1. Wet Macro Lenses – Wet macro lenses, or diopters, are essentially magnifying glasses that you can screw on to the front of your housing. Because they go on top of the housing, they are completely exposed to the surrounding ocean. There are no moving parts in these lenses, and your camera must have on an additional lens that is compatible with the diopter. They can often be cheaper than using a dedicated, dry macro lens.
   

   A Bluewater +7 Macro Wet Lens

    

2. Dry Macro Lenses – Dry macro lenses are dedicated macro lenses that attach directly to your camera. They go inside the underwater housing and operate as any normal lens would. They can be manually focused, most autofocus, and they all contain an aperture that can widen or narrow. Dry lenses are not exposed to the surrounding ocean. They are generally more expensive than using a wet diopter with a kit lens.

How do Wet Lenses Affect Underwater Photography?

Macro wet lenses affect underwater photography in a very particular way. Some think that this makes them more difficult to use, others use their properties to their advantage. Unlike most dry macro lenses, you cannot focus to infinity with a wet macro lens. They also reduce your working distance, so you will need to get a lot closer to your subject to get a macro photo. While this makes it harder to take photos, as many underwater creatures spook easily, it does teach you to be a good photographer. The reduced working distance is also great for super macro work. Wet lenses also reduce the depth of field in your image. Some photographers like this, and others don’t. A reduced depth of field can help you get nice, artistic bokeh.

Island Kelpfish photographed with a Bluewater +7 Wet Lens

How do Dry Lenses Affect Underwater Photography?

Dry macro lenses are in many ways the inverse of wet macro lenses. You can focus a dry macro lens to infinity, which means you can often capture nice fish portraits at a mid range. This makes them more versatile than a wet macro lens. Dry macro lenses also have a larger working distance which means you don’t have to get quite as close to capture a macro photos. This lets you work with critters that easily spook, like the Island Kelpfish of Southern California above and below. The longer the focal length of the lens, the more working distance you have. However, longer working distances result in slower autofocus and any movements have a larger affect on the image composition. That being said, dry lenses will still focus quicker than using a macro wet lens. Dry macro lenses can often reach fairly small apertures, which make them ideal for black background photography.

Island Kelpfish Photographed with an Olympus 60mm dry macro lens

Stacking Dry Macro and Wet Macro Lenses

It’s definitely possible to have the best of both worlds and stack lenses! This is a great option for anyone who’s interested in taking super macro photos of very small critters. This can be a very difficult endeavor at first, but it’s very rewarding. Generally, when you stack a wet lens on top of a dry lens, the autofocus will slow down, but you gain more magnification.

A supermacro photo of soft coral polyps and skeleton shrimp photographed using an Olympus 60mm macro lens with a stacked Bluewater +7 diopter

The post Wet vs Dry Macro Lenses first appeared on In Focus Underwater Photography Blog.

The future of photography is bleak… Just kidding! It’s actually looking pretty great. I’m not just saying that. 2018 and 2019 has seen innovation in photography at a rate faster than we have seen in the last decade. In a nutshell, the world has gone mirrorless. In fact, it’s pretty clear that full-frame mirrorless cameras are all that any camera manufacturer has been thinking about. And for good reason. Mirrorless cameras are just all around better systems than increasingly outdated DSLRs.

For those of you that have been out of the camera loop for the past couple years, a full-frame mirrorless camera is similar to a full-frame DSLR with a few key modifications. There is no mirror which means the autofocus system, viewfinder, and body design is quite different. Mirrorless cameras feature hybrid phase detection AF systems that work seamlessly in live view with the LCD. They also feature viewfinders with live video feeds instead of optical viewfinders. Finally, many of these systems feature top of the line systems like thousands of AF points covering 90% of the field of view, AF tracking, 5 axis in body image stabilization, 20 fps burst, silent shooting and more! It’s a great time to be a photographer. Although Sony was a few frames ahead in the full-frame mirrorless game, Nikon, Canon, Fujifilm, and Panasonic are all in burst mode.

But as with any swift technological movement, there are whole spheres of photography slowly being left to the wayside. Some blame it on the rise of the cellphone camera, but it’s pretty clear that the lower end camera market is loosing steam. But in fact, I believe the mid-range camera market – like APS-C (cropped) sensor camera, micro 4/3rds mirrorless cameras, and entry level DSLRs – is in the most danger of decline. In the underwater camera world, compact cameras are become more and more advanced, making it a better option to gear up on accessories rather than switch to mid-range cameras. This has instigated a race to top the market in high end and low end cameras. In the high-end world, mirrorless has been opening new technology and innovation, and frankly the DSLR framework has not. This doesn’t bode well for DSLR shooters. Eventually, everyone is going to have to get used to and adapt their art form to some amazing advancements in photography. Here are my predictions for the future of underwater photography, but don’t quote me on this:

A wolf eel photographed with the new Olympus TG-6 compact camera

• DSLR cameras are going to be defunct within the decade.

An anemone captured with a Nikon D850 DSLR

There just isn’t enough innovation happening with DSLR’s anymore. The bodies are too crammed for essential tools like in-body image-stabilization (IBIS) and their mirrors can’t keep up with modern burst shooting speeds. But beyond that, even AF point are limited to the center of the field of view, and lens mount systems are being completely overhauled. It’s not a bad time to be a DSLR shooter since there are still amazing options available. However, sooner or later, every major camera company is going mirrorless and using new lens mounts at that.

• Compact cameras will get more advanced, but the market could shrink and get more expensive.

A wolf eel photographed with the new Olympus TG-6 compact camera

Compact cameras, because they share design similarities with mirrorless cameras are already getting some of the amazing features you can find in high end mirrorless cameras. The release of the Sony RX100 VII with the autofocus and burst capability of the Sony a9 mirrorless camera is a testament to this. Once a camera manufacturer develops a new technology, it’s in their best interest to integrate it in their compact systems to make their compact cameras more enticing to people that would otherwise shoot a cellphone. Because these new compacts are very capable, they are also rather expensive. Therefor the average price of compact cameras may go up. With more people taking cellphone photos, the compact camera market may shift towards more professional photographers who want a smaller tool to bring around. For underwater photographers this can be seen as a benefit. Instead of needing to upgrade to a mid range camera after getting used to a compact camera, since compact cameras will become more advanced it might make sense to keep your starter kit and upgrade with accessories. Image quality in some compact cameras is already approaching the level of 4/3rds mirrorless cameras.

• Mirrorless cameras will see leaps and bounds of innovation. Full frame will become more affordable and accessible. Higher-end mirrorless cameras will become even more high-end and unaffordable.

Clown dorid captured with a Nikon Z7 full-frame mirrorless camera

This is where we are really going to see amazing improvements in camera technology. Full-frame mirrorless technology, originally spearheaded by Sony, is the future. As I mentioned before, these cameras are already include tools that high-end DSLRs can’t adapt to. Because a lot of this innovation is on mostly full-frame cameras, full-frame technology is going to become more accessible and affordable. Already we are seeing relatively cheap full-frame models with amazing capability – like the Nikon Z6 and Canon EOS RP. When full-frame becomes affordable, the low and mid range mirrorless market, especially 4/3rds and APS-C sensor cameras, are likely going to become less popular over time. New lens mounts available for these new full-frame systems are going to produce some very high quality lenses. Overall the new mounts have a smaller flange distance which gives manufacturers more room for optical improvements and quicker glass.

• Medium format camera will become more affordable and accessible.

The recent release of the Sony A7R IV – a 61MP full frame mirrorless camera – is pushing the limits of how many megapixels you can cram in one sensor. Eventually, it just won’t make any sense to add more megapixels to a full-frame sensor, and people are going to start taking a look at medium format cameras. In fact, medium format is becoming more popular and affordable with the release of the Fujifilm GFX 50R – a camera that is at a similar price point as other high end full-frame cameras.

• Video will see even more innovation than photography.

Recently, video has seen even more leaps and bounds when compared with innovations in photography. I expect this trend to continue. Most photographic innovation recently has been in the area of megapixels and autofocus. Well many modern cameras have AF updates that provide just as much benefit to video functions. Moreover, video files are relatively primitive on many high-end cameras – even Log profiles. It’s only a matter of time that RAW video formats will become accessible to the general public and high-end mirrorless cameras will start matching the video capability of cameras currently 10 times their price. Of course, this is just a prediction….

The post The Future of Underwater Photography first appeared on In Focus Underwater Photography Blog.

A few weeks ago, Ikelite sent me a Canon SL3 to try out. They were excited because the SL3 is the world’s smallest DSLR camera. Combined with the specially Ikelite housing, it becomes the world’s smallest underwater DSLR system. But John at Ikelite wasn’t just excited about the size of this camera. He told me I was going to be pleasantly surprised by just what this camera could do.

Decorated Warbonnet photographed with the Canon SL3 in an Ikelite housing with dual Ikelite DS 161 strobes and the Canon 60mm macro lens.

And I was hoping that John was right. In the recent year, as high-end mirrorless systems dominate the camera market, there has been a lack of innovation in mid to lower range interchangeable lens cameras. In fact, there’s a bit of a void where the only truly exciting update for underwater photography in the last year and a half at this price point is the Sony a6400. And indeed, the A6400 is a nice camera, but I felt that it had its limits, especially in lens choices. So when I heard that the SL3 was perfectly compatible with the Tokina 10-17mm fisheye lens and other Canon EF lenses, I was extremely excited for an entry-level DSLR that could access such high end glass.

Kelp crab captured with the Canon SL3, Tokina 10-17mm fisheye lens, dual DS 161 strobes, Ikelite Housing

I have to say, so far, the SL3 has met and exceeded my expectations! The biggest reason for this, in my opinion, is that glass is king. I believe that as long as you have a camera that can provide accurate focus, your image quality is mostly based on the lenses you can use. The Tokina 10-17mm fisheye and Canon 60mm macro are exceptional lenses. This isn’t to say the body isn’t exceptional for the price point – it is. Canon’s dual pixel AF is always a joy to use and on par with many other modern cameras. There are less AF area options then I would like and no AF tracking like with the Sony a6400, but the lenses compatible with the SL3 tend to focus quicker underwater. The SL3 is also a very easy camera to use so if you’re new photography and want to start small but semi-professional then this is a great starting point. The APS-C sensor is also awesome when it comes to image quality – especially dynamic range capability and overall detail.

Excellent dynamic range with the Canon SL3, Tokina 10-17mm fisheye lens, Ikelite housing, and dual DS 161 strobes

However, as with any other camera there are a few downsides. I found the AF in live view to not be 100% accurate all the time. So I recommend using a magnified viewfinder if you can or at least a focus light. Also, it’s pretty clear that this camera was designed for new photographers. Although ever important setting is easy to identify, the ergonomics are lacking compared to a higher end camera. It’s going to take a little more time to change your settings since there is only one dial for shutter speed. That being said, I had no problems changing my settings to get the shot I needed.

Finally, with the Ikelite housing, there are certainly some use features to keep in mind. The TTL circuitry is built into this housing which means you can get amazing exposure if you use Ikelite DS strobes. And although some DS strobes can bee larger, their recycling times are excellent. So you can take many shots in a burst mode with highly accurate exposure.

Sea star skin photographed with the Canon SL3, Canon 60mm macro, Ikelite housing, and dual DS 161 strobes

All in all, I think the Canon SL3 fills a gap in the camera market that is in sore need of innovation if new underwater photographers are going to have something available to them to get a strong foothold in to the world of underwater photography. And even though this is an “entry level” DSLR, I was be very happy to own the SL3 and likely shoot it for many years. You really can’t beat great image quality and on that front, this camera delivers.

Gear Links:

Canon SL3, Lens, and Ikelite Housing Bundle

Ikelite DS161 strobes

Tokina 10-17mm fisheye lens

The post The Canon SL3: The Amazing Budget DSLR No One is Talking About first appeared on In Focus Underwater Photography Blog.

Perhaps one of the oldest and greatest traditions of ocean-going folk is to debate which of the ocean’s vast selection of odd-ball creatures is the ugliest. In the Pacific Northwest, however, the debate has long been put to rest – everyone agrees that the world’s ugliest fish is the wolf eel (Anarrhichthys ocellatus). Known fondly by divers as “wolfies,” wolf eels are the second most charismatic underwater creature accessible to divers in the Northwest (after the Giant Pacific Octopus). Despite the name, wolf eels are not true eels, though they do have long, slender bodies and sharp canines. Though predatory, most of their diet consists of shellfish like crabs and urchins. They break these apart with their strong back molars. Most actually have very friendly dispositions. In fact, some wolf eels have been known to allow divers to play with them and pet them (though this might be exacerbated by a history of feeding them). Though one might not expect it, wolf eels are actually very loving creatures. When a wolf eel finds a mate, it will find a suitable home – usually a hole among boulders on a rocky reef – and mate for life, living in the same hole year after year. The female coils around its eggs and takes care of them as they incubate, and the male will coil around the family and stand guard. Many wolf eels are curious about divers and can come out tor great you. However, each fish has its own disposition – some get nervous and retreat into their holes. Though relatively common, wolf eels can be difficult to spot for the inexperienced wolf eel spotter, and they are frequent at only a few sites around the Puget Sound. Wolf eel dens are often found in two different types of terrain – they are found in small holes in rock and clay walls (usually from a depth of 40-80ft), or they are found on rocky slopes with medium to large boulders in the holes between the boulders. Often their bodies can span two or three different holes, so you might find a tail before you find a head! The best sites in the Puget Sound are arguable Day Island Wall and Sund Rock. At Day Island Wall, some divers feed the wolf eels so they are very nice to divers. Many will swim out of their holes to great you. At Sund Rock they are shyer, but almost guaranteed if you know where to find them. I’ve seen about 10 in a dive there before. Just speak with the staff at Hood Sport ‘n Dive and they’ll put you in the right direction!   Be sure to check out our guide to Diving the Pacific Northwest! Wide angle photos were shot with an Olympus Mirrorless Camera  , Panasonic 8mm fisheye lens, and dual Sea & Sea Strobes. Now I use Sony gear.

To get shots like this I recommend:

• The Olympus E-M1 Mark II
• Sea & Sea YS-D2J strobes
• Reefnet fiber optic snoot
• Kraken Sports Hydra 3500

Check out Bluewater Travel to book West Coast dive trips in California. Though rare, wolf eels have been known to show up as far south as Southern California!

The post In Search of the World’s Ugliest Fish first appeared on In Focus Underwater Photography Blog.

Summer Lovin’ at Veterans Park

By: Nirupam Nigam

As we swam slowly to the edge of the slope that eventually dropped into the Redondo submarine canyon 2000 feet below, we began to see signs of what was to come. Small, shriveled carcasses hovered two inches above the sand, swaying gently surge. A little white sack, looking somewhat like a single white sausage link, moved with it. Target shrimp scurried towards the carcass to fill their already full stomachs. I was about to witness one of the most renowned events of Veterans Park – the squid run.

A beautiful sunset before the squid run at Veterans Park

Veterans Park is a popular dive site usually used for training dives next to the Redondo Pier in Redondo Beach, California. It is also well known for its amazing night dives filled with thousands of outlandish creatures ranging from elbow crabs to bay pipefish. The reason for this density and variety of life lies approximately 400 yards from the beach – the Redondo Submarine Canyon. This canyon is responsible for upwelling events that bring cold, nutrient rich water up from the abyss to the Veterans Park dive site. With these events come the sea creatures.

The common market squid (Loligo opalescensis) is one such species that rises from the depths of the canyon. These forearm-sized squid spend most of their life feeding in shoals at depths of approximately 1500 feet. At the end of their twelve to fourteen month life span, thousands upon thousands of individuals take a final swim into the shallows, mate to exchange DNA, and die.

The Common Market Squid

In Southern California, the squid runs are known to occur consistently in mid to late winter. It appears that the squid choose different spots every year, but they generally mate in the same areas (e.g., Veterans Park, La Jolla Shores, Monterey). At Veterans Park the runs happen every few years. This year is definitely an anomaly – the run is occurring in the middle of summer. Despite this fact, the squid run this year is a very strong run. We have been seeing large mating events for at least four days so far!  Usually these events last strongly only for two to three days…

Mating squid, by Kelli Dickinson

A diver in the middle of the action. By Shane Spring

When squid mate, they congregate in vast numbers – each individual a bouncing ball of sex-drive. Males latch onto females with their tentacles and pass packets of sperm to the females. In the process, the males’ tentacles turn bright red. Females receive the packets and use them to fertilize a single egg sac. Each sac contains 180-300 eggs and is protected by a sheath of bacteria that serves to protect the eggs from fungus and other bacteria. It also deters other animals from eating the eggs. After mating, the tired squid become arthritic and off-colored. The life slowly drains from their body and eyes and their existence ends in the stomachs of the many feasting bat rays, cormorants, sea lions, and crabs. All that remains is a never-ending plain of squid egg-baskets that will hatch 3-5 weeks later.

A wall of mating squid, by Brent Durand

A female squid adding her eggs to the basket

This description of the run from a few days ago by Claudette Dorsey says it all:

“I just had my face washed by 80,000 squid.

Like walking through a car wash of squid.

Tickled by tentacles against my cheeks and lips and chin.

Blown upon by thousands of pulsing little squid jets.

Bumped and prodded, head to toe, by hundreds of muscle’y missiles all at once.

Ronnie had a squid lay an egg case on her ring finger.
That is some kind of wild proposal from the Cephalopod Kingdom.

Making eye contact with Ronnie I noticed something amazing for a night dive: I could see her face and eyes clearly. Usually faces are dark at night because we’re careful to point lights away from buddy’s face.
Tonight I could see Ronnie’s face… in the light reflected by thousands and thousands of pearlescent squid.

And then I couldn’t see her at all because a moving wall of squid intervened.

There were many squid.

There were 2 divers.

Last time I experienced this was 2005, with Carlos Barrios, and I was so cold in a wetsuit at 65fsw it was almost unbearable.

Tonight we had over 80 dry-suited minutes of squid happiness, from the deepest point at 128fsw up to the the squid filled deco stop at 18fsw watching a crab grab at squid tentacles like a kid leaping for balloon strings.

Day squid are majestic.

Late night squid are a primeval rave.
Incantatory genetic ecstasy.

Time to sleep, dream of dive travel and be back at 0700 for more.”

Squid getting ready for a long night at Vets

The post Massive Squid Run in Southern California! first appeared on In Focus Underwater Photography Blog.

Weightless, we float through the ocean, watching the beautiful reef and the amazing marine life. It’s time to dream: A dream of painting the world. Close your eyes and take out the paintbrush, take out all your colors, and start painting – underwater. Imagine how the paint floats with you, easy, cloudy and slightly changing shape.

Underwater photographers live with the fascination of the life-giving element – water. So do I. And when I’m put into the dry world, my thoughts are circling around water driven photography. My recent studio project is about underwater painting. It’s my great pleasure to show you some of my works, give you some tricks, and inspire you to create your own experiments.

Artificial Jellyfish: Simple drops of colored cream poured into water form bizarre shapes we all know from the underwater world. Olympus OM-D E-M5, m.Zuiko Macro 60mm, 1/125s, f/10, ISO-200

Observing the Clouds

All we need to start is a transparent bowl, either glass or plastic (mine is roughly about 30cm x 20cm and 16cm high (12″ x 8″ x 6.5″)), water, cream, food color, salt, and of course the photo equipment including at least two remote strobes. I chose to mount my m.Zuiko 60mm macro lens on the Olympus OM-D E-M5.

I recommend starting by observing of the behavior of the drops. Pour some colored cream into the water and watch how beautifully it sinks: speed and shape.

Underwater Painting – Reflection: Red and Blue colored cream poured into salt water create amazing shapes. Olympus OM-D E-M5, m.Zuiko Macro 60mm, 1/200s, f/18, ISO-200

Driving the System

It’s an incredible new experience watching colored cream sink and trying to photograph the underwater paintings. Did the show pass too quickly? Consider our experience in diving. We use different weights to adjust buoyancy whether we dive in salt water or in freshwater. Likewise, we adjust the speed and diffusion of the colored cream with… salt.

The more salt you add to the water, the slower the drops fall. The clouds are more voluminous. You will find a point where they even turn around and start to ascend! In my experiments, I used 50g – 320g salt in about 8 liter water.

Slowing down the system allows you to add the paint carefully. That means real painting, not just pouring color into the water. I used Pasteur pipettes with latex bulbs to handle the cream. They are very useful, especially for placing the cream at different places under water without pouring it through the surface. A spoon works perfect for pouring as well.

The fat content of your cream influences your paintings a lot. Same with the speed you pour/inject the cream into your painting.

Stimulate your Phantasy

Underwater painting shows more than just clouds. The selection of colors and lighting influences your mood. Imaginations and associations arise. Sometimes, especially when working with filigree structures, real life figures enter your imagination. A smurf appears or even an entire squabbling family.

“Smurf” and “Communication”: Red colored cream is slowly poured into slightly salted water to get filigrane structures which create your phantasy. Olympus OM-D E-M5, m.Zuiko Macro 60mm, Smurf: 1/160s, f/20, ISO-200. Communication: 1/160s, f/10, ISO-200.

Camera Position

I placed the camera on a tripod with an upward angle in front of the bowl, so that the frame covers about 10 x 7.5 cm including some of the surface of the water. Two flashes are put at the sides of the bowl. Behind the bowl, I placed a black fabric to eliminate disturbing light. This is just one setup for “underwater painting” photography, but there are many more to experiment with!

Play with Lighting

There are two creative lighting setups I find to work really well: top and bottom strobe positions. For the bottom position, I placed my bowl on a mat of Plexiglas propped up on wooden blocks and placed the strobe under the bowl. For the top lighting, I kept the flash in my hand above the bowl. Try to use different angles and be aware of reflections the bowl causes. A lot of experience brings success!

“Jelly”: It looks a bit like a galactic jelly because of the flash directed from top. Olympus OM-D E-M5, m.Zuiko Macro 60mm, Smurf: 1/200s, f/18, ISO-200.

Catch the Best Moment

Only an octopus can handle multicolor painting, lighting and taking picture at the same time. Even if you use a remote cable (or control), underwater painting involves much multitasking. It’s almost guaranteed that you’ll miss the shot when your painting is at its best when controlling everything manually. To eliminate this problem, I set the camera on “sequential shooting, low, 2 frames per second”. This is a good compromise between having enough pictures and allowing your flashes to recycle before the next shot. With this method you can easily paint while the camera takes the pictures automatically.

“Red ‘n Blue”: Composition is essential to success with underwater paintings as it is with every picture, painted or photographed. Pay attention to the color combination to get your eye catching shot! Olympus OM-D E-M5, m.Zuiko Macro 60mm, Smurf: 1/160s, f/22, ISO-200

A Moving Impression

“Underwater Painting” is about the behavior of a colored liquid (emulsion) in water.  This animated Gif gives you an impression of the described shooting. The movements are faster than in reality. The picture were taken at 2 fps and presented here at 7 fps.

Outlook

There are many more versions to be created. Think of colored backgrounds, more shapes, more lighting experiments, and last but not least other liquids to be poured into the water. I wish you happy shooting!

“Color Splash”: From filigree structures to real fireworks of color, from simple light to surprising flash angles: No limits are put to your creativity. Have fun! Olympus OM-D E-M5, m.Zuiko Macro 60mm, Smurf: 1/200s, f/20, ISO-200

Henry Jager is a passionate underwater and wildlife photographer with an incredible sense for an unexpected view on the subjects. He is 43 years old and lives with his wife and two children near Zurich, Switzerland.

His work can be seen at www.conartix-photo.ch

The post Underwater Painting first appeared on In Focus Underwater Photography Blog.

By Nirupam Nigam

FIND OUT HOW TO GET SHARP IMAGES WITH THE RX-100 AND ANY FISHEYE LENS:

In the past few days I have been lucky enough to use and test the much anticipated Sony RX-100 II soon after it was released. I must say that I am very impressed with this camera! It is certainly the best compact camera that I have used and the image quality is great. I am very happy with its low light capability and 1 inch sensor!

Great detail of these anemones in this photo taken with the RX-100 II in low light conditions under an oil rig.

As an underwater photographer, two perspectives of photography are more important to me above all others – wide angle and macro. By definition, compact cameras (e.g., the Sony RX-100 II) do not have interchangeable lenses. Thus, in order to create wide-angle and macro capabilities underwater, a photographer must use “wet” lenses that are placed over the housing and can be switched out even while underwater.

The development of such lenses has produced some amazing products with amazing capabilities. One such lens is the UWL-04 Fisheye lens which has a 165 degrees field of view! The UWL-04 can be used with all RX-100 and RX-100 II housings! This is a big deal because wide angle capabilities are often lacking for compact cameras.

I have recently tested the UWL-04 fisheye lens with the new Sony RX-100 II while diving on the Eureka Oil Rig off the coast of San Pedro, California and in the pool. The field of view on this camera is certainly wide – very wide. Capturing large subjects while still being able to get close in order to retain great color is not a problem in the least. All you need to do is screw the lens on – from above water or from under! Keep in mind that if you attach the lens on land, you need to “burp” the air out underwater.

Great field of view with the UWL-04! The blur in the image is my fault – I was shooting at too low of an ISO. f/1.8, 1/50, ISO-100. Read below to see how to get sharp photos.

However, one issue did present itself during my dives and pool testing – soft corners. When shooting at large apertures, the corners will often be out of focus while the center of the image or the focus point is in strong focus. Luckily, this issue is easily resolvable. First, one must start by shooting at an ISO of 200-400 instead of 100-200. This enables you to shoot with smaller apertures while maintain good exposure. Noise is not an issue, especially with the RX-100 II’s new improved sensor technology. Next, shoot with a small aperture. At apertures of f/5.6 and smaller, more than enough of the image will be in focus enough to produce beautiful photos. This can be demonstrated in the pool tests bellow. Look at the label on the ice tea bottle to see the change of detail in the corners as the aperture gets smaller.

The detail on the bottle is lost because of soft corners at large apertures. f/1.8, 1/2000, ISO-200

Soft corners become less of a problem at medium apertures. f/5.6, 1/640, ISO-200

The UWL-04 produces very sharp, very wide images at small apertures. f/11, 1/100, ISO-200

I also conducted tests demonstrating how the depth of field changes with two objects on two different planes. There is change but minimal change in depth of field as one would expect with a wide angle lens.

The depth of field is similar between large and small apertures as would be expected. f/1.8, 1/2000, ISO-200

The depth of field is similar between large and small apertures as would be expected. f/11, 1/60, ISO-200

All in all, this is a great lens which gives compact users wonderful wide angle capabilities! Again, if you are worried about soft corners, the easy fix is to shoot with an ISO of 200-400 and an aperture of f/5.6 or smaller. This works for any fisheye lens with the RX-100 housings. If you desire an extremely sharp wide angle wet lens, the Bluewater WA-110 lens is another great option. This lens is sharper but the field of view is a little smaller at 110 degrees. No matter what wide angle option you choose with this camera system, the RX-100 II certainly cannot be beat in the world of compact systems!

Soft corners are close to non-existant even at f/1.8 with the Bluewater WA-110! f/1.8, 1/2000, ISO-200

The post Sharp Underwater Photos with the Sony RX-100 II and UWL-04 Fisheye Lens first appeared on In Focus Underwater Photography Blog.

Photos and Article by Nick Hobgood

On the north coast of Haiti lies the town of Fort Liberté, located an hour’s drive east from Cap Haitien – a place filled with historical significance.  The town was established in the days of Christopher Columbus when it was a trading town between the native Indians and the Spanish. It was known then as Bayaha.  The neighboring town of Puerto Real was established in the early 1500’s in order to expand Spain’s empire in the region.  Trade flourished and the Spanish brought goats and cattle to raise for food. With no predators or competition, they quickly flourished on native grasses.

Fort Saint Joseph

The Spanish, French and English were soon fighting for land in the Caribbean, and the famed Island of Tortuga, only a few miles to the West, was crawling with privateers looking to make fortunes in trade and piracy.  The bay of Fort Liberty became the main production center of smoked meat or “viande bouccanee” in French.  Viande bouccanee originated from the local name for the meat smoker the Indians used – “boukan”. Those who specialized in producing the meat for buyers on Tortuga Island became to be known as “bouccaniers” in French and “buccaneers” in English.

one of the cannons that overlooks the bay to protect the city from pirates and foreign ships

Liberty wall dive site is just East of the narrow entrance to the bay where a smaller fort – Fort Labouque – is located.

Google Maps of the dive site and entry point.

What appear to be several cannons can be found on the descent from the shore entry point.   The cannon below surely has an interesting story to tell about how the hole was blown out of its back end and why it now lies at the bottom of Davy Jones’ Locker.

The dive site is just around the corner to the East. It is a wall ranging from 40 – 45 meters in depth.  As you swim along the wall you can see all sorts of hard and soft corals, purple sea fans, barrel and vase sponges, and lots of other marine life including reef fish and the occasional pelagic mackerel and barracuda swimming by.

Magical purple fans are common to Liberty Wall

Unfortunately, Liberty Wall is a DIY dive site.  There is only one dive operator in the North at Cormier Plage hotel near Cap Haitien.  Their compressor does not always work but 2 years ago, plans were in motion to get it fixed or replaced.  Unless you have your own tanks and compressor, it is imperative to check on the availability of tanks and fills before you get on the plane for Haiti.  Once you have your tanks, you have to drive to Fort Liberté. From there either rent a fishing boat to go via the bay or drive around the bay on a dirt track which requires a 4×4 – so make sure you don’t get stuck in the mud holes.

Lots of colorful fish inhabit the northern reefs

If you can get all that lined up, Liberty Wall is worth the effort. Several dive professionals who have been diving the Caribbean for many years said on their visit to the site that it is one of the most spectacular walls they have dived yet.

These stove-pipe and vase sponges come in an array of bright colors from yellow to pink

This pair of shrimp set up a cleaning station on a big barrel sponge growing at the base of the wall

About the author:

Nick Hobgood learned to dive while in high school in Haiti and was lucky to go back on a 3 year work assignment from 2008 – 2011, based out of the North.  Knowing that there were few dive operators in Haiti, he brought 4 tanks and a portable compressor with him.  He is an avid underwater photographer and has donated all of the proceeds from his first book “Haiti from Below” to ReefCheck to promote marine conservation in Haiti.  A copy of the book can be purchased on the ReefCheck website here:

http://reefcheck.org/store/detail.php?pid=578&cid=5

The post Liberty Wall – One of Haiti’s Hidden Diver Havens and Extraordinary Dive Site first appeared on In Focus Underwater Photography Blog.

One of the most commonly asked questions in the world of amateur underwater photography is “one strobe, or two?” Often this question is one of economic forethought, but it may also be a question of artistic merit. After shooting with both one strobe and two, I have come to the conclusion that with recent advancements in strobe quality and performance neither is a better option. An underwater photographer should be able to shoot beautiful photos using either option.

An evenly lit nudibranch taken with a single Sea and Sea YS-D1 strobe

The use of a second strobe makes the most difference in macro photography and very wide-angle reefscapes. When shooting macro with one strobe, the light will only be coming from one direction and thus there is usually shadow in the image. A second strobe can provide light coming from a second direction which can be used to fill in shadows. This produces an image with more even lighting and less shadow/contrast.

Even lighting with two Sea and Sea YS-D1 Strobes

Although many photographers prefer an image with less contrast, a single strobe usually doesn’t produce a significant enough shadow to ruin the image (if positioned correctly), and it can often be the better option when illuminating transparent organisms such as shrimp, coral and anemone polyps and some nudibranchs. If the effect with one strobe is needed, a photographer with two strobes can switch off one strobe. However, having one strobe can make a camera setup much more maneuverable while shooting macro, and there is less chance of damaging the reef.

A high contrast image of an orange cup coral take with a single Sea and Sea YS-D1 strobe

As I mentioned before, with new, very powerful strobes such as Sea and Sea’s YS-D1, an underwater photographer can easily shoot great wide angle photographs with just one strobe. Even with a fisheye lens, I have been able to light a full frame with just one strobe. In order to do this, I will often put a diffuser with a wider angle (120 degrees) over the strobe. Because the YS-D1 is so powerful, I can still shoot the full range of wide-angle – from close focus to sunbursts. Using two strobes for wide-angle does have its merits. Two strobes will certainly brighten more of the reef and illuminate more of its details.

The details of the Wakatobi Reef and a sunburst lit with two Sea and Sea YS-D1 strobes

However, one of the most interesting effects of shooting wide-angle with one strobe is a spotlighting effect. This enables an underwater photographer to give more focus to the subject of the image. As with macro photography, if a photographer with two strobes would like the effect of one, he/she can merely turn off one of the strobes. Maneuverability is slightly less important for wide angle, because the subjects are usually not as often hidden in the crevices of the reef.

An image of coral and a sunburst taken with a single Sea and Sea YS-D1 strobe with the spotlight effect

Shooting with one or two strobes are both great options. Both produce beautiful underwater photography. It is up to the photographer to decide how much money he/she would like to spend, and if they truly want the extra range of artistic tools that a second strobe brings to the table.

An evenly lit wide-angle photo of a tube anemone

The post One Strobe or Two? first appeared on In Focus Underwater Photography Blog.

by Nirupam Nigam

Deep in the heart of Indonesia, some of the best diving in the world can be found in Southeast Sulawesi. The reefs of this region are renowned for their remarkable biodiversity and healthy corals. A diver can find anything from looming sea fans and schools of batfish to pygmy seahorses and sea snakes. Perhaps the most popular dive resort in the region is the famed Wakatobi Dive Resort.

Getting to the resort is no small feat. Upon arrival in Bali, divers must spend a night on the island and then fly two and a half hours to the island of Tomia. From there it is a short twenty minute boat ride to one of the most remote locations on the globe. However, all this travel is beyond worth it.

Maranggo Airstrip

Almost as famous as the diving, the service at Wakatobi is some of the best in the world. You literally do not have to lift a finger. The staff is happy to help with anything from setting up dive equipment to finding anemone fish under the jetty. And after you are done diving, three gourmet meals a day are served by some of the best chefs in Indonesia. The service is not a service for tip; it is a service of Karma – a philosophy that remains strong with Indonesians. At the end of the trip, you feel as though you have made quite a few friends.

Sunset

The reefs at Wakatobi are some of the only reefs in the world that are getting better every year. The resort works with local villages to create sustainable fish populations and sustainable reefs – a strategy that has been working wonders. In fact, the house reef has been rated one of the world’s best shore dives and the number one house reef in the world!

5-6ft Barracuda at the House Reef

Divers have the option to dive as many dives as they want at the house reef from 6am to 10 pm every day. The resort even offers a water taxi service to reach farther areas of the house reef. There are also has several “Waka-boats” that take divers to various areas of Wakatobi National Park to dive three times a day. These dives are guided by some of the most knowledgeable dive guides in Indonesia. If you are looking for a certain species of marine life, chances are that they will find it for you.

Pygmy Seahorse found by Dive Guide

Wakatobi’s reputation for housing many macro gems is well deserved. Underwater photographers will not be at a loss for subjects. In fact, there are often so many subjects that it is hard to pick one to photograph. The famed pygmy seahorse is common at Wakatobi as well as many species of shrimp, gobies, anemonefish, squat lobsters, nudibranchs, coral polyps, ribbon eels and much more! Although Wakatobi can be a little lacking in big fish (though they are observed from time to time), the reef fish of Wakatobi are so plentiful and colorful that the reefs appear almost unnatural.

Periclimenes sarasvati in an Anemone

Although it had not been brought into the spotlight, the wide angle opportunities for photographers at Wakatobi rival the macro opportunities. Soft and hard corals are diverse and abundant. Huge cabbage and table corals inhabit the shallows while towering seafans and sponges inhabit the deep. Colorful crinoids dot the reefscape and curious turtles travel the house reef. Some of the guides are even happy to model in your photos!

Wakatobi’s name comes from the combination of the names of five of the main islands in the region. Likewise the Wakatobi diving is a combination of many factors – from friendly service to healthy reefs to an eco-friendly philosophy. These factors have created a dive experience and a resort that is second to none.

Thank you Bluewater Photo for hosting the SoCal Shootout, in which I won the trip.

The post Wakatobi: The World’s Best Reefs first appeared on In Focus Underwater Photography Blog.