Divers can see marine mammals during shore dives, boat dives, and even pelagic snorkeling adventures far offshore, depending on which species they are looking to find. Divers face varying opportunities depending on skill level, but it’s common to see most of these mammals without even setting foot in the ocean. In all cases, remember to read local interaction and conservation guidelines before approaching any marine mammal, always giving them ample space to feel comfortable.

Below you will find a list of the marine mammals you are most likely to find off the Southern California coast, along with a brief introduction to the species and some interesting facts that will help you along your way.

Southern California Marine Mammals

Pacific Harbor Seal (Phoca Vitulina)

• Harbor seals have spotted coats ranging from brown to silvery white and can weigh over 350 pounds. (158 kg) when fully grown.
• Unlike sea lions, seals do not have ear flaps and their rear flippers are short. Seals move on land by flopping on their bellies instead of walking on flippers, like sea lions.
• Harbor seals can dive to depths up to 1,500 feet (457 m) and remain submerged for up to 40 minutes at a time, although most dives are shorter, around five to seven minutes.

California Sea Lion (Zalophus Californianus)

• Typically brown in color, California sea lions have long flippers, allowing them to be very agile on land and adept climbers.
• These animals are very social and communicate through loud and often incessant barking.
• Adult male sea lions, or bulls, have a large, protruding bump on top of their head and can often weigh over 700 pounds (317 kg). Maintain a safe distance from large bulls, especially during mating and pupping seasons, as they can be protective of their colony.

Humpback Whale (Megaptera Novaeangliae)

• Adult humpbacks can vary between 40 to 50 feet (12 to 15 m) in length and are characterized by their black skin and unusually long pectoral flippers.
• These animals migrate over 8,000 miles (12,874 km)in a year, back and forth from their winter mating grounds. Some individuals travel along the California coast during this migration.
• The are often seen offshore displaying impressive acrobatics and breaches, such as the one pictured here.

Gray Whale (Eschrichtius robustus)

• Gray whales are easily identified by their immense size and grayish white mottled skin, which is attributed to crustaceans living on the skin of the whale.
• This whale will migrate over 10,000 miles (16,093 km) annually, one of the longest migrations of any mammal on this planet.
• They will travel very close to shore and are sometimes spotted by divers in Southern California kelp beds.

Blue Whale (Balaenoptera musculus)

• This is the largest mammal to have ever lived on Earth, reaching up to 100 feet (30 m) in length and weighing over 150 tons.
• Blue whales have a very streamlined body that is grayish-blue in color. Its broad, triangular tail can also be used for identification as the whale descends below the surface.
• Occasionally found off the California coast feeding on large aggregations of krill, these marine mammals can eat over six tons in a single day.

Common Bottlenose Dolphin (Tursiops truncates)

• The bottlenose dolphin is the largest of all beaked dolphins, and their habitat range spans most of the globe. They can be identified by their size and dark gray color.
• As with most dolphins, bottlenose dolphins are very social and can be seen in large pods off the Southern California coast.
• Divers will occasionally hear the clicking and whining of bottlenose dolphins using echolocation to communicate or hunt for prey.

Not pictured, but in the area:

Short-beaked common dolphin (Delphinus delphis)

• One of the most abundant dolphin species, these are primarily found in oceanic or offshore habitats in large numbers.
• Short-beaked common dolphins are medium-sized with dark-colored backs, white bellies and a grayish hourglass “saddle” on both sides.
• Ther are often found off the Southern California coast near underwater ridges or seamounts, where upwelling occurs, bringing their prey closer to the surface.

Pacific White-Sided Dolphin (Lagenorhynchus obliquidens)

• Males of this species can reach over 8 feet (2m) in length and are easily identified by their unique coloration. While their face and belly are white, the remainder of their body is dark gray, with a light gray patch and stripe going down both sides.
• Known for their energetic acrobatics, they can also be found riding the bow wake in front of vessels going at an appropriate speed.
• They form very close social groups and are rarely seen in groups smaller than 10 individuals. They occasionally form super-pods of over 300 individuals when food is abundant.

Photos courtesy of Frankie Grant

The post A Beginner’s Guide to Southern California Marine Mammals appeared first on Scuba Diver Life.

This year’s contestants used creative techniques and thoughtful compositions that capture everything from historic shipwrecks to sunsets over misty waters, and delightful portraits of wildlife above and below the surface. Thanks to the work of these incredible photographers, viewers can enjoy the wonders of America’s national marine sanctuaries without leaving home.

Photographers of all skilled levels submitted photos in four categories: “Sanctuary Life,” “Sanctuary Views,” “Sanctuary Recreation,” and a new category to accommodate life amid a pandemic, “Sanctuaries at Home.”  This year’s winning photos document the extraordinary beauty of our ocean and Great Lakes and the creative ways people are finding to enjoy and appreciate nature.

The winning photographs will be featured in NOAA’s Earth is Blue magazine, Get Into Your Sanctuary recreation magazine, and the Earth is Blue social media campaign. The photo contest will run again next year from Memorial Day weekend through Labor Day weekend.

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The Channel Islands are made up of two island groups and dozens of dive sites. On this trip we stuck to the southern islands, as the conditions looked most promising there. These islands, called the Santa Catalina group, are separated from California by the San Pedro Channel and the outer reaches of the Santa Barbara Channel. They include Santa Barbara, San Nicolas, Santa Catalina, and San Clemente Islands.

Channel Islands ecosystems

The history of this archipelago stretches as far back as 7500 BP. Today, these prized dive areas stretch 150 miles (240 km) along the Pacific coast, offering marine habitats found nowhere else in the world. Divers can visit coves acting as sea lion rookeries, walls, seagrass beds, caves and swim-throughs, rocky patches filled with bristle stars, sea mounds and pinnacles, and much more. It truly stands as a divers paradise, only a short boat ride away from mainland California.

One of the most iconic landmarks of the Channel Islands is their giant kelp forests, nearly impenetrable by boat, divers must descend beneath the canopy to discover what adventures await them in the low light of the kelp forest. The unique location of the Channel Islands leave it exposed to both cold water currents from the North, while also receiving warm water currents from the South, creating a productive ecosystem with high marine abundance and species diversity. Kelp forests range from Alaska South to Baja California, but those hidden throughout the Channel Islands stand as a benchmark for this diverse, yet threatened, ecosystem. 

Diving the Channel Islands

The first island on our journey is San Clemente, which sits only 41 miles (66 km) from the mainland and is owned and administered by the U.S. government. Charter companies maintain contact with the U.S. Navy to determine if the island is open to diving activities before traveling here. The southern end of this 21-mile long (34 km) island holds some very well-protected kelp forests, booming with all kinds of life, from large animals like bat rays and giant sea bass, to gorgonian fans the size of a table. From San Diego ports, it takes about six hours to reach San Clemente, but divers are rewarded with consistently warm, clear waters, teeming with life. Many sites are suitable for all levels of divers, from novice to advanced.

Located almost 30 miles (48 km) south of Long Beach and to the north of San Clemente, Santa Catalina Island is the second stop on our southern Channel Islands expedition. Lush kelp forests surround the island, which is home to large populations of giant sea bass. Although Avalon dive sites are easily accessible to local shore divers, many exciting dive sites require a boat, such as the famed Farnsworth Banks.

Being the most remote of the Southern Channel Islands, St. Nicolas is also the least visited of the bunch. Don’t let this fool you — St. Nicolas holds some of the most pristine kelp forests in all the Channel Islands, booming with gorgonians, schooling fishes, loads of lobster, and even some of the larger creatures such as tope sharks and giant sea bass.

Finally, Santa Barbara Island is known as a divers’ paradise, but it is also home to the largest breeding colony for Scripps’s murrelet, a threatened seabird species. The surrounding island habitat is of critical importance, which has led the state to implement a marine reserve, designated to increase the natural abundance of the island. The Southwest portion of the island, including Sutil Rock, is host to kelp forests filled with sea bass, sheepshead, harbor seals, sea lions, leopard sharks and a multitude of other creatures nestled among the thick strands of California giant kelp.

Channel Islands quick facts

Water Temperatures: 65-70 F (18 to 21 C) in summer; 50-52 F (10 to 11 C) in winter

Exposure Protection: 7mm wetsuit with hood or drysuit

Visibility: 60 to 100 feet (18 to 30 m) in summer and fall; 40 to 60 feet (12 to 18 m) in winter and spring

Must-dive sites: Twin Peaks, Pyramid Head, Farnsworth Bank, The Boiler, Sutil Island

When to Go: July to November; the islands are only accessible via boat unless you are shore diving from Catalina. Make sure to check current closures from the U.S. Navy.

Find more by Frankie Grant at his website.

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Whale sharks are the largest fish in the sea, averaging 40 feet long (12 m) and weighing 20 tons, although some have been documented at over 55 ft (16 m) long and thought to be over 90 years old. Juveniles venture close to shore, filter-feeding on plankton, krill and other small invertebrates in the upper water column. In La Paz, scientists think that upwelling is the driving force bringing large amounts of small prey into the area. Unfortunately, the IUCN Red List has designated these creatures as an endangered species. However, a number of reputable small businesses and research organizations are dedicated to sustainable ecotourism in La Paz. They, along with the city, put the animals first.

Darren Whitehead, founder of La Paz’s Whale Shark Research Project, has been studying the impacts of ecotourism in La Paz as well as photographically identifying the sharks. Unlike most sharks, a whale shark’s unique pattern does not change as they mature. Thus, scientists can use their markings and spots to identify individuals in a non-invasive way. This data in turn helps them investigate population demographics within whale-shark communities and aggregation sites.

Whale sharks face several critical dangers, all of which are related to human development. These large fish feed in very shallow water, close to shore, putting them directly in the path of fishing boats, shipping vessels, and other boat traffic. Any of these can inadvertently collide with a whale shark if the skippers do not take proper precautions. The coastal areas hold large quantities of their food of choice, krill, and are also prime locations for coastal developments, which generate higher concentrations of water pollution. One of the biggest problems is plastic pollution, as small pieces of plastic look very similar to their translucent prey.

When to see them

The La Paz whale-shark season runs annually from October to May. During the opening months of the season, water temperatures can soar into the 80s F (26 C) and visibility can reach up to 60 feet (18 m), but aggregations tend to be small. As the season progresses into January, the water temperature drops to the low 60s (15 C), and small invertebrates crowd into the area. Although the invertebrates make for lower visibility, they bring in the largest numbers of whale sharks.

Interacting with the whale sharks is limited to snorkeling only. There are a number of reputable businesses and organizations offering snorkel tours. On the day of your trip, you will meet your boat at one of the many local marinas. It’s best to bring your own snorkel gear, a towel, and a waterproof camera to capture all of the exciting adventure ahead Once onboard, the boat ride is around 20 minutes to where the whale sharks congregate. Pro tip: 20 minutes is not a long boat ride, so make sure your camera equipment is ready for action before boarding the boat.

Tips for freediving with whale sharks

• Strong water skills are a must, as this activity requires several hours of snorkeling.
• Follow the captain’s directions. When it’s your turn, gently slip into the water to avoid disturbing the sharks.
• Remember not to touch the sharks, as the oils and bacteria from our skin can damage the protective mucous that surrounds their bodies.
• Use reef-friendly sunscreen or choose proper exposure protection and ditch the sunscreen for rash guards, dive skins, or other sun-protection clothing.
• No flash photography, so leave any strobes and video lights at home. Not only will this allow you to be more agile, but these lights can also disrupt whale-shark feeding patterns.

Frankie Grant is an internationally published marine photojournalist and PADI IDC Staff instructor, who enjoys nothing more that sharing his passion for the ocean with his students and peers. Throughout the year, Frankie conducts dive expeditions and imaging workshops both locally and abroad. You can see more of his work on his website or on Instagram. 

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What will you see?

Many creatures one might encounter on a San Diego shore dive live throughout the Coronado Islands as well, with one key difference: good visibility. On a good day, divers can expect anywhere from 30 to 70-foot (9 to 21 m) visibility, with the average around 50 feet (15m). Water temperatures range from 60 to 70 F (15 to 21 C) on the surface, although occasionally thermoclines drop down to the low 50s (10s C) at depth. A 7 mm wetsuit and hood are recommended, and you can always ditch the hood if the water is warm.

The main attraction here is the sea-lion interaction. Begin with the Lobster Shack dive site, a small sea lion colony of about 40 to 60 animals located at North Coronado Island. They are able to thrive here because of the abundance of food and lack of human development. Depths at this site range from 10 to 70 feet. (3 to 21 m), although divers looking for the action tend to go no further than 15 feet (4.5 m), as the sea lion pups will compete for your attention immediately upon entering the water. These curious, friendly pups will blow bubbles in your face while mom cautiously watches from nearby. Occasionally an adult will pass by the group, checking on the little ones and to make sure divers know parents are present and watching.

Getting to Coronado requires a 90-minute boat ride, departing from San Diego, and your passport since you’re crossing international borders. You also need a Mexican tourist visa, which runs around $35 USD. Book with a professional dive charter, as they will take care of all the paperwork, visa included, leaving you more time to enjoy what you came for –– splashing into the water with sea lion pups while they buzz about.

Remember to bring your seasickness meds, hat, and a warm change of clothes for the ride back. 

Photography tips for diving the Coronado Islands

• Bring a flash or two to freeze the action of agile pups mid-swoop.
• If you find the sea lion activity, try to set up wide-angle framing, including some green seagrass and red sargassum. Find your spot and wait patiently for the curious pups to come to you. This will lead to beautiful megafauna wide-angle images.
• Be aware of bulls — large male sea lions in the area — especially during June and July, which is breeding season. During this time the bulls become more territorial and protective of the young pups, so station yourself further away from the rocks where the colony lives. These big guys can weight over 750 pounds (340 kg).
• Try not to surface close to the colony. Sea lions do not feel threatened by humans underwater because they’re agile in the water, but on the surface, they are not quite as quick. Therefore, you can easily spook them you surface close to shore.
• Good buoyancy control is a must because of shallow dive-site depths accompanied by surge and current.

 Interested in diving the Coronado Islands?

Whether you’re a San Diego native or looking for an easy day-trip getaway, these islands are worth experiencing for some fantastic sea lion encounters. Dive charters to the Coronado Islands run weekly, departing from San Diego, with the best season running October through November.

Frankie Grant is an internationally published marine photojournalist and PADI IDC Staff instructor, who enjoys nothing more that sharing his passion for the ocean with his students and peers. Throughout the year, Frankie conducts dive expeditions and imaging workshops both locally and abroad. You can see more of his work on his website or on Instagram. 

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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.

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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.

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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.

Tell us a little about yourself.

I began diving in 2000 at the age of 15 and took up photography seriously in 2009. I’m originally from Canada and currently based in The Bahamas. I try to focus on local conservation issues, both the positive and negative ones. I work with scientists and conservation organizations to help give them the visual tools they need to tell their story and the story of the animals and environments they are working to help.

How long have you been an underwater photographer?

I started out with disposable film cameras snorkeling as a small child, but in 2009 I decided I wanted to try to take photos as great as the people I admired like Doug Perrine and David Doubilet. So, I took out a car loan and bought a camera setup that gave me some control over the final image. My obsession grew as I saw more and more important stories needing to be told.

What got you interested in underwater photography?

As a child my father would come home from amazing adventures in the Red Sea or Papua New Guinea and project his slides onto our curtains. Pictures of sharks, turtles and Spanish dancers are still seared into my memory, so my interest was always there. One day, while backpacking through Australia, I was flipping through a magazine at a rest stop when Doug Perrine’s famous sardine run picture made my jaw hit the floor. In that moment I decided to become an underwater photographer.

What’s your favorite style of underwater photography?

Wide-angle tends to tell more of the story so I spend most of my time shooting wide. But I enjoy macro just as much.

Any favorite subjects?

Sharks are my first love, but I get excited to shoot anything new.

Any favorite destinations?

I’ve lived in The Bahamas for seven years now and still love it, but I can’t wait for the day I get to visit the Galapagos, South Africa or Antarctica. There are a lot of amazing places I haven’t been.

What’s your underwater setup?

Nikon D500, Aquatica Housing and Sea&Sea YS-250 strobes

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

Become a fan and be patient. Spend some time researching other photographers. Build your mental library. No one wants to see the same shot, from the same location, over and over. Buy all the books out there by David Doubilet, Brian Skerry, Alex Mustard, Paul Nicklen, Thomas Peschak or whoever’s work inspires you. Then think about what you can bring to the conversation. It’s intimidating, but there are endless stories to tell about the ocean, especially today as we are changing everything and mostly for the worse. 

By guest author Shane Gross

For more of Shane Gross’ work, please visit his website here and Instagram here.

The post Photographer Spotlight: Shane Gross 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.

When the light begins to fade in the vast Atlantic, a multitude of critters and creatures begin to appear in your torchlight. Some are minuscule; others vast, but the bounty of life here is limitless. You never know what you may encounter next when night diving in the Azores.

Night diving in the Azores

Throughout the Azorean archipelago, deep ridges and sudden drop-offs create a plethora of life close to shore. Plankton and microorganisms also rise from the depths in the night, searching for food. Jumping from the São Caetano harbor, the moon illuminates the giant volcano of Pico Island behind us. The water below is filled with small baitfish and sleeping parrotfish, whose rainbow colors never cease to amaze. Octopus await in their hideouts, eager to pounce on unsuspecting prey. Meanwhile, morays spring from their holes if prey strays too close to their razor-sharp teeth. We descend past the rocky outcrops and deeper toward a sand patch.

The water is even darker here; the glow from the moon almost gone. The sand is home to many species. None is more beautiful that the thornback ray, whose leopard pattern appears out of the gloom. Larger predators lurk here, like the giant red scorpionfish and the monkfish with its searching antenna, forever looking for an opportunity to strike. Small patches of lava ridges reveal anemones, which by day are almost unnoticeable. In contrast by night, they rise and stream in the current like long hair in the wind.

Small fish dart in the torchlight, oblivious to the pelagic predators behind them. In a flash a barracuda has hit, cutting a fish in half right in front of our beams. It’s a vicious world in the night. At the deepest point of the dive a wall descends from 50 feet (15 m) into oblivion. We peer over the edge and a river of red flows over the precipice — shrimp in the thousands stream toward the shallows in search of food on the sand.

We ascend back toward the rocks and our torchlight dims in a cloud of red — krill swarms through the water, attracted by the light. In unison the divers turn off their lights and the darkness is illuminated by bioluminescence from the minuscule creatures. Blues and greens shine in the ocean like a billion stars. We return to the harbor where we began the dive where one more surprise awaits. A group of squid, about a foot long each (.4 m), shine with transparent skin as they pump through the water before disappearing into the darkness.

Average depth: 50 feet (15 m)

When to go: May through September

Average water temperature: 59 to 73 F (15 to 23 C)

The post Night Diving in the Azores appeared first on Scuba Diver Life.

Here we’ll discuss what you need to know when getting started or looking for a new diopter, including how to discern quality from junk. We’ll also talk about how to mount the lens to your housing. Diopters come in different strengths and offer various measurements of magnification, including +5, +7, +10, and more. Some of these are even stackable, offering an even greater magnification ratio but at the severe cost of image quality.

How to choose diopters

You get what you pay for when it comes to diopters — trying to save a few bucks can cost you plenty in the end, so do a little homework.

Diopters can vary widely when it comes to image quality. Ghosting, chromatic aberrations (CA), loss of light, poor contrast, distortion in the corners, and fringing are some of the biggest problems associated with using a diopter. Luckily, many manufacturers are now scrutinizing the engineering process to eliminate these issues. Using the proper adapter for your diopters is also critical, as the slightest offset of the wet lens may contribute to poor quality in your images.

Macro lens choices are also not created equally. The 60mm lens is not the lens of choice to couple your diopter for shooting supermacro. While that combination might offer cool bokeh, it will only create slight magnification. In most cases a longer lens, such as a 100mm or 105mm macro, are the best option. This combination also gives the shooter the luxury of having choices underwater, offering not only great standard 1:1 macro, but also clear behavior captures and the ability to shoot greater than 1:1.

Simple pointers for shooting with your diopter

The technique for shooting with your diopter is quite different than standard macro and developing a new skillset will be the biggest challenge. Anyone can use a diopter with a lot of practice and a few pointers.

Supermacro is all about the details. Here are a few tips to get the most out of your shots.

• Try buoyancy arms to offset the weight of the diopter and to lighten your grip. Float arms are one of the most overlooked — and most helpful — add-ons, as they will help ease your grip and allow more finesse on your trigger finger.
• Maintain critical focus and release the shutter gently
• Use your left hand under the lens port for stability
• Shoot from a stationary position, such as the sand

Jump settings for using a diopter 

Whenever I set up to shoot with my diopter, I prepare my settings, anticipate the composition and get into position. Here’s what I use:

Jump setting: DSLR

ISO 200-400
f/stop: f/22-32
Shutter speed: 1/200

Jump setting: Compact

ISO 400
f/stop: f/9-11
Shutter speed: 1/500

Zoom in to the maximum of the optical zoom: avoid digital zoom

Top tips for shooting supermacro with diopters

• Back-button focus and focus-lock are two methods for fine-tuning your focusing skills. Using a single-spot focus point, place the focus box over the subject’s eyes, rhinophores or desired anchor point. With the focus locked on your lens should not hunt. Keep your eyes open and watch your subject’s movements to be sure it is sharp in the frame.

• Magnification naturally decreases the depth-of-field. So, if you’re shooting a subject that has a dual focus point or are shooting head-on, be sure that both of the eyes or rhinophores are sharp in the frame. Get low to your subject to get a better angle. Seeing through the finned rhinophores or being on the same eye level can make a good shot incredible.

• Consider anything that might be between your lens port and your subject. Supermacro is all about the details and any kind of seagrass, algae, sand, particulate or any other debris will hamper the end result.

• Work your subject patiently and try several different focus points. Having different images to choose will also help you decide which compositions you like the best. This small step will help you greatly as you continue to explore this extreme method of photography.

To learn more about shooting supermacro, look at any underwater photo competition’s rules and hold yourself to them. Most competitions don’t allow for any cropping in this category, so set out for excellence from the start. 

Shooting with diopters can open up an entirely new realm of subjects that you may not have even known existed. The subjects are small and often quite colorful and very detailed. Bringing out those details is what using diopters is all about but concentrating on magnification alone is like concentrating on the cork in a bottle of fine wine. We must remember that composition and lighting should remain the priorities when shooting, and that shooting with diopters is not enough to make compelling supermacro images.

The post Underwater Photography: Shooting with Diopters appeared first on Scuba Diver Life.

The top three categorical winners will have the chance to get their work published in Earth is Blue Magazine and in the Earth is Blue social media campaign.

The three categories of photos include:

• Sanctuary Views: Send photos of landscapes, sunsets, and other breathtaking scenic shots from your favorite national sanctuary.

• Sanctuary Life: Send your best photos of sanctuary inhabitants such as crustaceans, fish, birds, whales and other ocean creatures.

• Sanctuary Portraits: Send your best images of people enjoying national marine sanctuary sites: boating, canoeing, diving, swimming, conducting research, striking a yoga pose, etc.

For more information about the contest click here. Good luck and remember to practice good ocean etiquette when taking photos.

By guest author Elly Bengtsson, NOAA Office of National Marine Sanctuaries

Elly Bengtsson is a biology student at Bates College and volunteer communications intern at NOAA’s Office of National Marine Sanctuaries.

The post Enter NOAA’s Beloved Deep Blue Photo Contest appeared first on Scuba Diver Life.

Entering the Think Pink photo contest

The judging panel is made up of professional underwater photographers Alex Mustard, Tanya Burnett, and Mike Bartick. The contest is open for entries through July 6, 2018 for both wide-angle and macro categories at diveintothepink.org/think-pink. Winning images will be used to help promote Dive into the Pink and the third annual Pink Auction, a silent online auction that kicks off in August 2018. Items up for bidding include exotic dive trips, dive gear, underwater photography gear, jewelry, and apparel. Bidding will remain open through 4:00 pm PDT on October 7, 2017 at 32auctions.com/divepink2018.

Dive into the Pink 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 percent of proceeds are redistributed. 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, who are 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 2018 Think Pink Photo Competition appeared first on Scuba Diver Life.

Ditch the extra gear

Diving is an equipment-heavy sport and adding an action camera into the mix with filters that break, fall off or get scratched — not to mention a housing that eventually leaks and ruins your camera — is just one burden too many. Many divers have spent hundreds of dollars on something that ends up taking space in your sock drawer rather than underwater. This is where the Paralenz Dive Camera steps in with the first all-in-one camera solution for divers. Straight off the camera you’ll get quality recordings with beautiful colors — no housing or filters needed. And as a bonus, you’ll have room for those sweet new socks you’ve been eyeing because your Paralenz will come with you on every dive.

Quality underwater videos made easy

You just want to enjoy your dives withough constantly checking and adjusting settings and filters on your camera, not to mention worrying if it’s recording at all when you encounter a whale shark for the first time. And even after the dive you’ll still have to go through each picture or video. These concerns were very real before the Paralenz emerged. Now you don’t even have to look at the camera to know if it’s on — pull the button back and it vibrates to let you know if you’re recording or which mode it’s in.

The Paralenz is all you need

The Paralenz is waterproof to 650 feet (200 m) right out of the box so you can jump straight in without messing around with a housing that will likely flood at some point, leading to a ruined camera and lost memories. And, as we mentioned, you no longer need external color filters to capture beautiful footage. The depth-controlled color correction (DCC) continuously changes the colors in your images based on depth. This equates to bringing 100s of individual color filters and changing them every time you descend or ascend just a bit. No hassle, just dive.

It all adds up in the end

Paralenz World Compilation 5 from Paralenz on Vimeo.

When it comes to the cost of the Paralenz Dive Camera, you’re getting a lot more than you pay for. To bring other action camera brands underwater you need to buy additional filters, a waterproof casing and mounts to use the camera. Compare the results of this cumbersome bundle with the combined features and user experience of the Paralenz Dive Camera and it becomes clear that this is the camera that gives you the most bang for your buck. Aside from getting a product actually built for divers, you also support a team dedicated to their passion for creating tech solutions for divers and ocean conservation.

For more, check out the Paralenz World Facebook Group and watch videos from the users — and add your own, once you join the Paralenz family.

The post The Paralenz Has Everything You Need appeared first on Scuba Diver Life.

Macro photography generally means shooting closeups while reproducing the subject at a 1:1 ratio or depicting it as life-sized in the image. Anything smaller is now called “super-macro.” You can use either a compact or DSLR to capture great shots, and the superior quality of many compact cameras means your images will rival those shot with a DSLR. Remember, though, it’s not just the camera making the image — it’s the photographer. So, let’s look at some basic skills you’ll need to get your macro techniques moving in the right direction.

Get low; get close; shoot up

This mantra works well when you’re approaching your subject.

Get low

This is a two-fold skill. First, get low while approaching your subject. You’ll intimidate your subject less, so it will be less inclined to pull back into its hole or dart away. Second, take a lower approach when creating a macro image rather than a sharp angle, looking down. Like speaking with a child, you must be in their world and make eye contact when engaging them. This holds true for strong macro images as well.

Get close

Getting close will help magnify your subject. Doing so also increases light saturation from the strobes, gives better detail and decreases the water between the subject and the lens. This also helps to decrease haze, increase contrast and lessens the chances for backscatter.

Shoot up

Shooting slightly up alters the perspective of the subject, making them appear slightly larger in the frame. Shooting up also helps by separating your subject from the background and creating a stronger portrait.

On a slope, wall, or any environment where the background is close to your subject, getting close, low and shooting up makes all the difference. With this shrimp, I simply lowered my angle of view and pulled my strobes back. This eliminated the sandy background and revealed the eggs tucked safely under the swimmerets in the shrimp’s tail section.

Choose the right lens

Understanding your lens choice, working distance and sensor size can also make a difference when planning or analyzing macro shots.

Both 60 mm and 100/105 macro lenses have the same reproduction ratio but at different working distances from the subject in order to focus. This inner working distance provides the 1:1 macro ratio we’re looking for. Visually, the longer lens seems like it magnifies more but this is due to a narrow angle of view.

For night dives or larger macro subjects, the 60 mm lens is more forgiving than the longer lens, but it falls short for subjects that require a little more distance to photograph. It’s often tough to get close enough to skittish animals with a 60 mm lens. Diopters are of very little benefit when using a 60 mm lens and will be more useful with the longer lens. The 100/105 mm lens is a bit more specialized. Fish photography, for example, demands a longer working distance and a 100/105 lens is best.

As a new macro photographer, choose the 60 mm lens first to learn the basics before moving on to the longer, and often more expensive, lenses.

Use the 60 mm lens for palm-sized subjects. This offers the flexibility of shooting slightly larger subjects and some decent macro images as well. For the more specialized subjects, the longer lens allows you reach out a little further and create stronger, tighter macro images from a distance.

Nudis are probably the most-photographed subjects in the ocean because of their funky colors, shapes and behaviors, as well as their relative immobility. The longer 100/105 lens allows for both medium-sized subject and super-macro nudis.

Final advice

Remember that making small things big isn’t the only thing that’s important when practicing macro photography. Understanding composition rules is vital before you begin creatively breaking them. Get low, get close and shoot up when possible to help master your new skillset for underwater macro photography.

The post Introduction to Macro Photography appeared first on Scuba Diver Life.