This is the first in a series of blog posts comparing shooting with cropped-sensor versus full-frame sensors. I hope you enjoy! – Scott Gietler

When I used to shoot with the Nikon D80, D300, and D7100, when I wanted to shoot macro I had to decide between using the 60mm macro lens and the Nikon 105mm macro lens. Now that I am using a full-frame camera, I no longer have to decide. When I use the 105mm macro lens, it has the angle of view that I had with the 60mm macro lens, but the bokeh and ability to isolate the subject that I had when I used the 105mm macro lens on a cropped sensor camera. The best of both worlds!

I have more room for compositional errors with small fish than I had before with the 105mm lens. And if I crop the photo, I end up with the exact same image I would have taken on a cropped sensor camera. I will admit, one thing I do miss is the lighter weight and smaller port of the 60mm macro lens + cropped sensor setup.

Have you tried shooting with both a cropped sensor and full frame camera? Which one did you prefer? Leave your answer in the comments.

Here’s a sample of photos I took last year on a 3-day Channel Islands trip with the Nikon 105mm VR macro lens. I hope you consider joining one of my photo trips this year to the SoCal Channel Islands in August, Anilao  Philippines in December, or Tahiti for Humpback Whales in September or October.

And if you are serious about macro, check out the Nauticam D850 housing, Sea & Sea D850 housing, Aquatica D850 housing, and the Ikelite D850 housing, and my recent article on photographing mandarin fish underwater.

The post Flexibility of the full-frame macro lens first appeared on In Focus Underwater Photography Blog.

At the end of last year I had the opportunity to take a demo of the Aquatica A7R II housing out for a test. Overall I was very happy with the performance, and had a blast diving with a couple of friends. The housing performed beautifully, allowing me to enjoy the dive and shoot some images without feeling like I was constantly fussing with the new gear. As with all Aquatica housings, the ports with easy to attach and change, controls were well placed and easy to use and everything I needed to access was available on the housing.

The Aquatica Housing uses the same port system as all Aquatica DSLR cameras, so there are no compatibility issues with the larger diameter Sony lenses and port options are available for using the Canon EF lenses and Metabones adapter. The housing comes with your choice of strobe connector, including a fiber optic trigger – which costs no more than any other option, something unheard of with other DSLR and MIL housing manufacturers. In addition, vacuum electronics are available and an optional bulkhead valve is available for added security when using this housing.

Here are a few sample photos from the dive, overall I have been very impressed with the quality, detail, colors created with the Sony A7R II camera, and the Aquatica housing makes it easy to use and love this camera underwater.

For more information on the Sony A7 II / A7R II / A7S II cameras or the Aquatica housing please check out our full review here.

To purchase the Aquatica A7R II Housing, please click here. 

Underwater Images with the Aquatica A7R II Housing:

Going, going, gone! Aquatica A7R II with Sony 28mm + Fisheye Conversion Lens (F9, 1/100, ISO 100)

Diver in the Channels – Aquatica A7R II with Sony 28mm + Fisheye Conversion Lens (F9, 1/125, ISO 100)

Juvenile Garibaldi – Aquatica A7R II with Sony 90mm Macro (F15, 1/160, ISO 100)

Diver in the Kelp – Aquatica A7R II with Sony 28mm Lens + Fisheye Conversion Lens (F5.6, 1/80, ISO 100)

Diver and Sea Fan – Aquatica A7R II with Sony 28mm Lens + Fisheye Conversion Lens (F5.6, 1/80, ISO 100)

The post Aquatica A7R II Housing Photos first appeared on In Focus Underwater Photography Blog.

Our new Mirrorless categories were a hit and almost had more competition than the Open categories in this year’s SoCal Shootout. The macro category was won by Desmond Ho with his crisp and colorful shot of a round ray’s eye. Here are the details of this unique underwater shot.

Title: Round Ray Eye

Location Captured: Anacapa Island

Camera / Housing: Olympus OM-D E-M5 with Olympus 60mm Macro in Olympus Housing with Bluewater +7 Diopter

Strobes / Lights: Dual Sea & Sea YS-D1 Strobes

Camera Settings: F11, 1/250th, ISO200

The Story: I spotted this well camouflaged round ray right outside the kelp forest at the dive site on Anacapa. While my experiences tell me that well buried rays tend to stick around, I did not want to take the chance so I approached it very slowly to avoid spooking it and more importantly, avoid getting stung. With the use of the macro diopter, I needed to get within a 1-2 inch range from the eye to get the maximum magnification. The shot took approximately 15 minutes to take because of my slow rate of approach, inching closer by the minute and snapping shots until I got this shot of the eye. As I backed away, the ray took off at full speed the other direction. It was one of the most exhilarating shots I have taken mostly due to fear of getting stung by the ray while trying to obtain the best shot possible.

Check out all the winning images from the 2015 SoCal Shootout here.

The post SoCal Shootout: Story Behind the Shot, Desmond Ho first appeared on In Focus Underwater Photography Blog.

Olympus created the M. Zuiko 12-50mm lens a few years back, which has been super popular for underwater photography. This lens features a built in macro mode and two zoom mode options (manual and electronic). For underwater photographers it was a first, basically two lenses in one, which allows shooters to have a nice mid-range zoom lens and a great macro lens built into one! Paired with the high quality Olympus and Panasonic micro four-thirds cameras this gives users a much more flexible single lens system underwater.

The 12-50mm lens shoots macro at 43mm, so while its not as strong as the Olympus M.Zuiko 60mm Macro, it is still a great option. We recommend this lens for those folks wanting a single lens system with a focus on macro, for video shooters wanting the smooth electronic zoom option and overall for anyone wanting a quality mid range zoom lens.

Nauticam is the only manufacturer to create an intensive multifunction zoom gear for this lens. While other housing brands offer a zoom gear which will control the manual zoom, Nauticam’s gives you control over both zoom (electronic only) and the ability to move into the macro mode. Due to the unique style of the lens, this zoom gear is larger and much more complicated than any other. It involves full installation on the lens which takes between 10 and 20 minutes depending on how well you can decipher the instructions.

To help make this process easier, we’ve created the video below. Bluewater’s support expert, Tommy, walks you through the installation step by step so you can follow along. Make sure to have the Nauticam instructions with you for reference and we recommend laying out all pieces prior to beginning as several of the pieces ship put together and they need to be split out prior to installation.

If you still have trouble or any questions installing the gear after watching the video please feel free to contact us and we can help you out.

The post Installing the Nauticam 12-50mm Zoom Gear first appeared on In Focus Underwater Photography Blog.

Polar Pro just announced a new version of the Switchblade, the popular underwater tool for GoPro Shooters.

The Switchblade is a combination macro / red filter tool for the GoPro which offers both color correction and improved underwater focus in one piece. You can flip off both the lens and filter to make it work for any underwater scenario you need. The macro piece allows the GoPro camera to focus closer that it will normally, and the red filter offers quick color correction for underwater images and video.

The new 2.0 version has been updated to address some issues that had been reported with the original design and to create a better overall accessory for underwater imaging with the GoPro Cameras.

Switchblade 2.0 Specs:

• 3 in 1 Red/Macro filter for Scuba Diving
• Ultra Powerful 10x Magnification Macro Lens
• Precise Tropical Water Color Correction with PolarPro Formula
• Rubbarized Coating for Added Grip
• Zinc Rivet for added Durability

The new Switchblades will be available at the end of September, call us to pre-order today. Retail price $69.99 (Original model switchblades will be available until the current stock is gone).

The post Switchblade 2.0 From Polar Pro 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.

Text and images by Brent Duran 

Canon DSLR shooters have two main options when it comes to macro lenses – a 60mm and 100mm.  As a full frame shooter I use the 100mm f/2.8L macro lens.  This lens has three focal distance settings that should always be set depending on what you expect to shoot.

.3 – .5m:  This is the shortest focal distance, starting at 1ft (.3m) and will give you a true 1:1 macro image.  The focal range is capped at a distance of .5m, meaning that autofocus will only search for focus within this range.  This is a great setting for shooting small subjects like nudibranchs.

.5m – Infinity:  This setting is for larger subjects and means the lens won’t be used as a true macro lens.  You can shoot larger fish or even a portrait of your dive buddy on this setting.  Note that if you’re trying to shoot a macro subject that’s .3m away, the lens will not focus.

Full:  This setting allows the camera to use its full focal distance, great for versatility and those dives when you’re not quite sure what to expect.  While this is very convenient, the downside is that autofocus will search through the entire focal range.  This means that if you miss focus at .3m it will take some time for the lens to search through infinity before coming back and locking focus at .3m.

As always, make sure to plan ahead before you commit to a setting in your housing!

The post Canon 100mm Macro Focal Distance first appeared on In Focus Underwater Photography Blog.

Text and images by Michael Zeigler

Always one to try something new, I decided to try my hand at using a remote macro snoot. With my home-made snoot from the plumbing aisle of Home Depot, I headed out to Diver’s Cove in Laguna Beach in search for all-things tiny. As luck would have it, I found a onespot fringehead within five minutes of dropping down. This was the first of this species I had ever seen, and I spent a majority of the dive with the little guy.

Fashioned with an Ikelite optical trigger and a Gorillapod, my Ikelite DS-125 was positioned with the tip of the snoot just inches above the subject. Photo courtesy of Michelle Hoalton.

In order to ensure a black background, I did my best to get low and shoot up against as much open water as possible. Luckily this fringehead found a home on a little ledge near the sand, which made this somewhat easier to do. I set my shutter speed to 1/320 and my aperture to F18 for plenty of depth of field with my 60mm macro + 1.4x teleconverter.

Here you can see the snoot (0.5″ in diameter) right above the tiny subject.

Moving in closer without my focus light turned on, I was able to capture the full-frame images below of the skittish critter. Having the strobe off-camera makes using a macro snoot a lot easier when compared to having the snooted strobe attached to the housing. This allows you the flexibility to position the snoot as desired and shoot from different angles without losing your mind. The latter may still happen, just not as quickly.

One of the “keepers” from the dive. With the surge and getting the timing and lighting right, I only had a few “keepers” out of the 50+ shots I took. There is definitely a learning curve. 1/320, F18, ISO 400.

Tiny onespot fringehead at Diver’s Cove in Laguna Beach. 1/320, F18, ISO 400.

The post Shooting with a Remote Macro Snoot first appeared on In Focus Underwater Photography Blog.

Image and text by: Todd Winner

One of the things I love about macro and supper macro is being able to show a subject in a way you never could with the naked eye. In fact, many of our super macro subjects can hardly be seen without magnification. We often catch some of these subjects in our normal macro shots only to discover them when viewing the image on a large screen. (Photography bycatch.) It can be quite a challenge to find and photograph these tiny creatures especially without cropping into the image in post. Below are the tools and techniques that helped me get the skeleton shrimp shot.

Tools & Techniques

First you have to be able to see the subject. On my housing I use the Nauticam 180 viewfinder. This gives me a big bright view of my subject for critical focus. I used the Canon EF 100mm f/2.8L Macro IS lens on a Canon 7D body. This lens will focus down to 1×1 but for extra magnification I added a SubSea +10 diopter. Using one of the flip holders like the Nauticam M67 can make using these diopters much more convenient. For lighting, I used 2 Ikelite 160 strobes and to help with focusing I had a Light and Motion Sola 600.  I noticed a number of skeleton shrimp on a yellow-orange tunicate. To separate the subject from the background, I aimed slightly up and waited for one to walk across the top. The +10 diopter gives you a very shallow depth of field so the soft out of focus area behind the shrimp has a nice bokeh effect even though it is not very far from the subject. Finally in Lightroom I added some vibrance, clarity and a small vignette to direct the viewer to the subject. Super macro can be a great way to spend a dive and best of all you probably won’t even have to swim far from the boat!

The post Todd Winner’s Wednesday Photo – Skeleton Shrimp first appeared on In Focus Underwater Photography Blog.

Here are the winners from last month’s Facebook Photo Contest. We merged Sept and October to bring in lots of great entries, and themed the contest around Halloween with “Creepy Critters” as our theme. We had a ton of great entries, so thanks so much to everyone who participated!

Don’t forget to submit your photos for this month’s contest, which ends Nov. 30th. The theme for this month is “Fish Faces”. Submit your photo’s here.

First Place: Ron Watkins, “Is there something in my teeth?”

First Place – Ron Watkins, “Is There Something in my Teeth?”

Second Place – William Goodwin, “Ghoulish Stargazer”

Second Place – William Goodwin, “Ghoulish Stargazer”

Third Place – Todd Aki, “Happy Halloween”

Third Place – Todd Aki, “Happy Halloween”

Honorable Mention – Chelsea Camera, “Zombie Fish”

Honorable Mention – Chelsea Camera, “Zombie Fish”

Honorable Mention – Tracy Clark, “Bugs”

Honorable Mention – Tracy Clark, “Bugs”

Popular Vote Winner – Peter Waller, “I C U 2”

Popular Vote Winner – Peter Waller, “I C U 2”

Again, congratulations to our winners and thanks for everyone who participated. We’re looking forward to seeing all your great entries for November!

The post Creepy Critters – Sept/Oct Photo Contest Winners! first appeared on In Focus Underwater Photography Blog.