Organizers Joe Tepper and Adam Hanlon issued the following joint statement:
“After a very challenging time for everyone connected to the dive industry, we’re very excited to be running the DPG/Wetpixel Masters Underwater Imaging Competition with the support of a large number of sponsors, who are once again offering an awesome selection of dive trips and underwater imaging equipment as prizes. We’re looking forward to a flood of stunning image and video entries!”

As well as the coveted prizes, there is also huge status and kudos in being placed among the finalists. The selected winners are the world’s best underwater shooters, judged by an all-star panel. Their images and videos will expose millions of dive, travel and photography magazines and websites to their work worldwide. The organizers are once again pleased to announce that 15 percent of entry proceeds will be donated to marine conservation efforts.

The post DPG/Wetpixel Masters Underwater Imaging Competition 2022 appeared first on Scuba Diver Life.

Paralenz Vaquita vs. the original

The Paralenz Vaquita is a little larger than the original camera, but this is to accommodate the newly added screen—now you can see what you’re trying to shoot. The screen is still small, of course, but large enough for you to see how you have the subject centered (or not) in the frame. This definitely helps reduce instances of thinking you got a great video but later realizing the subject was just out of frame.

Lots of Accessories

Accessories for the Vaquita allow you to set up the camera in just about any way you’d like. If you use a still camera setup, you can easily use the provided attachments to mount the Vaquita to your camera rig. If you’d like to video your entire dive hands-free, you can mount the camera to your mask and turn on the auto-record feature. Want to get the camera closer to your subjects? There’s an extendable pole you can mount it on to do just that. You can even attach some floats, hook the pole and camera to the back of your BCD, and video your entire dive from a third-person perspective as the camera floats above and behind you. As for myself, I just held it in my hand. Before jumping in the water, I tucked the camera up into the wrist of my exposure suit and was able to easily remove it to start videoing whenever I wanted.

Operating the camera

The only real difficulty I had with the camera was turning it on—I know, that sounds major. It always came on, but it sometimes took a couple tries with the button. I think there’s a trick to it that I just don’t know. According to the manual, you do need to click the button back once and then a second time for a longer, 3-second hold. There also seems to be a slight delay before you actually see that it’s coming on (per the text on the screen), so I do think it’s possible I was impatient and ended up turning it back off by accident. This is my biggest complaint about the camera but I solved the issue and reduced frustration by ensuring the camera was on before I hit the water and then, once in the water, turning to the mode I wanted to use and going from there. That worked perfectly.

Picture quality is hit or miss, but I expected as much. It is, after all, a video camera with some picture functionality. If you want to get fantastic still photos, this may not be the camera for you. But if you want some fantastic video with some decent photos, Vaquita has got you covered.

Final thoughts

For ease of use, it really doesn’t get much better. I got the camera, charged it up, then went diving. I didn’t even look at the manual first, but I do have experience with their first camera. In any case, I was able to easily figure out the controls and start shooting video within minutes of my dive.

Perusing the manual later, I saw that there are a lot of options available to users, including FPS, resolution, depth-color correction, and even manual white-balance, etc. I chose to use it without changing any settings but there are many options there if you want to tinker with it.

Pros

• Low profile/small size
• Easy point and shoot capability
• Automatic Depth Color Correction (DCC)
• GPS
• Custom modes for manual settings
• Picture and video modes
• Ability to take a picture while videoing
• Auto video-on option
• Viewfinder screen to help you aim
• Video clarity

Cons

• Can be difficult to turn on
• If you take a picture while videoing, a buzzing sound occurs in the video
• Not compatible with accessories for the original Paralenz
• Pictures are not always great
• Doesn’t always focus up close (macro)

The post First Look: Reviewing the Paralenz Vaquita appeared first on Scuba Diver Life.

There are many critical factors when it comes to underwater subjects, including lighting, distance, temperature, buoyancy, and the fact that everything is moving.

When you’re diving in saltwater you must also remember that objects can appear 34 percent larger and 25 percent closer than they truly are because of light refraction through both your mask and the water. With that in mind, here are a few tips to help you get started.

Get closer

Always try to get as close to your subject as you can without scaring it or disturbing its habitat in any way. While it might be relatively easy to snap a photo of a wreck or marine life from a few feet or meters away, the closer you are, the better the photo. While you’re slowly and non-threateningly moving toward your subject, try to frame the animal in your lens finder by aiming a bit in front of it. This will allow it to move into your field of vision so you can snap away.

While getting closer is a simple, commonsense tip, it can work wonders for the final results. Using a wide-angle, fisheye lens can also bring objects a bit closer and create some dramatic framing with other objects on the sides. So get close — slowly — or just maintain neutral buoyancy in one fishy spot and wait for something to drift in front of you before you snap it.

Shoot up

This tip is simple: always shoot up, never down. Doing so enables you to get better quality photos with better lighting. This rule holds true for both still images and video.

Shooting up takes advantage of natural light, such as the sun filtering through the water. This is particularly picturesque when it comes to silhouetting a diver or sea life. It also helps brighten the subject matter with ambient light for better results.

Shooting up is also another way to get closer to your subject. If you’re below the animal, it may not notice you slowly rising as much as it would if you’re above it and trying to quickly accelerate toward it as you descend.

Use light

Use ambient light whenever possible — the closer you are to the surface on a bright, sunny day, the better. If you’re more than 10 feet (3 m) away from your subject, ambient light may offer an opportunity to capture a good image if you’re shallow and near the surface’s sunlight.

But, if you’re at depth, you’ll need at least a single flash from an underwater camera to throw some light onto an object. Put a large strobe or a bank of lights on your camera to supply enough illumination and properly brighten your subject for a great quality image and help to eliminate the blue tones that plague so many underwater images. In a pinch, a torch can even help add a splash of supplemental light.

Always be ready

Nowhere is the adage to “be prepared” truer than when you’re diving or snorkeling because you never know what you’ll see. You don’t want to miss out on the shot of a lifetime because you left your camera charging on deck, so make sure your batteries and gear are always ready to go when it’s time for the next dive. Make sure you’ve got enough space in your memory card and your settings are properly calibrated for the dive. Are you shooting macro? Wide-angle? Plan in advance. After all, sea life doesn’t wait for you to photograph them — you’re on their schedule.

Shoot prolifically

Before digital cameras, divers were limited to the number of images on the roll of film they were using, so 36 was the maximum. Now, you can take dozens of photos per dive –– the only limit is the size of your camera’s memory card.

So when you see a cool shot, such as a clownfish closeup, a color-changing cuttlefish, or a toothy barracuda, don’t take just one photo of it. Snap away to get just the shot you want. If you’re using a SLR camera, you can also bracket these shots with different f-stops and lighting combinations to give yourself the best opportunity to capture a keeper.

The fact is, the more pictures you take, the better you’ll get at both composition and operating your camera. You’ll also have more choices when you review your images after your dives. Then, because you’ve followed these five underwater photo tips for beginners, you can edit them, crop them, and adjust light and saturation to create your perfect image. Of course, there are more tips — but those can wait for another article.

Author Gil Zeimer took a scuba resort course on Grand Cayman in 1981. He’s been hooked ever since and has explored the underwater world from Australia to Micronesia to Aruba, almost exclusively in warm waters. As a travel writer, journalist, and advertising writer, Gil is passionate about helping diving industry clients promote their sites, resorts, and causes. He lives in Tiburon, California, which is Spanish for “shark.” Find out more about him here or follow him on Facebook.

The post Five Underwater Photo Tips for Beginners appeared first on Scuba Diver Life.

A note of caution: Safety is far more important than posing for a photo. Observe safe practices and only dive within your limits. Don’t attempt tricky shots unless you’re an advanced diver with great buoyancy. Further, avoid touching anything underwater — even the ocean bottom. It’s not only safer for you and better for the marine life, but it’ll also ensure that fellow divers admire your photo instead of upbraiding you for it.

Watch out for bubbles and deep breaths

Bubbles can be distracting in a photo and sucking down a deep breath results in an oddly bloated appearance. Either ask the photographer to time the photo on your inhale before bubbles appear or hold just a tiny breath for a few seconds.

Focus on your eyes

Prevent eyes from seeming small, dark, cross-eyed, scared, confused, or angry in underwater photos with one or more of the following techniques:

• Smile and remember something joyful. Even unseen smiles on your lips result in eyes with a happy gleam.
• Widen your eyes slightly.
• Black-skirted masks cast shadows, so choose a clear-skirted mask to pull in more ambient light as well as light from strobes. A small touch of color on a mask can also draw attention to your eyes.
• When engaged with something close by (e.g., a seahorse), focus your eyes slightly past that thing to prevent the cross-eyed look.
• Though we often prefer the roll-out-of-bed-and-jump-into-the-ocean look, apply some waterproof mascara/cream eyeliner or glue on eyelash extensions for special effect.

Give and take in equal measure

If you’re a photographer, offer to spend an entire dive shooting photos of someone else in return for the same favor. You’ll be surprised how many of your dive buddies will jump at the chance for a good photo of themselves.

Figure out your hair

Long hair easily mimics a weird clown’s wig or bedraggled seaweed underwater. Figure out the best way to handle your hair with one of these methods.

No. 1: Let it hang loose, but discover how to play with it underwater. Hair randomly floating above your head rarely looks good. Instead, try one of these options:

• Propel yourself a few inches backward by fluttering your hands down low in front of you. This can push hair forward in a beautiful way to perfectly frame your face.
• Swim a few inches forward to stream your hair behind you—ideal in far-away shots, silhouette shots, and shots which aren’t head on.
• Use one or both of your hands to fashion a dramatic shape to your hair such as curving it to one side.
• Gently sway your head back and forth to shape an interesting outline and an overall dramatic effect.

No. 2: Identify your best style for tying it back. (Check out our article on Top Tips to Tame Your Diver’s Mane for tips.) A friend of ours exchanged her two pigtails for a low ponytail covered with a hair wrap and her photos jumped from cute to gorgeous.

No. 3: Place your hair under wraps in a hood or a do rag. A do rag can inject some personality and draw attention to your face, but you can still create a great image even in an all-black hood if you focus on your eyes as noted above.

Skirt the middle

People appear better in underwater photos very close or far away. The middle distance is rarely effective because you’re too far away to be well lit, but still too large to balance the shot’s composition.

Plan the photos and use your best angles

Work to determine how your body looks best underwater and in what positions by testing out every angle imaginable on a series of dives with a photography partner. Then, before entering the water next time, talk to the person photographing you about your best poses.

For example: Even in the first photo of the exact same doll, the three dolls seem different. The angles, how their body is positioned, and the way the light hits each of them emphasize different aspects, such as how the doll on the left seems to have lighter hair and a thinner face.

In the second picture, the same glamorous Barbie appears drab with messy hair, different lighting, and less photo editing while shadows from a black mask (or glasses in this case) impart shadows detracting from pretty eyes. The doll’s right eye even seems bigger than her left because of this.

Take lots of shots

Even the best photographers shoot more than one photograph of the same subject. Request plenty of shots if you can and vary your poses so you can pick the best of the bunch.

Be mindful of colored gear

Coordinating colors or all black can both equal a good portrait. Just plan your colors since a tiny bit of random color can be distracting (e.g., a bright orange safety sausage hanging off your hip).

Model elegant, long lines

Your arms, hands, legs, and feet function as finishing touches for a pose. Extend your legs and keep your fins together for elegant, long lines. Tuck in your elbows and envision graceful fingers.

Don’t face the front of your body toward the camera for a full-body shot. This often results in a potato-like shape. Instead, turn your head toward the camera with your body sideways/angled up or down, or curve into a long, lithe shape.

Conquer neutral buoyancy and proper trim

Shooting someone who’s uncomfortable underwater is challenging because a moving body can blur and limbs can appear awkward. Without good trim, your body can be oddly positioned with your head down too low or up too high. Attend a buoyancy specialty course to become a better diver and your photos will improve as well.

Streamline your gear

All those dangly bits of gear produce drag, which increases your air consumption, can damage marine life, and looks horrible in photos. Streamline your gear and you’ll look more graceful. Also, if you use a BCD, pull it down tighter on your shoulders so it’s not floating up and conveying the illusion of no neck.

Edit the photos

Even cheap editing programs can produce better photos, balancing out the green or blue of the water, cropping extraneous space, improving the contrast, and more. Simple changes can play up the details and colors so the picture pops. Switch some shots to black and white for more drama.

Get creative, dramatic, or silly

Forget those boring “Hi, Mom!” straight-on poses where you’re flashing an ok sign or throwing that surfer hang-loose sign. Try removing your regulator (in a safe manner) and smiling, or better yet, channel your inner model and vary your poses with:

• Silhouette shots
• Photos where you’re framed by a wreck or a circling school of fish
• Interesting angles where you’re curved around an object
• Wide-angle shots with you diving as a more natural part of the overall scenery
• Candid shots instead of just posed portraits
• Ridiculous poses for an element of childlike silliness

Requesting different techniques from the photographer can also increase the dramatic factor, such as the use of a fish eye lens or swirling shots.

Remember that neither fish nor your dive buddies care how you appear underwater. The best shots are the ones where you feel happy, you’re diving safely within your limits, and you’re having a great time underwater.

The post How to Look Good in Underwater Photos appeared first on Scuba Diver Life.

In 2019, PhD candidate in marine ecology Maarten De Brauwer and his colleagues conducted research on how divers’ (and specifically photographers’) interactions affect benthic fishes and especially seahorses. They found that the effect of the flash while divers were photographing them was no worse than the presence of the divers alone, without flash photography.

Strong flash photography is a no-no

The general consensus is that gentle flash photography is no brighter than the sunlight being reflected off the seabed in shallow water. The researchers found no impact on the ocular and retinal anatomy created by the presence of flash photography. Nor was there any change in the animals’ feeding success. Using more powerful flashes, in order to achieve a dark or black background, could have a higher impact on the animals, though. CITES advises divers not to use flash, as do many local laws. So, while it does not necessarily affect the animals, you must take care when using flash photography to capture a seahorse image.

Do not touch seahorses — period

What did, however, affect the animals was how divers interacted with them. Seahorses exhibited a strong stress response when they were physically manipulated by photographers. Touching, moving or manipulating animals in order to get the perfect image can cause abrasions or even break parts of their body. While most scuba divers live by the phrase ‘look but don’t touch,’ sometimes it is tempting to move that piece of coral or shift the animal ‘just a bit’ in order to get the perfect shot.

Other researchers studied the interactions between dive photographers and seahorses in 2018 and found that divers who used action cameras that were attached to an extension pole came a lot closer to seahorses. This close proximity increased the number of times the photographers touched the animals and caused the animals to try to escape (a behavioral disruption). Repeated behavioral disruptions can negatively affect seahorse habits like feeding, reproduction and resting.

The researchers suggest that divers (and photographers) keep a minimum distance of 14 inches (36 cm) from seahorses to reduce stress to the animals.

Some tips for photographing seahorses

• Stress not only affects the animals’ feeding, reproduction and resting habits, it can also shorten their life span. Attempt to cause them as little stress as possible.
• Do not touch or move them or the flora around them to get a better shot
• Allow them space (at least 14 inches/36 cm) and leave them an escape route in case they feel threatened.
• Look at their behavior. If they seem to flop over or look unwell (or even dead or dying), turn their back to you or swim away, it means that your presence is causing too much stress. Leave them alone and gently back away.
• These well-camouflaged animals are also social animals. This means if you see one, another one might be nearby. Be aware of your body, and especially your fins. Try not to disturb the bottom — use frog kicks and hover rather than using scissor kicks.

While flash photography does not directly affect seahorse behavior, the presence of divers — and more specifically touching and moving them — could cause heightened stress levels in the creatures. Taking pictures of them while doing your best not to disturb them or their environment is best, as long as local laws allow it.

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Pay attention to the species

No matter the species of shark, whether it be a great white or whitetip reef shark, if provoked they will more often than not retaliate or defend themselves. Listen closely and adhere to the dive briefing and instructors who have experience on the site. Rules are there for your safety, not for you to disregard to get the perfect shot. In Guadalupe Island, for example, divers are not allowed to dangle their limbs outside the cages to get a better shot of a passing great white for obvious reasons. Read up on the particular species you’re diving with. For example, mako sharks look far more menacing than they really are. Just remember to maintain eye contact, stay relaxed and close to other divers when interacting with them.

Limit the number of divers

There is no greater risk on a shark dive than filling the water with people. Sharks are curious about noise and fast movements on the surface, as that is often where they feed. This is dangerous particularly when the group consists of divers with varied experience levels, as the guide will need to spend more time with novices and consequently not be able to watch the rest of the group. Consider the operator carefully when planning a shark dive and check reviews to make sure that the business is run safely and responsibly.

Use techniques for safety

Operators will often tell you to take off shiny bracelets or cover exposed skin for safety, yet oddly enough don’t mention that sharks often love strobes. Oceanic whitetips, blacktips, blue and mako sharks are often quite curious about strobes or large domes. They will often bump into them or try to take a bite. While this can result in spectacular images, make sure to protect your equipment and yourself. With perfect light and shallow depth photographers do not need strobes, which is actually beneficial as this equipment can be cumbersome. A fast shutter speed (unless attempting blur-motion images), high aperture for focus detail, and low ISO are the norm for shooting sharks.

Leave feeding to the professionals

A few species are known to reside at particular locations, and we can find them easily. Others, however, are pelagic and operators must chum for them, blue sharks in the Azores for example. When there is a box or bait drum in the water, under no circumstance should a dive participant attempt to feed the sharks. Let the dive guides handle the chumming.  

There are often many sharks present on dives and some are more rambunctious than others, so keep your head on a swivel as species such as oceanic blacktips enjoy bumping you. Stay where the guide has instructed you to and wear the appropriate equipment. When the dive is over, wait for the guide’s signal and ascend as instructed, spending as little time on the surface as possible. Mind these precautions and listen to your guides — with those pieces in place, it’s quite easy to responsibly and safely photograph sharks. 

The post How to Responsibly and Safely Photograph Sharks appeared first on Scuba Diver Life.

[See image gallery at scubadiverlife.com] Ultimately, first place in the wide-angle category went to Richard Barnden’s charismatic sheephead wrasse, and first place in the macro category to Pietro Cremone’s beautifully executed backlit Rhinopias. Richard won a 7-day liveaboard trip to Indonesia with Dive Damai, while Pietro scored a 7-day package to Crystal Blue Resort, Anilao, Philippines. In second place, Juan Murillo won a Light and Motion Sola 3800 video light for his serene water lilies in the wide-angle category, while Enrico Somogyi will get a Sea and Sea YS-D2J strobe for his garden eel surrounded by pink “disco” lighting.

The third place finishers are Rosie Leaney for her lovely pair of giant cuttlefish and Volker Lonz for his delicate skeleton shrimp, in wide-angle and macro, respectively. They each took home a €250 gift certificate towards Saga Dive products. Finally, Desmond Ho received an honorable mention in the wide-angle category for his perfectly composed angelfish under Bonaire’s famous Salt Pier, while Gino Symus earned an honorable mention in the macro category for his beautiful kelpfish portrait. Desmond will receive a copy of “Underwater Photography” by Tobias Friedrich, and Gino will get a copy of “Ocean Metaphor: Unexpected Life Lessons from the Sea” by Cathryn Castle Garcia and Gui Garcia.

Dive into the Pink will use winning images to help promote the fourth annual Pink Auction, a silent online auction that kicks off on September 29, 2019. Items up for bid include exotic dive trips, dive gear, underwater photography gear, jewelry, and apparel. Auction items are still being added and can be previewed at 32auctions.com/divepink2019

About Dive into the Pink

Dive into the Pink, Inc was founded in 2016 by Allison Vitsky Sallmon, a breast cancer survivor, veteran scuba diver, and underwater photographer who wanted to raise money to fight cancer by mobilizing the scuba community through dive charters and dive-related activities. Dive into the Pink is a 501c3 organization, and 100% of our proceeds are redistributed. Our 2019 beneficiaries include the Young Survival Coalition (YSC), an international organization dedicated to the critical issues of young women with breast cancer, and the Guise Laboratory at Indiana University, which is investigating whether certain characteristics of the bone marrow microenvironment can alter/promote the spread of cancer to the bone. 

The post Dive Into the Pink Announces Winners of Third Annual Photo Competition appeared first on Scuba Diver Life.

Also, when you spend enough time at a dive spot, you get to know the critters regularly, which helps when taking photographs. Shore diving with a camera can be a challenge, though. Here are a few of our best tips to make it easier and more enjoyable.

Doing your homework

First, find a spot and do a little recon with the local dive shop and other divers. Research what the site is like, and determine the entry/exit point logistics. Note any potential swell, surge, topography, and critter life. Once you’re ready to go for a dive, organize your dive and camera gear for the walk to the entry point. Shore dives can be very simple or complicated, depending on the parking and your walk to the entry point. Some sites feature stairs and a nice beach, while others may require a climb down, so evaluate the best route to the shore before you gear up. Using the tailgate or back area of your car allows you to don your gear easily and your buddy to check you over.

Managing your camera

The biggest issue when shore diving with a camera is managing not only your scuba gear but  also the camera while you’re trying to get your fins on and time the swells. What do you do with it all? About 15 years ago I added a shoulder strap to my camera rig, which has made the process easy. I added a shoulder strap to my camera rig, which has made the process much easier. The shorter version is great for carrying your camera to and from places as it keeps the strobe arms in place. My strap is longer because I wanted to be hands-free. When I’m shore diving, I sling my camera on my shoulder or across my chest  and have my fins on a carabineer that’s attached to my BCD. Now I needn’t worry about my camera while I manage my entry/exit. 

So, how do you make one of these straps? The shorter version consists of braided fibers and trigger snaps or a carbineer on each end of the braid. I went with a trigger-snap clip, which does not open easily, and I chose all brass for wear and tear in the ocean elements. For the strap, I used thin parachute cord doubled up and looped through the first clip’s ring and fed it through flexible plastic tubing pulled tight. At the other end, it’s attached to the second clip’s ring. I purchased all of the parts at a hardware store, which makes it convenient and affordable. My current strap is over 15 years old and still going strong. Length is a personal preference, but I wanted the camera to sit at my lower hip when hung across my chest.

Entering the water

With a strap as described, your camera is secured to your body once you’re in the water. You can now inflate your BCD, watch the swells and get your fins on to kick out of the surf zone.

I usually swim on my back to my drop spot, leaving the strap slung around my neck. When I’m ready to start my dive, I unclip one side of the strap and clip it to my BCD’s left-side lower D-ring and begin my descent. Once I’m at depth, I detach the second clip and attach to my upper left-side D-ring.

Ending the dive

When I’m ready to ascend, I do the reverse of my descent and reattach the camera to my body with the strap and D-rings. This allows me to begin my exit from the water knowing the camera is secure. You can use this process on a boat too, and I also hand my camera rig to the crew with the strap so they can easily carry it back on to the boat.

Shore diving with a camera presents unique challenges, but don’t be intimidated. Diving this way means you can easily jump in for a dive on your own schedule. Once you know your camera is secure on entry and exit, you can relax and enjoy the dive.

You can find more of Michelle Manson’s work on her Facebook page.

The post Shore Diving with a Camera appeared first on Scuba Diver Life.

I. LOVE. LUCY. from The Beacons Collective on Vimeo.

Great white sharks galore

In 2017, we saw six sharks on the entire trip, but I’d heard reports of 12 sharks in one dive earlier in the 2018 season, so I was excited. On the first day we saw eight sharks in total — the action was awesome and sometimes non-stop. My new drone, the Autel EVO, also allowed me to shoot 4K 60fps, which in turn allowed me to slow the footage down by 50 percent to extend the drama of the aerial shots. Their waterproof rugged bundle is a must for divers. I also had several Paralenz dive cameras with me to capture behind-the-scenes shots as well as varying perspectives.

Our second day began like the first, but then a giant emerged from the depths —Lucy. We knew it was her immediately because of her infamous ragged tail, which is likely either a birth defect or due to some sort of incident in her youth. She stayed with us for the rest of the trip, through the third day. She moves much slower than the other sharks, likely because of her enormity, and was a joy to film.

The Nautilus crew was incredible as always and, in the end, we don’t know why sharks are there in unprecedented numbers. Hopefully it’s because these animals are rebounding, but 2019 and the years to come should provide more clarity. Regardless of the reason though, it became clear to me that nature needs more people to document its beauty and majesty. Humans are more on their devices and less in touch with nature than ever — so we need to bring nature to their devices.

Follow The Beacons Collective on Facebook and Instagram. Opening and third tracks licensed via Extreme Music.

The post I Love Lucy: Great White Sharks in Guadalupe appeared first on Scuba Diver Life.

Practice first

Whether or not you take your camera underwater at home before traveling, practicing with it first is essential. The Great Barrier Reef is amazing from the moment you submerge and thus you definitely don’t want to be mucking around with camera settings and buttons underwater. Take photos before the trip — lots of photos. Unlike some diving locations, it’s best to visit the GBR on a liveaboard. This means there is no nearby beach or resort pool to give the camera a spin first. It’s all action. So learn how to properly use your camera before you arrive.

Look around you

Make sure you look up every now and again when diving on the reef as you never know what will be swimming past up above. A school of barracuda or a minke whale might be right near the surface. Indeed, you may take some of your best photos may be taken during a safety stop as a dozen batfish surround you. So keep that camera on while relaxing in 15 feet (5 m).

Don’t ignore the whip coral

All over the reef you will encounter dozens of amazing whip corals poking out from seemingly random places. These beautiful, long tendril-like corals are also home to some of the most striking macro animals you are likely to encounter. Look carefully and you may spot a whip-coral shrimp combing the surface like a farmer tending to a field. Photographers often take their wid-angle setups down in the hope of snapping a turtle or a shark, but don’t forget that there can be some equally amazing macro subjects to snap away at. Ask your dive guide before descending which lens you should take on each particular dive.

Shoot shipwrecks

Sunken sea vessels always make for exciting dives, especially when they’re part of the world’s biggest reef. Turtles and sea snakes occupy every nook and cranny while stingrays and sharks spend time cruising atop the wreckage before resting inside. Make sure you take a video light or strobe with you when diving a wreck on the reef, as the best subjects are likely to hide just outside the realm of natural light. 

Enjoy it

Don’t forget to enjoy the diving while you shoot away with your camera. All too often, underwater photographers concentrate so much on getting ‘that’ photo that they miss out on everything else that makes the reef so amazing. If you can’t get your setup to work, figure it out when you’re back on the boat as a good memory of the Great Barrier Reef is better than some bad photos of it.

The post Underwater Photography Guide to the Great Barrier Reef appeared first on Scuba Diver Life.

Tell us a little about yourself.

I began diving nearly 10 years ago, not knowing how different my life would become. I was living in Southeast Asia with my partner at the time, and for my birthday we went diving on the Great Barrier Reef. As I descended into that foreign world, I could not have been more terrified. But from that point forward, I learned to consistently conquer my fears. It was a turning point in my life. Even though I exited from that first dive feeling grateful that I made it back to the surface and certain I had enough, I continued to dive.

Living in New York now, I’ve been diving everywhere from the South Pacific to the High Arctic. I spend my time putting together stories related to underwater environments, wildlife photography, adventure travel and, more recently, conservation. I have been awarded by several international photography competitions, serve as the COO for the non-profit organization Oceans in Focus, and am a Nauticam ambassador. My work has been exhibited around the world and published in various publications.

How long have you been an underwater photographer?

I began shooting underwater in 2010 while I was based in Southeast Asia. With the Coral Triangle practically in my backyard, it was a better time than any to get certified to dive. Getting underwater changed everything for me. Once I got past a few of the apprehensions that I think many of us have when we begin diving, I felt completely at peace underwater. I started documenting my journeys through images and video; and I soon began writing about my experiences as well. I’ve now started organizing trips to encourage others to get out of their comfort zones and explore this amazing planet in different ways.

What got you interested in underwater photography?

I’ve always been interested in the oceans. But ultimately, the real inspiration came from too many hours of nature documentaries, such as “Blue Planet” and “Planet Earth.” I enjoyed watching the behind-the-scenes footage of the cameramen immersed in epic, natural events. One day I decided I wanted to stop watching others and learn to dive myself. But I didn’t want to simply dive — I wanted to shoot underwater. I really can’t imagine doing anything else.

What’s your favorite style of underwater photography?

I really prefer shooting wide-angle underwater. I love pelagic marine life. The sheer size of some of the creatures I get to meet never ceases to amaze me. However, that’s not to say I don’t appreciate or shoot macro images. From time to time I can get into a critter zone, but I am mostly too impatient to do it all that often. I have been trying to focus more on conservation photography. Putting together stories about conservation issues is the most important and rewarding way I can use my skills. 

Any favorite subjects?

Without a doubt, my favorite animal in the ocean is the sea lion. They are super-inquisitive and make me laugh harder than anything else in this world. I could spend the rest of my days photographing them. Of course, I love sharks, and I have a new fascination with orcas as I just encountered a pod in Mexico this past year. Penguins are also pretty interesting creatures — I really love all wildlife.

Any favorite destinations?

 I keep returning to the Baja Peninsula. It has an amazing array of life and particularly a great deal of pelagic life. Schooling fish, orcas, humpbacks, blue whales, scalloped and smooth hammerheads, makos, silkies, sea lions, dolphins, mobulas, mantas, and stingrays are just some of the creatures you can find there. The sun-scorched landscape and the people and culture also fascinate me.

What’s your underwater setup?

 I shoot with a Canon 7D Mark II and a Tokina 10-17mm lens. I have other lenses and ports, but the Tokina is my go-to lens. My camera goes into a Nauticam housing and I use Inon Z240 strobes.

Do you have any tips for new underwater photographers?

Join trips that are geared toward photography or hire your own guide. There is nothing more frustrating than not having the proper amount of time with a subject that you traveled very far to photograph. When you find a subject to shoot, it’s important that you have enough time to set things up correctly. But don’t just focus on making an image — tell a story.

Find more of Joanna Lentini’s work on her Instagram and Twitter pages and her websites here and here.

The post Photographer Spotlight: Joanna Lentini appeared first on Scuba Diver Life.

Tell us a little about yourself.

The start of an eventful career usually begins at the bottom, and for me it was at the bottom of a quarry called Fantasy Lake, a few miles from my parent’s house in Raleigh, North Carolina. Diving hooked me after 30 minutes or so of floating around weightless with only slight brain freeze. That was 10 years ago as a sophomore in college.

Working today as a PADI IDC Staff Instructor, it has been my pleasure to introduce hundreds of new divers to the underwater world. What began as a tingly brain freeze in a rock quarry has grown into a career spanning the last eight years of my life.

Three countries later, I am now based in San Diego, California. I currently lead local dive charters, as well as quarterly wildlife photography and diving expeditions to Baja California. On these trips I seek out encounters with some of the biggest animals on our planet. I focus primarily on wide-angle photography, as most of the animals I prefer to photograph are big.

How long have you been an underwater photographer?

One and a half years.

What got you interested in underwater photography?

After eight years of diving in varied locations, I have witnessed awe-inspiring scenes, such as hundreds of sharks schooling together and coral-spawning events; and tragic scenes, such as massive fish die-offs and extensive reef damage after a natural disaster. It is up to scuba divers to share these experiences and images with the rest of the world so that our most valuable resource does not go unnoticed or undervalued.

What’s your favorite style of underwater photography?

I really like shooting wide-angle portraits, as the challenge of capturing the emotion and behavior of an animal keep me constantly improving my technique.

Any favorite subjects?

I enjoy the playfulness of California sea lions, but equally enjoy the elusiveness and difficulty of photographing schooling tope sharks. I think that each creature poses its own challenges —usually the most difficult subjects to capture are the most rewarding.

Any favorite destinations?

The wrecks of North Carolina, Revillagigedo Islands, Los Islotes in Baja, Utila’s north side, and Grand Cayman all hold allure for me.

What’s your underwater setup?

I use a Canon 7D Mark II inside a Sea & Sea Housing with YS-D2 strobes. I sometimes use a tripod for stable seascape shots.

Do you have any tips you can share with new underwater photographers?

• Learn to use your camera outside the housing.
• Use custom modes to preset a good starting point for the type of underwater imaging you’re working on.
• Proper O-ring care goes a long way.
• Test-fire your camera and strobes after you set up your gear, every time.
• To practice underwater wide-angle lighting, start with fixed or sedentary subjects to allow time for reconfiguration.

Find more by Frankie Grant at his website.

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Tell us a little about yourself.

I live in the small town of Salem, Missouri and have been a certified diver since 2001. Photography is a niche that allows me to express my creativity that fuels the artistic portion of my soul. My objective is to create unique, impactful, thought-provoking imagery and artwork.

How long have you been an underwater photographer?

It was a coincidence. I became a certified diver and received my first digital camera the same year.

What got you interested in underwater photography?

The process of capturing, editing, and printing an image from my computer was intriguing. Underwater photography was my hobby for the next eight years. After my first trip to the Philippines in 2009, my hobby escalated into my passion. This is when I built a website and began entering print and photography competitions.

What is your favorite style of underwater photography?

I am captivated by the beauty and splendor of our underwater world and fascinated by it all. My favorite style, though, is to capture wide-angle scenes. My goal is to put a different spin on an otherwise normal scene. If you have to look twice at one of my images to figure out what it is, that is fine by me.

What are your favorite subjects?

I love the challenge of photographing wide-angle reefs and wrecks. but also have the deepest adoration for the tiniest animals in the sea.

 What is your favorite destination?

My favorite destination is usually the one I just visited or my next trip! However, traveling to  destinations that lie within the Coral Triangle, such as the Philippines or Indonesia, is a real treat.

What is your underwater setup?

My underwater equipment: Canon 5D MK IV body, Canon EF 8-15mmL fisheye zoom, Canon EF 16-35mmL zoom, Canon 100mmL macro lens and Nauticam housing

Do you have any tips you can share with new photographers?

It is imperative to develop good diving skills and buoyancy control before taking any camera system underwater. Trial and error are intrinsic to learning, and the key to improving your photography skills. Experiment and think outside the box. Look at other work that you admire. Incorporate some aspects and develop your own unique photography style. Divers and photographers must respect, protect and preserve our ocean environment. Capture subjects in a natural way, without moving or manipulation. Lead by example. Be a visionary, if you see it you can shoot it. 

For more of Watson’s work, check her website here, her Facebook or her Instagram accounts.    

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Seals

The southern coastline of Australia is dotted with hundreds of fur seal colonies, featuring members that are usually eager to get into the water for a swim and some games with a willing diver. Their willingness to hang around and their playful demeanor make fur seals ideal photographic subjects. Just be sure to turn up that shutter speed, as these hydrodynamic animals tend to sweep around you extremely quickly in graceful arcs, performing amazing feats of underwater contortion. If you can, jump on a boat and visit a colony. Seal tours operate all year round in dozens of locations — just remember the more fun you are, the more amazing the photo opportunities you’ll get with the equally playful seals.

Seadragons

Both leafy and weedy seadragons are definitely a highlight for any underwater photographer. You’ll find these endemic creatures all along the southern coastline, usually just offshore. Their vibrant colors and amazing camouflage can give your photos great contrast and color. Local dive shops can usually tell you the best places to go; it may even be worth hiring a divemaster for the day to help spot these animals. Although they can be almost 12 inches (30 cm) long, it still requires a keenly-trained eye to spot them hidden among the seaweed. Play with the camera’s aperture when you’re shooting seadragons to help achieve a background color that makes these unique creatures pop out of your photograph.

Shipwrecks

There are dozens of shipwrecks to explore and photograph throughout this part of Australia. Indeed, in Melbourne alone there are five different sunken submarines available to divers. Most large cities also boast a recent military wreck, purpose-sunk for divers. Lining up a diver next to the bow of a ship for some scale always makes for an interesting image. When photographing wrecks — especially when the visibility is average — a good wide-angle lens is essential to help you capture the ship on a grand scale.

Crabs

Animal migrations are one of the most amazing wildlife events you can capture with your camera. Thousands and thousands of creatures moving in unison, as though they have a single mind, can make for magnificent photography. Spiders crabs are one such animal. At roughly the size of a football, they emerge from the ocean depths once a year, migrating into shallow waters to molt their shells. When photographing a migration event, try out various angles with your camera to see which one can capture the true scope of the endless mass of animals you are seeing.

Sharks

Much of the water off Southern Australia is teeming with various shark species. From draughtboard and wobbegong sharks to curious and fearsome-looking grey nurse sharks, this part of the world presents some great shark-photography opportunities. Look in rocky crevices and along the ocean floor and you will likely spot a wobbegong or two resting. Covered in amazing military fatigue-like patterns and sporting tassels along their faces, they are one of the more unusual sharks.

Grey nurse sharks, on the other hand, often congregate in colonies around caves and sandy trenches. At 6.5 to 10 feet (2 to 3 m) long and displaying row upon row of needle-like teeth, they can appear terrifying to a non-diver. They are, however, completely harmless. When diving with these animals, try to relax on the seafloor nearby. With luck, they will slowly swim over to investigate you, offering the perfect chance to snap a quick photo that is sure to become one of your favorites.

The post An Underwater Photographer’s Guide to Southern Australia appeared first on Scuba Diver Life.

Tell us a bit about yourself.

My father learned to dive in the 1950s and first ignited my passion and respect for the underwater world. When I was a teenager he took me diving in the cold, murky water of Lake Mead, Nevada and later in less-murky Southern California. From those early years, I knew that the ocean, diving and eventually photography would be major parts of my life. I have been increasingly using my photography and writing as a media to raise awareness and promote conservation because I have personally observed the decline over the last three decades.

Like many photo pros, I still have a career in the corporate world that I am not quite ready to leave completely. But I balance that with being a professional photographer, writer, trip leader and instructor, specializing in underwater photography.

How long have you been an underwater photographer?

I started taking pictures with film cameras about 25 years ago and in 1999 I took my first underwater photography class while on a live-aboard in Australia. After each day, we processed the slide film and the instructor critiqued my images. By the end of the trip, I saw significant improvements in my photos and entered my first photo contest. One of my shark images won first place in the SEASPACE 2000 international photo competition and after that, I did all I could to learn more about underwater photography and practice what I had learned. Since then, I have been published in over 15 magazines around the world and recognized in multiple competitions.

What got you interested in underwater photography?

As I mentioned before, my dad introduced me to diving and we shared that passion together for many years. When a medical issue forced him to stop diving, I got into underwater photography as a way for us to still have that bond. After my dive trips, I would show him the images and share stories about the diving, the trip and interesting people I met along the way. Even in his 80s, he still loves to reminisce about our early days diving together and his time in the Navy on the USS Oriskany. Every time we say goodbye, he always tells me to “have fun diving and be safe.”

What’s your favorite style of underwater photography?

That is very hard to say but lately I have been focused on mostly wide-angle, although I thoroughly enjoy all types of UW photography. I consider myself a bit of a jack-of-all-trades, which has really helped me in my UW photography workshops because I am able to teach basic and advanced techniques in macro, super macro, snooting, close-focus WA, split shots, ambient light, working with models, and other more creative techniques.

Any favorite subjects?

In recent years, I have been planning my trips around the larger animals like crocodiles, whales and especially sharks because they are under such pressure around the world from shark finning, commercial by-catch and shark fishing. A recent passion project of mine was to photograph salmon sharks in Alaska to learn more about them and increase awareness of their struggles. I first saw one in Southern California waters and it wasn’t until four years later that I was able to get my first pictures after multiple trips to Alaska.

Any favorite destinations?

My answer changes over time but usually it is one of the recent places I have been. I really learned to appreciate California diving while living there for five years (after I got a good wetsuit and drysuit to stay warm). California has great marine diversity, including sea lions, sharks, tons of nudibranchs, kelp forests, and jellyfish. Keeping with the cold-water theme, I also love diving in British Columbia, Canada at God’s Pocket and Alaska where in addition to the elusive salmon shark, there are huge blooms of jellyfish, giant plumose anemone gardens, critters galore and salmon in the streams.

For warmer water, it’s hard to beat the marine diversity and healthy reefs of the Coral Triangle. For big-animal photography, it is hard to beat the consistently crystal-clear waters of French Polynesia, which are teaming with sharks year-round. And how can I forget the marine-protected waters of the Gardens of the Queen in Cuba, where pristine Caribbean reefs look the way they were 60 years ago, teaming with sharks and American crocodiles. For local diving, the up-close-and-personal mako and blue sharks of Rhode Island make for an action-packed photography trip.

What’s your underwater setup?

I recently upgraded from a Nikon D800 full frame DSLR to the Nikon D850 and absolutely love the 3D-focus mode speed and accuracy, the dynamic range and quality of the images captured on that sensor. For wide-angle lenses, I use the Nikor 16-35mm and 8-5mm circular fisheye lenses and for macro, I use both the 105mm and 60mm Nikor lenses. The camera is housed in Nauticam with a large 9-inch Zen glass dome port. My rig also sports two fast powerful Sea & Sea YS250 strobes for wide-angle big-animal action. For macro I switch to my Sea & Sea D2J strobes with a Retra LSD snoot and OrcaTorch 900V focus/video light.

Do you have any tips for new underwater photographers?

Other than the obvious — hone your dive skills before ever touching a camera — here are my top three tips!

Take an underwater photography workshop. Why struggle, trip after trip, trying to teach yourself how to use your new equipment and troubleshoot why your pictures aren’t coming out the way you want them to? You spend a lot of money on the equipment, travel and precious time off from work, so why not spend a few more bucks to reduce your frustration levels and accelerate your learning curve?

Know your gear inside and out before you ever get in the water. It is not the camera that takes the picture—it’s you. Read your manual and learn all the camera’s options, then experiment with them. Look online for underwater reviews and tips for your model. This will pay dividends on your trip and significantly reduce your learning curve.

Finally, don’t take yourself or your photography too seriously. Obviously, you need to be serious about the learning process if you want to improve. But don’t judge the quality of the dive or trip by the pictures you get. Some photographers get to be real sour pusses if they don’t get “the shot” and especially if someone else does. Have fun diving, taking pictures and enjoying the beauty of the underwater world. Work on your underwater photography skills. With time, your consistency and quality of images will improve and you’ll be ready to capture that one in a million opportunity when it appears.

By guest author Ron Watkins

For more of Ron Watkins’ work, please visit his website here, Facebook, or Instagram.

The post Photographer Spotlight: Ron Watkins appeared first on Scuba Diver Life.

In this video, I lay out several techniques that I use to achieve the super-colorful look. While this is not my preferred style of photography, I do occasionally use these techniques to achieve what I like to call the “scuba magazine” look. This look includes vibrant, rich, colors framed in a deep blue background. And the good news is, it’s super easy.

By guest author Jason Washington

Jason Washington is the managing director of iDive Global Ltd. and the co-owner of Ambassador Divers, a PADI Five Star facility located at the Comfort Suites Resort on Seven Mile Beach. Jason has lived and worked on Grand Cayman as an underwater photographer/scuba instructor for the past 22 years. His work has appeared in numerous documentaries and feature films. He was a 2017 honoree of International SCUBA Diving Hall of Fame. Follow @CaymanJason on Instagram for more underwater photography tips and tricks.

The post Keeping Color in Your Underwater Images appeared first on Scuba Diver Life.

Tell us a bit about yourself.

I began diving in 2009 but didn’t become interested in underwater photography until 2014. I am primarily a wide-angle underwater photographer, and my specialty is sharks since I am heavily involved in shark conservation. Home is Fredericksburg, Virginia in the United States. My husband and 21-year old son are also divers, and we especially enjoy taking dive trips together as a family.

How long have you been an underwater photographer?

I started taking pictures underwater shortly after I bought my camera in the spring of 2014. At that point I never imaged becoming a professional photographer. I had been a mathematician for the U.S. Department of Defense, and then I was hired as a research operations analyst for a large defense contractor. I was miserable in the corporate world though, and in the summer of 2015, I left my office job to become a full-time underwater photographer and marine conservationist.

What got you interested in underwater photography?

There were two reasons I became interested in underwater photography. First, I hoped to create images of sharks that would motivate the public to care about them. After learning about just how many sharks are killed by humans every year and how some species are on the verge of extinction, I wanted to do something to help. The second reason that I wanted to take pictures underwater was to document my son’s journey as a scuba diver with autism. My son Richard is 21 years old now, and he has been diving since he was 17. He was certified through the Handicapped Scuba Association, and he loves to dive. When people see images of Richard diving, I hope that it helps to dispel misconceptions about what those with disabilities are capable of.

What’s your favorite style of underwater photography?

I’m definitely a wide-angle photographer. Although I have shot a bit of macro, I enjoy big things — shipwrecks, manatees, dolphins, turtles, sea lions, and of course sharks.

Any favorite subjects?

It’s no surprise that sharks are my favorite subjects. After all, they’re part of the reason I picked up a camera in the first place. I’ve been in the water with over 15 different shark species so far, and there are still so many more species I want to photograph.

Any favorite destinations?

My favorite dive destination is North Carolina on the east coast of the U.S. It’s wide-angle photographer heaven. Between the hundreds of shipwrecks that line the coast, and the immense variety of large marine life such as sand tiger sharks, barracuda, southern stingrays, dolphins, and large schools of jacks, there is never a lack of subjects.

What’s your underwater setup?

Up to this point I’ve used the Olympus OM-D E-M1 camera body, Olympus 8mm f/1.8 fisheye lens for wide angle, Olympus 60mm f/2.8 lens for macro, Nauticam housing, Zen DP170 glass dome port, Nauticam macro port, and i-Divesite Symbiosis SS-2 strobes. However, as of my next dive trip I will be moving on to the Olympus OM-D E-M1 MkII with Isotta housing and ports.

Do you have any tips you can share with new underwater photographers?

I’d like new underwater photographers to remember that even us pros take a LOT of unusable images. Every time I go out to shoot, there are several images that are overexposed, underexposed, out of focus, etc. For every image that the public sees, I’ve probably deleted another 20 to 30 or more. So, don’t be too hard on yourself if you only get a few good shots during a day’s diving. But do take a look at those photos that didn’t work out and ask yourself what you could have done differently. Never stop learning, and never stop trying to improve.

By guest author Tanya Houppermans

Find more of Tanya Houppermans’ work on her website.

The post Photographer Spotlight: Tanya Houppermans appeared first on Scuba Diver Life.

Concentrate on image focus

Often in underwater photography, your movement and the water’s movement meant the camera is continuously trying to perfect its focus. The result is that, in comparison to most topside photography, we end up with many images that are out of focus. You may not notice at first but when zooming in, you’ll see the difference. If you have captured multiple images of the same animal or scene, pick the sharpest, most in-focus image — and scrap the rest. Focus may not matter much when you’re posting to Instagram, but it makes a huge difference when you print a photobook or image for your home.

Eliminate excessive backscatter

Backscatter is the bane of many photographers’ existence, and it’s the result of lighting an underwater scene too straight-on in water that’s not crystal-clear. Backscatter means you’ll get an image in which the background is filled with hundreds of speckled dots. Some of these photos can look artistic and you can edit some backscatter out to preserve the photographic subject, but usually these images are prime targets for a quick delete. Unless you’re a photoshop expert, it’s better to have a good original image than a bad image edited well.

Beware the missing fin

There is a general rule in photography that if you’re shooting a photo of a fish or some other animal, including a diver, you must either capture the whole body in the shot or crop out at least 40 percent of them. A good example is an image featuring a diver whose hand is cut off in the image or whose fins are mostly cropped. These images cause the viewer’s eye to jump off the page or screen, thus ruining the sense of immersion the photo might create. Therefore, any images of people or animals with small missing parts from the frame are easy targets for your computer’s trash can.

Keep contrast in mind

Finally, watch for any images where the background and subject blend together, featuring little contrast. A simple example of a badly contrasted image would be when you shoot a blue fish against a similarly blue ocean background. The lack of different tones and colors means it will all meld together, creating an image that doesn’t grab your attention or focus your eye. Unless you’re trying to show off a creature’s camouflage, it’s best to reject images that lack contrast.

The post A Guide to Keeping your Best Underwater Images (and Deleting the Rest) appeared first on Scuba Diver Life.