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The other face of underwater photography: ethical dilemmas

Hi Everyone,
I would like to share with everyone this article that i have published on my site. In a time where we are constantly pushed by social media to publish images faster and faster i am noticing around me more and more malpractices on land and of course also underwater.
This is an article initially in french translated by myself in English do forgive me if there any errors.
 
https://scuba-people.com/en/banner/the-other-face-of-underwater-photography-ethical-dilemmas
 
Thanks for reading
christophe chellapermal

Updates to Adobe Lightroom

Updates announced by Adobe for Lightroom
Lightroom Classic 13.2, Lightroom 7.2 and Mobile 9.2 released
These releases are primarily for new cameras and lens support, and a number of bugs are fixed in these releases.

Lightroom Classic
There are some additional features in Classic 13.2. These include:
- Additional Sort Order options
- Additional Filter and Smart Collection options
- Some performance enhancements

We would recommend it's safe to update to these versions immediately.
As mentioned, there are quite a number of bug fixes. To check them and to see additional details on the Classic changes and the new camera/lens support, read our blog What's New in Lightroom Classic 13.2 & Lightroom Ecosystem (February 2024)?
TimG

Adobe Lightroom Classic Update v13.1

A new update to Lightroom Classic appeared today (14 Dec). This is v13.1 and follows on from 13.0.01 and 13.0.2 which were released some weeks ago.
Although the download was very slow (an Adobe banner acknowledged this and said it was being fixed), the update seems to work without a problem.
Adobe report that the update fixes bugs and provides support to new cameras. No new features apparently.
TimG

SUPE D-PRO Strobe test

Underwater photography is an incredible experience because it offers enthusiasts the opportunity to discover the underwater world in its most authentic beauty. To capture these extraordinary images it is essential to have the right equipment, and one of the key elements in underwater photography is the strobe.
 
SUPE Scubalamp is a company specialising in the design and production of underwater lighting equipment, including torches, strobes and related accessories. The company, a world market leader for many years, recently launched the new SUPE Scubalamp D-Pro underwater strobe, successor to the glorious D-Max. This product caught the attention of the underwater community due to its exceptional quality, light uniformity and battery life, and these features immediately placed it among the best in the industry. Another distinguishing feature is the high-speed continuous shooting mode, with the strobe supporting 10 frames per second in the first mode, making it much easier to capture shots in quick succession.
 

The D-Pro, with its 4800 degree Kelvin circular lamp with a 160W power output and 150 degree beam angle, ensures an even spread of light over the entire framed area. This means that captured subjects and scenes will appear in natural, vivid colours - in short, your shots will be outstanding.

A crucial feature for underwater strobes is battery life. While in the deep sea it is complicated to change batteries easily, so to avoid any kind of problem it is always preferable to do the replacement only at the end of the dives. SUPE Scubalamp D-Pro also excels in this respect, thanks to its 37.8 Wh rechargeable lithium battery (3x 18650), which guarantees from 500 strobes at full power up to 3000 strobes in the first mode. The large battery capacity supports long underwater photo sessions, allowing every moment to be captured without interruption. The strobes also feature a display that shows the battery charge status, allowing you to keep track of the remaining battery life at all times.

I have been fascinated by these strobes since their launch and, after hearing feedback from other underwater photographers, I finally had the opportunity to test them first-hand during my recent three-week trip to the breathtaking tropical waters of Raja Ampat, Indonesia.
 
The setup I used for the test consisted of: Canon EOS R5, Canon EF 8-15mm f/4L Fisheye, Nauticam NA-R5 housing, Nauticam 140mm Dome, Nauticam Trigger and Flex-Arm carbon arms.
 

 
During the first dives I studied the light behaviour of the strobe in order to position it in the best possible way. The circular lamp guarantees excellent uniformity in light distribution and the D-Pro, with its coverage angle of about 150°, provides a considerable amount of light perfectly distributed over the entire frame of the shot. Power adjustment is easy thanks to the power selector. To balance the weight I added a pair of floats, as the strobes tended to be slightly negative.
 
Looking at the shots underwater, previewed on the camera, I was impressed and couldn't wait to review them on my computer once back on land. Upon review I was even more surprised by the quality, quantity and uniformity of the light, everything was simply amazing.
 
While diving, I tried to 'exploit' the strobes to the best of my ability in a variety of situations, and they never let me down; on the contrary, they always provided the best of their light. I was particularly satisfied with the battery life. I always recharged the batteries after 6 dives, with an average of about 100-130 shots per dive, the display allowed me to accurately monitor the remaining charge, eliminating uncertainty about whether I could continue shooting. Recharging the batteries was simple, just remove them from the compartment and plug them into the supplied transformer, waiting for the LED to turn green to indicate a full charge. I'm not sure of the exact hours needed, I always did this before going to sleep, in the morning the batteries were ready, fully charged.
 
As an optional extra Supe supplies a diffuser (D200-Diffuser) for wide angles. It is a hotly debated topic among underwater photographers whether they should be used or not. Not being able to provide scientific measurements with appropriate instruments, I can only give you my personal feelings.
 
I felt good in both cases, with and without, the difference I noticed was only in the type of scene shot. I shot very often without a diffuser, because I had the feeling that the strobe had more penetration and the light was more incident on subjects with a greater distance to the lens. On the other hand, with very close-up shots, I found the shots with the use of the diffuser with a softer and more even light more pleasing.
 
After three weeks of diving I did not experience any problems with their operation, the strobes were always ready to fire. The size and weight did not have a major impact during the dives, I appreciated their ease of use. I personally think that the SUPE Scubalamp D-Pro is currently one of the best underwater strobes available on the market in terms of value for money. However, it is important to emphasise that I have not been able to assess its reliability in the long term; my testing period was, in fact, limited. However, I am also confident in terms of reliability because the quality I found during use was evident.
 
 I would like to thank my friend Scipione, who allowed me to test these strobes, and Raymon Bao, owner of SUPE Scubalamp, who was always available to answer my requests for further details about the product.
 
F8 - 1/125 - ISO 100
 
F11 - 1/160 - ISO 320
 
F13 - 1/160 - ISO 250
F10 - 1/125 - ISO 250
 
F8 - 1/160 - ISO 250
 
F11 - 1/125 - ISO 250
F10 - 1/125 - ISO 200

F8 - 1/125 - ISO 160
 
F9 - 1/125 - ISO 200
 
 
Giancarlo M.

OM System OM-1 Mark II Camera Announced

On a live event, OM Digital announced three new products and a new lens road map. The most notable is the new OM-1 Mark II camera.
 
The OM System OM-1 Mark II is a Micro Four Thirds camera with a 20MP Stacked CMOS sensor, designed for high-speed performance. It serves as an updated version of the flagship OM-1, featuring various hardware and firmware enhancements.
Set to launch on February 26th, the OM-1 Mark II will be priced at $2399, marking a $200 increase from the original model released in February 2022. The OM-1 Mark II debuts two years after the release of the original model, bringing about a range of improvements rather than a radical shift in specifications compared to its predecessor.
 
 

 
 
Rebranded as OM SYSTEMS (note that the OM-1 still carries the Olympus name), this camera boasts several noteworthy enhancements, including a doubled internal buffer memory, an impressive 8.5 stops In-Body Image Stabilization (IBIS), 14-bit raw support for High-Resolution Mode, advanced human AI recognition, the addition of computational ND filters, a superior focusing system, and improved ergonomics.
 
Here an initial review:
 
https://www.dpreview.com/reviews/om-system-om-1-mark-ii-initial-review
 
 
 
 

Davide DB

"BOOT Duesseldorf" Nauticam with FCP, AOI, Seafrogs, Seacam, Divevolk...

The biggest trade fair for boats, diving (and underwater photography) in Germany traditionally takes place in January every year, BOOT in Düsseldorf.
I can report on Nauticam (who shared the stand with PanOcean), Seafrogs, Seacam and GoPro, but of course only individual impressions.
There were 3 Nauticam employees on site. One of the three FCPs currently available outside the factory was on display, along with the WACP-1, WACP-C and WWL-1b. I was particularly taken with this comparison.
 

 


Next to WWL-1b
The FCP is noticeably smaller than the WACP-1, but a little bit bigger than the WACP-C. I hardly noticed the difference in weight. What is particularly striking is that the front glass is very curved. Inside you can see what Nauticam claims are highly coated lenses.
The FCP comes with an interchangeable port connection (120 and 100) so that no adapters need to be used.


 
 
The pictures shown at the trade fair by Alex Mustard are, as always, beautiful, and I'm looking forward to seeing the practical experiences of normal people.
It was interesting to see the EMWL again in its various configurations. If you want to save yourself the relay, you either need a camera where you can turn the viewfinder image upside down or an inverting viewfinder.
Unfortunately, the FCP feels so good that I'm thinking more and more about putting my WACP-C in the "classified" and switching to the FCP.
 
Opposite is the SeaFrogs stand. In addition to the plastic enclosures from the Salted Line series, the new all-aluminium enclosures are also on display here. I may be wrong, but to me they look like a cheeky (but worse) copy of the Nauticam enclosures - and are nevertheless in the same price range. I'd rather stick with Nauticam.



Seacam is probably more focussed on cold-water divers and the stand staff were not very interested in walk-in customers. Lots of large dome ports, the Seacam flashes and the familiar housings. After 5 minutes without getting attention, I moved on.


The GoPro representative was amusing for me: a small stand, nothing diving-specific. They didn't make any effort.

I still found AOI interesting because we also had the discussion here:
The UWL-03 looks very high quality, and the bracket still required for the diving housing also makes a stable impression. However, it is also quite small in nature, so I can't imagine that spilt shots would be possible with it. On the other hand, the edge sharpness increases considerably and you can get closer to the objects - according to the stand personnel up to 8cm, whereas without water contact optics at least 50-60cm are necessary. 

Finally, Divevolk cases for iPhones: It's easy to imagine that the mobile phone is very safe from water ingress and can be taken diving. But I have also been told that a protective glass significantly restricts usability and that you should use a removable protective glass cover for use above water, which can be removed from the Divevolk case for use.

 



fruehaufsteher2

Was Jacques Cousteau Wrong???

Traveling 12,000 miles (19,600km); flying for 24 hours, followed by a 2-1/2 hour drive, and then a 1 hour boat ride, all to get to the Poor Knights Islands in New Zealand. Mon Dieu! OK, I hate to admit it, but he was right, it is one of the world’s top 10 diving destinations.
 

 
Created by volcanic eruptions about 10 million years ago, they’ve become home to a myriad of marine life. There are over 50 different dive sites around the islands, such as the Northern Arch, Blue Maomao Arch, the Magic Wall, and the Rikoriko Cave (one of the world’s largest sea caves), each with its own amazing experience.
 

 
 

 
From the macro to the micro, it’s all here. Pods of Orca patrol the area looking for their favorite Kiwi dish, the rays. Both stingrays and eagle rays visit the islands. Clouds of fish school through the kelp forests keeping a watchful eye for other predators like sharks that frequent the Poor Knights. At the same time, I’ve never experienced marine life so fearless of human beings. I would even say they are downright friendly! Some of them are even a bit of a pain, such as the incredibly curious Sandager’s Wrasse.
 

 
On the other end of the scale, small creatures inhabit every nook and cranny along with urchins, anemones, sponges and gorgonian corals. They’re so plentiful it’s hard to imagine. Many of the subtropical fish living in the Poor Knights are not found anywhere else in New Zealand. They include species such as the spotted Black Grouper, Mosaic Moray, and Lord Howe Coralfish. And lest we not forget the nudibranchs. Unquestionably, some of the most colorful and unusual nudibranchs I have ever seen are in the Poor Knights. Every color and shape imaginable including New Zealand’s “lovliest nudibranch”, the Gem Doris (or Gem Nudibranch). They too are everywhere to be found.
 
 
 
 

 
At the Northern Arch, squadrons of Short-Tailed Stingrays can be seen cruising the waters of the archway in the summer months. It’s the only gathering of its kind that has been documented for this species; come winter and it’s a “ghost-town”. Nobody knows exactly where the stingrays go during the winter. However, recent research seems to indicate that the stingrays actually stay within 30km of the Arch.
 
The Blue Maomao Arch is (not surprisingly) named for its aggregation of the Blue Maomao fish Scorpis violacea. Massive schools of the fish congregate in the huge natural archway, which is flooded with rays of light from the top and sides. Layers upon layers of fish migrate through the arch, so much so that sometimes you cannot see the other end of the archway, even in clear water. It’s an awe-inspiring experience. And while I wouldn’t think of besmirching one of New Zealand’s most famous dive sites, my favorite fish is actually the Blue Demoiselle (sorry Blue Maomao fans).
 
They say that the “ends justifies the means”, and in the case of the Poor Knights Islands, it’s a good thing that it’s true. Getting there will definitely try your patience (and backside). But in the end (pun intended), it’s absolutely worth it.
 
Many thanks to Darryl Lowndes and Johnny Zhao for help with the videos.
 

BobM

FCP, WACP, WWL, EMWL - A short overview of what you need to know on Nauticam water contact optics

Last year I decided to go big - switching from the tiny RX100 to FF (FullFormat). In my case, it was the A7IV as the best value for money. But having made the decision on the camera model is only one step - lens, housing and port is much more difficult. But with the support of the nice guys here and the old forum, I am now the happy owner of a sleek combination that is tailored to my needs. But how do you know what you need? This article might help.    
 
The most common type of camera used by underwater photographers is one that is inserted with lens into a housing and has either a flat (flat port) or curved (dome port) front glass at the port.
 
Even in the days of analogue photography with the Nikonos system, for example, water contact lenses were developed that explicitly take into account the refraction of light at the water-to-glass contact surface. This reduces distortions that would otherwise occur when light hits the port at an angle and cause blurring at the edges.
 
Nauticam has therefore developed some different types of water contact optics that evolved and serve different purposes.
FCP (Fisheye Conversion Port) and WACP (Wide Angle Conversion Port) are "dry" optics designed to turn a mid-range zoom lens on the camera into a wide-angle zoom when the combination is taken under the surface. WWL (Wet Wide Lens) is the older version, somewhat less compact and made of more components, wet lens, but otherwise very similar to WACP.
EMWL (Extended Macro Wide Lens) takes a different approach: different underwater lenses are placed in front of a macro lens and a flat port in order to be able to adjust on different subjects - from macro to large fish.
 
First and newest: FCP 

Picture courtesly provided by Alex Mustard
 
A dry lens that is attached directly to the housing with the appropriate (depending on the camera and lens) port extensions. 
In concrete terms, you can imagine the FCP as an ultra-wide-angle lens for underwater use. A lens such as the Sony 28-60, Canon 24-50 or Nikon 24-50 is attached to the camera and the FCP is mounted on the housing. This achieves a maximum field of view of 175° - a real fisheye. In the zoom position, the field of view is still 85°, i.e. still quite wide-angle, comparable to a 24mm lens over water.
 
Next WACP: Still new, especially the WACP-C

 
The WACP ports with the endings -C for compact, -1 for the "normal" variant and -2 for the maximum variant are not quite as extreme. Also "dry" optics - see above. They are intended to cover a field of view of approx. 70°-130° - i.e. comparable to a lens with a normal focal length (approx. 30mm) to a slight fisheye wide angle (11mm). On the camera, the WACP-C and WACP-1 require similar lenses as for the FCP (for example Sony 28-60, Canon 24-50 or Nikon 24-50), but the largest variant requires a wider-angle lens such as 14-30mm to achieve the same field of view. These water contact lenses are quite bulky and heavy (WACP-C: 2.3kg, WACP-1: 3.9kg, WACP-2: 7.0kg) and offer better sharpness than dome ports, especially at the edges, but above all they provide a wide zoom range under water and focus even directly at the glass. The WACP-C, although labelled as a compact version, also fits some of the full-frame cameras and is the most suitable solution for me personally. 
 
WWL-1(B): 

 
AFAIK the two WWL ports (WWL-1 and the newer WWL-1B) are the predecessors of the WACP ports. The area of use is the same as with WACP: field of view approx. 70-130°, i.e. wide normal focal length to slightly ultra-wide angle/fisheye when using zoom lenses with a focal length range of approx. 25-60mm. The difference to the WACP solutions is the technical design. With WWL, you have a compact plan port on the housing and the WWL is mounted wet, i.e. with water between the front glass of the port and the WWL lens. Advantage over the WACP solutions: lighter overall, and you can remove the WWL under water and then have a lightweight telephoto lens (...no one ever does...). Disadvantage: The telephoto lens is rarely needed and air bubbles between the port and the WWL can be annoying. 
 
EMWL: One size matters fits all

 
The EMWL wants to be and can be an "all in one":
The basic here is that an 90 mm macro lens is mounted on the camera and the corresponding port with flat glass at the front (flat port) is mounted on the underwater housing. A close-up lens (e.g. SMC-1) for magnification or the EMWL can be used on a flip port.
 
The EMWL consists of two or three elements:
The focusing unit, which is available in variants for Nikon, Canon and Sony, is located directly in front of the macro port An optional extension piece (relay lens) then follows, which turns the image upside down and brings the front glass closer to the subject The actual lens, which is available in 160°, 130°, 100° and 60° angle of view versions, is located at the top. The 130° lens is particularly popular and is ideal for CFWA, but also for large fish or panoramic images.  
In contrast to FCP and WACP, the EMWL is a wet lens, so there is water between the port glass and the focussing unit, but also between the relay lens and the objective lens. Image quality is high in every direction but bubbles between the parts can be annoying and there have been issues about focus breathing.
 
The main areas of application are thus:
 
FCP: Fisheye wide-angle zoom, medium volume, compact
WACP: Wide-angle zoom, medium to large volume depending on version
WWL: Comparable to WACP, Lighter and slightly cheaper, but with technical disadvantages
EMWL: fixed focal lengths that can be changed under water, somehow bulky, objectionable appearance
 
To show the differences in size and appearance here a pic from Alex Mustard, showing (left to right) FCP (prototype), WACP-C, WACP-2, WACP-1 (Thanks, Alex!)

 
Cost (€)? You have already camera, housing and lens. And focus gear. And port extension. And arms, flashes and so on. Just the port:
 
Rough estimates
FCP: EDIT Jan 14th: Now on Nauticam website €6.482,00 (incl. VAT)
WACP-C: €2.9k
WACP-1: €4.5k
WACP-2: €8.2k
WWL-1b: €1.9k (with flatport)
EMWL: €8.5k (with flatport, 60°, 100°, 130° optics, rely, focusing unit, flip-holder, SMC-1)
 
 
If I made errors or incorrectness anybody please feel free to add or correct
fruehaufsteher2

Methods to determine the appropriate dome port for a wide angle lens in an underwater housing.

This article is a short version of the original post that can be found on my blog. The content is very much the same but this version is slightly shorter and has less opinions than the original. Those opinions are personal and potentially controversial and I do not want Waterpixels to be associated with them.
 
Warning this is an extremely technical article that I have written on request. If you are not familiar with optics, geometry, housings do not attempt to perform a calculation by yourself and rely on expert advice.
 
Hope you find it useful, also the original PDF of this article for download is below. 
 
Methods to determine the appropriate dome port for a wide angle lens in an underwater housing - SHORT.pdf
 
Background
The physics of dome ports are not new to underwater practitioners although not many people understand the formulas, it is well accepted that there is a correct way to size and position a dome port in order to optimise opticalperformance of a lens inside an underwater housing. I do not want to repeat the theory here but if you feel you need a refresher the excellent articles from the now passed David Knight and specifically the piece on dome port theory will be useful. For the purpose of this article I will consider only underwater imaging, split shots and over and under have different considerations and will be addressed separately in due course.
 
Practical Implications
For our purposes, what is interesting is that a dome port is able to restore the lens air field of view when the camera and lens are inside a housing. The theory says that this happens when the centre of the dome lies on the lens entrance pupil. But what happens if it does not? Jeremy Somerville has created a number of visualisers that although not totally correct give a good idea of the issues involved. In particular the positioning of the dome port is something you may want to check. In short if the dome is not correctly positioned we lose field of view as result of distortion and increase the amount of chromatic aberrations.
 
We also have to consider that the dome port being a single element lens has also issues of field of curvature and spherical aberrations which are additional to any considerations on positioning and require the user to stop down the lens to reduce the side effect. Those side effects are exacerbated when the dome is not correctly positioned to the point they cannot be corrected no matter how much you stop down the lens.
 
Choosing appropriate wide angle lenses
 
Minimum Focus Distance
One of the key take aways of dome port theory is that if your lens is not able to focus close it may not work at all inside a dome, which in turn means your dome starts to become bigger and bigger to allow your lens to focus or you need to introduce close up lenses which further deteriorate optical quality.
 
More compact set ups and smaller domes require lenses that can focus close. In addition, due to the dome port optics, infinity focus will be reached at 3x the dome radius from the dome surface: your lens will work to a maximum focus distance well under one metre and closer to half a metre. This is a challenge for wide angle lenses that are designed for landscape and not usually optimised for close focus. One assumption that you cannot make is that a lens that is great for topside use will perform equally well behind a dome, or even more interesting a lens that is small and compact may require a quite sizable dome to work properly underwater which negates the size benefit to start with.
 
The dead Zone 
The dead zone is where the camera cannot focus because our subject is too close. Our objective is to place thedead zone inside not outside our dome so that we can maximise the range we can use for imaging. It is not an issue if the dome radius is so big that the focus area falls well inside the dome, in fact it may be an advantage, but if the camera focus distance is outside the dome we are eating away useful range and at the point where the focus distance is so far that is outside the dome infinity point the camera will not focus at all. By choosing a lens that can focus very close we accomplish two objectives:
 
We reduce the size of the dome required We maximise the focus range that can be used.  
I prefer lenses that have a minimum working distance around 20cm, and avoid anything that focuses from 25cm and beyond, this ensures good image quality and reasonably compact set ups.
 
Prime vs Zoom
Prime lenses have a fixed entrance pupil this means that once the dome is sized and positioned your job is done. Zoom lenses instead change in size or move the entrance pupil to accommodate changes in the field of view. This is bothersome as it means that if you determine your dome parameters at wide end this may not be correct at tele end. In addition as the angle of view is being reduced the curved surface of the dome will start looking more and more flat. This is a challenge but not one we need to address, as seen in the flat port theory lenses that are longer than 35mm suffer less from chromatic aberrations, therefore for our purposes we will treat zoom lenses like a prime lens whose focal length is the shortest our zoom can manage, i.e. the wide end of the zoom. At the tele end the dome with a zoom lens will look like a flat port but still have some benefit over it in terms of aberrations.
 
Zoom Factor
Although we said we will consider the zoom lens as a wide tele, lenses with a zoom ratio much bigger than 2x will most definitely be problematic. This is the reason why zoom lenses with conservative ratios like a classic 16-35mm are bound to perform overall better than say a 20-70mm lens. Lenses in the classic 24-70mm or 28-75mm range tend to have less problems because they are not that wide to start with and generally work well as long as they focus close, otherwise they will require larger domes.
 
Comparison at equal field of view and different working distance.
 

The graphic above illustrates how two lenses with equal field of view displayed in solid green require different dome radii depending on the minimum operating distance. The small inverse triangle is the area inside the lens up to the focal plane.

Lens1 will require the smaller dome so that the area not in focus falls inside the dome, if a larger dome is used this simply expands the focus range into the water proportionally to the increased dome radius. A lens with the same field of view but longer MOD2 will require a larger dome to ensure the area out of focus is inside the dome. A smaller domecan be used however the dead non focus area now moves into the water. As the infinity point is still set at 3x the domeradius from the surface using this smaller dome means less focus range can be used by the camera. Using too small domes deteriorates image quality because the compressed focus range has an impact on the overall image resolution.
 
Locating the Lens Entrance Pupil
In order to properly position the dome port we need to determine where the entrance pupil of our lens is. There are at least 4 methods that can be used to locate the entrance pupil of the lens.
 
Method 1 Look into the lens
It makes me smile when you read: locating the entrance pupil is easy just look into the lens and see where the aperture is. I do not find this easy at all, first lenses are increasingly complex in construction and second how do youplace depth of the aperture correctly even if you can see it? The error margin of this method is very high.
 
Method 2 Non Parallax Point
A demonstration of this method is beyond this write up however if you want to go deeper into this this article should help you. This method has a good level of precision and panotools maintains an entrance pupil database for many DSLR lenses.
 
Method 3 Trigonometry
Once you know the lens field of view you can use various filter rings to determine the thickness where vignetting occurs. At that point you can simply calculate the distance from the edge of the entrance pupil by taking the ratio between the lens radius and the tangent of the angle of view. This gives good precision and does not require anything else than the lens itself and a few filters but can be approximated also for a lens you do not own using standard roundings.
 
Method 4 Lens Design
There are some websites that have lens design drawings directly from patents. This will give you the exact location of the entrance pupil from the image plane and from the lens mount.
 
I use the site maintained by Bill Claff called the Optical Bench Hub. Unfortunately the database is not complete, some specific brands designs are scarce. The benefit of this method is that you can use it to make calculations before you buy the lens and it is 100% accurate.
 
Entrance Pupil Determination - Practical Examples
 
Case 1: Lens Design Available
We locate the lens design on the Optical Bench Hub here.
 

 
The important parameters are I distance from the edge of the lens to the image plane (sensor) which is 115.04mm and P distance of the entrance pupil from the lens front.
 
The difference I - P = 91.79mm still accounts from the flange distance. Taking that out we get
73.79mm from the lens mount.
 
The lens has a minimum working distance of 300mm. If we subtract the entrance pupil distance from the image plane of 91.79mm we determine a minimum dome radius of 208.21mm which is rather large and in fact not available if not as a custom product.
 
Case 2: Lens Design Not Available
The Tamron 17-28mm F2.8 is an affordable, fast and high quality wide angle lens with a somewhat limited zoom range. The lens is 99mm long and takes a 67mm filter thread. I used an ND1000 Hoya Pro filter with a thickness of 5.6mm, the lens external radius is 69mm with the filter on.
 
The lens nominal field of view is 103.70 degrees however all mirrorless lenses have software corrections. Ideally I need to know the real field of view however the error is normally 1 to 3% and does not influence the calculations too much.
 
If we consider a length of the lens and filter of 104.6mm and a radius of 34.5 mm for an angle of 51.85 degrees we obtain a distance from the lens mount of 77.5 mm and from the focal plane of 95.5 mm. Taking into account that the MOD is 190mm this gives a minimum radius of 94.5 mm for the dome which is very good news.
 
Dome Selection Part I - Field of View
The first thing that we need to ensure is that the dome field of view can contain the lens field of view otherwise our main objective of preserving the air performance would be lost.
 
Unfortunately the specifications of dome ports on the market are somewhat lacking so you need to make do with what you have or ask for CAD details.
 
I use Nauticam that do produce good documentation, zen does this too 
18809 18810 18812 1881318815 N120 Optical Glass wide angle port.pdf
 
Here you can see that, ignoring the thickness of the glass for simplification purposes the various ports have the following field of view using the formula 2*arcsin(glass port diameter/curvature radius)
 

 
It is somewhat surprising to see that the larger port in terms of size is the narrower in terms of field of view I believe this is a compromise in terms of weight.
 
Dome Selection Part II - Curvature Radius
Looking at field of view is not sufficient, we also want to ensure that the lens MOD is contained by the dome andtherefore we need to take into account the actual radius of curvature of the port
 
18809 180mm Optical Glass Wide Angle Port Radius 110mm 18812 230mm Optical Glass Wide Angle Port II Radius 120mm 18813/18815 250mm Optical Glass Wide angle port Radius 160mm  
The port size goes with the curvature radius however somewhat surprisingly the difference between the 230mm and 180mm port is rather small making the choice between the two more a matter of field of view.
 
Amount of Recession of the Camera from the Port
Camera housings are not like skin, armed with a digital calliper you need to determine the distance between the lens mount and the housing port mount. Alternatively you can reverse engineer this once you have a lens port combination that is absolutely exact.
 
For the purpose of my calculations I have measured that my E-Mount camera is 27mm recessed inside the housing. This is important as it is needed to calculate the extension for the dome. If you are in a different format you need to measure this distance yourself.
 
Entrance Pupil to Housing Port
We have previously determined the entrance pupil from the lens mount and now we know how much this is recessed in the housing so we can calculate the required extension to reach the entrance pupil however thisassumes the domes are hemispheres which in most cases they are not.
 
Distance from Port → Entrance Pupil Distance from Lens Mount - Housing Recession Factor
 
Wide Angle Ports
Again we need a calliper to determine the depth of the port as those are not full hemispheres. I have access to the 180mm dome and I know that the port is actually 8.5cm tall from mount to glass edge because I measured it. Thismeans I need to add 25mm to the extension required.
 
Extension Required = Distance from Port +- Port Correction Factor
 
What about other brands?
The challenge with other brands is the lack of documentation however you can contact the design department to obtain information on the dome port they should not be a secret. The other challenge is the availability of extension rings. The Nauticam system has a level of precision of 5mm which is excellent however I am under the definite impression that they run their tests using in most cases steps of 10mm and using as first approach how the lens fits the port, they do not go and attempt to determine the entrance pupil.You can observe that because when you look at a specific port say the 180mm wide angle and you apply the suggested extensions in all cases the lens edge is flush with the extension.
 
In most cases this turns out to be accurate however there are some cases where wider lenses need to be more recessed and narrower lenses need to stick out more.
 
Fisheye Lenses
When you use a fisheye lens with a complete hemisphere dome port the calculations remain the same however it is a bit simpler to proceed without data. If your fisheye has a diagonal 180 degrees view and your extension is too long you will see vignette in the corners.
 
However if you push your fisheye lens closer to the glass you may be able to use a dome with a smaller field of view but the edge distortion will increase and so will chromatic aberrations.
 
Wrap Up
This article has shown that it is possible, with basic knowledge of trigonometry and access to lens, dome and camera design information to determine:
 
How well a lens may work What is the minimum dome radius required to preserve the image quality What is the extension required How to find out the required field of view of your port  
Without acquiring the actual lens camera or wide angle port. It is important to understand that if a lens is weak in air it won’t get better in water and in particular you need to appreciate that topside tests are not identical to use behind a dome that instead means working at very close focus well under one metre mostly around 30 to 50 cm. It may be worth it in some cases to rent a lens if available and take some tripod shots at close range. If you see really weak performance the lens may not be worth housing it at all.
 
I hope that this article allows you to have a more informed view of the key factors to look for in a lens that will ensure underwater performance is as good as it can be.
 
 
Methods to determine the appropriate dome port for a wide angle lens in an underwater housing - SHORT.pdf
Methods to determine the appropriate dome port for a wide angle lens in an underwater housing - SHORT.pdf
Guest
Guest

Snorkeling With Orcas In Norway

How to
 
I can still remember me sitting in a hotel lobby after a Lake Baikal tour in 2014, reading a dive operator newsletter about “Snorkeling with Orcas in Norway”. I just thought, “ Are they crazy,  snorkeling with Orcas?! Definitely not, that’s too dangerous!”
 
Well, the years passed and everyone returned in one piece from these tours. Over all these years the Orca action doesn't seem to be letting up, based on reliable first-hand information, and because I upgraded my camera setup, I decided to travel to Norway too. More specifically, to Northern Norway.  I flew in to Tromsö, took the fast ferry on the same day to an island called Skjervoy. The ferry ride is 2 1/2 hours, by car its a 3 ½ hours (250km) drive.
 
World map with Skjervoy
 
Europe map with Skjervoy
 
 
Skjervoy detail maps
 
What actually happens there

During the winter months uncountable tons of herring migrate to the fjords to overwinter and apparently to rest there. Orcas, Humpback-, Finn- and Minke whales follow the herring and eat their fill. Even Sperm whales have been seen there. The fjord of Skjervoy has been a reliable place for this for 8 winters now. Before the action happened around Tromsö, in Andfjord and Senja or Tysfjord. As a result, Orca watching and snorkeling has become a big business in this area.
 

This is a picture from the sonar screen. On the left side of the screen you see the seafloor topography and the depth under the boat with 164m. On the right side you can see, that the sonar measures only 139m. What’s wrong? The herring gathered so tense the sonar didn’t reach the actually seafloor and assumed the herring as the seafloor! The red color on the screen are the fish. The fish start at around 115,5m, probably all the way to the seafloor - around 50 to 60m of fish in the water column. How amazing is that!? In the blue area of the screen, right under the top white line, on the left side, you can see greenish dots - that’s a Finnwhale. Another one is at around 75m on the right side of the screen
 
Liveaboard or landbased

There are several large liveaboards that offer short trips of just a few days, up to a week. The large ships have the advantage that they start in Tromsö, can travel long distances in any weather conditions to find Orcas and avoid so the fleet of small boats, which don´t have such a big ranges. But once you've found Orcas, you're sitting on a dingi and are exposed to the cold wind. During my stay it was plus 3 degrees to minus 6 degrees Celsius.

I booked with my long trusted tour operator for Nordic regions: Northern Explorers. He put me on a small cabin cruiser boat. In my opinion, sufficient enough for the fjord, protection from the wind, spaces to sit in a normal position, a toilet. What else do you need? Orcas, of course.
 
I booked two trips in a row to have more opportunities to get footage and in case of days lost due bad weather. I have been to such northern regions many times and had, the one and the other, day lost due weather conditions. So I thought two tours are a smart decision. And it was again. 13 days on the water, 3 days without Orcas sightings (due high waves the searching area decreased and even if we have found Orcas it would have been too risky to get in and out of the water), 1 day we found Orcas, but the group was avoiding us, so we didn't get in the water.
 
 
 
Freedive equipment

Anyone who has ever tried snorkeling in a drysuit knows that's not really possible. I was advised to get a Smoothskin - Open Cell freedive wetsuit. Water temperature was around 5 to 6 degrees Celsius. I decided for a 7mm. Normally wetsuits have a layer of fabric over the neoprene to protect it. Open cell smoothskin apnea suits do not have this linen. Open Cell inside is a porous neoprene layer without any coating. And because it’s porous, the open cells/microscopic bubbles attach to the skin by creating a vacuum and therefore, the suits usually fit like a second skin and keep very warm. Unfortunately, this advantage also makes the wetsuit much more fragile than the nylon lined insider. If you want to put this suit on or off, you definitely need water and soap. Smooth Skin on the outside has also no fabric and dries immediately. In addition is used freedive fins and a weight vest. For the case I wanted to stay longer underwater, like at a bait ball, I used a 7 liter tank on a backplate. I did a test dive in a lake before, to check the approx weights and how to manage the buoyancy without a BCD.
 
 
 
 
Looking for orcas
 
Approaching a pod of orcas
 
 
Orcas and a small humpback whale in the background
 
Camera gear

I used my Red Komodo due the larger sensor size and left the Panasonic GH5 at home. Although the smaller GH5 housing would have been much easier to snorkel and free dive with. I switched between 18-55mm (with IBIS) and 28-70mm (no IBIS) lenses. Behind the WACP1 they give me 123 and 90 degree converted FOV. Filmed in 6K, 17:9, 24fps.
For the topside shots I used a DJI Mavic 2Pro and Panasonic GH5 on a gimbal with a 12-60mm and a 100-300mm lens

Daily routine

At this latitude the sun in November just barely comes over the horizon and days get shorter loosing 12 minutes of daylight every day. Due the low sun the colors in the sky can be unreal and reminded me sometimes on Old Master paintings.
 
Beautiful mood under the water surface. Orcas are missing in this shot
 
 
We headed in the areas where herring fishing was going on during the night. Apps, like Marine Traffic, are very useful for that. As we headed out we have always been on the outlook for Orcas. We also oriented at the Marine Traffic locations of the liveaboards. It was a good sign, if they didn´t move the vessels. Hints from other boats were also shared.
 
Once we had found an Orca pod, we followed them at their side for a while. If the Orcas seem to accept us, the guide gets the boat in a good position to drop us. Then it was all up to the Orcas. Is it just a quick swim by, a dive down or an interested interaction.
 
 
Ready to go!
 
 
Due a hint from a liveaboard guest and Marine Traffic position we headed far north. The weather and the sea forecast was okay, so the long way was doable. We encountered a very relaxed Orca group, swimming back and forth, circling around us several times. Unfortunately we had to finish this interaction too early, it was a long way back, and the night slowly fell, shortly after noon. Two uncut
clips from this group below. Clips are not slowed down.
 
 
 
 
 
 
This is where we found the group. The farthest point we travelled
 
 
The main goal is to find Orcas at bait balls. That’s where the action happen! The Orcas rotate and hit the herring with their tail fin. Dazed herrings are eaten then. Bubble feeding is also possible. At my first bait ball I suddenly found myself right in the bubbles. I knew I had to get out of here - immediately! You can't see anything and a Humpback whale can shoot up from the deep at any time.
 
Herring bait ball
 
 
 
Trying to find a good position
 
After I found a good position, I let the camera roll and tried a free dive. The free dive was interrupted at 3,6m by heavy oncoming traffic!
 
I saw two white fins coming up from the dark „a Humpback! Keep the camera steady!“
 
Humpback whale close encounter
 
Humpback whale close encounter
 
Humpback whale close encounter
 
Humpback whale close encounter
 
 
Conclusion

It was a lot of fun and I would do it again! I like the challenge of cold weather, wind and waves, and it were good cardio exercises too. I only wished to get more detailed feeding scenes underwater and by drone the next time. Getting good video footage of Orcas is not easy. I cannot compare it to anything I have ever filmed underwater. Often it is a matter of seconds. If it seemed to be a good boat drop, I
visualized the shot, or what might happen under the surface, before jumping in. Planning the shots in the water first, it's way too late. I realized this after a week.

You can watch the movie from this trip here. And like always…feel free to share, comment, like, dislike and follow! You can make an old man very happy!
 
See you at the Orcas - cheers, Alex.
 
 
 
 
Alex B

St. Eustatius: Diving the Caribbean’s Historic Gem

St. Eustatius, locally known as Statia, is located in the northeastern Caribbean at a stone’s throw from St. Maarten. While its neighboring island Saba is a well-known diving destination, Statia is often overlooked.
 
I have lived on Statia on and off for the past 14 years and have spent a good 6 years of my life on the island. I’ve worked at the local dive center and have organized numerous underwater archaeological projects and exploration dives all around the island. As a result, I know Statia’s marine environment very well. I have also dived on nearly every island between Anguilla and Grenada, so I have plenty of comparative insights.
 
Statia is one of those islands where time has largely stood still. It is not a resort destination. There are no casino’s, clubs, or shopping malls on the island. It’s a very laidback place, 8 square miles in size with a population of about 3,500 people. Everyone waves at each other on the street, people leave their homes unlocked when they leave, and cows, goats, and donkeys roam the streets freely. It’s quirky and not for everyone. If you’re after white sandy beaches and vibrant nightlife, don’t go to Statia. If you’re a nature lover and want to experience diverse diving, beautiful hiking on the dormant Quill volcano, and soak up some fascinating Caribbean history, this is the destination for you.
 
Getting to Statia is fairly straightforward. You have to fly into St. Maarten first, and from there you either take a ferry or an 18-minute flight with Winair on one of their Twin Otters. There are several accommodation options on the island. If you want to be close to the water and right next to the dive center, I recommend the Old Gin House Hotel. If you don’t mind being further away from the water (a 10-minute drive), I recommend Quill Gardens, a Bed & Breakfast with a beautiful view that’s managed by a lovely Dutch couple who make some of the best food on the island. There are two dive centers on the island. The one I can recommend is Scubaqua (www.scubaqua.com). It is managed by a Dutch couple, Mike and Marieke, who have been on the island for 15 years. They are very passionate about the island and just really nice people. They train their staff very well and it’s a very good and safe operation. Check out their website and TripAdvisor reviews.
 
As for the diving, it is very diverse, accessible, and uncrowded. All dive sites can be reached within 15 minutes from the dock. Most dive sites have moorings, but some are drift dives. The island’s main reefs are coral-encrusted lava flows situated on a flat sandy bottom, typically between 50 and 60 feet deep. There’s lots of life on these, typical Caribbean reef life with the odd reef shark and eagle ray passing by. These are very good beginner sites, but also great for photographers. My favorite site is one that I discovered several years ago with a ranger from the local marine park. It’s an elongated lava flow named Lost Anchors, after the five historic anchors that were lost on this reef in the colonial period. They are beautifully overgrown and add some history to the dive. Reef sharks are a regular appearance on the site, and you’re usually surrounded by several dozen big barracudas. It’s a more advanced site as it’s a free descent down to 80 feet and located quite far offshore where it can be choppy.
 
Along the southern part of the island, bordering the dormant volcano, topography gets more dramatic. Here you’ll find steep drop-offs without a bottom, where it’s possible for anything to swim by. This is the most dramatic diving on the island, but not for beginners. Sites like Grand Canyon and Drop-off are not to be missed. If conditions are calm, the northern tip of the island offers some fun dives as well. Here you dive along boulder slides that end in a sandy bottom. Lots of life hides between the boulders, and around the rock called Gibraltar you have a very good place to see sharks as well. This is where great hammerheads sometimes make an appearance (far from guaranteed of course).
 
There are several wrecks around the island as well. Two modern ones you shouldn’t miss: a 330 ft / 100-meter-long cable layer called the Charles Brown and the Chien Tong, a Taiwanese fishing vessel. Both were purposely sunk. The Charles Brown is home to a large school of horse-eyed jacks and provides lots of good photographic opportunities. Some parts are covered in lots of black coral. The Chien Tong is a fun dive during the day, but I recommend diving it at night, when it becomes a turtle hotel. Turtles from the surrounding area use the wreck as a place to sleep, and it is not uncommon to see 10 or more turtles on a dive. In addition to the turtles, there are lots of other critters that make an appearance. I’ve seen sharks, eagle rays, mating turtles, big stingrays, and every crustacean you can imagine on that wreck at night.
 
You can even dive historical wreck sites on Statia. At sites such as Double Wreck and Triple Wreck, you can dive among historical artifacts from the colonial period. The wooden ships these artifacts were once part of have disintegrated due to teredo worms, but all the non-organic parts of the vessels are still there. I have conducted many years of archaeological research on these sites, and have learned a lot about them over the years. At these sites, you always see lots of southern stingrays in the sand, and there’s a good chance for turtles as well. These sites are also great for smaller critters such as sea horses and frogfish.
 
Statia is great for non-divers as well. As I mentioned above, there is great hiking and many historical sites on the island. The black sand beaches are small but uncrowded. Snorkeling is fun, but a bit limited. Very special is to snorkel among the submerged ruins of the 18th-century port district. Throughout the day, there’s lots of life here, and at dusk, you can spot lemon sharks in this area.
 
Statia is a very diverse diving destination. While the island (and the Eastern Caribbean in general) doesn’t have the vibrant reefs of the Coral Triangle, the big animals of the Eastern Tropical Pacific, or the fascinating shipwrecks of Truk or the Solomon Islands, it is one of the most varied diving destinations in the Eastern Caribbean. As a photographer or videographer, you have plenty of great opportunities to get interesting shots in a location that is not overcrowded like some sites on Cozumel or Bonaire.
 
Having said all of that, we also have to be realistic and look at the not so bright side. The island is changing rapidly. There is now a big development on the eastern side of the island, where a large resort has recently opened. Stony Coral Tissue Loss Disease is wreaking havoc throughout the Caribbean, and Statia’s reefs are not immune to it. Moreover, the island experiences the effects of hurricanes, which can cause difficulties getting to the island and can change the marine environment dramatically. Eastern Caribbean reefs are not pristine environments anymore, far from it. There’s a general lack of top predators on the reefs, acropora corals have been decimated, and many species are heavily overfished. But within this context, there is still fun diving on Statia. Here you can get away from the crowds and experience the Caribbean like it was on other islands 50 years ago. Therefore I recommend it for anyone wanting to take a trip to the Eastern Caribbean and go off the beaten path.
 

Bring a fisheye lens to capture expansive reef scenes
 

A frogfish at Double Wreck
 

An 18th-century anchor at the Lost Anchors site
 

Snorkeling among the submerged 18th-century warehouse ruins just offshore
 

The island has a lot to offer topside as well, such as hiking the 2,000-foot-high Quill volcano. You can even hike down into the crater.
RuudStelten

3-D Printed DIY Fiber Optic Connectors

As a DIY Fiber Cable article was just posted, this seems like a good time to share this article on 3-D printing connectors for your DIY cables. The Connectors are really the heart of the cable, as the fiber is simply a manufactured item bought from a supplier. 
 
One of weak points of most of these DIY's is getting the right connectors. The solutions range from buying connectors (at about $10 a pop or $20 per cable), re-using connectors from old cables (which may require drilling them out and gluing fiber) to using random bits of off the shelf hardware which may have poor fit and finish. I've tried all of these solutions.
Early in 2023, I bought my first 3D Printer and have been making a bunch of Scuba/Camera related parts. One of my early projects was a set of custom designed connectors for Optical fiber strobe cables. I think these are at least as good as the OEM cables I've seen from Nauticam, Inon, etc. And it had the added benefit of being really fun to design, print, test, and refine. I've been actively diving these connectors all year as have friends I gave cables to. Collectively we have done a couple of hundred dives with good results.
If you have a 3D printer with some TPU and PETG or PLA material, you can print these out at a very low unit cost. You will need some M3x6mm nuts and bolts and 2mm thick fiber optic to complete. I suggest either 1-meter or 1.5-meter cables depending on your strobe arm configuration. 
I've just uploaded the design and STL print templates to the public sharing site Thingiverse:  https://www.thingiverse.com/thing:6134211 
Thingiverse Details:
Inon Style Optical Fiber Cable Connectors
https://www.thingiverse.com/thing:6134211
Make your own optical fiber cables using these connectors paired with 2mm fiber. I used both 613 multi-core fiber cables and cheap TosLink cables. The design assumes 2.2mm OD for the cables.
This design contains two styles of connectors: A 90deg elbow and 180deg straight connectors. The elbow part is printed with PETG. PLA will work but may not stand up as well to the elements. The actual connector parts are printed with TPU. These parts must be soft rubber, so no material substitutes are possible.
The 90deg Elbow part snaps together and is secured with two M3x6mm nuts/bolts. These nuts & bolts can be purchased from many sources like Amazon and are very low cost. (A set of M3 bolts with ~40 sets in several lengths is $10) The TPU connector and strain relief parts fit in the groves of the elbow. Thread the optical fiber through the TPU parts and align them into the elbow before screwing them together.
The TPU parts should be snug enough to hold the cable secure with no adhesive. If it is not secure, you can apply a small amount of silicone-based glue to the cable as you thread it into the TPU parts. Using glue may make it difficult to reuse the connectors should a cable get damaged.
Use the connectors in combinations that work for your camera rig. I like a 90deg connector on the top of my Nauticam housing and a 180deg connector on an Inon or Backscatter strobe. With a Retra strobe a 90deg connector will work better.
I have found these connectors to work well with a firm connection that is installed or removed with appropriate resistance.




Dave_Hicks

Marelux New Soft Lite Snoot

Marelux has announced the new Soft Lite today. This is a redesign using plastic which drops the weight by 190g over the past Soft Pro line which is now discontinued. I have attached the specs and photos.
Smart Optical Flash Tube Lite (SOFT Lite) Patented Product
Product Features
Enables to narrow down beam coverage simply by attaching in front of strobe. The aiming light of SOFT-LITE can be changed between red and white. The aiming light of SOFT-LITE XW/XR is only available in one color(white or red),but the brightness of the aiming light is brighter. Adjustable brightness Aiming light delay off time adjustable · Use one 21700 Lithium battery which can support 10 hours of continuous use（SOFT-LITE XW/XR can be used for 4 hours） (You can use 18650 battery by using a battery adapter) 
Product Specs
Material：Plastic Length : 155mm Weight : 600g (on land) Neutral buoyancy underwater Waterproof depth : -100m Focal length (in water) : 130mm Light spot adjustable range : 3~50mm null
Phil Rudin

GoPro world -The Taiwanese AOI offers its interesting products

In these last months of 2023, underwater photography and video enthusiasts have witnessed a phase of particular excitement in the action cam market with the release of new models of video cameras, cases and other accessories.
If in the camera sector GoPro has suffered an attack from the competition with the presentation of models suitable for 360° shooting or equipped with a larger and more high-performance sensor (the very recent INSTA ACE PRO with its 1" sensor), as regards accessories, GoPro, thanks to its market share, remains the brand most paid attention to by producers.
Particular attention was attracted by the releases of an aluminum case and two additional lenses produced by the Taiwanese AOI.
In recent weeks I have had the opportunity to talk about one of the lenses dedicated to GoPro, namely the wide-angle AOI UWL-03 which follows its "twin" INON UFL-G 140 SD, highlighting its qualities and price.
In this article I would like to make some brief considerations on the case of the same brand for the GoPro 9,10,11,12 and the AOI UH GPX.
Made of aluminum, it is guaranteed for a maximum depth of 60 m (196 ft). It features a housing for the video camera and a battery that is used to power the cam and the 5" rear monitor. It is also equipped with a vacuum system.
In the front part, in front of the lens, the bayonet coupling system is mounted to allow the additional lenses to be applied and removed while underwater. The bayonet connection also allows you to insert colored filters (red, magenta etc...).
The price in Italy will be approximately €1,800.00.
On the body of the case there are some buttons that should allow you to make choices of the various parameters to change the shooting settings during the dive.
Some have expressed doubts about the maximum depth of use of 60 m which, for an aluminum case, seems too limited. I believe that this parameter is indicated according to the use of additional lenses which have their operational limit of 60 m.
I believe that, ultimately, the only real advantage of this case consists in the rear screen which expands the limited view allowed by that of the GoPro.
In my opinion, however, an adjustable screen would have really made a difference as it would have allowed better management of the panning of the camera system.
Of course, should I have the chance to test this product, I will be happy to share my impressions in the field.
Puccio Distefano

Puccio Distefano

Rising Sun, Hidden Depths: A Dive into Japan's Scuba Culture

INTRODUCTION - JAPAN AS A DIVING DESTINATION
The key word for Japanese diving is probably variety, as it is rare for a single country to offer so much underwater diversity.
Looking at maps of Japan offers insights into why this might be the case:  the Japanese islands have a unique profile and geographical position, spanning over 3,000 km across extreme latitudes, with conditions ranging from the subarctic in the north to the strongly subtropical in the far south.
Map of the Japanese islands and submarine contours – Image source: Ryuichi Shinjo researchgate.net

As an island nation made up of almost 7,000 islands, Japan has nearly 34,000 km of coastline exposed to key warm and cold-water currents and a wide seasonal temperature range, which contributes to giving Japanese waters their remarkable biodiversity.
Each area has its own unique underwater fauna, flora and coastal ecosystems, offering rich and varied diving environments and opportunities.
Japan’s diving highlights include coral reefs, wrecks, remote islands, volcanic topography, caves and lakes, and a few specialist activities such as chummed shark dives, ice diving, black-water diving, not to mention world-class macro subjects, schooling hammerheads, marine mammals and a remarkable overall biodiversity, endemism, and more…
School of hammerhead sharks in Mikoto, Izu Peninsula. Image source: Dive-in-japan.com / Mikomoto Hammers
 
No point in the country is more than 150 km from the sea, and over 2000 dive spots are listed across the archipelago. These include numerous shore-diving options - the most commonly found form of local diving on the rocky shores of the main islands - but also some good lake diving options as well as boat diving, ranging from comfortable, dedicated dive boats to very basic converted fishing vessels.
And yet Japan’s reputation as a diving destination has been, so far, largely restricted to a domestic clientele of Japanese divers and foreigners living in Japan.

This is first and foremost because of Japan’s many other strengths as a tourism destination – with so much to see and do on dry land, most visitors – even keen divers – tend to concentrate their efforts (at least on their first visits...) on Japan’s rich land-based culture and highlights.
Mount Fuji, as seen from Fujiyoshida, Yamanashi Prefecture -  Image source: Wikipedia
 
Practically, Japanese is a temperate country, and diving activities are seasonal, with most if not all locations having a definite off-season in the winter months, and in season regular cyclonic storms (typhoons) sweep across some of the archipelago’s most popular southern diving areas, which can seriously disrupt plans for a few days...

Diving, while not extraordinarily expensive, is also not particularly cheap compared to major Asian diving destinations and some of Japan’s best diving spots are quite spread out across the country (including more distant areas and remote islands), access to which can be further complicated by the scarce availability of English-language information, especially for areas a little off the beaten track.

However, from the mid-2010s onwards, the Japanese government redefined its approach to international tourism, with a deliberate drive to expand the industry, reaching out to neighbouring Asian countries for more “regional” tourism and also well as promoting a broader range of tourism options, including sports and outdoors activities. 

Out of this drive, came the idea of “opening up” Japan to dive tourism  which – with the exception of the subtropical Okinawa region and the Japanese domestic diver circuit – was still very much off the radar.
 

Screenshot of the Japanese National Tourism Organization webpage on diving - Image source: Japan.travel

While initial efforts were aimed at promoting resort-based tourism and introductory level diving in Okinawa, the Japanese archipelago as a whole is now promoted as a solid, world-class diving destination, under a more inclusive and sustainable angle.
 
Scuba-diving is a surprisingly popular activity in Japan, where a thriving, distinct and somewhat self-sufficient dive-culture has evolved over the years, with its own codes, specific interests, publications, equipment brands, and so much more…
Indeed, things are often done a little differently in Japan, and dive culture is no exception. 
One of the most outstanding examples of Japanese diving culture can be found in the remarkable role of the dive-guide, who will normally be guiding in a way local professionals often refer to (not without a hint of pride) as Japanese-style, which we’ll now take a closer look at.
Shore diving on Miyako Island (Okinawa Prefecture). Image source: Japan-guide.com
 



DIVING "JAPANESE STYLE" ?
On the domestic market, you'll sometimes hear Japanese guides, operators and divers refer to a Japanese style of diving, supposedly distinct from diving experiences offered elsewhere. 
This concept has even made it into mainstream Japanese diving publications such as Marine Diving magazine, where articles discuss what is special about Japanese diving, and particularly the Japanese way of guiding divers underwater.

In Japan, picking out differences - whether real or imagined - is something of a national pastime, with books and TV shows dedicated to the subject. While this tendency can be traced back to the once popular theories of Japanese-ness (Nihonjin-ron) or even to earlier historical nativist schools of thought, it is true that Japanese culture often reshapes its objects into forms rarely encountered elsewhere...

Cover of Diver Magazine N.332 featuring actor/diver Taiyo Sugiura in full Japanese-branded dive gear
Image source: Fujisan / Diver Magazine
 
This process is often amplified by a relative linguistic isolation (a limited dialogue with and exposure to non-Japanese sources), and social aspects (such as hierarchical relationships) which can make things slightly more resistant to change, along with a general fondness for a Japanese way of doing things, often seen improved or a little more advanced than elsewhere...

When it comes to scuba-diving culture, this concerns the role of dive guides and services offered (which, as a non Japanese-speaking diver, you might not experience while diving in Japan, as service will most likely be adapted to your perceived preferences and needs) along with specific interests like endemic species and localism.

Guide lighting up a clownfish while showing his slate. Image source: hirasawa-mc
As a rule, Japanese tourism highly values “local highlights”. Underwater, while Japanese divers enjoy the big stuff or macro subjects as much as any other diver, this also translates to an enthusiasm for underwater species which might be more of a specialist interest elsewhere (such as smaller reef fish), and also in variations in colours, patterns or shapes of the local fauna and flora.

It’s also difficult to mention Japanese underwater interests without mentioning the highly popular gobies and blennies, as well as a fondness for “cute” species, ranging from charming, small-sized subjects and juveniles to critters with exaggerated features, ie slightly grotesque-looking fish.

Because of these commonly shared interests, Japanese dive guides will generally have a much deeper, specialist knowledge of all local and endemic species and provide solid information on juvenile forms and the growth/life cycle of the species, as well as behavioural tips on how to approach sometimes-elusive specimens.
 

Screenshot of a Bali-based Japanese dive center's blogpost on damselfish in Menjangan / Bali
Imge source: Facebook post - Actual blogpost: Oceanlifebali

And after diving, most Japanese dive centres will provide a time dedicated to working on logbooks and/or photo with one’s dive guide, which can range from quite formal to informal sessions, and is also where Japanese dive guides’ extensive knowledge of local marine life can really shine.
While this is not exclusive to Japanese diving (worldwide, logbooking/ fish and photo ID’íng expectations are usually quite high in macro-focused destinations for instance, resorts or liveaboards might offer the services of a live-in marine biologist), it is true that outside Japan the practice of collective logging is often linked to some form of dive training, whereas this is more of a standard and expected service in Japan.
As a side note, many Japanese divers are also very creative with their logbooks, with approaches ranging from cute cartoons to high-end naturalistic fish art - examples of such high level logging can be seen in this Oceana.co.jp post or a Google photo search on the subject.

Logbook page with drawings. Image source: Instagram / Diving logbook artist Nosekana
 

 
JAPANESE DIVE GUIDES AND GUIDED DIVING
 
Local ambassadors, naturalists and hosts
To make a broad generalisation, Japanese dive guides are often quite remarkable.
Not so much for diving or safety skills, but for the type service they strive to offer to divers, and also for the local naturalistic knowledge they are required to possess, in order to meet the expectations of the most demanding divers they might be guiding and act as representatives of their local area.
This does not mean that all Japanese dive guides are highly trained marine-biology experts, but they often do have more extensive knowledge about local species and their local environment than most of their non-Japanese counterparts (though there are notable exceptions), which is required and expected in a Japanese diving context.

Dive guides in action：“This snake eel’s head is protruding from the sand”

Highlighting differences between a Blackfin dartfish and a Fire goby – Image source: 4travel.jp
 
It's quite common for guides to do their professional training directly where they will be working, as a form of internship, and dive pros generally stay much longer in one area than their non-Japanese counterparts.

Dive-guide training emphasizes a naturalist approach, with a wealth of knowledge transmission on the local environment, species, marine life cycles and behavioural patterns for instance, aspects which are often lest at the discretion of the dive guide’s personal interests elsewhere.

There are exceptions, of course, but in the global diving industry, it’s common for diving instructors somehow “outrank” dive guides, and in some contexts instructors will mostly be foreigners with language skills while dive guides are experienced locals, with a varying degree of formal training.

This is less common in the Japanese dive industry, where almost all dive guides are instructors themselves, but choose to focus on guiding rather than teaching, as guiding is a highly valued, specialised activity.

In Japan, there is a high respect for what is known as veteran (= highly experienced) dive guides, as specialists of the local area, and also for dive shops who have established themselves as a local authority over time (such operations are called shinise , an important concept extending way beyond the diving industry).
It is a form of official recognition for guides to be employed by well-established dive centres, as is working under / training with / learning from famous dive guides.
 

 

WTP's SORA magazine, Dive Guide Special Issue  features interview-profiles of renowned dive guides
Image source: WTP Official blog / personal archives

In a Japanese diving context as elsewhere, dive guides are expected to offer a good tour of local highlights, actively spotting marine life for the divers (often less inclined to try to find stuff on their own) but also to ID marine life in real time, as we will see, engaging in active, entertaining underwater communication by writing on a slate, and also to lead comprehensive log-book sessions after diving.

Dive professionals’ passion for diving also blends nicely with a sense of local pride, which is something that you’ll encounter quite frequently in Japan – people are proud of local specificities, whether natural or man-made, and keen to share them with visitors.

In this sense, we could say that Japanese dive centres and guides act as true ambassadors of the environment they operate in, and do their best to help visiting divers experience its uniqueness, often with a heart-warming passion and dedication rarely found elsewhere.

Customer service expectations are also generally quite high in the Japanese dive-industry.
Most dive operations will have some kind of dive blog, usually quite thorough and updated daily. And on the social side, operators and guides are generally excellent hosts, and customers are usually offered the chance to socialise later in the day or in the evening, over drinks and/dinner. 

A somewhat formalised “closing celebration”, known are uchi-age in Japanese, is also quite commonly offered to guests at the end of a diving session -especially multiple-day ones, and can be expected as a service from most dive operations.
One thing is certain: Japan has a great after-dive culture and despite minor challenges, the shared experience of diving in a Japanese context can serve as a gateway to a more intimate Japan than what most non-diving tourists typically encounter...
 
Charisma-guides

Ad for a trip led by Kaorita-san, famous "charisma guide", primarily based in the Maldives
Screenshot source: Divenavi Facebook post

In the Japanese context, experienced guides, who have been around for a long time or pioneered a diving area, are highly regarded and sought-after by guests, and sometimes referred to, in publications, as “charisma-guides”, in other words, acknowledged as charismatic figures of the diving industry.
This is somewhat unique. It’s not so much that there are no examples of charismatic dive guides in non-Japanese contexts – dive-guide legends such as Larry Smith immediately come to mind, as do other explorers turned trip leader or operator, divers who pioneered diving in new areas such as Burt Jones and Maurine Shimlock or Edi Frommenwiler, Max Ammer and many others, as do specialists/researchers offering trips or cruises dedicated to specific marine life (such as sharks, whales or manta rays…) 

Yet there’s something a little different about the Japanese concept, which is often blended with a strong sense of localism, and good-natured pride in being experts and ambassadors of a given area.

Another interesting aspect is the existence of an official Japanese dive guides’ association, the Guide-Kai or Japanese Scuba Diving Guide Association, which includes many of Japan’s charismatic and respected guides (most of them dive-shop owners themselves), which is not something common elsewhere.

Screenshot of the Dive Kai's English-language homepage - Screenshot source: Guide-kai.com

As an example of such cultural specificities, in Japan, you might encounter a Marine Diving magazine article where active dive guides are asked to recommend… other dive guides, while duly mentioning each guide’s “lineage” or filiation, i.e. who they worked for in the past.

Another curiosity would the existence of actual rankings of dive professionals.
Hierarchy does play an important role in Japanese society, and with it comes a certain fascination for rankings (Edo-period visitor guidebooks already ranked local highlights such as soba noodle shops and more..)
While this is something of a commercial gimmick (also found in non-Japanese publications such as PADI’s Undersea Journal’s, or Scuba Diving Magazine's survey-based rankings of diving areas and operators), in Japanese diving publications, rankings extend to slightly more unusual categories, such as:
most popular dive guides in Japan
most popular Japanese dive guides working abroad
most popular diving instructors
 

Screenshot of the Marine Diving 2021 Awards page, Dive Guide category winner for the Okinawa area
Screenshot source: Marine Diving 2021 Awards
 
Photography specialists
Another important aspect of Japanese-style guiding is underwater photography. 
Japan is still one of the world’s photography hotspot for both topside and underwater images, and the vast majority of cameras to this day - including the world-leading brands such as Canon, Nikon, Sony, Panasonic or Olympus / OM Digital Solutions - are still produced by Japanese makers.
Underwater, Japan is also well placed on the light and strobe market, with brands like Inon, Sea&Sea as well as RGBlue or Fix, and the ubiquitous Olympus TG series has successfully led a small revolution in making macro photography much more accessible.
 

Underwater photo guide services offered by Okunoerabujima's MugaMuga dive center 
Screenshot source: Mugamuga.com

Many Japanese dive guides are also underwater photography specialists.
Some are photographers themselves, and guide photographers according to their specific interests and local highlights, while providing technical tips in informal to informal master-classes.

Others guides are simply highly experienced with working with photographers, and can of course efficiently spot subjects, but also offer high-level tips for shooting specific animals, covering behavioural aspects and positioning, timing, water conditions and ambient light, and more...

The level of photography-specific service offered by guides is rarely found outside specialist macro destinations, where dedicated macro spotter  / photographer guides can spot critters but also assist with shooting (snooting for instance), or are actual acclaimed photographers themselves.

Underwater slate use in guiding

Dive guide, ready to dive -  Image source: Diver-online

Underwater writing slates are nothing new, yet if there’s one aspect that really stands out and symbolizes the so-called Japanese-style of guiding, it would be the rather systematic use of underwater slates by dive guides, which has developed into what could now be called a distinct cultural tradition.

Since the beginning of scuba diving, while the main underwater communication method remains basic and conventional diving hand-signals, slates / written communication has been around as an alternative means of communication, as an easy and rather fool-proof way of efficiently conveying more complex information underwater (with the notable exception of audio coms systems used in commercial diving).
Diving instructors will often have agency-provided / self-designed training slates, used as memory backups and to keep track of progress for courses, and underwater slates are also commonly used while conducting research in scientific diving.

Guides and fun-divers will often have a small pencil or magnetic slate tucked inside a pocket somewhere, just in case something happens that calls for clear and rapid communication of more complex and unplanned-for ideas.

Technical divers, while making use of an extended range of signals (including touch codes for instance) often rely on some form of written medium as a complement to advanced signalling and also as personal memos – having clear, visual check-lists, dive plans, run-times, gas switches is a basic requirement, which makes sense, given the level of exposure, conditions and complexity of the dives undertaken.
 

Underwater slate use in action -  Image source: Marineartcenter
 
Something else… the big slate
Japanese dive guides almost exclusively use magnetic slates, which can be erased in one swipe, and allowing for more fluid communication, and outside areas with strong currents or rougher conditions, the slates used are generally quite large, since the guide will be showing his writing to all of the divers she or he is guiding.
The most commonly used slates are large plastic contraptions, designed for children use, the most commonly used model being a large magnetic slate called Sensei by the toy-brand Toby, very sturdy and with an easily recognisable design. Recently smaller magnetic slate models, including purposely designed slates, are also gaining in popularity.
 
 
The Toby Sensei slate, very commonly used by guides underwater
Image sources: diveoneroad.com  / oceana.ne.jp / facebook.com/sora-iro / sotoasobi.net / oceana.ne.jp
 
In the average recreational diving context, outside of teaching scenarios, slate use will usually be limited to “emergency” communications, as a back-up or extension of hand signals, which are accepted as the primary mode of underwater communication.

However, this is often a little different in Japanese guided diving, where underwater slate mirrors a specific approach to guiding and underwater interactions.
Broadly speaking, the dive-guide is expected to communicate actively during the dive, in writing, with the divers she or he is guiding.

From personal discussions with operators and guides themselves, this is justified by safety considerations (which is debatable), but also primarily as a form of underwater customer service.

Active underwater slate use / communication by the dive guide is perceived as offering guided divers a superior - and now standard and expected - experience during the dive.

In a guided situation, hand-signal use seems somewhat less common in Japan than elsewhere, where written communication is now becoming the norm.

All divers learn fundamental diving hand signals during their training, but Japanese guides will often – if conditions allow - write things down, including full sentences covering basic dive leading indications in situations where non-Japanese guides would use scuba diving’s universal hand signals.
It is not rare to see a guide write indications that would normally be conveyed by a couple of hands signals, sometimes complete sentences such as “Let’s end the dive now, and go to the safety stop”, which will be written on the slate, and shown to all the divers in the group.

Leading the dive... in writing

The other main purpose of the big slate use is (Japanese-style) fish identification.

This is not only found in Japan – Indonesian guides in Lembeh and elsewhere also carry slates, and can write, for reference, both the common and Latin scientific name of the rare critters have spotted while photographers shoot away – an approach this Lembeh Resort post explains quite well.

And let’s face it, slates are indeed great for fish ID, as there’s only so much you can do with fish hand-signals, which are not standardized and mostly suitable for basic fish ID’ing / communication purposes, and slates allow guides to share a lot more information.

Systematic underwater slate use is not only the norm when guiding in Japan, it is also a necessity, because Japanese divers, on the other hand, rarely learn fish ID sign – and why should they, since guides use magnetic slates to give the Japanese name (which, by convention, is always written in katakana script) of species encountered.

“It’s going to lay its eggs in the cracks of the rock...“ - Image source: personal archives

And beyond actual dive leading indications and fish ID, there’s all the rest…
It’s undeniable, having a slate underwater opens up a whole world of underwater possibilities…
Small jokes, comments or even anecdotes, and everything a guide is now able to tell guests underwater but couldn’t be without a slate (which does beg the question, should you?)…
Over the years, we’ve seen pretty amazing things written on our Japanese colleagues’ slates, ranging from comment such as “this fish looks delicious!” , “the current is a little tiring, don’t you think?” “I’ve never seen so many here!” ,  "It’s super cute” or even “Manta poop. (Pink)” (which does make you smile when you happen upon this at 6 am, on a slate your boss left lying around…), along with riddles, advice on camera angles, comments... Some guides will even draw underwater!
 
  
As an example of underwater slate communication, the three slates above read:
"Super cute! Bluestriped fangblennies always have a smile on their face ^o^" - Source: oceana.ne.jp
"Divers are being swept away by the current" - Image source: personal archives
"It’s super warm – it’s like being in a bath!" - Image source: sunslog.blog42.fc2.com

Thanks to the magnetic slate, Japanese dive guides can communicate (even politely) and share knowledge directly underwater rather than after surfacing, and also generally entertain guests underwater.
This type underwater customer service is becoming part of the job, along with safety and orientation.

On a slightly critical note, one could say that this type of approach, when pushed to the extreme, profoundly changes the approach to a dive, which tends to become a more passive experience, and reinforces reliance on the dive guide, which is not ideal for safety.

Overall, underwater slate-use is all about communication, and in Japan, this takes place at different level from what is encountered and expected in guided diving elsewhere in the world.

This decision to favour the use of underwater slates (which mostly came from Honshu’s Izu Peninsula, an area combining forgiving diving conditions and a wide range of endemic or rare critters) and the type of extended verbal underwater communication they allow is probably the key factors behind the development of a so-called Japanese-style of guiding and, ultimately, of diving.

Unfortunately, non-Japanese-speaking guests will rarely get to experience the big slate use as such, unless diving in a mixed Japanese/non-Japanese group led by a Japanese guide.

This is not seen as useful or necessary for non-Japanese style divers (which are happy with seeing octopus and moray eels, as a slightly contemptuous - yet often repeated and sometimes printed - comment goes...).

And interestingly enough, many Japanese guides seem quite happy to do away with the big slate whenever they’re not guiding Japanese divers…
 

“Manta poop (pink)“ - Image source: personal archives
 

 
REFERENCES

Japanese diving publications and online resources

In the world of print, Marine Diving is, by far, the largest, most influential and oldest diving publication in Japan.
Its network includes a main monthly magazine publication, which is now over half a century old, special guidebooks and also a women-oriented dive publication, LaScuba, “a travel magazine for women in love with the ocean and the islands”…
Marine Diving also organises one of Japan’s biggest dive expos, the Marine Diving Fair.
 

Covers of Marine Diving's 50th anniversary edition and of a LaScuba magazine
Japan’s other major publication is the more recent (first edition dates back to 1980), and slightly more lifestyle-focused Diver Magazine and Diver Online.
Oceana is currently one of the most active Japanese-language blogging / info platforms on diving related activities and the sea is covering diving of course, but also the “blue economy”, environmental issues and many more.
 


English-language resources

For  English-language information, we would strongly recommend the Japan National Tourism Association (JNTO)’s JAPAN DIVING website, a fantastic and official resource aimed at promoting diving in Japan with a very extensive guide, as well as the NPO Japan Diving Experience’s Dive In Japan’s website, one of the most extensive references on Japanese diving, and offering support to help non Japanese-speakers organise dive trips in Japan.

For a slightly different approach, we recommend our own non-profit reference site, Bluejapan.org, which also offers many other links to English-language and Japanese resources on this reference page.
 

Lost in translation? Image source: noris-okayama.jp

Japanese photographers and videographers  
 
While this is a broad generalisation - as there are plenty of active photographers and personal styles in Japan - it's hard to avoid noticing that to be something of a budding Japanese aesthetic in underwater photography, especially with the use of vivid colours, vibrant close-ups and blurring (bokeh was born in Japan after all…), almost a form of underwater expressionism or abstraction...

That said, a similar photographic trend is perhaps also catching-on worlwide, as illustrated by the growing use of motion blur techniques and coloured filters, for instance.


Image source: amazon.co.jp sample page for Sunday Morning – A Day-Off With Nudibranches, by Yasuaki Kagii
 
Some examples of publications by well-known Japanese underwater photographers:
辺野古ー海と森がつなぐ命  by Takuya Nakamura
美ら海 きらめく by Ikuo Nakamura
unknown (未知の海) – 不思議の国の海  –  夢色の海 and  海中散歩 by Yasuaki Kagii

Here is a short and non-exhaustive list of active Japanese professional photographers and videographers (in alphabetical order):
Hideki ABE
official site
Kazushige HORIGUCHI
official site
Kyu HURUMI
official site / Youtube channel
Yasuaki KAGII
official site
Keigo KAWAMURA
official site
Sachi MURAI
official site
Ikuo NAKAMURA
official site
Takuya NAKAMURA
official site
Takaji OCHI
official site
Tamaki OZAKI
official site
Kirin SEKITO
official site / Youtube channel
Yuta SHIGENO
official site /Youtube channel
Jun SHIMIZU
official site
Hiroyuki TOMURA
official site
In addition, Nauticam also has a dedicated crew of Japanese ambassadors active the domestic market.

Edo Period artist’s rendition of hammerhead sharks - Image source: dl.ndl.go.jp
 

bghazzal

DRT Show - The Largest Diving Expo In Asia

The new edition of the DRT Show will be held in Hong Kong from 15 to 17 December 2023.
DRT SHOW (Diving and Resort Travel Expo) stands as the premier diving expo in Asia, hosting events in various cities and regions such as Hong Kong, Shanghai, Beijing, Guangzhou, Taipei, the Philippines, Okinawa, Malaysia, Singapore, and India.
To date, the DRT SHOW has successfully organized 44 exhibitions worldwide, drawing a crowd of 450,000 professionals and enthusiasts from the dive and travel industry, representing 65 countries. Regarded as the largest assembly of diving enthusiasts and marine conservationists, it serves as a hub for individuals passionate about the wonders of the underwater world.
The schedule is packed with activities of interest to underwater image enthusiasts.
Davide DB

Bored with Bonaire? Try Sint Maarten

I’ve been to Bonaire 7 times over the years and logged 235 dives there. I like it for the shore diving and, generally, for the macro critters. I love the laid-back feeling.
But, for me, the reefs are not what they were and marine life now seems a bit limited: reef fish, shrimp and arrowcrabs. Slight exaggeration I know but no big things (yeah, the odd tarpon, some turtles) and even the macro life now seems to take some hunting. Very little, if any, schooling fish.
Yes, I know it usually wins all the prizes for diving in the Caribbean. But, frankly, I had to admit to myself I was getting bored diving there. 
By the happiest turn of fates my partner, bless her, was seconded to a job in Sint Maarten and I felt obliged to join her (NB: British irony). Almost three very happy years followed and 436 dives.
Sint Maarten is another of those curious Dutch outposts in the Caribbean. Although not part of the Netherlands (Bonaire is actually a city in the Netherlands), Sint Maarten (or SXM as it’s known) is in the Kingdom of the Netherlands so similar in status to, say, Jersey or Bermuda. It has a significant international airport and is a stone’s throw from the British hold-out of Anguilla. I read that Anguilla to Sint Maarten is the world’s shortest international flight.
In addition, the northern part of the island is actually an area of metropolitan France and as such part of the EU. One island, two cultures. Best part: two cuisines – the Dutch part slightly more American plus Heineken; the French part, oh la la, French. Think top quality pain au raisin or croissant for breakfast, patisserie for afternoon tea. Excellent inexpensive wines, good restaurants, great supermarkets and entrecôte……  
Unlike Bonaire, Sint Maarten is hardly known as a dive destination. But if you are into macro, there are all sorts of shrimps; you can trip over arrowcrabs; lots of reef sharks, turtles, gobies looking out of crevices, loads of morays, SCHOOLS and I mean serious schools of grunts, blackbar soldierfish, snappers…. I was teaching the West Atlantic REEF fish identification course there and the place is a Caribbean fish spotter’s dream. Plenty of wrecks covered in marine life and schools of fish….. and some intriguing coral mazes which are playgrounds for divers.
Yes, you must boat dive which means, probably, a max of 3 dives a day. Shore diving is, sadly, minimal verging on the negligible. 
If I don’t get bored after 436 dives this place has to be good, right?
So if you dive in the Caribbean and you fancy a change from Bonaire, check out Sint Maarten. Pack your camera, charge your GoPro, pack your snoot. You won’t regret it. 
I can recommend diving with Ocean Explorers ([email protected]) run by a super Brazilian couple, Lu and Jef. Jef knows the reefs there like the back of his hand and he and Lu have been running Ocean Explorers for decades.
 




TimG

Underwater Photography Workshop in Marsa Shagra

By: Martin Pachmann
The Egyptian coral reefs near Port Ghalib were my first contact with the beautiful underwater world with mask and snorkel. And because I have always loved taking photos, I wanted to capture this world on sensor and memory card and be able to look at it again at home. After a mobile phone case, actioncam and a crappy plastic housing with an acrylic dome (awful!), I wanted something "Now it's all the photographer's fault". Thanks to you forum members , (!) I ended up with Sony A7 IV, Nauticam and WACP-C and I'm totally thrilled. 
My favorite dealer here in Germany offered a photo workshop in Marsa Sharga in one of his mailings, not far from our first underwater experiences. "Unlimited diving" on the house reef and learning how to use the camera better - wouldn't that be great? When it came to buying the underwater equipment, the contact with Roland from PanOcean was pleasantly calm and competent, so off we went. We were a little worried that this might drift off into technical discussions about diving and camera equipment rather than help in taking better pictures. But you can't judge what you haven't tried.
Unfortunately, the nearest airport to Marsa Shagra, Marsa Alam, has hardly had any flights since the coronavirus pandemic, so we flew to Hurghada and from there took the bus to Marsa Shagra. The airport has the charm of a railway station waiting hall, and there is nowhere to buy food or drink after customs control. During the unfortunately somewhat longer wait for the bus, we Actually found something - the kiosk where the Egyptian bus and taxi drivers cater for themselves. Not aimed at tourists, but cheap and tasty. The bus journey was slightly adventurous due to darkness and wrong-way drivers - which is there probably not unusual. 
Marsa Shagra itself was originally a very barren tent city for divers only, but has been built up into an Eco resort in recent years and offers good comfort and very good food. You can choose between spacious bungalows and sparse tents. A special feature is that after a short check dive at the diving centre, you can put together your own or rented equipment at any time you wish and then explore the reef either from the beach or from the Zodiac (runs at any time as required) by yourself. Of course, the usual excursions such as Elphinstone are also offered for a fee. 
The workshop was very enjoyable. During the day either in the group or individually but always with the camera in the water, in the evening a few hours sitting together and discussing theoretical basics and doing practical analysis of pictures taken during the day. Of course, we always sat together at mealtimes and talked about diving experiences and photographic techniques in a relaxed and good-humoured atmosphere. Roland helped us with the equipment and gave us tips. I finally tried out macro and the EMWL with 160° optics live on the A7IV - thanks again for the uncomplicated opportunity! "Take this and try it out" - just like that. Great! (but I won’t buy one – too big and looks somewhat “interesting when holding the camera between the legs on the Zodiac – whoever has seen this knows what I mean) 
In addition to the usual reef inhabitants such as turtles and normal life, the pleasantly healthy reef also offered us a large school of barracuda directly under the jetty: 


nullAnd a few schools of mackerel, which of course make excellent photo subjects. It's absurdly difficult to photograph them from the front and up close. A big compliment to Alex Mustard - his picture is really unbelievably good, even if he didn't achieve perfect symmetry. 

At the workshop, I learnt really a lot in that short time. Two of the most important messages are: "Include the water surface in the pictures, sun rays due to backscatter and natural light are your friends" 

and: "Don't go too low, the most beautiful motifs are often close to the surface." 
 

But of course, I was also lucky enough to have my conscripted model with me. Thank you me beloved wife! Again, the best pictures were taken while freediving, but then you have to be able to hold your breath a little.
However, admittedly, there are also motifs deeper that would not have been possible without scuba diving. We were particularly taken with an octopus that had made itself comfortable on a coral block in an unusual manner.

All in all: unreservedly recommendable. To quote Roland once again: "I was particularly pleased that at the beginning we only talked shop about diving, but as the workshop progressed, photography moved more and more into the foreground of the discussions". 
 
 
fruehaufsteher2

Leak Sentinel: V6 now available

I installed my first Leak Sentinel vacuum valve, a V3, in my Subal ND800 housing in 2014. Over 700 dives, changes of camera housing and upgrades to the Sentinel system, I’ve moved through V4, V5 and now the newly available V6. As the slogan goes, I’d never leave home without it. Why?
The Sentinel provides a unique extra level of security and reassurance to an underwater camera and has saved me from my own stupidity a couple of times…… So what is it?
The Leak Sentinel is a small valve which screws into a spare bulkhead on an underwater camera housing to monitor for leaks even before the housing goes into water.
A small hand-pump of the type used in the Vacuvin wine bottle corks then draws the air through the valve and out of the housing. (A small battery-operated pump is also available). This creates a vacuum indicated on the Sentinel by a green, “Good to Go”, blinking LED light. If the housing has not sealed properly because of a fault or, more likely user-error, the valve warning light will flash green/red or red indicating a problem.

 
Vacuum valves are great devices particularly to help avoid user-errors and, more importantly, warn of an issue before the housing gets wet. It is this feature which makes them even more valuable than a housing leak detector which only works when water is already in the housing.
Given the cost of the housing and its contents, installing one of these handy leak warning devices is money extremely well spent. I would argue it is one of the two best investments I’ve made in my system. (the other being a 45-degree viewfinder!)

The Leak Sentinel system is simple to install. The valve is screwed into an empty bulkhead on the housing so that the blinking warning light is visible when diving. In earlier models (V1 to V4) the battery was part of the Sentinel’s valve assembly. In the V5 “XB” model the battery was fitted on a printed circuit board fitted inside the housing with a wire connection to the valve. This avoided the need to disassemble the valve to change battery.

The V6 has just been released. Like the V5, the battery fits inside the housing. However, the cable is now fitted permanently to the battery circuit board and a connector has been added (see photo) linking the battery to the valve assembly. This is a big improvement as removing the V5 required disconnecting the wires at the printed circuit board – which could be problematic.
In addition, gone is the square of Velcro which was supplied to hold the printed circuit board to the top of the housing. Now there’s a magnet! This should make battery changes even easier.

Like the V4 and V5, once a vacuum is established and the LED stays green for a reasonable length of time (I usually wait an hour), the Sentinel can be switched off by pressing the LED and left until dive time. This saves battery life. Switch it back on pre-dive and the green, Good-To-Go LED should reappear and blink steadily.
The Sentinel electronics allow for an element of temperature variation. It will cope for example if the camera is setup in the housing in an air-conditioned room – and then moved into a higher ambient temperature before diving.
The system uses an easily available and inexpensive CR2032 battery. Battery life is certainly into the dozens of dives and many hours.
On the very rare occasion when I’ve had a question, the Leak Sentinel’s producer, Miso Milivojevic of Vividhousings, has being unfailingly helpful at finding a solution in response to my emails.
So, easy to install, easy to maintain and relatively inexpensive…. is it worth installing one on your system? No question. Who doesn’t want to reduce the risks of a flood and enjoy the additional reassurance a vacuum valve provides. Never leave home without one.
 
TimG

Swimming With The Manta Rays - Maldives at a moderate price

Travel report August 2023
By : Martin Paceman
 
Three years ago, we learnt to dive for the first time at Reethi Beach Resort https://www.reethibeach.com/ in the BAA Atoll in the Maldives. The incredibly relaxed diving school Ocean Fanatics offered a very affordable taster dive in the usual manner, which opened up a world to us that we had never known before. 
From Reethi Beach, the Ocean Fanatics also offer snorkeling trips to Hanifaru Bay, which is known for the accumulation of manta rays during the rainy season. The excursions are not quite cheap (160.- + various taxes per person) as is typical for a resort, but the incredible experience made us want to repeat the experience even more intensively. 
As we had already had good experiences of staying on a local island in the Maldives, we chose Dharavandhoo - an island established as a relay station with a small airport, about 1 kilometer from Hanifaru Bay. There is a selection of hotels and guesthouses for almost every budget and several diving schools, the best known being Liquid Salt Divers https://www.liquidsaltdivers.com and Dharavandhoo Divers http://www.dharavandhoodiving.com/ . We opted for Kiha Beach Hotel and Dharavandhoo Divers. Overnight stay with breakfast in the region of 150.- for 2 people, dinner in the restaurants approx. 15-20.- for 2 people. 
The island itself shows the real life on the Maldives, not the artificial world of the resorts. Unfortunately, there is a lot of plastic waste, even though the beaches are often cleaned. The locals are incredibly friendly, unobtrusive and helpful. 
Attention: There is no alcohol, in any form. 

The house reef is rather sobering. The island has been well fortified because of the airport and is surrounded by breakwaters made of large, imported stones. Turtles, moray eels and rays as well as the usual reef inhabitants can still be found. There is no point in scuba diving on the house reef. 
You can only snorkel with the manta rays in Hanifaru Bay. There is always an alternating day for the resorts and for the "locals" - monitored by a ranger, who also makes sure that the 45 minutes in the water are not significantly exceeded. The rangers always report when the manta rays swim into the bay and how many there are - they regularly fly the drone. 

When the resort guests are there, they splash and splash about in the water, which the manta rays don't like so much and sometimes leave again. On other days, guests who can swim and even freedive predominate. The best time is June to September, and the plankton is thickest at full moon, when up to 250 manta rays come into the small underwater bay (approx. 50 x 200 metres). We travelled with the hotel's boat, at a very moderate cost compared to the resorts (most recently 65.-/person). 
The manta rays themselves are an experience you will never forget. If you wait calmly for the majestic giants to make their move and don't swim after them, you will at best be perceived as a piece of driftwood - you have to tighten your legs to avoid being brushed against. Visibility in the water is limited due to the plankton, but when a group of 10-15 manta rays suddenly appears out of nowhere, it is a magical experience. 

In order to catch as much as possible of the densest and presumably tastiest plankton, the giants do loops, swim like a whirlpool and do various laps. 

But divers don't miss out either - the diving schools usually do two dives before heading to Hanifaru Bay and ending the day with the manta rays. The usual coral reefs can be found here, although there is almost always a current. Sharks are more common in other areas, but there are always reef sharks here too. 

 
 
 
 
 
 
 
 
In August this year, a large population of whale sharks passed by for the first time - they were regular guests until well into October. We had three encounters during our 14-day stay: Twice in Hanifaru Bay, where they shared the plankton with the manta rays. 
Once, however, a smaller specimen swam along a nearby reef edge and we were allowed to accompany it for a quarter of an hour. A gigantic experience.  


Conclusion: If you get involved with the local islands and don't set your standards too high, you can have a wonderful holiday at an acceptable cost and see more manta rays than you could ever believe. Pack your longblades! 
fruehaufsteher2

Grand Prize Winner of HIPA 'DIVERSITY' Season Photo Contest

The winners of the HIPA Diversity 2023 photography competition have been announced.
Hamdan International Photography Award (HIPA) is an international photography award, founded in 2011 under the patronage of the crown prince of Dubai, Sheikh Hamdan bin Mohammed bin Rashid Al Maktoum.
The Grand Prize was won by Massimo Giorgetta with an underwater photograph.
Congratulation to Massimo!
Protected Lives
A night dive encounter with a magical 5 cm Jellyfish Tunicate in Lembeh Strait - North Sulawesi, Indonesia. This mysterious sea creature is so transparent, it's almost invisible. Filled and covered by other marine life, it is like a miniature diverse ecosystem, floating through the night sea.

Davide DB

GoPro Hero 12 Black announced

(image credits: Gopro)
GoPro Hero 12 Black announced with external mic and dual-channel audio plus 1/4” tripod mounting
GoPro has announced the Hero 12 Black, and this year, the ubiquitous action camera maker has its sights set on sound. The 12 Black’s headline upgrades include external microphone support and dual-channel audio capture, so you can record both camera and external mic tracks and then mix them in an edit. The latest GoPro also sports a handy ¼-inch thread between its flip-out feet, giving you even more ways to mount it, and the addition of HDR video, plus 8:7 capture in all modes, boosts the imaging credentials too.
It's no secret that many were hoping this would finally be the year GoPro improved its low-light performance and upped camera sensor size nearer to that coveted 1-inch mark, like DJI with its 1/1.3-inch Osmo Action 4. But it looks like GoPro’s bringing back its 1/1.9-inch sensor introduced on the GoPro Hero11 Black for round two.
Despite this Hero 11 Black sensor encore, there are still plenty of meaningful updates introduced for the 12 Black. Here are our highlights:
 GoPro's finally stepped up its wireless audio game with support for Bluetooth microphones – either in the form of earbuds or dedicated solutions.
Voice commands and external audio are all heard by the Hero 12 Black's Bluetooth input, so hands-free control over the camera at a distance should be easier than ever, and with dual-channel capture, both camera and microphone audio are recorded. Whether using it with a helmet or mixing down in-car and out-of-car audio, this should unlock freedom never before available in the GoPro ecosystem.
This dual-channel capture isn't just useful for wireless microphones. If you have the GoPro Hero 12 Black paired with a GoPro MediaMod, it can simultaneously record front and rear microphone audio, and you can mix both in the edit – ideal for interactions or vlogging in a bustling location.
The Hero 12 Black also introduces Timecode sync, making it much easier for editors to switch between multiple cameras and manage clips.
he headline video feature this year is HDR, pulling back blown-out skies and drawing extra detail from shadows in high-contrast scenes. 
Like its predecessor, the Hero 12 Black captures video at up to 5.3K resolution at 60 frames per second (fps), or 4K resolution, 120fps in standard video mode. If you're happy to switch to slo-mo, this caps out at 2.7k at 240fps.
The headline video feature this year is HDR, pulling back blown-out skies and drawing extra detail from shadows in high-contrast scenes. 
Like its predecessor, the Hero 12 Black captures video at up to 5.3K resolution at 60 frames per second (fps), or 4K resolution, 120fps in standard video mode. If you're happy to switch to slo-mo, this caps out at 2.7k at 240fps.
Video editors and fans of log capture and LUTs – explained in our color grading introduction – will appreciate GoPro’s new GP-Log mode and custom LUTs. This should make it easier to tune footage from your Hero 12 Black and splice it into a multi-camera workflow. 
The Hero 11 Black introduced GoPro's 27MP, 8:7 sensor, and it's back for round two, this time introducing HyperSmooth 6.0, which adds a new feature called AutoBoost. This analyses the field of view and automatically adjusts stabilization accordingly while bringing back 360º horizon lock.
Photos can be pulled from full-res videos at up to 24.7MP or captured natively at 27MP. The Hero 12 Black has also been upgraded with a new light painting photo feature, which creates an time-bending image in addition to the stylized light painting video mode introduced on the Hero 11 Black.
We loved the versatility GoPro's 8:7 sensor brought to the Hero 11 Black, and the Hero 12 Black extends its capabilities, introducing a vertical video mode for dedicated portrait capture and adding an 8:7 aspect ratio recording option to all shooting modes.
the Hero 12 Black looks almost identical to the 11 Black, though sports a speccled rubberized banding around the front and frame. Look a little closer at its design, though, and between the flip-out feet – which extend to form a traditional action camera mounting system – is a 1/4" thread for even more mounting options.
Otherwise, the camera has the same shape as past GoPro 11, a front and rear screen, a removable lens guard and battery door, and a microSD card slot and battery cavity.
While the battery spec of GoPro’s latest cam hasn’t changed ­– the Hero 12 Black still ships with an Enduro battery – you can expect longer capture times from a single charge, with GoPro stating 70 minutes at 5.3K 60fps, and 58 minutes at 4K 120fps. If you're happy to drop the resolution right down, you can even get 155 minutes at 1080p, 30fps.
The 12 Black also enjoys updated Easy Controls, adding more features and simplifying the language to make it even more accessible.
 
 
Davide DB

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