a slow, controlled ascent and a safety stop.  So, how does Neutral Buoyancy really figure into this?  Aside from issues related to a saw-tooth dive profile, maintaining proper (that is, neutral) buoyancy is important for other reasons.

On a typical open water dive, we drop in and descend to a depth, a feature or some other pre-determined point, and as we recall from the dive briefing, we have a dive profile that we intend to follow, which is to say that we have a maximum depth and time for this specific dive.  The depth is important for nitrogen loading in our tissues, as is time at depth, and we figure a profile to ensure that we are diving safely and within recreational limits.  So, maintaining the depth as per the plan has some obvious logic.

Aside from adhering to the depth limits we resolved in our dive plan, we also want to think about what we’re going to see on our underwater tour.  Again, in the dive briefing there was discussion about what we might expect to see on this dive, so there is a need to be aware of the depth at certain points during the dive, such that we can see the features.  Having neutral buoyancy is important here, as if we are drifting up or down, we are less likely to see the feature.  Further, if we are struggling with buoyancy, we are much more likely to make contact with the reef or other underwater structure, possibly causing damage to that or injury to ourselves.

Photography is not much different from seeing with our own eyes.  The camera, whether digital or optical, records the light reflected from the subject, and captured on the film (or CCD), just as it was captured by our own eyes.  The camera allows for a myriad of possible adjustments to compensate for spectrum absorption and in fact, our eyes make the same sort of adjustments, though we are less aware of them at the time.  But, when we are looking at an object our eyes need time to sort out the contrast, look for the details of the object, adjust to the lighting, etc.  In an underwater environment, our mind is less familiar with the situation and thus slower to resolve the details- seeing that shrimp can be a challenge at first.  Experience helps, of course, as the mind becomes trained and better able to process the information.

Nonetheless, even with our own eyes, we need a few seconds to process the information and to actually “see” the object.  That demands our ability to focus on the area of interest, differentiate the background from the subject, resolve the textural differences, and finally, see the subject.  This requires some stability to our point of view- if the area of interest has shifting features (light, distance, contrast) it will be very difficult for our eyes and mind to process the dynamic data and capture the image.  Shifting features certainly can be caused by moving to and fro, as well as up and down.  Now, I think you can see where buoyancy has an impact…

Just as our eyes require some time to adjust to the environment, and our mind requires some time to process the information presented to it, a camera will require some time to adjust for the lighting and resolve the focus before the shutter trips.  In some systems, this could truly be a few seconds.  OK, so now imagine that you are drifting up and down with your breathing…how will you capture that award winning image?  Keep in mind, too, that in most underwater photography situations, just as our eyes require time to resolve the light, texture and contrast, a camera needs time to do the same, and usually this only happens once the shutter release is pressed.  If the camera moves relative to the subject after the shutter release is pressed the focus and lighting might not be correct.  Further, the shutter speed is likely to be quite slow so camera movement will result in a blurred image.

Let’s go back to a few basics here, keeping in mind that photography is not that much separated from seeing with our eyes.  Humans are in reality poor multi-taskers, and especially if something has captured our attention.  In a driving situation, our attention can be easily diverted by something we see, causing our focus to shift from something important, like which lane we are in.  In a diving situation, if we are focused on an object we are likely to stop paying attention to other matters.  We know that if we stop to communicate with our buddy underwater, we are going to forget direction, buoyancy or something else.  So, when we stop to look at an object we are likely to forget about our buddy, direction, buoyancy, etc.   We need to start reducing variables very early, to prevent our dropping onto the reef, or ascending, or losing our buddy.  What variable can we easily reduce?  Buoyancy!

If we return to the “3 Rs” of scuba, the first thing we want to do is to regain control, so when we stop to look at that object, we are in control of our buoyancy.  If we control buoyancy as an autonomic response, our mind can pay attention to the object and, if we are taking a photograph, we can maintain our focus on the object and capture a good or even great image.

Poor buoyancy control presents a number of problems:

  1. Potential unintended contact with and damage to the reef
  2. Potential unintended contact with a wreck or other structure, with risk of injury
  3. Spooking or injuring marine life
  4. Being unable to clearly see the feature
  5. Being unable to capture a good photograph of the feature

Good buoyancy control allows us a number of benefits:

  1. No risk of unintended reef contact and damage
  2. No risk of unintended structure contact or injury
  3. Marine life is at ease and can be readily observed
  4. We can actually see the feature
  5. We can capture an good photograph of the feature

Good buoyancy control means that we are neither rising nor falling in relation to the feature, and that we are standing off the reef or other structure.  Further, it means that our eyes and our mind can pay attention to the feature and truly see it.  Finally, if our eyes and mind can resolve the feature, we have the time needed to properly compose a photograph, be sure that our camera is set correctly, approach the marine life cautiously, allow the camera to adjust to the specific situation, allow the focus to be set and the shutter to trip.

Good buoyancy control means stability underwater.  It promotes good diving posture, better gas management, less exertion and more opportunity to do what we set out to do in the first place- see things in an underwater environment, undisturbed.

Good buoyancy control takes time and practice.  Great buoyancy control takes a lot of time and a lot of practice.  It’s a combination of breathing control, body positioning, weighting, equipment configuration and concentration.  If you want to get some great underwater shots, think about first working on your buoyancy control before you pick up that camera.  If you need to work on buoyancy control, consider a Scuba Skills Update, some local diving, or a specialty course.  At OVI we are always ready to do help you improve your skills and enhance your diving experience.  Let us know how we can help you.

Filed Under: Digital, Photography, Scuba Dive Training, Skills, Underwater, Video Tagged With: , ,

Photographic Equipment…How to get it there

December 6, 2010 By Leave a Comment

 Airplane at GateTraveling with photo equipment on your diving vacation may be as simple as tucking your camera in your pocket or may be more like taking an extra person with you.  The more equipment you have to take on your trip, the larger your travel bags need to be.  Like any commercial photographer, an underwater photographer will have multiple lighting sources, spare parts and possibly even spare cameras and lenses.  With new airline luggage regulations, getting all of your equipment to your destination may be a challenge.

Once you get it there, you need to be able to use it effectively.  You probably wont need to carry all of those spare parts with you on your daily shoots but you do want to carry what you will need.

Your underwater camera, once it is assembled, usually requires no special carrying case to transport it to and from the dive destination.  However, if you plan on taking above the water shots or go touring while on your diving trip, you may need a bag or two to help you transport your equipment.

Transporting Your Equipment on Airlines

 Today, the airline luggage regulations can impact your trip and your budget.  Most airlines are now charging for bags, charging for heavy bags and limiting carry on bags.  Dealing with all of these ever changing regulations can be a challenge.  Small underwater camera systems, can be easily carried in your standard luggage.  However, a specialized bag like a photographic equipment backpack or roller will give you more protection.

With the advent of digital photography, gone are the lead lined film bags and plastic film cans.  However, these have been replaced by laptop computers, portable hard drives and cables for everything.  This means that an effective photographic equipment bag must also provide storage for these items.  Additionally, since laptop computers must be scanned separately from the remainder of the bag, having an easy access pocket for the computer is helpful.

International airlines tend to be stricter with carryon bags.  Many allow for a maximum length of 20 inches rather than 22 inches for US airlines (see Continental Airlines), and generally they have more restrictive weights.  For example, Continental Airlines allows carry-on bags to weigh 40 pounds, while Singapore Airlines is 22 pounds and Air Lingus is even lower with 15 pounds.  To make matters even tougher, many of the international carriers have scales at the check-in counter and require passengers to weigh their bags.

Keeping your photographic equipment with you is the best option.  However, larger underwater camera systems will not generally fit in these carry-on cases.  In the past, photographers used ice chests to transport their camera equipment but airline regulations will not pay for anything damaged in these “unapproved” suit cases.  A better option is a Pelican hard plastic case.  I am fond of the 1620 case with photo inserts.  This allows me to organize my underwater housing, electronic strobes, cables, mounting arms, batteries, chargers, spare parts, etc.

The Pelican cases protect your photo equipment and make it easier to organize your equipment.  By keeping it organized, you can easily review your stock of spare parts before a trip and have easy, fast access to your equipment during a trip.

The downside of this organization is that it makes it more organized for thieves.  In an article that appeared in the Wall Street Journal online, Delta Airlines found a number of employees stealing from patron’s bags.  As divers we have often been warned about flying through Miami and Los Angeles, both known for problems with luggage being lost and items stolen.

Having been the victim of such theft, Ann now zips the trays in plastic blanket storage covers which have clear tops that allow TSA and other security personnel to look inside the case but makes it difficult for the items to “fall out.”  You could also use mesh bags which allow the agents to look through the mesh at your equipment.

An added problem with these cases is the weight.  The Pelican 1620 weighs in at 21 pounds empty.  This leaves you 29 to 49 pounds for your photographic equipment, depending if the airline allows 50 or 70 pounds.

With most airlines charging for checked luggage and overweight luggage, consolidating camera equipment, clothing and dive equipment is important.  Ann is fond of putting clothing and other travel essentials in her photo case and minimizing her carry-on weight.  This is important for her especially on trips involving multiple plane changes.

This brings up another point; it is important that you have a method of moving all of your equipment, photo and diving, as well as your clothing, easily.  I am an advocate of diving with dollars, meaning that there is usually someone at a destination who will carry your bags for a small fee.  But the operative word is “usually.”  There are some locations where porters have disappeared (e.g. Cozumel, Mexico) and you will be moving your own luggage.  Because of this, wheels are important as are straps designed to turn your luggage into a caravan if necessary.

Carrying Your Photographic Equipment on Location

 Diving

 Once you arrive at the destination and your equipment is safely stored in your room or cabin you can abandon your traveling bags.  After your system is assembled, you are the mule to transport it back and forth to the dive site.  For some people, carrying their camera systems is awkward.  By adding a padded food carrier to your equipment, you now have both a carrier and your own “rinse tank.”

Non-Diving Activities

For many, meeting and photographing the areas and people we meet is just as important as the diving.  But these non-diving activities mean carrying photo equipment away from the boat or resort.  Dealing with your camera and the related equipment means you may need something other than the bag you use to travel with.

Where you are taking photographs and the related activities will have an impact on the way you carry your camera, lenses, strobes and accessories.  In urban settings, you may not want to advertise that you are loaded down with expensive camera equipment.  Here a non-descript bag like ThinkTank’s Urban Disguise or a small backpack may be a better choice.  These systems appear more like common bags or briefcases while providing protection for your equipment.  One feature of many high end camera bags is a custom designed rain cover to help keep things fry in a wet environment.

Many nature photographers, sports photographers and travel photographers use a modular bag system that fits on a belt.  Often termed, speed belt mounting, these systems provide easy access to equipment and allow you to change lenses quickly and easily without having to take a pack off and dig inside.

Sporting events are constantly moving so you may need more mobility and lower concentration on keeping up with a bag.  This can also be important on nature hikes where the animals won’t wait for you to change lenses.

A speed belt system also places the weight of your equipment on your hips rather than on your shoulders.  The better units also include rain protection for the holsters.

A photographer’s vest is another option for carrying equipment.  Like its equivalents in the hunting and fishing sports, it has large pockets that allow you to carry your equipment in the vest.  These tend to work well in temperate climates but less so in cold climes because of other outerwear.  In extremely warm conditions, they also tend to be warm.

Selecting an Equipment Bag System

 Like the selection of your diving equipment, what type of bag scheme you choose for your camera system depends a lot on the quantity and size of your system as well as the destination.  Before purchasing a bag or a system of bags you need to ask yourself the following questions:

  • How much equipment do I need to carry?
  • Can I carry it on the plane with me or will I need to check some or all of it?
  • How many bags am I willing to check?
  • Where will I be using it?
  • Is security or protection from pick-pockets or other thieves an?
  • How much walking will I be doing while taking photographs?
  • How fast do I need access to the camera, lenses, strobes or other accessories?
  • How much weight am I willing to carry?

 

Answering these questions will help you select the system that works for you on a given trip.  Remember, the system that works for one trip may not be the ideal for another trip.

—– Eric V. Keibler

Filed Under: Digital, Photography, Scuba Diving Equipment, Underwater, Video Tagged With: , , ,

Underwater Video Anyone?

November 29, 2010 By Leave a Comment

Ashton is trying out the new kayak. It only weighs 40 lbs so you can travel with it too! Be sure to ask Ann about the "indulge me" special, so you can put one of these under your tree for the holidays.

Who says you have to own a powerboat to go scuba diving?  Recently, Ann thought it might be fun to bring in an inflatable kayak for the staff to play with.  Well, it arrived and it looks like fun.  It fits in a small bag but inflates to a very reasonably sized craft.  Ashton and David inflated it as soon as it arrived and Ashton is already planning a diving trip using it.

On one trip to Pohnpei, I toured Nan Modal with a Kayak, paddling through the canals of this very ancient city.  It was a beautiful day and a spectacular way to see these ruins and to get a real feel of how it one was when this city was alive and active.

One thing I realized while paddling along is the importance of having a camera to capture the moment.  However, I also realized that a large camera was not very desirable because of the space requirements and the balance issues.

On my recent trip to Indonesia, I was once again assigned underwater video.  This is only the second time in 20 years of working with Ann at Oceanic Ventures and the first time was in Thailand over ten years ago. The advantage of this second time was that the camera was a video camera the size of my iPhone that was housed in a small plastic housing from Ikelite.  Now don’t be misled, I am not a videographer by any stretch of the imagination but it was fun trying to get a little video of the people and creatures we encountered. 

I am a still photographer at heart so much of my video looks like still shoots.  I am sure that someone with a video outlook could achieve better results.  It was fun taking video underwater but even more memorable taking video on the surface.  Imagine mother and daughter dancing to hip hop tunes while heading out to the dive site or incredible beauty zooming by captured as it appeared.

A small video camera is always handy and you are more likely to carry it with you.  At times, it was just clipped off to my harness and at other times I was trying to capture a frog fish or two.  I am sure with some additional time with the camera and perhaps a light, my video images would improve.  I never really played with the on-camera adjustments, I just shot it when I had a free moment (yes, it was a working trip).

 The video results were better than I thought they would be, especially with an inexperienced operator.  I think that with some practice and a little tweaking with the camera settings, I can improve my results and generate a more professional looking film.  But in the meantime, I’ll just keep shooting a few short clips to help me remember things.  I guess I’ll have to return to Nan Modal so I can try it from a kayak or maybe I’ll just borrow the one from the store and head out!

Filed Under: Photography, Underwater, Video Tagged With: , , , , , , , ,