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NOVEMBER 2005

Diving History and the Latest in Digital Video with John Anderson

The November 7th meeting takes a different twist.  John Anderson will be our presenter.  John's program will be in two parts.  The first part of the program will consist of a short history of John’s 50 years of scuba diving and how the diving industry & its equipment have changed with some examples and photos.  He will show some short movie clips of his original underwater non-professional-type movie film and its transition to his present day digital video with its camera and housing.

The second part of his program will be a digital movie that was shot by John and his son Ken, around the Island of Sipadan in Malaysia in 2004.  John created the movie by editing the mini DV footage on his PC.

California Garibaldi by James Wiseman

John started free diving for abalone and got into spear fishing in 1946 in Southern California.  Diving in the cold Pacific waters in the winter with temperatures of 55 degrees creates a real problem in keeping warm.  The only thing that was available to the public then was long underwear.  To dive in those cold water temperatures, John stated you must really love the sport and had to force yourself to believe that you are in exactly the place you want to be and doing exactly what you wanted to do.  He further stated it was a mind-over-matter control issue in those colder temperatures.

John joined the US Navy in 1951 and was attached to an Amphibious Personnel Attack Ship, was sent to school in Amphibious Warfare training, and became an Assault Boat Coxswain.  He operated with the UDT on many operations and traveled to Korea during the United Nations Police Action.  In 1952 John was introduced to scuba and was hooked with the whole experience.  The ship that he was attached to traveled to many different ports of call: the Philippine Islands, the Hawaiian Islands, the island of Okinawa and the islands of Iwo Jima and Hachijo Jima.  While stationed in Korea in 1954, his ship was sent to Vietnam to evacuate refugees.  During his operational stay there and in the other warmer water ports he used every opportunity to dive.

During his last nine months of active duty, John was assigned to a classified small submergible vessel project for its development and testing.  After his discharge in 1955 he returned to the Los Angeles area and started his college education while he continued scuba diving.  During that time, he started recording his dives in a record logbook that now contains about 3000 dives.  His interest in diving during that time was spear fishing and the collecting of marine animals to sell for aquariums.  John's main love in his life, after his wife Lee, was to just be underwater.

His first attempts in underwater photography were with "35mm and movies" in 1960 and were anything but a success.  John found it easier to construct a movie camera housing than a 35mm camera housing because of the number of camera controls and the fact that he had no flash to contend with.  Scuba diving in the 1950s was not a very large sport and there were no dedicated dive shops.  John found a part time dive shop, the "Circus Pet Shop," in the Los Angeles area that made dry rubber suits.  They were made of a non-porous rubber that was prone to puncture or tear.  They still needed the long underwear & socks for warmth.

In 1955, the diving industry was hardly regulated and had no mandated certification.  The only restriction was the wanna-be diver's ability to pay $150 for a 72 cubic foot steel air tank with a J-valve and a twin hose DA regulator.  Two metal bands with a cotton web strap held the tank to your back.  In 1958, John received a Commercial Dive License for the Los Angeles Harbor.  In 1960, John received the first Commercial Diving Permit issued in the State of California, allowing him to collect sea urchins.  That was approved by the then Governor Ronald Reagan.  John used the permit every weekend until his moving to Houston, Texas in 1975.

In his early years of diving, John was privileged to meet Jacques Cousteau who helped John repair a J-Valve at the new very small US Divers Facility.  John also met Colonel John D. Craig, one of the pioneers of color underwater photography, and Jon Hall, popular movie star of the 40s in many South Sea movies and partner of Samson Hall Underwater Housing Company.  Jon Hall became John's mentor and manufacturer of John's own underwater housing for a movie camera with an anemographic lens.  At this same time, John sold some of the tropical fish that he collected in (Gulf of California) to "Marine Land of the Pacific."  Marine Land of the Pacific was the first marine park in the US at that time.  He joined a salt-water aquarium club and won a few show awards with his collections, and then a Sweepstake Award at the Los Angeles Home Show for his refrigerated salt-water tank display.  About this time he became popular with different dive clubs and other organizations that were formed or were forming and was paid to give lectures on the collecting of marine fish for aquariums.  A few of these organizations were the Los Angeles County Diving Instructors, PADI, and Mel Fisher's Dive Club.  Mel Fisher had a dive shop and a dive club in the Redondo Beach area, before moving to Florida and finding the treasure of the Atocha.

From 1962 until being transferred to Houston by Shell Development in 1975, John, his wife Lee, and his three children Donna, Kenneth and Karen, went yearly to the Gulf of California for boating and diving.  Each year, the Anderson's family vacations were spent at the same glorious location collecting marine animals that paid for their vacation.  During those thirteen years while diving in Baja California, John continued to experiment in the manufacture of underwater housings for movies and 35mm cameras.

When the Anderson family was transferred to Houston in 1975, John started diving in other parts of Mexico and off of the Texas coast with his own boat, and he continued producing more movies and stills.  He joined HUPS during our early years and it was HUPS that he credits in meeting his need to explore the ocean without actually being there.  John feels the fellowship of other divers and underwater photographers along with the meetings with the endless information of how to improve one's underwater photography skill is priceless.  A few of the places that John and his wife, Lee, dived together in the last 20 years were: Cozumel, Hawaiian Islands, Florida, Honduras and the Cayman Islands.  John lost his wife Lee in 2002.  John has also dived recently with his son Kenneth in Bonaire, Belize, Bahamas, Malaysia, Indonesia, as well as the Texas Gulf Coast.

Don't miss this exciting lecture and seeing some of John's early footage.  Don't be late as we will start promptly at 7:00 pm.  As always the meeting will be held at the Bayland Community Center on Bissonnett. A map can be found on the back page of this newsletter.  See you there!

Chuck
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October Meeting Recap -
Thanks David

Thanks to all whom where fortunate enough to make the October meeting.  Once again, David Lenderman never ceases to amaze me with his fantastic stuff.  His show on negative space and textures of the reef was spectacular.  David has been very instrumental in the instructional aspect of HUPS and this meeting offered another great learning experience.  He shared with everyone how he uses negative space to improve his images.  The texture images he shared with us gave us some insight on how to make very pleasing and interesting images just by simply putting some thought into these things.  There is a lot more to capturing images than just releasing the shutter, and David gave us a few things to ponder when on your plane ride to your favorite dive destination.  Proper use of negative space can really dramatically improve your image.  Thanks David, we learn a ton from you each and every time, and keep up the good work!

Hurricane Rita Trashes the Flower Garden Banks National Marine Sancutary

Frank and I just returned home from a post-Rita assessment research cruise to the Flower Garden Banks.  The news is not good.  The largest measured wave was 26 feet before the data buoy was lost.  Judging from the damage, researchers estimate waves in excess of 40 feet hit the banks.

Coral boulders the size of a small car were overturned or rolled across the bottom.  Large plate corals up to 18 inches thick were broken off.  Most of the mushroom-shaped coral heads were snapped off.  The large multi-lobed basket sponges were broken off at the base.  Ones that survived were filled with sand.  The sand along the edges of the large sand patches was scoured off down to the bedrock.  In some cases up to 3 feet of sand was removed.  New caves and tunnels were opened up.

Stetson Bank did not suffer as much damage, but algae and gravel was cleaned off the surface on the bedrock.

In addition two other factors affected the banks.  High water temperatures caused a bleaching effect that started in August and peaked after Rita.  Also, after Rita a large area of black water passed over the banks which may have contained toxic materials.  Researchers took samples of water, sediment and corals to check for any contaminants.

Bottom line:
West Bank - 36% of the corals have some degree of bleaching.
East Bank - 42% of the corals have some degree of bleaching.
Coral damage was probably less than 5%. Future cruises will assess this more accurately.

Good News: Water temperatures are dropping to more normal levels.  Many bleached corals had feeding tentacles out at night so they are still alive.  Although in route to the banks we passed through areas of surface debris, mainly trees, we did not see any debris on the bottom at the banks.
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President's Message
Diving with HUPS: How to do it Right!

Over the years, HUPS has sponsored dive trips that have been geared to enhancing the diving experience for a diverse group of water-loving people that all have one thing in common: A desire to take back images of the fantastic things they see when diving.  For the most part, this has been a successful activity and people keep asking for more.  That's great but just what does "more" mean to HUPS members?

In the early days when membership was lower than it is now, the club would only schedule a trip about every other year, and it usually ended up being at one of the local spots, the Flower Gardens or Cozumel.  With a larger membership base, more exposure to exotic locations, the internet, and the advent of digital photography, the ground rules have changed.  For the past 5-6 years, HUPS has been more aggressive in scheduling club trips.  During this time, we've had three very successful Shootout trips to Cozumel and one outstanding trip to Bonaire that was attended by 24 members.  Last year we stubbed our toe and ended up scheduling and canceling two trips; one to Indonesia (Raja Ampat) and one to good old comfortable Cozumel.  The reasons why the trips didn't make were analyzed to death afterward.  To some extent we feel that we learned some very valuable lessons.

First of all, we are making the assumption that there are still a number of members that want HUPS to keep running trips.  I can say this with some confidence because I continue to get questions about when and where we plan to go.  Second, I think that it's also fair to assume that these same people are expecting more from a HUPS trip than just a place to dive with their friends.

This brings me to the reason that I want to talk about HUPS-sponsored trips.  Just how do we do it right?  What we seem to have learned from all this is that three things are more important than any others in capturing people's interest:

  • Location, location, location: This is pretty simple.  Almost everyone with underwater camera gear wants to go to places where they can see new things.  Cozumel is really convenient and difficult to beat in this part of the world. . . but, we've probably been there too many times and there isn't a lot of "new" left there (assuming that there are any reefs to dive on after Wilma was finished).  On the other hand, some of the really exotic locations might take too much time or be out of sight on cost.  The best solution is to find a place a lot of people want to go and negotiate a good price.
  • Timing: This is complicated since no two members have the same needs.  Teachers need trips in the summer.  People with only a few days of vacation per year need to get in the water and back home without blowing all of their vacation.  And of course, we all want enough lead time to fit it into our busy schedules.  Finally, as we've found out all too tragically this year, it's risky business to schedule a dive trip during hurricane season.
  • Value: Just about any dive trip is an insult to our bank accounts.  However, the real issue is not "cost" but "perceived value."  Even somewhat expensive trips will be looked on favorably if we know we're getting a lot of "bang for our buck."  Not everyone in HUPS is willing or even able to come up with big bucks for a trip even if it is a tremendous value.  That's just part of the equation.  The failure of last year's dive trip to Raja Ampat was mostly due to the expense.  It was just out of reach for most of the members and it wasn't viewed as a good "value."

Some other important factors that HUPS members look for in a trip are (1) who else is going, (2) are any special activities planned that will help me become a better UW photographer, (3) what kind of accommodations can we expect, (4) will the dive operation cater to photographers, and (5) is there anything to do for a non-diving partner?

With that being said, what does HUPS need to do?  For one thing, we need to focus on finding dive expeditions that meet as many of the needs discussed above as we can.  We realize that there will never be a trip that will appeal to everyone or that everyone can afford and work into their schedule.  The best we can do is find the best compromises and see if you like what is being offered.

Tom Collier and several other members have been exploring our options a lot lately and we feel that it is possible to offer trips that will appeal to a wide range of our membership.  The proof that we have the right combination may be next year's Lembeh Strait trip, where we will stay at Kungkungan Bay Resort (KBR).  People are starting to come out of the woodwork to sign up for the trip.  Why is it starting to look like a success?  For starters, it meets two (maybe three) of the big requirements of location, timing, and value.  Lembeh Strait is a place most underwater photographers have on their "must dive" list.  The cost is not exactly cheap but it certainly has excellent value.  Timing is the weakest point.  We haven't allowed a lot of lead time and it does take a moderate chunk of vacation time.  However, we still have ample time to put it together and it is shorter than many trips to that part of the world.  Finally, from what we've heard from Tom, there will be a lot of activities geared toward learning how to become better underwater photographers.  The word is also out that the KBR dive masters are very camera-friendly and super critter spotters.  It's a beautiful place to stay and there are many things to see in the northern part of Sulawesi.

In the future, we will continue to take these factors into full consideration when choosing what trips will be offered to HUPS members.  It is even possible that we may link up with other underwater photography clubs to get more participation and to broaden our experiences.  One thing that you can count on is that you will be asked for your opinions and preferences before settling on a particular trip.

The November 7th meeting will be a busy one so please arrive early.  We will be starting at 7 pm even if you are still in the car or walking in the door.  See you there.

Dennis
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Check it Out on the Web

This month’s featured site is http://www.splashdowndivers.com/photo_gallery/underwater_photography/index.html.  This is the website for Splashdown Divers and a guy named Peter Schulz.  On this site he has compiled a ton of information on underwater photography.  He lists all the settings he uses for his Olympus C series cameras.  Peter now shoots with a Nikon D70 and has lots of good tips for that camera listed here: http://www.splashdowndivers.com/photo_gallery/underwater_photography/up_settings_d70_notes.htm


Diving the Nikon D2x

In these nascent years of digital SLR photography, many Nikon underwater photography stalwarts have felt compelled to forsake their time-honored brand, switching to Canon, and even Fuji, in favor of those innovative and rapidly advancing lines of digital SLR cameras.  Nikon gained back some ground with the D-100 and D-70 camera bodies, but Canon always seemed to be one step ahead in bringing new, higher resolution systems to market, and the housing manufacturers quickly adapted to serve them up for us.  But the digital race is far from over, and the Nikon marketing juggernaut is just gaining traction.  This latest offering from Nikon, the equally impressive and pricey D2x digital SLR, may serve to stem that tide of desertions, at least for the highend side of the market.  From my initial experiences with this camera, those who waited may well be glad they did.

by Ken Knezick

Depending upon one's chosen perspective, the D2x is either ridiculously expensive or immensely functional, probably both at once.  Weighting in with 12 mega pixels of resolution and a host of updated features, the D2x is, for the digital moment, Nikon's top of the line camera.  After a good deal of investigation, procrastination, and soul searching, the D2x is what finally got me back into a single lens reflex for my underwater photography.  This report is the result of my first outing with the D2x, (safely?) ensconced in a Nexus submersible housing.  Ten days of diving at stellar Wakatobi Resort in Sulawesi, Indonesia gave me ample opportunity to put this system to the test as a serious tool for underwater photography.

Above water, my first impressions of the D2x focused on its size and heft.  It is a good bit more consequential than my previous Nikon N-90 film SLRs, or my wife's neat D-70 digital.  But once buckled into the Nexus housing, the D2x system seems compact and efficient.  In the water, with a single strobe and my legacy Ocean Brite strobe arms affixed, the rig is only minutely negatively buoyant, weighing but a few ounces.  As with my previous Nexus housings, the grips are well balanced and comfortable for my relatively large hands.  When the left hand was needed to steady myself, keeping my body off the reef, I was easily able to shoot single-handed.

The Nexus housing presents the user with an impressive and initially baffling array of buttons and controls, many of which have little or no practical application for underwater work.  But the important controls, aperture, shutter speed, focus or zoom, and shutter release, were comfortably presented and operated very smoothly.  The one additional control I would have liked to access is the focus lock, which on the D2x is a button on the back of the camera.  In this housing configuration, the button's position rendered the control unreachable while operating the shutter.  Fortunately, the D2x's excellent auto-focus capability, even in low light situations, kept this lack of control access from being a major drawback.

The viewfinder on the D2x is appreciably larger than that of the D-100, a critical point of sale for me and my "old eyes."  The diopter vision compensation adjustment on the eyepiece is also very helpful in this regard.  It enables the shooter to select from -3 to +2 diopter settings, focusing the viewfinder to personal preference.  In practice on the reef, I experienced no difficulty in seeing and composing images with this well-designed camera and housing combination.

by Ken Knezick

Another advantage of the D2x is its larger image display screen, which is thoroughly viewable through the Nexus housing's spacious back window.  This image enables the photographer to immediately assess the previous shots for exposure, focus, and issues of composition.  With the rapid write speed of the D2x and an 80-x Compact Flash memory card, I found I had virtually instant access to the image on my display screen when shooting the highest resolution Jpeg files, and only a brief delay for Raw files.  Ultimately, this instant feedback functionality is digital photography's ace in the hole.

Though this issue is much bandied-about on the message boards, with such a rich view instantly at hand, the availability of TTL flash metering is a non-issue for my purposes.  Underwater, I am shooting this D2x system in full manual control.  My default settings upon entering the water are 1/125 of a second and an initial aperture of f-11, with my strobe(s) dialed back to 1/4 power output.  In many eventualities, this would result in a satisfactory exposure for mid-range subjects such as reef fishes.  But whenever possible, I would fire at least one or a series of test shots on the way in to stalking an animal, refining my settings as needed before approaching more closely.  Before moving in for a macro shot, I would begin with f-22, and again use the image display to tailor the exposure.

Back in the halcyon days of film, professional underwater photographer James Watt used to wrestle with a concept he called "fire control."  As we cannot change film underwater, Jim was torn between taking the next shot, and reserving a few frames at the end of the 36-exposure roll for the whale shark, or mating nudibranchs, that we hoped were just around the next coral head.  With this D2x system, we need no longer worry.  Shooting the highest resolution Jpeg file, writing to a 2-gigabyte memory card, I had capacity for 400 images.  Even shooting Raw files, I have room for 180-200 shots on that 2 gig card.  Such welcome capacity leaves room for plenty of bracketing and creative experimentation.

Nor do related technical issues necessarily limit the firepower.  The D2x is powered by a proprietary lithium ion rechargeable battery pack.  With a prodigious capacity of 1,000 or more shots per fill, I was able to go two or three days between charges.  At the end of a day's shooting, which often entailed 200 to 300 exposures, I had only to download the memory card, and put the strobes on charge, to be ready for the next day.  Sadly though, rather than spending all my leisure time savoring a drink and watching sunsets from Wakatobi's oceanfront patio, the remains of my day were filled with culling and editing images at the laptop.  The positive side of this, or course, is that at the end of a dive trip I head home with finished products rather than a lead bag full of undeveloped films.

At the outset of this report, I have acknowledged that the D2x is an expensive habit to cultivate.  Be forewarned that the considerable cost of this camera, media cards, housing, ports and gears is not the end of it.  Moving to a high resolution digital camera, and shooting hefty Raw files, may well also entail purchase of a faster home computer with extra RAM and a giant hard drive, a similarly tricked-out laptop for the road trips, the latest image manipulation software from Adobe, supplemental storage drives, new "digital" lenses, and possibly marriage counseling as well.

Nor will a D2x, or any other of the fine new digital systems, instantly make you a better underwater shooter.  The camera is but a tool in the hands of the photographer, weighty with both assets and impediments.  You must still train to be a safe competent diver, master the array of camera controls at your disposal, continually practice and refine composition issues, and most importantly learn how to carefully approach these skittish marine animal photo subjects on their own terms.  Only then will your sophisticated underwater camera system become a tool of creativity rather than a very pricey and frustrating weight belt.  Becoming a competent underwater photographer requires practice, resolve, and good tools.  This D2x and Nexus housing is as fine a photography system as I could have hoped for, well exceeding my considerable expectations.  Now it is for me to turn all this potential into intriguing underwater images.  Which means it is time to stop writing. . . and go back to diving.
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Travel and Dive with HUPS

April 13-23, 2006
Lembeh Strait, North Sulawesi, Indonesia

HUPS has scheduled a dive trip to the Lembeh Strait in North Sulawesi, Indonesia.  The dive trip is an Island Dreams Travel guided trip and HUPS will be a sub group.  The trip leader will be Ken Knezick.

Lembeh Strait is one of the world's best muck diving locations and is famous for all the weird critters that live on and in the black volcanic sand.  The strait boasts pygmy seahorses, bangai cardinal fish, hairy frogfish, mimic octopus, blue ringed octopus, and numerous nudibranches, mating mandarin fish, bobtail squid and a host of colorful frogfish.  One day of diving will be to Banka Island, which has totally different characteristics: blue water, steep walls, and lush soft corals.

Six days of diving: 3 boat dives per day + 1 boat night dive + 1 shore night dive + unlimited day shore diving on the house reef at Kungkungan Bay Resort.  KBR is nestled on the site of an old coconut plantation on the North Sulawesi coast of the Lembeh Strait.  The resort is very camera friendly with spacious and secure camera room containing ample space for camera storage and working on your equipment.  Dive guides are assigned to groups of approximately 8 divers to maximize your photo opportunities.  KBR has a great web site, check it out: http://www.kungkungan.com/.

Informal evening workshops will be arranged to review photos on a digital projector.  The participants can display photos and solicit comments.  The group discussion can be used as an opportunity to develop and enhance your underwater photography skills.  Suggestions for strobe placement, aperture settings, shutter speed, etc. can be solicited.  My topic of choice is “How should I crop this picture?”

Island Dreams Travel will also sponsor a photo contest to be judged on the last night, for the "best photo from Lembeh Strait."  Island Dreams gift certificates for future travel, of $300, $200, and $100 will be awarded as prizes.

Airfare, accommodations, meals and cost of diving are included in trip cost.  A short overnight stopover in Singapore on the way out and a longer overnight stopover in Singapore on the way back are scheduled.  (Cost of meals during travel is not included in trip cost.)

$2,975.00 total trip cost from Houston.  A $500.00 deposit is required to hold your spot.  $100.00 Early Bird discount, if deposit is received before 12/15/05.  HUPS contact is Tom Collier.  Send Tom an email if you are interested in this trip or have any input concerning future HUPS trips: tom@tpixs.com

Summer 2006
Digital Photo Workshop at the Flower Gardens

HUPS will be leading a Flower Gardens digital photography workshop in Summer 2006.  This will be a HUPS sponsored trip with HUPS divemasters handling the diving and fills.  James Wiseman will be presenting a series of lectures covering digital photography topics such as gear selection and setup, digital photo underwater techniques, topside image processing, and image archiving.  In the evening, James will show some of the club members' photos from the day's diving, and provide tips for future improvement, and digital image processing.  HUPS contact is Tom Collier.  Send Tom an email if you are interested in this trip: tom@tpixs.com

Spring 2007
We are working on scheduling at least one trip a year for HUPS travel.  Discounts for group travel can be obtained, depending on where we go and the size of our group.  Your suggestions for future trip locations are welcome.




Upcoming Monthly Photo Topics
Each month we will have digital and slide contests. See the complete contest rules. See contest winners.
November 2005 - Scorpio - Scorpionfish, stonefish, and lionfish exclusively 2006 Topics to be Announced Soon
December 2005 - Best of HUPS contest

November - Scorpio - Scorpionfish, Lionfish and Stonefish

Lionfish, Scorpionfish and Stonefish are all members of the taxonomic Family Scorpaenidae.  Maybe we could just call it fish with pokey, stinging spines.  Fish in this family are quite diverse.  Some live in tropical waters, some in temperate waters, some are pretty some are ugly, but they all can sting you.  If you want to take a look at some of the various members of this family check out this site.  If you have some great images of Scorpionfish, Lionfish and/or Stonefish be sure to enter them into the November contest.  You can’t win if you don’t enter.

At monthly meetings we will have both slide and digital contests.  Entries for the slide contest should be brought to the meeting.  Entries for the digital contest should be emailed to photocontest@hups.org at least 24 hours prior to the meeting.  This mailbox is reserved for entries only.  If you have a question regarding the digital contest e-mail Dennis Deavenport or James Wiseman.  Complete contest rules can be found here.  If you do not follow the rules for digital entries your images will not be judged.
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Monthly Contest Results

Due to a problem with the scoring machine we had to postpone the October contest until the November meeting.

HUPS Members in Action

We try to give our members a pat on the back when they are published or win a contest.  If you know of a member, including yourself, who has been published or won a contest let us know.  This month Christa Loustalot had the Parting Shot inside the back cover of the DAN magazine - Alert Diver.  It is an image of an octopus from Cozumel.  Also in the same magazine Jesse Cancelmo, a frequent contributor, had a couple photos published from the Flower Gardens.  These images can be found on pages 33 & 34 of the November/December issue.  Jackie Reid placed 4th in the Macro Prints category of the LAUPS annual contest.  Jackie’s image along with the other winners can be found here here.
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For Sale

Olympus U/W PT-020 Housing, which is fitted for an Olympus C-5060 camera, purchased in August 2004 brand new.  Have upgraded to new camera and housing.  Asking $75.00 or OBO.  Please contact Kandace Heimer.

Muck Diving

In an effort to help educate our less experienced members, we will try to feature a basic term or concept in each month’s newsletter.  If you have an idea for a featured concept or have a question you would like answered, e-mail it to underh2o@mail.ev1.net.

Muck Diving - Doesn’t sound very glamourous, but diving in the muck is where some of the best underwater images are created.  Muck diving is the practice of diving on areas dominated by sand, rubble and/or algae.  These sites typically have underwater visibility in the range of 20 - 40 feet.  Muck diving is often practiced in areas of the Indo-Pacific with black volcanic sand.  Places like Indonesia, Papua New Guinea and the Philippines each have their specific areas famous for excellent much diving.  This is very different than diving on a coral reef.  The critters to be found in the muck are also very different from the critters found on the reef.  That is the whole point.  Muck diving results in finding the strange, bizarre critters underwater photographers seek out.  Critters like mimic octopus, pipefish, seahorses, frogfish, all types of odd crabs and tons of others can be found in the muck.

Diving in the muck has it’s special challenges.  The bottom is often covered with very fine sand.  This fine sand is easily stirred up.  It is critical to move slowly to avoid a sandstorm.  By swimming well above the sand and using slow, gentle kicks, divers can avoid silting up the whole dive site.  When you find a subject and are ready to take a shot, don’t be afraid to settle down onto the sand to take the photo.  Just be sure there are no critters in the way.

Just to show you that good muck dives can be found anywhere check out this link.



What Makes a Good Photo?
Part Two - Proper Exposure

We have all seen underwater images that we really like.  Viewers are attracted to images for different reasons.  Some may like the subject, some may admire the difficulty of the shot, some like the pleasing composition.  So there are tons of reasons to like a particular image.  In this series of articles I plan to discuss several traits of an attractive underwater image.  These are things I feel an image has to have to be considered a "good" image.

Exposure - Not too light, not too dark, but just right.  The image should be free of dark areas and hot spots.  Generally a nice even illumination is preferred.  Sometimes it is acceptable to have uneven lighting if it accentuates the subject.  Uneven lighting can used to highlight the texture or certain features of the subject.

If you are shooting macro then you are mainly concerned with your strobe exposure.  This is controlled by the f-stop, strobe-to-subject distance and your strobe power setting.  Shutter speed typically will not impact the strobe exposed portion of the image.  In macro photography shutter speed can impact the amount of ambient light in the background of the image.  If you want a black background, shoot at higher shutter speeds.  If you want a more illuminated background experiment with longer shutter speeds and wider apertures.  This can give you the blue water in your macro shots that seems to be popular these days.  You can learn a tremendous amount about your lighting by putting in a little practice time at the pool.

If you are shooting wide angle things get a little more complicated.  If it’s a wide angle image then the background should be a pleasing blue color.  For wide angle you need to be concerned with both the strobe exposure and the blue water background exposure.  Remember the strobe illuminated portion of the image will be controlled by the f-stop, strobe to subject distance and strobe power setting.  The blue water background exposure will be controlled by the f-stop and shutter speed.

The best thing is to consider a wide angle image as two shots in one.  First determine what f-stop and shutter speed combination will create that blue water background.  You should be able to do this using your camera’s metering system.  Once the f-stop is determined, use it to determine your strobe power setting and/or strobe-to-subject distance.  You set the strobe power, f-stop and strobe-to-subject distance for the strobe illuminated portion of the image.

Let’s make up an example.  It’s a sunny day and I meter the middle blue portion of the water and determine that 1/90 shutter speed and f-8 will give me a blue water background.  My strobe exposure chart (that sticker on the strobe) says that at f-8 and full power output my strobe should be 3 feet from my subject.  So I position myself so the strobe is 3 feet from the subject and I shoot.  If I want to get closer then I will need to turn the power setting down on my strobe and refer to the strobe chart again.  In a perfect world these settings result in a shot that has a well illuminated primary subject with a pleasing blue water background.

One thing to consider when shooting is the reflectivity of different portions of the image.  If you are shooting a dark red sponge but right next to it is a bright yellow sponge, keep in mind that the red sponge will soak up the light while the light colored portions of the image will reflect it all back to the camera.  It is very difficult to balance proper exposure of very light and very dark portions of a single image.  You can often get around this problem by recomposing the image or just approaching from a different angle.  If you are going to have both light and dark subjects in the frame, position yourself and the strobe so the dark subjects are closer to the strobe and the light subjects are further from the strobe.  This will help because the closer to the strobe the more light the subject will receive.  Look at your subject and it’s surroundings before you shoot and determine if any special lighting challenges exist.

Take a few minutes and review your favorite images to determine if the exposures are as good as they can be.
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Quick Tip

This month’s tip is for those shooting compact digital cameras.  The tip is check out this web site.  There is a good article on five things you can do to improve images created with a compact digital camera.

Important Dates
Put them on your calendar
November 7, 2005
HUPS Meeting - John Aderson - Fifty Years of Diving and Digital Video from Malaysia
January 10, 2006
HUPS Meeting - TBA
March 7, 2006
HUPS Meeting - TBA
December 5, 2005
Special HUPS Christmas Party
February 7, 2006
HUPS Meeting - TBA
April 13-23
HUPS Trip to KBR - Lembeh Strait - contact Tom Collier tom@tpixs.com

2005 HUPS Officers and Committee Directors

Map

The Houston Underwater Photographic Society (HUPS) meets the first Monday of every month at 7:00PM at the Bayland Community Center, 6400 Bissonet, near Hillcroft.

Social time begins at 7:00PM for members and visitors to get acquainted. Visitors are always welcome to join us. So, stop by and see what we are all about!


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