Scubashooters net e mag issue n21 nov 2016

ISSUE

N°21 N O V 2016

PORTFOLIO

Alan Lo

HOUSING: TECNIQUE: DOUBLE EXPOSURE NIMAR D500 Nimar Preview

by A. Morettin MACRO WORLD: SERPULA

by A. Giannaccini

TESTED THE COSMIQ DEEPBLU

by M. Palla

CRITTER CORNER: LIONFISH

by J. Fifer &ReefID MOLA MAGIC: BALI EXPERIENCE

by S. Follows

Dear friends, It happens sometimes that people I meet around the world ask me, why scubashooters? Where is this name coming from? Very simple! Infact it is a composite name made up of the words scuba and shooters. Shoot, shooting are common words used by professional photographers when they sit in a studio with a professional model to get fashion images or when they wander around an area to get images from that area or town for a specific purpose; SCUBA is a word invented by the father of all the modern recreational diving activities, Mr Jacques Cousteau... S.C.U.B.A.is actually an acronym, and it means Self Contained Underwater Breathing Apparatus. So the idea of our name is to link history and tradition in the diving industry to professional and amateur photography.

Scubashooters.net is the place where amateurs can learn amd professional get inspired, but it is also the place where scientists can find useful informations where some species prosper and where they don’t , must to make an example.

We want to bring the beauty out of the seas by means of our photos we want to increase people awareness on the fragility of our Oceans . We are aware that for a variety of reasons not everybady is able to go underwater and see the ocean’s beauties with their own eyes, but I’ve seen the wonder in people’s eyes when they saw for the forst photos taken underwater and no matter wether the subject was a whale or a shark or a tiny shrimp or nudibranch...

The amazement was always the same a d this made me think, made me want to bring out the beauty for everybody to understand how beautiful the sea can be and how much unrespectful the human being can be. This is the main reason why in all our contests but especially the upcoming DeepVisions 2016 we will disqualify all the staged shots, those photos where there is a clear sign of manipulation to get the winning photo and those photos showing animals in un natural behaviors or locations. Stay tuned for more on DeepVisions 2016 and be ready to take part to the competition ( but before doing it be sure that you remove your watermarks from your photos ).

Marino Palla Owner and Founder Scubashooters Network

Cover image “The predator” By: Alan Lo

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C O N T E N T S 3

EDITORIAL

by Marino Palla

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MOLA MAGIC

by Stefan Follows

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COSMIQ by DEEPBLU

by Marino Palla

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NIMAR D500 HOUSING

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PORTFOLIO

by Alan Lo

DOUBLE EXPOSURE

by Adriano Morettin

ABYSS 2016 International Underwater Photo Contest

CRITTER CORNER: “Lionfish”

by John Fifer

EAR INFECTION AND DIVING: A difficult relationship !!!

by DAN Europe

SERPULA VERMICULARIS: The red flower

by Francesca Romana Reinero and Alessandro Giannaccini

Editor: FABIO STRAZZI Verein Scubashooters, 8952 Schlieren - Switzerland

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MOLA MAGIC Words and Pictures

Stefan Follows

TRAVELS

14 So, my first dive in Balinese waters and I’m all set up for a nice gentle macro dive. I should probably say at this point that I’m used to diving daily in the much more sheltered, shallow and murkier waters of the Gulf of Thailand. It’s been a while then since I find myself in a ‘proper’ current with some kicking swell and Gin Tonic clear water. Not much hope of staying still to get a shot let alone spotting anything to try one on! So I decide to quite literally go with the flow and enjoy the sweet delights of a proper drift dive in proper visibility.

I’ve travelled to Bali primarily to find and photo a Mola. I’ve been lucky that in over a decade of diving in Thailand to have seen and shot many of the macro and mega that divers and photographers dream of. However, one huge wish left on my bucket list has been to see a Mola. I’ve read and discussed over the years with customers, friends and colleagues the best times and places to see them. In 2015 I had the opportunity to take two weeks away from work and family to go find myself a Mola in Bali. A little research made it clear that the two best sites for the chance of a Mola encounter would be Gilli Mimpang and Chrystal Bay both of which are easily accessible from the south east of Bali in a small and busy port called Padangbai. Padangbai would also offer a host of other sites offering the full gamut of beasts and critters as well as easy day trips to other popular location like Tulamben.

So, back to drifting along Padangbai ‘Ferry Channel’ on my warmup macro dive. About ten minutes into the dive I notice my guide moving away from the relative shelter of the reef into open and deeper water.

Then 15 minutes of beautiful chaos ensued as my first Mola moved into view and swam past me, gloriously close. I am of course cursing myself and the universe as I’m set up for macro. So I try my best to get ‘up close and personal’ and take a portrait shot to make the most of the situation.

I’m blessed a little it seems on this dive as the Mola turns and swims back towards me very slowly allowing me plenty of time to get the distance and camera settings right. Just an amazing experience. Day one turned out far from the way I had envisioned it but, way way better.

Day two and after the ‘macro’ mishap of the day before I was double sure wide angle was the way to go as I was heading to Gilli Mimpang, specifically to find Mola. There had apparently been an unusually high number of sightings in the past week. Possibly because a recent super moon had brought a lot of cold water up from the depths. Mola are up to four meters vertically and usually inhabit deep water but will rise to the shallows with cold water upwelling to seek the cleaning services of reef fish.

16 Like so many marine species, if approached calmly, slowly and on their terms, not our own egos, then it is possible to have up close and sustained encounters. This was going to be a problem on this day though. As is so often the case with popular and accessible sites with sought after wildlife, it can so often bring out the worst in people.

I saw four Mola on the first dive of which the first two were immediately mobbed by divers and driven back into deep water. Fortunately, I had a very experienced local guide who managed to get me away from the horde and again up close with other Molas.

I was shooting with an Olympus OMD EM5 in a Nauticam housing and ports.

I had planned to primarily use two lenses, the Olympus 60mm for macro and for wide the Lumix 8mm, but also use the Olympus 12-50mm lens for just pottering about. For lights I used two Inon D2000 strobes and a DeepBlue focus light. I love how compact and light this system is, not only for travel but underwater also. Especially in the proper currents, swell and surge

diving around Bali can bring. All in all, my baggage including dive kit, photo kit and personals came in at 24kg. Awesome!

For shooting the Mola I used several techniques. Firstly, natural light only taking advantage of the crystal clear water and bright sunshine. For this I put the camera into shutter priority with a speed of 1/125 to make sure I could stop the action and get good sharp focus. ISO was either on 400 or 800 depending on depth and intensity of available light. The camera could then adjust aperture which, with the 8mm, still provides ample depth of field even wide open. Secondly, strobes on in manual and set two stops down from full to start with. Camera in manual mode so I would adjust settings to achieve the blue background desired while getting good exposure on the subject. ISO would again be either 400 or 800 depending on needs. The first approach is great if the action is fast moving as there is less ‘work’ to do with the camera allowing more time to get good position particularly if there are lots of divers around. The second works well for me when there is more time and the scene is less busy.

All in all, my Mola experiences were among some of the best I’ve had underwater. Bali has some amazing and extremely accessible diving. This is of course a blessing as well as a curse. However, with a little planning and the sound advice and guidance of local guides it’s more than possible to avoid the crowds. I’ll be planning a trip to Bali next year, if I can between September and October for Mola

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COSMIQ by DEEPBLU Words and Pictures

Marino Palla

I had the chance to test a Cosmiq kindly sent to me by our friends of Deepblu thoroughly and I must admit I have been impressed by so many things that I’m sure will make this little dive computer a huge milestone and a reference other manufacturers must take into account for their future productions, a road others will follow if they want to keep the pace on the innovation that Cosmiq brought in since its first appearance on the market.

They probably went after Steve Jobs’s philosophy when he used to say that a good product must have a good packaging. So even unpacking the Cosmiq is a pleasure for hands and eyes, Cosmiq comes inside a sturdy-fashion-nice looking black cordura case containing everything you need to run, charge and protect your Cosmiq; beside the computer you will find a quick reference manual, the wet contact magnetic charger cable and two protective films to prevent unwanted scratches on your brand new Cosmiq screen.

You can either run Android or IOS and downloading the app from the relevant store ( for Free ) is just a matter of seconds and in minutes you will be ready to pair your Cosmiq with your telephone. The app serves as a dive log where you can add many informations like place, divespot , buddies, gear and so on but also Photos in case you are an underwater photographer you will always remember where and when you took that amazing shot; the app also serves as Computer’s settings manage: it is via the app you set for example the percentage of oxygen

REVIEW you will have in your tank, so Nitrox divers will very easily and conveniently be able to set up the right percentage in seconds and remembering complex wet touch buttons combination to get into the settings is not required anymore, and in my opinion this is another good reason to buy a Cosmiq.

Ok, now you switched on the computer, paired it to the telephone set it up and you are now ready to go into the water.If you are a normal diver and by normal I mean two dives / 1 hour each a day you will be able to dive two days without recharging the computer, if you are a heavy duty diver doing three or four dives 1.5 hours each you can expect your battery to support you throughout the day ( recharging is very easily achieved by using the magnetic wet contact recharge cable which will charge the batter by using the computer’ wet contacts and any USB charger ). The wrist strap is very easily adjustable to fit any size thanks to a velcro strap and a couple of stainless steel clasps: here the Cosmiq reveals one of the two minor weaknesses I found ,that’s to say if you don’t make very sure your velcro is very well closed and for whatever reason it looses while underwater there is the chance the computer might fall off your arm; the guys and girls at Deepblu assured me they are working to fix this issue. This is a theoretical weakness as I have been using Cosmiq for more than thirty dives without any problem with the velcro. .Cosmiq comes with an additional bungee cord that can be used instead, especially for drysuit diversAfter few minutes into the water Cosmiq reveals what in my opinion is its second and last weakness: being the size of a big

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watch and flat back kind of case you must wear it exactly as a watch giving some hard times to read it especially if you are a photographer; having the chance to wear it on the side of your wrist would offer a greatly enhanced visibility for everyone but especially for photographers,but hey! if you don’t mind to turn your forearm

to have a look at the display then I can assure you will be amazed by the clarity of the digits and the information‌ During nightdives Cosmiq retro illuminated screen will offer its best performance offering all the required information promptly at a sight, no need to touch,bump or press the computer or any button.

Puerto Galera - Oriental Mindoro - Philippines

Share your passion for diving wishlist exploring the magical underwater world of Puerto Galera.

This fabulous destination offers the perfect mix of diving and culture, hiding surprises for even the most expert of divers in its unique biodiversity and colourful marine creatures.

An ideal destination for macro photographers.

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NIMAR D500 HOUSING

NiMAR is glad to present the new underwater camera housing for Nikon D500 The huge potentials of Nikon D500, the latest product and flagship DX-format camera of the Japanese manufacturer, ensure the use even underwater.

For this reason NiMAR, Italian manufacturer of underwater housings for cameras and video cameras for more than 30 years, has decided to create a new housing dedicated to D500.

NID500, this is the name, is made in clear polycarbonate and is waterproof up to a depth of -60 metres.

The practical mechanical controls allow to manage intuitively and effectively most of the functions of the camera both when photographing and video shooting at 4K/UHD. It is waterproof thanks to 4 hooks in stainless steel AISI 316 with safety clip so as to assure a proper closing.

Furthermore, to address the absence of the built-in flash, the synch mounting flange on the housing body allows the installation and use of an external flash connected by means of an electrical cable.

A new TTL trigger system is expected soon, thanks to which it will be possible to

PREVIEW work via optical fibre with the main underwater flashes available on the market by making full use of the Through-The-Lens system that will set at best the exposure for our shots.

On the back, beside the mechanical controls in chrome-plated brass, there is a magnifying viewfinder with a 1.5x zoom.

Inside there is a moisture meter with red led and buzzer.

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The best and safest way to enjoy recreational dives at most.

The manufacturing material we used, Bayer’s MakrolonŽ polycarbonate, is comparable to the top quality materials since it’s shock and sea salt wear resistant.

Despite a thickness of ca. 10 mm the housing size and weight are kept to the minimum in order to facilitate the use underwater.

The front bayonet mount grants the installation of portholes and domes so as to use the most suitable lenses for underwater photography/video shooting.

Moreover, the NiMAR catalogue includes a wide range of compatible accessories like arms, lens holders, handles, etc.

All the required spare parts for a suitable maintenance are included in the supply, in addition to the side handles in ABS where the arms for illuminators

and flashes can be easily mounted.

The paper User’s Mounting Instructions and the tutorial online video, available on the NiMAR YouTube channel, rapidly and directly provide the user with all the information in order to use and mount the equipment properly.

NiMAR offers then to its customers a direct technical support and a complete and constant assistance.

Official Nimar site: www.nimar.it

From 1992 Diving & S.P.A

Nature

&

Archeology.

The magic of

’

men s art and

’

nature s art

in a wonderful place to be discovered

Via Miliscola, 163 80078 Pozzuoli (NA) - Italia Cell.: +39 3292155239 - tel./fax: +39 081 853 1563 from Tuesday to Sunday from 9.00 a.m to 8.00 p.m.- (monday we’re close) Email: info@centrosubcampiflegrei.it Web site: www.centrosubcampiflegrei.it

Haybols Scuba Hub is a homey, comfortably furnished, bed & breakfast inn that offers scuba diving courses, rentals and services.

Bauan-Mabini RoadAnilao, Batangas, Philippines +63 917 856 6887

www.facebook.com/HaybolsScubaHub

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Alan Lo

PORTFOLIO

PORTFOLIO

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Alan Lo is a commercial photographer based in Hong Kong and a scuba diving aficionado, Alan Lo expresses his passion and curiosity to the underwater world through his multi-faceted approach to photography originated by his innovative and artistic interpretation of life, people and nature.

Awards & Recognition Achieved: - 1st Annual World Oceans Day photo contest, Underwater Life winner 2014 - Nature Best Photography Asia – Ocean, highly honored 2015 - Scuba Diving magazine’s 2014 photo contest_bronze award - Our World Underwater 2013 Macro Unrestricted ‘bronze award’ - Scuba Diving magazine’s 2013 photo contest, “Through Your Lens IX,” bronze award - Indonesia World Underwater Photo Contest 2013 ‘Honorary 1st Prize’ - Blancpain - Edition Fifty Fathoms best 50 photographers 2015 - Seacam photographers - Member of the Ocean Artists Society Underwater photography is like shooting in a boundless outer space. It

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opens up the imagination of a mysterious world that extends the limit of depth and direction. By overcoming the challenge to maintain a perfect buoyancy control and to shoot through an incredibly thick medium of water, a photographer will be able to enjoy the endless new discoveries, which the underwater world brings to mankind.

“Get close, stay close and explore new possibilities” is what Alan has been demonstrating in capturing the precious moments during his diving trips at: Indonesia - Komodo, Manado, Lembeh Straits, Alor, Banda Sea, Tulamben Philippines - Anilao, Malapascua, Puerto Galera Ecuador - Galapagos Malaysia - Mabul, Sipadan, Sabah Maldives, Palau, Fiji Islands Vietnam - Con Dao Academic Background: Alan is a graduate with 2nd class honor’s degree at the Central Saint Martins College of Art & Design, London, UK. in 1992. He is specializes in creative portraits, food & beverage, interiors and underwater photography.

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Our products are all MITQ (MADE IN ITALY TOTAL QUALITY) and allow an OPTIMAL BUOYANCY during video and photography.

Our LIGHT ARMS are made with a preanodized 6060 aluminum alloy blue tube (Ø22 mm) and have two preanodized 6026 aluminum alloy SML-pearl-grey spheres (Ø 25 mm) at the ends (9 different lengths are available).

Our BLOCKING SYSTEM (CLAMP) is composed by two preanodized aluminium alloy 6026 pearl grey SML butterfly clamps, a button-head stainless steel screw and an aluminum alloy 6026 anodized blue wing nut.

Thanks to the clutches mounted inside the clamps, tightening is smooth for adjustments but at the same time sturdy and rigid for operation.

Our ACTION CAM BRACKET is made of AISI 316 stainless steel (3 mm thick and with black Delrin inserts).

It consists of two laser-cut plates and a pair of folding handles with blocking mechanism. The coupling of the two plates is via a M8 dowel acting as a guide. In the rear part the handle has an additional 1/4 UNC thread for extra applications (eg. Gorilla POD or similar), an extendible guide plate and a small base for bi-adhesive connections.

An anodized aluminum stick simplifies macro recording allowing to force the minimum recording distance from the subject. The handles terminate with preanodized 6026 aluminum alloy SML-pearl-grey spheres (Ă˜ 25 mm), thus allowing for the maximum flexibility for lights and additional parts to be connected to the base. The system can be offered with Lock-line terminations instead.

Our SCUBA VIDEO LIGHT Led C-95, electronically realized in cooperation with Elbatech Srl, is made by an 6026 SML pearl-grey anodized aluminum alloy body (Ø 60 mm) (milled from full aluminum bar), with a ring-bezel rear cover in black Delrin (Ø 70 mm) and with a 8-mm thick front polycarbonate glass. Its weight out of the water is 750 g, in the water 270 g.

LIGHT FEATURES: High intensity LED diode: CREE LED array CXA1304, 900 lumen, 5000°K Viewing Angle: from 85° to 140° CRI: 90 to 95 Battery: Li-Ion rechargeable battery pack, 14.8V 2000 mAh (dedicated battery charger IMAX B6AC included) Burn Time: 120 minutes @ 100% Hydrostatic test: 120 minutes @ 9 bar Electronics: custom-made power-led driver (Elbatech Srl, Marciana (LI), Italy) Our scuba light model 170/30 N is offered a beautiful blue briefcase containing: 1 scuba led video light model C-95 1 battery charger IMAX B6AC 1 black Delrin dedicated holder terminating with an anodized aluminium SML pearl-grey sphere (Ø 25 mm) About MECHANICS please refer to SML-SUB www.sml-sub.it e-mail: info@sml-sub.it About ELECTRONICS please refer to ELBATECH srl www.elbatech.com e-mail: info@elbatech.com

www.sml-sub.it

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TECNIQUE

DOUBLE EXPOSURE Words and Pictures

Adriano Morettin

In collaboration with:

72 What is multiple exposure: Before you start talking about multiple exposure you need to make a necessary and indispensable clarification.

There are two ways to get two or more exposures on a frame: - The first is described in detail in this article and is the only one that allows for a single RAW file joining selected exposures before making the photographs as if a single shot had been executed ; - The second is due to the union by means of the function “image overlay” from the “Retouch” menu of the camera (which can also be made at the table and two photographs of the time) away, each of which has generated a different RAW files , performed at different times and not consecutive (therefore with the ability to turn off and on the camera and wanting to change goal) but resulting in a RAW file will show in its Exif data track non-erasable this operation.

NB I always refer to the functions contained in the Nikon D800E camera that are the same or very similar to those of high-end Nikon cameras. I do not know the characteristics of other brands and models of cameras with which, however, I know you can do the same tasks.

Multiple exposure which we will cover below provides the union of two or more shots performed consecutively with the same camera and the same objective by enabling the “multiple exposure” from the “Shooting Menu” of the camera, function that allows you to make a number of shots, which can be from a minimum of two to a maximum of ten, overlapping them and creating a single RAW file which is absolutely identical, even in its Exif data, to a photo of a RAW file is executed with a single shot .

The primary and essential condition for obtaining this type of multiple exposure is the one between shots and the other the camera can not

be switched off and on pain of cancellation of the operation set.

You can vary the exposure time and aperture, but you can not change the values of all other functions such as ISO sensitivity, white balance, exposure compensation, etc.

Finally, it is absolutely essential to set, before each series of shots, the function “multiple exposure” in the “Shooting Menu” of the camera and in this function, choose the “number of shots” that are to be layered and the “ auto gain “ that balance a bit ‘the exposure of individual shots being union, which personally do not recommend and we’ll see why.

NB: Only this type of multiple exposure is accepted and clearly described in the regulation of the most important international competitions for nature photography and / or underwater such as the Wildlife Photographer of the Year at the Natural History Museum of London, the GDT European Wildlife Photographer of the Year, Memorial Maria Luisa, Aspherical and others.

The double exposure in underwater photography: I will only deal with the double exposure in underwater photography and not multiple exposures made by combining three or more shots because I find it sufficiently illustrate this training technique that has in itself such and so many difficulties of execution to discourage anyone to try their hand in making photographs diving with exposures more than two frames.

Because: The reasons that lead us to use this technique are related to aesthetic taste and creativity of each photographer and aim to obtain an image that would otherwise be impossible to achieve with a single click. And ‘thus eminently important the skill of the photographer in making a photograph in his compositional complexity is pleasant and not overly contrived, so as to bring the viewer to consider it at first sight as the result of a single shot.

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The photographic equipment selection: Here, too, I will describe the double exposure performed with macro lens, leaving the one performed with wide angle which leads to higher production difficulties and therefore require a long preliminary internship with the macro.

Let’s move on then you need to consider:

1 SLR camera that has features in its menu the ability to run multiple exposure (not to be confused with the image overlay);

2 macro lens (60, 105 or more depending on the subject or I am going to photograph);

3 waterproof case for camera with its flat port for macro lens chosen, making sure that the housing has the control buttons and the choice of the fully functional menu functions (there is nothing more hateful and frustrating fact of noticing sott ‘ water that one of the small buttons should not be to act perfectly on a command thus making vain our most good intentions to perform this technique !!!);

4 Flash sufficient power to perform underwater shots adequately illuminated with the snoot;

5 arm / the flash for articulated in two or three fields long enough to allow positioning of the flash with the snoot exactly above the primary subject without disturbing it and allowing to obtain a correct snottata in the illuminated area size;

6 snoot of good quality which allows to obtain the correct illumination of the primary subject and that is equipped with appropriate light and pointing of interchangeable masks.

I believe that the quality and the flash output in combination with the snoot are crucial to the success of a proper double exposure !!!

Run mode : The first choice.

When we are going to build an underwater photography with the double exposure is a priority choice of subject that we want to immortalize, choice to be made already in the preparation of our camera equipment as they will determine the type of goal that I will use to make my series photo. In fact, if my subject will be very small, ranging from one to three cm., Or if it will be particularly shy in getting closer I’ll have to necessarily use a lens of longer focal, see 105 micro or similar.

As if the subject will have larger, between 4 and 10 cm., And if you will allow me I will move closer to mount definitely a goal of shorter focal type 60 micro or similar.

At this point I imagine the reader’s question: what if I mount the 105 and then can not find the shrimp that I thought to immortalize but I am an 8cm nudibranch. ??

Unfortunately the answer is one that we all know when we photographed under water: in the sea there is never any certainty about what we will find under the surface and, allow me, this is his great charm !!!

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78 Therefore, the deep knowledge of the dive site and its inhabitants in the various seasons of the year is always a decisive factor for the success of this technique.

The first shot Found the person who will be our main player, we can start preparing the first of two shots that will make up our double exposure.

Here enters the snoot we have applied to flash before you get into the water or in any case before approaching the scene where we’re going to operate. This is to avoid lifting the suspension and / or to frighten the main subject with rash movements.

It seems obvious that we should have a good familiarity with the use snoot otherwise it will be impossible to achieve a double decent exposure.

We will now decide whether to double exposure on the frame horizontally or vertically and then set up the flash with the snoot at the right distance from the scene to be framed so as to get the first shot in the frame portion that we wish.

This whole operation is definitely the most complex and more difficult as we have to do some tests with the snoot of a fictitious person, moving a bit ‘from the main game, inserting the mask that allows us to get the snoottata that best befits the size of the main subject and the distance that we want or we will be forced to comply in performing shooting.

We will do a series of test shots using obviously the pilot light and correcting slightly each time the position of the flash with the snoot through small movements of the arms until we find the optimum position and at this point serreremo strongly terminals of the arms to avoid losing it.

Absolutely we do not try to use the flash with freehand snoot because this solution then we will not repeat the same snoottata in successive series, thus depriv-

ing us of the ability to make those corrections the micrometer lit scene that are almost always required during a series of double exposures.

This will take a lot of time and patience especially to those who are not very familiar with the use snoot but it will be essential to ensure the success of our double exposure.

As long as we take a little ‘hand and the eye there may take ten to twenty minutes to achieve a correct positioning of the snoot on the subject.

Then with practice everything becomes easier and faster.

snoot.

Without this we will approach with great caution and circumspection to our main subject and when this will be illuminated by the pilot light will do a couple of test shots to see if the image of snoottata the frame corresponds to our expectations, otherwise we will make small adjustments to the position of the flash and

Personally recommend the first shot on the main subject at 1/250 at 100 f.22 Iso in order to have the part of the frame is not impressed by snoottata completely black and shadowless from the unlit scene, shadows that if we are in a very sunlit area often they appear also forcing us to reduce the shutter speed up to 1/320 and to further close the iris to F.32.

At this point we are ready to realize what will be the first shot of but before we do our double exposure ABSOLUTELY MUST REMEMBER to include in the “Shooting Menu” of our camera the “Multiple Exposure function” by clicking on “YES (single photo) “ , “ number of shots 2 “ and leaving off the automatic gain, this because otherwise the machine will automatically compensate the exposure of the two shots, creating annoying shadows and overlapping of the two scenes.

To confirm that we have properly inserted the multiple exposure function will appear on the top screen of our camera a symbol that depicts two overlapping

80 panels (I always refer to the Nikon D800E).

The second shot.

Made the first shot, we verified that this corresponds to our expectations in the image composition we will have achieved the most complicated and difficult part of our double exposure, admitted that with the second shot we have set ourselves to place the sun taken from below the surface. But if by the second shot we want to put in the frame to another main subject then we will have done half the work because it will be to repeat what has been achieved with the first shot.

But let us assume that in our project there is the insertion of the solar rays reflected from below the sea surface, which occurs in the majority of cases to create a photograph that in its composition is pleasant and not overly artificial.

At this point we will have to turn away a few meters from the primal scene with great caution so as not to lift the suspension and to not scare our main subject we will have to act as lead actor for subsequent series of shots.

To realize how long we will have second shot before the function “Multiple Exposure” vanishes ??

The time that we already undergoing the camera dry preparation we will have entered the “Custom Settings menu” in the set C “Timers / AE lock” the box c2 “Switch-off delay. meter “, time that I hold fixed in a minute but for the less experienced advice to fix in 5 minutes, remembering, however, that this results in a slight increase in battery consumption. Let us remember also that the timer starts from the moment you activate the “Multiple Exposure” function and therefore also includes the time that we have used to make the first shot.

After we separated us from the primal scene we will change the exposure time and aperture, reducing them dramatically up to values between 1/2000 and 1/5000 for the times and F.32 for the diaphragm. The choice will be a function of our distance from the surface and the intensity of the solar rays. It ‘a good idea to try to do a couple of shots to sunlight before starting the double exposure so as not to waste good primary shots with overexposure exaggerated the second shot.

Placing them in the sunlight of the frame is not engaged by the first shot, it will shoot only when we are sure to have them in perfect focus, something not so easy especially when non-clear waters.

After verifying the success or failure of our double exposure will repeat the operation ...... if we have still want and considering that within one hour of diving if we can do five good series we will be amply satisfied.

Conclusions.

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I hope to have contributed this article to clarify the various aspects of the procedures to obtain this kind of double exposure which very often snubbed or worse is considered as something dishonest or artificial.

This is a technique that requires great knowledge and respect of the marine environment and its inhabitants, a lot of dedication, patience and familiarity with the equipment, but that allows to obtain images that enhance the beauty of this element so dear to us.

If after reading these lines and seeing my pictures even one of you will feel encouraged to try this technique I will have achieved my goal.

A journey in and around Capodacqua - Pictures and text by David Salvatori Publisher Punta Campanella Diving

Reflections from the past “Reflections from the Past” is a photographic journey in the heart of Tirino valley in Italy, ending in the crystal clear waters of the Capodacqua lake, at the culmination of a journey in which the places visited by the author stimulated fascination and personal reflections.

“Reflections from the Past” is an obvious line that connects all the photographic work, those of reflections of the images on the separate surfaces of water and air.

In the end, Reflection is an instrument “of reflection”, a mirror to past fears and troubles, for which the exploration of Capodacqua and its surrounding areas is a “journey” whose powers of suggestion become encapsulated and processed in a symbolic way to represent an experience of personal growth of the author.

The final goal is the achievement of a positive thought, peaceful, calm and as clear as the lake’s water; the communion with water being the road to rescue, the map to discovery of what is true and real in life.

www.reflectionsfromthepast.com

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Located in the center of the Gulf of Kvarner - Croatia, our diving center is in the ideal location for countless different dive sites.

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International Underwater Photo Contest ABYSS 2016 The International Competition of Underwater Photography “Abyss-City of Venice” celebrates its ninth edition with a record of participants from foreign countries (18) and competitors (106 of which 30% foreigners) is confirmed as the most important photographic event in Italy. One hundred and six photographers from Australia, the US, Russia, Taiwan, Bulgaria, Greece, Brazil, Spain, France, Belgium, Germany, Hong Kong, China, Singapore, United Arab Emirates, Switzerland, Philippines and Italy have presented in this latest edition nearly 400 underwater images taken in the seas around the world. The photos have been judged by a jury of underwater photography experts such as David Vezzaro (Ch), David Salvatori and Giuseppe Pignataro (Ita). The images exhibited at the Museum of Natural History of Venice were breathtaking for their spectacular beauty and for the extreme biological value.

Exhausted by the huge organizational effort but satisfied by the great succes are Davide Barzazzi, Agnese Zane and Alessandro Tagliapietra, leaders of the cultural association Abyss UnderWaterPhotoVenice, who organized the event in collaboration with Argo Group, Club Sommozzatori Mestre and Sub San Marco. Now unanimously recognized as the best competition in Italy, Abyss has crossed the national boundaries attracting the attention of some of the most famous underwater photographers in the world.

The “numbers” explain the success of this event that in the eight previous editions counted on the participation

In fact the participants grant in usufruct their pictures that will enrich the archives of the Museum for educational and scientific purposes. Rich prizes for the 33 participants winning the eleven categories and three honorable mentions. The contest has been supported by some of the most famous Murano glassmasters (Dalla Valentina, Salvadore, Furlan, Dona, Morasso, Vianello and Moro), and by some of the most important manufacturers and retailers of diving and photographic equipment in Italy.

A further source of pride for the organizers of the event comes from DAN Europe and the winning photo of Fabrice Guerin, winner of the Cetaceans category, will be printed on the next 100,000 copies of the DAN cards.

The event was sponsored by Regione Veneto, City of Venice, International Academy of Underwater Sciences and Techniques, IUPS and supported by the media partners Scubaportal and Scubashooters.net.

FESTIVAL & CONTEST

of more than 600 competitors from all parts of the globe, who presented about 4000 photographs, appreciated by more than 40,000 visitors of exhibitions of the winning works.

For five years Museum of Natural History of Venice, surely the most appropriate setting and prestigious, has been hosting this event which has the advantage of not being a competition for its own sake.

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FINAL RESULTS: Cetaceans 1)Fabrice Guerin (FRA) 2) Robert Rath (AUS) 3)Renato La Grassa (ITA)

Uw Photo Set 1) Massimo Giorgetta (ITA) 2) Plamena Mileva (BUL) 3)Stefano Scortegagna (ITA)

Double Exposure DSLR Med. Macro 1)Paolo Bausani (ITA) 2)Enrico Pati (ITA) 3)Roberto Strafella (ITA)

Compact Med. Wide 1)Domenico Tripodi (ITA) 2)Virginia Salzedo (ITA) 3)Rafael Cosme (SPA)

1)Tiziana Dalla Zanna (ITA) 2)Elio Nicosia (ITA) 3)Roberto Formiga (BRA).

DSLR Tropical Wide 1)Plamena Mileva (BUL) 2)Massimo Zannini (ITA) 3)Edoardo Acevedo (SPA)

DSLR Tropical Macro

Compact Med. Macro

1)Giacomo Marchione (ITA) 2)Alberto Groppo (ITA) 3)Dennis Corpuz (PHILS)

1)Virginia Salzedo (ITA) 2)Stefano Cerbai (ITA) 3)Alessandro Raho (ITA)

DSLR Med. Wide:

Compact Tropical Wide 1)Stephane Primatesta (CH) 2)Pietro Cremone (ITA) 3)Gianluca Cucco (ITA)

1)Francesco Visintin (ITA) 2)Fabio Iardino (ITA) 3)Pietro Formis (ITA

Compact Tropical Macro 1)Dennis Corpuz (PHILS) 2)Virginia Salzedo (ITA) 3)Edoardo Errani (ITA)

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The Blue Marlin Diving Center is since more than twenty years a focal point of attraction for diving activities for Rome and its coast. Logistically it is inserted within the magnificent structure of the Tourist Port of Rome, located on the waterfront Duca Degli Abruzzi at Ostia Lido.

The Diving Center, designed for diving “on a human scale,” is an ideal reference point for all divers of the capital and beyond, who will enjoy all the conveniences and amenities offered by the marina. Even divers accompanied by their families will find for them an excellent point of reference to their enjoyment. Its strategic position allows to provide to enthusiasts divers a series of first-rate services, such as cylinders transportation by electric carts, departure to the diving spots from the dock right in front the headquarter, changing rooms, hot and cold showers, as well as complete equipments for hire. To reach the dive sites is used a fiberglass boat 9,30 meters long, that can accommodate 12 persons plus three crew members, and can be covered in winter for a further comfort. The Blue Marlin D.C is accredited as authorized center to effect dives in the Protected Marine Area “Secche di Tor Paterno” (Tor Paterno shoals), located in the sea of Rome, in front of Ostia. This is a protected area located 4.5 miles from the coast, a real submerged island in the middle of the surrounding absolute desert, mainly composed by sand.

The highest point is 18 meters below the sea surface. This island, or better this huge series of shoals, has been circumscribed at the surface by four large yellow marker buoys that delimit an area of 1200 hectares, thus offering a wide choice of diving spots, each one different from the other. The Marine Protected Area of the Tor Paterno Shoals is undoubtedly a real “city” underwater. Consisting of a rocky bank, it is one of the few places in the Mediterranean where you can find a surprising amount of vegetable and animal life.

Owner: Sabrina Macchioni Contacts: Mobile +39/339/6644286 Shop 06/56030293 Address: Lungomare Duca Degli Abruzzi 84, 00121 Ostia Lido neg.851 Porto Turistico Di Roma Free parking inside the Port of Rome Requested level: Advanced

96

LIONFISH One of the most widely recognized fish in our oceans is the Lionfish. Whether it’s through the aquarium trade or the highly publicized invasion they have made into nonnative waters, Lionfish have taken the spotlight from many fish in recent years.

Along with climate change and the invasion of humans into the Atlantic Ocean and Caribbean Sea, Lionfish rank as one of the most destructive forces to enter these waters. How these fish began their onslaught is not known for certain, but it is widely believed that fish no longer wanted as pets or lost during hurricanes were released into the ocean and began reproducing at alarming rates.

There are currently 12 recognized species of Lionfish, all of which are characterized by distinct warning coloration, showy pectoral fins, and venomous spiky fin rays. The two species that contribute most to the destruction of habitat are the Red lionfish, Pterois volitans and the Devil firefish, Pterois miles. These two species have been described by researchers as two of the most aggressively invasive species on the planet.

By reproducing like crazy, eating massive quantities of native species and not having to deal with natural predators, these two species wreak havoc on natural ecosystems. Lionfish can live up to 15 years and lay upwards of 15,000 eggs every few days. They can consume up to 30 times their own stomach volume and their prey is generally juvenile predators, grazers and cleaners. The prey they consume greatly reduces the populations of other fish necessary to assure the biodiversity that maintains the health native reef systems. With no natural predators, their numbers can escalate exponentially in a few short years potentially causing the extinction of native plants and animals, reducing biodiversity, and drastically altering habitats.

In an effort to slow this process, humans have begun to intervene. Many unique and also controversial methods are being employed to slow the spread of these fish. Some of these methods include local encouragement to kill all Lionfish on site in addition to tournaments being developed for sport that involve as many people as possible. Cook books have been developed specifically on how to

John Fifer

prepare Lionfish and they are now marketed as a delicacy in many communities facing issues from the invasion. In addition, to assure no method is left untried, locals are also trying to train local predators such as sharks and groupers to eat this unfamiliar prey.

It is unfortunate that Lionfish get so much bad press. They are inherently beautiful and their populations remain in check in their native Indo-Pacific habitat.

Unfortunately, it is not well known what keeps this population in check. Lionfish do seem to have natural predators including Morey eels and large Groupers that have been observed feeding on them but it is not known to what extent this takes place. Predators of larvae and juvenile lionfish remain unknown. It is thought that further study of these predators may prove to be the primary limiting factor of lionfish populations and could potentially lead to measures of control in areas where they are invasive.

It’s important to know, Lionfish are not all that bad if they are found where they are supposed to be. If you see one, take time to ask your dive guide if you were supposed to see one and base your level of excitement on that. You may feel better having a Lionfish dinner that evening.

CRITTER CORNER

Words:

110

EAR INFECTION AND DIVING: A difficult relationship !!!

It’s winter; and still a handful of European divers continue diving regardless of the cold temperatures that have enveloped Europe. You get out of the water, and climb into the dinghy, taking off your drysuit’s hood to alleviate some of the pressure on your neck, and so you can speak freely with friends…You sit on the dinghy that goes straight toward the port. What could all this mean for our ears?

Cold water entering in the ear canal, followed by exposure to cold air and wind, even rain. Here is where the trouble begins; maybe not after the first dive, but after the repetitive one, or on Sunday if you were out for the weekend. Other divers find refuge in warm, tropical destinations, but for our ears, that isn’t really any better. Water that’s rich in plankton and algae, the sweet sensation of wind in your hair… and in your ears! Even in this case, after a few days of diving some equalization problems arise, first with the onset of a painful sensation that gets increasingly intense, accompanied by muffled hearing, pressure pain, possible itching and a constant buzzing (tinnitus). Weeks of vacation lost? By no means, if you know how to treat this annoying problem, or above all, how to prevent it.

We have asked Dr. Marta Frigo, ENT specialist and DAN Europe contact for this branch of medicine.

Dr. Frigo, what is the cause of this problem that often plagues divers?

We’re talking about an external otitis, otherwise known as an infection of the outer ear, which is composed of the auricle and ear canal. The latter is the only “dead-end structure” in the human body: a small sack covered in skin, which is warm, humid and dark resulting in the perfect condition for the proliferation of germs. An outer ear infection constitutes 25-50% of ear infections, and peaks in Summer. The categories at risk are individuals with predisposed medical conditions, and those who do water sports. 90% of outer ear infections are bacterial (staphylococcus or Pseudomonas aeruginosa), while the other 10% are fungal infections (candida or aspergillus), and even more rarely, viral.

How does the human body defend itself from this bacteria, fungus, or virus?

Fortunately, the outer ear canal has special defenses: the production of earwax allows for an acid coating containing lysozyme and substances that inhibit growth of bacteria and fungus. Earwax, being rich in lipids, is also hydrophobic (water repellant) and prevents water from penetrating the skin and causing maceration.

What factors may favor the onset of external otitis?

There are external factors and personal factors. External factors are: hydration (frequent exposure to water, excessive sweating, high humidity); water contaminated by bacteria; high temperature and humidity; mechanical/traumatic removal of ear wax (e.g. using cotton buds); presence of foreign bodies in the external auditory canal.

The systemic-localized factors are: dermatitis from an allergic reaction or irritants; psoriasis, seborrheic dermatitis, acne, lupus erythematosus, diabetes mellitus, and immunodeficiency.

How is it cured?

In the case of a simple bacterial outer ear infection, without complications like fever or infection of surrounding tissues, a localized treatment with antibiotics and steroids in sufficient. The most effective antibiotics are fluoroquinolone (ciprofloxacin, ofloxacin…).

In the case of fungal otitis, it is necessary to use anti-fungal drops, and to rinse out the ear with acidifying solution.

If the infection has spread to surrounding tissues, it’s useful to proceed with oral fluoroquinolone and anti-fungals.

What are the recommended ways of prevention?

Prevention is the best way to approach the problem because developing an external ear infection during a dive vacation or cruise means forgoing dives!

Prevention is fundamental for those who have the aforementioned risk factors. First, you must practice proper hygiene of the ear canal, removing any wax buildup or foreign matter. Necessary to note, however, that obsessively cleaning the ear canal is not beneficial; rather, it can be counterproductive because constantly rubbing the thin skin of the outer ear canal can cause microabrasions that are an “open door” for bacteria. Also, earwax isn’t dirt that comes from the outside, as many think, but a product of wax glands in the outer ear canal that protect the ear from such feared infections. Only if there is a buildup of wax is it necessary to go to an ENT doctor for a cleaning.

Since localized factors like dermatitis and psoriasis cause intense flaking of the skin, accompanied by dry skin deprived of wax, prevention will mean applying otological oils to build the missing lipid film. Drops can be applied in the morning before or after dives or before swimming.

After exposure to sea water or to pool water, it is a good idea to wash the ear canals with running water, then gently dry them (with toilet paper or a hairdryer on low setting), to eliminate the residue of salt water or chlorine. Never dry

DAN EUROPE

Are divers affected by this problem more than the average person?

After prolonged exposure to potentially affected water, or water that is rich in plankton, divers are five times more at risk of developing an external ear infection than those who do not dive or swim. Between snorkelers and divers the risk doesn’t change because the problem is not connection to hyperbarism, but to contact with water, especially at the surface.

112 with cotton q-tips or similar products. It would then be helpful to use drops that acidify and dry out the external ear canal (boric alcohol 3%, acetic acid 5% and isopropyl acid 85%.

What do you think about using ventilated ear plugs and a mask that has ear covers?

For those predisposed to external ear infections who dive frequently, like professional guides or instructors, in addition to localized preventative therapy, it’s recommended to use a mask with ear covers (like Proear) because completely covering the auricle and the outer ear canal prevents contact with water, without any obstacle to equalizing thanks to a tube connecting the nose to ear.

Beyond a certain depth, vent caps still allow a gradual passage of water. As a result, although reduced, there is water-skin contact.

For any activity that is just on the surface, like snorkeling, it’s fine to have earplugs or a tight hood.

As all divers know, the ears greatly influence diving, both in terms of equalization and infection, to the point of impeding a diver from going underwater. So, just by taking proper prevention procedures‌ your ears will let you enjoy that weekend or vacation!

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SERPULA VERMICULARIS THE RED FLOWER

Words and Pictures:

Alessandro giannaccini and Francesca

Reinero

MACRO WORLD

120 In the following article, in addition to describing the Serpula vermicularis, I would like to send a message to all those underwater photographers who, while admiring a subject, linger about its beauty and its details, leaving out the emotions it can instill up to making them love it and enhance it in all its aspects.

How could we call “worm” this flower of the Sea? It definitely seems a heresy ... yet the annelids, the “group” which the Serpula vermicularis belongs, are worms that owe their name to the presence of many small rings all equal to each other along the body, the one attached to another in sequence, a bit as if they were springs! It is difficult to touch or to observe closely a Serpula because to the simple touch it withdraws into its limestone tube, disappearing suddenly.

However, approaching a few centimeters away, you can easily observe the presence, in all the Annelida, of chitinous bristles on each segment designed to motion, except for the first and the last that possess tentacles, cirrus or papillae for the other vital functions. Within this group, there are, subsequently, the Polychaetes (“the animals from the long hair”), often very picturesque organisms for their beaming colors and their fan-like or crowning glory shapes that some of them assume.

They can live anywhere: under rocks, in crevices among corals, in abandoned shells, mud, sand, occupying the pipes or the shelters of other animals and so on. It is common, in fact, to observe dozens and dozens of these white encrusted tubes on the surface of any piece of wood collected from the sea. In short,

they are the real pioneers of the seabed! The sea worms are further divided into wandering, free organisms capable of moving on the seabed and sedentary polychaetes, the laziest! Within the latter, we find the Serpula vermicularis, the polychaete most loved and sought by divers for its beauty that recalls either that of a wildflower for its yellow-reddish colors or that of a radiant sun for his majesty. Just think that some Serpula reach a considerable dimensions, comparable to those of one of our hands, with a length of their tube of even 7 cm and a diameter of the branchial aperture of 5 cm. It is distributed in the Mediterranean and Eastern Atlantic Ocean, up to the North Sea, from a few meters deep up to 1800 meters. The Serpula, however, being sedentary, needs a shelter where to retreat for defense, even when we divers accidentally touch it. Not surprisingly it is a very difficult animal to photograph, because very sensitive to touch.

The “hole� in which it lives is a calcareous tube secreted by the body itself, from which the animal everts its crown of tentacles in order to feed. The colorful feathered arms (or radioles) attract the food thanks to the action of many small lashes. Once captured, the food is trapped by the mucus and transported to the mouth through grooves on the tentacles. Think how intelligent they can be: only the minutest particles are eaten, while the coarser are instead accumulated in a kind of bag and used for the enlargement of the limestone tube! At a time when the Serpula retires within its tube, a reddish streaked with white operculum, for purely

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defensive purposes, closes the opening to the outside! The Serpula is more than a subject to find and photograph. To me is a target, an end point that includes technical, skill and luck, a bit like all victories. Very often, I dive with the sole purpose of finding and photographing it: I come back several times in the same place and do many attempts with the aim of improving the technique to get more and better pictures. During the various dives, I managed to improve my self-control, critical to achieving the correct state of tranquility; then the approach technique, the type of illumination and the framing. After each photography session, I think I made the “perfect” shot, and then change my mind every time about the “perfection” reached. Through my pictures, I mean not only to document, but I want them to be a tool to express the way I see, feel, and get touched. I want to show what I see, how I see it and how I want it to be.

This little animal gives me extraordinary emotions. When the distance between my subject and me is minimal and I prepare to choose and compose the right shot in the camera’s viewfinder, my breath slows almost to a stop and tension mounts for the knowledge I could not afford a misstep, since this shot might be the only one possible. Then my heart, at that precise moment, increases its beat.

Nevertheless, I cannot afford to lose that moment. I have to keep calm: I know I must not fail, I cannot fail! I stand still and concentrate, all around is silence.

Time loses its dimension to expand in an eternal moment. Only my breath, slow and precise, punctuates its flow. I have to hurry; I cannot stay in front of it for too long, according to the countdown decided by my diving computer.

Useful tips: It is important to be very careful, because the Serpula is sensitive to any source of artificial light and to the movement of water masses, even the little ones, such as those caused by moving clumsily. It is also important not to stop any water current with the volume of our body and therefore it is essential to know how to move.

• Lighting: to not creating shade situations, pictures that are “flat” and points with bad exposure, it is better to use two flashes. They are useful to cover even the most inaccessible places, especially if the subject is inside eclipsed areas and difficult to illuminate. We exalt the subject trying not to illuminating too much the surrounding environment or, in order to highlight it, we might use a snoot, a tool used to illuminate a particular spot and today almost indispensable for many underwater photographers. We have to find the right compromise between shutter speed and diaphragm aperture, then choose an adequate depth of field: otherwise the radioles, these little hairs that look like tiny lashes, would result missing. It is very useful to prepare, in my opinion before the photo session, a customized picture control: it is a system designed to offer the photographer a very high customization level of the photographs’ aesthetic, already at the time of shooting: to start, we have available a standard already prepared where we can adjust sharpness, contrast, brightness, saturation, hue, etc..

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color is an important element of personal expression, even if the picture taken should respect a naturalistic result as much as possible • The naturalistic picture: it is practiced both by professional documentarists and by amateurs. Achieving good results requires great patience and practice: it is important to learn about the natural environment in which we work and the habits of the fish fauna that inhabits it. The precautions aimed to not affect the environment with our presence, the search or the wait for the events and the best moments for the shot, are the key features of this photographic genre. The naturalistic picture is a photographic genre that, by the nature of the subjects concerned and the personality of the nature photographer, expresses a certain professional ethics. Being connected to the disclosure of scientific pictures, it educates and sensitizes about environmental awareness and responsibility in preserving the marine ecosystem.

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