The Nikonos Story

The Nikonos is, without a shadow of a doubt, the world's most popular underwater camera. They are used throughout the world by amateur and professional alike.

The reason for the Nikonos success story is based on the evolution of a product that is 30 years old this year, and it is a testament to that basic design, and quality of manufacture, that some of these early versions are still in use, having survived years of punishment in the harshest environment for equipment in the world!

The First Nikonos?
The first incarnation was not a Nikonos at all. It was an underwater camera manufactured in France from a design by a Belgian engineer called Jean de Wouters, and was named the Calypsophot. It was sold in a box under the La Spirotechnique label; a small company dedicated to underwater equipment and formed by a gentleman called Yves Jacques Cousteau.
With Cousteau's Calypsophot all the basic features of the later Nikonos were employed: compact size, lightweight, cast body, and rangefinder viewing.

This was pre integrated circuit era of course and so no electronic metering was built in, instead, the Sekonic Marine meter was the ideal companion for light measurement. Although there was always provision for using a flashgun in those days such units were not commercially available and so the underwater photographer was limited to the primitive flashbulb.
Of course there was no competition in the underwater photographic equipment market at that time. The early pioneers of underwater photography were previously forced to build their own camera housings or not bother at all. The British Society of Underwater Photographers had not even been formed yet and who knows what impact that the introduction of the Nikonos had on that event.

It's amazing to consider how such a specialised camera would survive when the market, and therefore the demand, was so limited. But survive it did - and into a production run of thousands.

The original design had proved itself to be a sound one, but there was one flaw - the lens. Cousteau approached a Japanese company called Nippon Kogaku (who were originally renowned for manufacturing precision scientific instruments) to commission them to design a lens.
This Japanese company had also been producing a series of landmark rangefinder cameras under the Nikon name since 1950, which were based on the Lieca design. The European camera manufacturing industry was now in decline. It was, however, the golden period for the Japanese camera manufacturers (who had been encouraged to rebuild by the allies under occupation) and had firmly established themselves as a favourite with photojournalists who were introduced during the Korean War.

So, instead of producing a lens for Cousteau's camera, Nikon took the bold step of buying the patents.

The Nikonos I to Nikonos III
It was the commitment of Nikon that ensured the camera's survival when they revamped the Calypsophot as the Nikonos I in 1963. This move also established Nikon as the dominant force in underwater photography for the next three decades.

The Nikonos I was followed in 1968 by the Nikonos II and gained a few improvements to the internal mechanism whilst, externally, being almost identical. The film advance had been erratic so this was improved, an 'R' rewind setting was introduced, and a hinged pressure plate was added.

The first 'classic' Nikonos was arguably the Nikonos III and was introduced in 1975. It still retains a high second-hand value because, as it has no expensive electronics inside, it can sometimes be restored to working order after a flood.

It was a major re-design, retaining the same basic outward appearance as the earlier models but was larger, had gained film advance sprockets, and various controls changed location such as the film counter, which moved more conveniently to the top of the camera.
The Nikonos III also had other refinements, the most notable being the new style flash socket that was far more reliable and could make use of the electronic flashguns now on the market.
A lost Nikonos III was once allegedly found underwater, identified from it's serial number and returned to it's grateful owner. It transpired that it had spent three years on the seabed and yet was still in perfect working condition. It was opened and the film was allegedly successfully processed.

The Nikonos IV-a
The first Nikonos to feature a built in light meter was the VI-A ( A for automatic) and came on the scene in 1980. This was a departure from the original design, in some ways better, in some ways not. Previously the actual camera mechanism slotted into the body from the top but the VI-A had a hinged back rather like a conventional camera. Unfortunately it closed onto the O ring and was therefore prone to flooding unless kept immaculately clean (a problem put right on the Nik V).

Another unnecessary change was the film advance lever being redesigned. Previously, this lever also fired the shutter when pressed from the front and then popped out so that you could not avoid re-cocking the shutter. The VI-A had a separate shutter release (which was necessary to activate the meter) but again opted for an advance lever like a conventional camera. This forced you to remove the camera from your eye in order to advance the film and consequently you were at a disadvantage with action shots. The VI-A had no indication of shutter speed, merely an LED in the viewfinder to indicate correct aperture.

Nikon simultaneously introduced the SB-101 electronic flashgun in 1980 as companion to the IV-A. This meant that underwater photographers had, for the first time, a completely automatic exposure system.

Nikonos cameras were now being used extensively by everyone from the North Sea Oil industry to watersports enthusiasts. Canoeists still favour the VI-A because it is simple to use on automatic and cheaper second-hand than the Nik V. The Nikonos III is still favoured by travellers in humid conditions such as jungles as it is not only waterproof but not reliant on electronics either.

The Nikonos V
The Nikonos V was the next 'classic' underwater camera that Nikon made, and it was introduced in 1984. It retained the outward appearance of the VI-A but came in orange or moss green instead of only boring black! Internally the flash socket gained another two pins to allow TTL flash metering with the SB-102 and SB-103 flashguns which were brought out within months of each other in 1985 (and are still current).

The V returned to the idea of allowing shutter speeds to be manually set in addition to the 'A' setting. Apart from not being able to see through the lens the exact picture area going on to the film, the Nikonos V was the supreme underwater amphibious camera.
The Nikonos RS

For a long time it was speculated that Nikon would never produce a reflex viewing underwater camera. Yet they did just that with the Nikonos RS. Much has already been said about this camera in this and other magazines so it would be not appropriate to go over the same ground in too great a detail.

The RS is packed full of features (autofocus, zoom lenses, motordrive, DX coding, umpteen metering modes etc) and it is high tech, high spec - but some purists feel that it has unfortunately lost touch with the Nikonos ethic.

Basically the RS is too big and too expensive. One diver I once met used his Nik II not for photography but to keep his keys dry during the dive. Few eccentrics like him would do that with the RS, which belongs to the world of designer stubble and fashion accessories, not club dives.

Diving with the RS has been likened to diving with an engine block. It is so negatively buoyant that (if you have a wings type BC) you can find it very difficult to remain upright on the surface. The combination will force you to do a lot of finning to stop you going face down.
The RS was obsolete the day it was launched. Already, the F90/N90 was proving to be virtually infallible with its advanced features.

Nikonos Lenses
In common with Nikon land equipment the lens mount has remained constant on the Nikonos throughout its history. You can, therefore, fit any lens on any body (excluding the RS of course, which had a new range of auto focus lenses).

The various Nikonos bodies were generally bought with a 35mm standard lens (and still are). The earlier versions were generally satin finish, had smaller knobs, and may only have a distance scale shown in feet. The more recent versions are black and also have a metric scale, but are optically superior, having benefited from advances in lens coating technology.

In its own right the 35mm lens is not very useful, as it is difficult to use due to a limited depth of field. At a distance of .9 apparent metres (1.2 actual metres) feet it covers a picture area of .8 by 1.2 metres making it possible to photograph the head and shoulders of a diver. However, with only a .4 of a metre depth of field on F8, your estimate of distance has to be spot on!
The 35mm is however worth having because with extension tubes you can photograph macro (small) subjects or, with a slip on (supplementary) lens close up and wide-angle subjects. The 35mm can be used underwater or in air and has always been the cheapest lens.
The 28mm Nikonos lens is slightly more useful (but a lot more expensive) than the 35mm and has a wider angle of view. It is quite popular however, as you can start a dive with a supplementary lens attached for close up shots, but whip it off if larger subjects appear.

There is also an 80mm Nikkor lens, which has a very narrow angle of view, not really suited to underwater use at all!
Underwater photographic subjects have always suited the extreme focal length lenses, either in the macro range or wide angle, with very little in between. The 15mm Nikonos has an angle of view of 90 degrees and will focus down to .3 metre making it suitable for subjects from reef fish to wrecks!

Beware - you may think you have a bargain if you buy an old 15mm lens form the Nikonos III era. It will fit on the Nikonos V but the metering will be thrown out!Other manufacturers produce lenses for the Nikonos, for instance the Sea & Sea 15mm (retailing at a third of the price of the Nikon version). Whilst optically inferior, the Sea & Sea range has only marginally less performance, certainly not a third less!
Supplementary lenses are also made by other manufacturers, such as the ever-popular Subawider, and at a third of the cost again of the Sea & Sea 15mm. They also have a marginal performance loss compared to the Sea & Sea (except when pointed at the sun they do suffer from extreme flare).

Brothers Island dive and photographying guide at Red Sea

Imagine one of the top ten dive sites in the Red Sea. Suppose that it hadn’t been dived for three years and you had been handed the opportunity to dive it! What if this dive site were ‘in the blue’ 150 miles from land. You might expect large Pelagics, exceptional visibility, and virgin corals. You wouldn’t be disappointed if you’re talking about the legendary Brothers Islands in the centre of the Red Sea.
We had exactly that opportunity; to be in the first party to dive these remote islands since diving officially resumed there in 1998. True to expectations we discovered pristine corals, spectacular marine life, and exceptional visibility.

We arrived at the Brothers in flat calm to find the two outcrops scorching in the sun, the only visual relief in a vast horizon. You could sense the anticipation as the entire boat suddenly got self-motivated to kit up. You just knew that we were in for an exceptional dive.
Sure enough, even before we got in the water we were treated to a wildlife spectacle. As we were being shuttled from the liveaboard to the drop-off by our Egyptian boathandler (known affectionately as Captain Zodiac) a pod of 10 spinner dolphins bow-waved us.
The large Brothers Island is only 400M long and its only distinguishing feature is the Victorian lighthouse that the British built in the 1880’s. A small jetty protrudes from the island and your arrival is such an event that the inhabitants (Egyptian soldiers on rotational duty) race to greet you. You’d have to upset someone to get given that job!

We were dropped, on that first dive, on the Aida a cargo ship that went down in 1957 during a mooring procedure that went wrong whilst transporting troops to Alexandria. The crew scrambled ashore leaving the Aida to slide down the side of the large Island finally resting its stern in 60 metres with its bow in 20 metres. Although having sunk ten years later than the wrecks of Truk the soft coral growth encrusting the Aida could rival any of the Japanese, Pacific wrecks. Whilst not on the same scale it is, nevertheless, a must-dive site for any ‘wreckie’ worth his (or her) salt. One enduring memory of this wreck was that of a 4 metre Thresher shark lazily cruising the 10-metre contour above us as we ascended. Now, you don’t see that often!

Another, older wreck not far from the Aida was our second dive. Apparently, in her cargo were train wheels that scattered as she sank and which were now home to a profuse variety of creatures. There was plenty of marine life action here with larger fish involved in ‘domestics’, vying for territory and, uncharacteristically, ignoring the divers completely.

The small Brothers Island is only twenty odd metres across with absolutely nothing on it except for a few piles of rocks that some bored visitor piled up. Underwater it is a different story; the small Brother is renowned for Hammerheads! These unusual sharks cruise their territory at 30M and deeper on the southern side.

The internationally recognised sign to make when you see a hammerhead is to hit yourself on the head with your fist (hammer-head, get it?) and this site will definitely make you knock you senseless! However, there is nothing more frustrating than seeing your buddy give this sign when they see sharks in their limit of visibility but not yours. It is guaranteed that, by the time you swim to them, they have moved on.

The Brothers have always been sparsely dived due to their inaccessibility 100 miles offshore in the middle of the (southern Egyptian) Red Sea opposite Al Quseir. In the ;old days; a few of the larger (and braver) day boats offered trips out there during the summer months. Amenities were sparse with all aboard sleeping on deck and sharing one toilet (if you were lucky!). If the weather blew up you had to shelter in the lee of the Big Brother (is he Jake or Elwood?) and wait it out, sometimes for weeks, forget your flights!

Now the Egyptian Dive industry has matured and a new generation of liveaboard boats are available to take you to the Brothers in comfort, if not downright luxury. The premier vessel visiting the Brothers on a regular basis is a boat you may not have heard of before, the Shalakamy Explorer 1. She and her sister ship, Shalakamy Explorer 2, are big boats (36M long x 10M beam) and therefore ocean going, stable platforms well able to take the worst that the weather can throw at you. This is reassuring as a dive holiday can soon turn into an expedition if the weather blows up when you are so far out at sea. It did whilst we were out there!
Anything you’ve ever experienced inshore on the Red Sea does not prepare you when you get a prolonged Northerly blow in such an exposed position. You know that you’re in a storm when waves are crashing over the third deck! At such times movement is not recommended - best wedge yourself in somewhere safe and hope that anything not tied down does not crash on you!

A large boat certainly gives confidence in bad weather but might it not also be the case that you will find yourself in dangerous seas more often because you have a bigger boat? Don’t be put off, the sea can calm down as quickly as it blows up and diving is back on the agenda with very little loss of visibility.

If your appetite for Red Sea diving has been jaded by too many visits striking out for such an obscure site will rekindle your enthusiasm.

The Explorer is well able to cope with big seas. She cost 7 million Egyptian pounds to build and is (over) powered by two 750HP Caterpillar engines, beautifully fitted out in soft wood panelling, and this boat even sports a Disco complete with mirrored ceiling! The cabins are like Hilton hotel rooms complete with your own TV (which sometimes receives two Egyptian TV channels) and a mini-bar. There is a shower room with toilet en-suite, which is a complete luxury if you are used to competing for shower time at the end of the diving day.

You might have reservations about a dive boat that takes 24 but the reality is that other (day) boats cause overcrowded dive sites. Whilst working inshore, the Explorer can leave port after the day boats and (at 25 knots) you can arrive at the dive site and be in the water well before them! With the capability to reach the sites that other boats cannot you often find yourself the only group on a site.

It seems that the trend is towards larger, more luxurious boats generally in the Egyptian Red Sea. No one would argue with quality yet I remember when Sharm El Shiek was a hut on the beach with a compressor in it. We used to safari camp where there are now hotels. You could shore dive on the most prolific coral in the World without seeing another soul. Ten years later and this area is decimated underwater, literally kicked to bits by the numerous dive parties and choked by the debris of over development on land.

There are still unspoiled sites but you have to go offshore (and south) to find those pristine reefs. However, if the boats are getting bigger to reach these sites is it a good thing? I dread to think of the environmental impact on even these offshore sites that a sudden increase of capacity (by doubling of boat size) would have!

A trip to the Brothers need not be a prolonged affair. You can dive all sides of each island in two days. If travelling from Hurghada you would expect to dive several other sites, including Safaga, on the outward and return journeys. There are some interesting sites to be explored in that area.

One such site is the wreck of the Salem Express. You may remember that this was the ferry that sank only four years ago with massive loss of life whilst carrying pilgrims back from Mecca. Most divers came down firmly on respecting the sanctity of this wreck but perhaps it is time to review this idea. The wreck has seemed to make peace with the sea; soft coral growth is quite advanced and fish life prolific.

Who can say what is a respectable time period to wait before diving such a tragic wreck? In the case of the Salem Express it was certainly premature, it was on the local boats’ dive itineraries practically as soon as the bodies were cleared and this is clearly distasteful. However, time heals, and, although there are still some personal belongings scattered around the seabed such memorabilia need only be respected as a poignant reminder of those who lost their life the tragic night that the Salem Express hit the reef.

I certainly had a very relaxed dive on her and so overcame my initial apprehension. She is lying on her side she can be thoroughly explored by traversing the centre line at 20M. This strategy takes in the photographic hot spots and gives you enough bottom time to explore from the bridge to the prop and back in one dive.

I hadn’t been to the Red Sea for three years and so a successful trip rekindled my enthusiasm for the diving. The Red Sea still has much to offer and perhaps it was only due to the layoff that I noticed the increased sense of over development and commercialism there

Truk Lagoon underwater photography and travel guide

Even if you are a wreck-tophobe (rather than a wreck-tophile) this place can give you 'wreck-itis'! We are talking about the largest concentration of military shipping anywhere in the World.

Truk has everything that the other Pacific atolls have - the clear water, corals, and sharks on the outer reef but Truk is unique because you dive exclusively inside the lagoon.

The History
Truk is a group of nine islands inside a forty mile radius barrier reef. In March 1944 sixty Japanese ships were sunk, most, fortunately for scuba divers, in relatively shallow water.

The History leading up to these events is well documented in the annals of WWII. The Japanese took control of the Micronesian Islands after craftily siding with the allies (once the Allies would be the victors) only months before the end of WWI.

The Japanese got the islands as spoils of war from the defeated Germans but rather than encourage autonomy they drew a veil of secrecy as they militarised them. The Japanese indentured Japanese, Korean and Okinawan workers to build airbases and infrastructure to support 15,000 military personnel stationed here.

In 1938 they brought in the War machines. They put anti aircraft guns on the mountains. Secrecy was maintained by a virtual isolation. They burnt the islanders ocean going boats so that word would not get out of the build up.

Conjecture has it that Emilia Erhart was shot down whist flying over the island with the hidden agenda of reconnaissance. Apparently several reports place her in prison here where it is alleged she died before the end of the war.

It was, however, a good time for the islanders who benefited from the infrastructure that the Japanese installed. Each island had its own power supply and the roads were lined with flowers. The garrison was large and was served by Geisha houses with nearly 5,000 indentured girls who were kept very busy with the constant military traffic. At one time there could be 500 ships anchored in the lagoon.

Thus, Truk became the Japanese Gibraltar. Once America declared war after the sneak Japanese attack at Pearl harbour (on Dec 8th 1940) Truk assumed enormous strategic importance and was even considered as the first target location to drop the atomic bomb.

Announcements of the capture of other islands came quickly; Guam, Borneo, Sumatra. At times there were 1500 vessels at anchor in the Lagoon and the base was a continual thorn in the side of the allies who were forced to run supply convoys further south.

Gradually the tide of war changed with enormous sea battles like Midway. The allies recaptured islands across the Pacific but soon discovered that the losses were unacceptable. The fighting went hand to hand at times with the Japanese who were deeply entrenched and fought almost to the last man. Nearby Saipan and Pohnpei was recaptured in this way with heavy loss of life. The Americans were charged with operations in the Pacific. The allies strategy sifted to airborne bombing launched from Carriers and the biggest fleet ever assembled including the Battleship Iowa.

The operation to neutralise Truk was codename operation Hailstorm. On Feb 4th 1944 as the allied fleet got closer, a reconnaissance flight suggested an early attack on Truk. The allies hoped that they would trap the better part of the Japanese fleet making the lagoon a shooting gallery but within three hours ships started pulling out.

The element of surprise was regained and Operation Hailstorm began with a disinformation message sent by the Allies in a code that they knew the Japanese had broken. It indicated that the expected offensive would bypass Truk and head straight for Guam. Rather unwisely the remaining Japanese went on a weekend long party to be rudely awakened on the morning of by the first airborne strike which was aimed at knocking out the six airstrips that the Japanese had built. Of 300 fighter planes available the Japanese managed to get 75 planes onto the runway but 35 were destroyed before leaving the ground and the rest were totally outgunned in the air and re shot down.

This left the shipping at the mercy of subsequent waves. It was not the decisive victory hoped for. Many ships had escaped seven days earlier after the reconnaissance flight had first been seen. Nevertheless, within two days sixty ships had been sunk. After the initial two day attack the starvation began.

A second wave practising carpet bombing destroyed the vegetation. The Japanese took to caves and reports of islanders being tortured for the little food left. Some were cannibalised.

Veteran diver Kimiuo Aisek and patriarch of Truk diving who has been running Blue Lagoon divers for 25 years here was 17 when the actual raids took place. 'I was very scared. Soon after the bodies washed u on the shore'.

The surrender of Truk took place after the official and unconditional surrender accepted by on the battleship Missouri in Tokyo Bay. The Americans landed in February of 1945 To find the Japanese had taken to caves.

The Diving
The sunken fleet has had fifty years of coral growth. Little salvage has taken place and artefacts. The deeper the wreck the more intact.

The choice of dive operations is between live-aboard or shore based. The day boats spend a lot of time getting out to sites and therefore limited to a couple of dives a day.

There is an Aggressor here which moves about and gives multiple dives on the same wreck. This is a good thing for working a wreck photographically.

The other major boat operation is the Thorfinn, which is not exactly a typical liveaboard in many ways. Firstly, it never moves! It is permanently moored in the middle of the 'action' and offers a different wreck each dive via satellite boats (no more than a ten minute journey).

The Thorfinn is an ancient 190' ex Norwegian whaler with a bloody history in the Antarctic. It is Canadian run by the most opinionated and obnoxious skipper you could meet, Cap'n Lance! But ignore him, diving needs characters!

The Thorfinn a floating hotel. Unfortunately, if it were a real hotel it would be called the roach hotel and condemned! Meals are more school dinners than the claimed gourmet fare advertised. In fact this boat has the dubious distinction of being named the worst live aboard boat ever!

The Thorfinn claims to be photographer friendly and even offers E-6. However, only avail yourself of the facility if you like scratched film!

The only saving grace is that the Thorfinn offers five dives a day. They have a lot of divers through here and have formulated a technique alledgedly recognised by several agencies as safe. Basically no stop diving with safety stops. They encourage a 60M/200' dive, followed by a 40M/130', then a couple of 30M/100' dives, with a shallow dive to finish! If you like it deep then this is for you. This is not a photographers profile and you spend a lot of time hanging off lines! The aggressor certainly takes a more conservative schedule. Oh, and the nearest chamber is in Guam!

The water quality is variable in the lagoon and this is important for two reasons. The first is that there is a lot of bacteria (so be sure to wash your ears to avoid infections). The second reason is the silt which can frustrate your photography. Some areas therfore have inherently better vis than others!

In common with the rest of the Micronesian islands there are well formed barrier reefs large pelagics and sheer walls on the seaward side of the atoll. Few operators dive there though.

Truk was the ideal deep water anchorage. There are nine island and three distinct diving areas. The repair fleet, ships either involved in repair or were being repaired which tend to have the worst vis, the 4th fleet which are deeper and more intact with excellent vis that allows you to see the entire ship, and Uman area which has better vis.

The names of the ships tend to blur together, but each has a distinct character once you get to know it. The majority sit upright with several on their port or starboard side and only a couple upside down. Several have airplanes still in their hangers.

Artefacts are everywhere. The local policy is to not salvage the wrecks but you can see items have been moved about by divers. For example toilets on the outer superstructure! It is eerie to see things just the way they were back then. It is also exceptional to find the items usually long since removed on any other wreck site in the world (like a ships telegraph) intact!

There is no truth in the rumours that the Japanese are about to ban diving on the wrecks because they are War graves. This was a sensationalised story created by a certain (non diver) journalist. There was a great deal of interest after the first footage shot by Al Giddings was shown on TV. It showed there is therefore no urgent need to rush out there whilst you still can. However, if you're a 'wreckie' I would strongly recommend an early visit.

Truk is a wreck divers heaven. The hands off policy means that the rest of us will be able to appreciate it for some time to come.

Philippines complete underwater guide

I have been diving in the Fiesta Islands for 8 years now and, as there are over 7,000 islands to cover, I have not even began to scratch the surface.
Whenever I go to the Philippines, I either stay at one of these hotels in Manila below or am picked up directly at the Airport and taken 2 hours South to Maya Maya Reef Resort near Nasugbu (which is simply Paradise).
Maya Maya (www.mayamaya.com) is nestled in a tree covered cove with a wonderful view across the bay. It has large nipa style A/C rooms on a Park - like setting with plenty of room between units for privacy and quiet. The Hot Water is rare for the area but is so delightful after a dive. Mrs Stone really has the "Green Thumb" necessary to keep everything so beautiful. They even hand sweep the grass every day !
There is a pool, an excellent Dive Shop, Marina, restaurant and Bar. But what makes it so special is that the owner David Stone and his family make you feel so welcome. You are treated as a member of the Maya Maya Family whenever you return and the pace is very relaxed.
The staff goes out of their way to provide help in getting whatever needs doing, like laundry and trips to town to get any supplies not stocked in the Resort Store. Part of this approach it the rejection of the idea of tipping, which drives you crazy elsewhere.
The Resort is in an area of expensive houses used as weekend get-aways by Manilas "Rich and Famous, but the feeling around the bar when is one of relaxed friendless when they stop in for a drink and a visit.
The pool is especially popular among the children and Melanie Stone (David's ever efficient daughter) somehow maintains the Family friendly nature of the resort but without causing the laughter and play to disturb the relaxation of those guests who enjoy the peace and quiet. There are no TVs or loud radios blasting in the rooms, which recently underwent a complete make over and new furniture.
Phones, Fax and e mail and credit card payments are available at the office so you are never really too far out of touch. Melanie is also the one to see about package deals including Diving, Airport pickup, Parties etc. Prices run about $50 night or about half that of other resorts in the area and they have less facilities.
The airport pickup in Manila about $60 but that saves about twice that in Manila Hotel and Taxi bills. Besides, you wake up in Paradise instead among the hectic Manila traffic, smog and noise.
Mel is a great source of information on the best places to go and see. This last trip, she arranged for me to go to Palawan on the Super Ferry including driving to the docks, which was kind of a Filipino version of Bumper Cars. Other spots she arranged were trips to Puerto Galera, trips to secluded Beaches and a Romantic picnic for a Honeymooning Couple on a secluded Island. You are often told of the good spots by the other guests but Mel is the one to see about the details since she often gets a much better rate from the Hotels and other Resorts.
The Dive Shop has been improved greatly with the arrival of Tony and Lynn Marnewick who have purchased new gear and a fast dive boat that has opened up new areas to exploration. Tony has found many new sites, especially some interesting caves and coves. He can be reached at dive@mayamaya.com for specific details on package prices but usually a dive using their equipment runs around $35-40. He runs a full service PADI shop, including Resort Dive Training for those just wanting to do their first few dives to Open Water and Advanced for people who really want to get into the Underwater World.
He also has an excellent Video Camera system and is well versed in identifying the local Marine Life. I just got my Advanced Card and Video courses from him and he is an excellent instructor whose patience must have been sorely tried by some of my actions. I have been going to the Philippines as a courier for about 8 years now and always included at least a week at Maya Maya.
As to some of the other spots I recommend..... In Manila: Makati....Like Frank Powers, I like the Robel Mansion Hotel (J.P.Rizal St and Makati Ave, Tel 889-8388 but there is also The Robelle House run by the same owners at 4402 Valdez (behind the International School) which is a converted mansion and is secluded and quiet. It is often full since it is popular among long term expats. Good food is available in either the restaurant or my favorite spot Cafe Mogumbo on P Burgos via Makati Ave which is with easy walking distance. Paco....Park Hotel 1032-34 Belen St Tel 521-23-71 to 75. It is off the noisy streets, Large Air Conditioned rooms, refrig, has a pool and restaurant and runs around $40US.
I often meet David Stone of Maya Maya there so we can spend the evening in Manila before heading off to his resort. Ermita...Rothman Inn, 1633-35 M Adriatico St, Tel 521-92-51 to 60. My favorite because it has deep Bathtubs which really feel great after the long flights from LAX. Cost is between $35-45US depending on the room type. There is Massage available in the privacy of the rooms and that really gets those kinks out of the back after sitting in those cramped torture devices the airlines call seats.
It is one street back from the popular but noisy Sundowner Hotel on Mabini St which is the start point for the Si-Kat BusFerry to Puerto Galera on the neighboring island of Mindoro. It is also with a block of the Manila Midtown and the Robinsons Mall which has many interesting shops and Western style restaurants including 2 McDonalds, Shakeys and Outback among others. But there are also many spots with walking distance for other tastes. Be sure to check out the Philippine Handicraft shop and the Arts and Craft stalls on the Mabini St side on the block where the Rothman is.
If you can't get into the Rothman for the night, the Park Plaza on the same block is a good but more expensive choice. On Mindoro Island, Puerto Galera... I highly recommend either staying at Small or Big La Laguna Beaches which are within a 25 min banca trip from the Si-Kat dock.
I usually stay at Small La Laguna since it is a bit closer to Sabangs nightlife and restaurants and my favorite dive shop, Action Divers www.actiondivers.com . Ross Thompson, the owner is very helpful and his web site contains a lot of information on the ferry schedules etc. His shop is next to the excellent Full Moon resort and restaurant.
There is also the El Galleon, run by the owner of Asia Divers and the Portofino, a condo project that sometimes has units for rent for about $35 for Studio,$50 for 1 bedroom. Both of these have a pool but they are within 5 steps for the beach so that might be considered overkill.
Wherever you stay, the Sunsets are striking. I never prebook unless I have talked to Melanie Stone at Maya Maya since she gets much better rates. Or I go to see Ross at Action Divers and we find the best deal. Be aware that Christmas and Easter are usually completely booked altho Ross now can take reservations on some Luxury units that he owns in Sabang. Coron, Palawan....

The flight out on SeaAir aboard a 19 passenger puddlejumper, where you are limited to 50Kg of luggage without extra charge. That eliminated taking too much scuba gear, which is why many divers take the Super Ferry both ways.
You land at the typical dirt airstrip and take a banca through the famous King Cattle Ranch (Asia's largest) to Coron. You are dropped off directly at the Kalamyan Inn which has rooms with either private or a shared bath.
I stayed in a clean A/C room, one of 4 on the second floor which has a private patio. The cost was $20, $23.50 twin share which includes the normally $4 Breakfast. Noise is a bit much until about 8 PM when most of the Trike Taxis stop running. Food is available in the Bar below and is good and not too costly. Be sure to try Josies favorite, Spicey Pork Chops.
Josie then arranged for me to go to Dive Right PADI Diving Center (diveright@moxcom.com and http://www2.mozcom.com/~diving) within a couple of blocks through the village Market. The staff, run by Dennis (Mgr), is skilled, helpful, and a cross section of the world, American, Aussie, German, Japanese.
They offer full PADI services, and take you to some of the most interesting wrecks in the Philippines, a Japanese convoy sunk in 1944. You usually make 2 dives, with lunch in between, leaving at about 10AM and returning about sunset. We also made a dive into a lake which has a layer of 105F water under about 60F freshwater. Very interesting experience, but having to carry all the gear over sharp Limestone rocks where a fall would cause injury if not being fatal is something I would not want to repeat. I had one of the boat crew carry my gear and I barely made it with just me to worry about. But I am 50 and pretty banged up and the younger divers had little problem.
The trip back was at night and the Flying Fish were all over and were caught in the spotlight as they skimmed from place to place. Again, a package deal will cost less but I think each dive was between $25-30 with their equipment including lunch. You can have Dive Right set everything up. Just remember that communications with Coron are cellular and unpredictible, but the e mail usually gets through. Josie at the Kalamayn Inn in Coron is very helpful.
If you want to go via the Super Ferry (www.wgasuperferry.com), their tickets can be purchased in any travel outlet or at Pier 4 in Manila. A 4 person berth with bathroom is $25 each way and a suite at $60 but has room for a couple so it is a good buy when traveling together. It leaves on Friday night, takes 13 hours and returns on Sunday night for a 1 pm arrival in Manila. The other divers who were in my 4 person berth were from Manila and doing a quick weekend worth of diving and took the Ferry due to the weight of the scuba gear. Most people spend a week but whether you fly or sail, spend a weekend or a week, it is truly an adventure among very friendly people.

Contributed by Warren Cornelius

United States underwater photography guide

Best Season
Fall and winter

Visibility
30'-70'

Water Temp
varies from 58ฐ -60ฐ East Coast to 83ฐ -65ฐ Mexico

Mexico: Sea of Cortez
Seamounts, rocky islands, wrecks, canyons
seal, manta, sponges, whales, hammerheads

California coast
Rocky shores, kelp, can blow up. warmer further south, shore access.
Shark, expeditions (offshore), Garibaldi fish

Santa catalina island: channel islands
boat only, kelp, can blow up, currents,
purple coral

Florida keys
250 miles of reef 3-6 miles offshore so boat dives only, wrecks, reefs
typical Caribbean, statue of Christ Of The Deep, well served for photo shops

East coast: new England
cold water diving, shore and offshore, some good wrecks
anemones, starfish, Nudibranchs, wolf fish

East coast: mid Atlantic states - N.Y., Delaware
Wrecks at 80-100', distinct thermocline
Lobsters

East coast: bay states - Maryland, Virginia
World war and civil war wrecks

South eastern states: Carolina, Florida
World Class wrecks and reefs. gets warmer as you go further south

Bermuda
wrecks, shallow reefs
almost Caribbean, soft corals, pelagics but small

British Columbia
Drysuit diving
Giant octopus, Killer whales, huge sea stars, wolf fish

Mediterranean underwater photography guide

The Mediterranean Sea is not an obvious photographic location. Although the region can claim to be the seat of civilisation and the countries bordering the Med are culturally diverse; there is little variation in diving from one location to another. Typically the Vis is good (100') but the marine life is generally small and not very abundant. Macro photography is not good and wide angle is scenic. There are some good wrecks, particularly the Zenobia, a car ferry sunk at Larnaca, Cyprus. Seasonal changes are slight.

Best Season
May-Oct

Visibility
200'

Water Temp
70

Wrecks
Vera K, Achilleas (Paphos) Zenobia (Larnaca)

Gibraltar
Med meets Atlantic, wrecks

France (south)
wrecks inc sub with morays

Malta
shore and boat, scenic, caves tunnels
wrecks

Cyprus
shore and boat. no live aboard
wrecks (south) main reserve (south) colourful red sponges at 100'

Pacific Ocean underwater photo guide

The Pacific: Too huge an area to generalise about. Thousands of atolls, each with its own character. You would need a lifetime to do it justice

Best Season
Jan-April typhoon season is Jul-Dec (Palau) anytime Truk Apr-Nov avoid Dec-Mar rainy season (Fiji)

Visibility
100-200

Water Temp
70-82 depending on location

Wrecks
Fujikawa Maru, Fumitsuki, Shinkoku Maru, Yamigiri Maru, Sankisan Maru etc. (Truk)

Palau
340 islands, vertical walls. Marine lakes with wall to wall jellyfish.

Truk lagoon
Huge lagoon, boat. no currents but loads of decompression.
WWII wrecks. The BIG one. 275 planes and 210,000 tons of Japanese naval and merchant cargo ships.

Guam
Known as the gateway to Micronesia. Fringing reefs from shore
900 species of fish, Napoleon wrasse, manta, few soft corals but spectacular hard corals, Japanese zero

Japan
Not most peoples idea of a dive destination.
giant crabs the size of a diver!

Fiji
300 islands,75,000 sq. miles, 300+ varieties of soft corals
Colourful soft corals, big pelagics

Hawaii
boat, shore, shallow, deep, volcanic terrain, caves, tunnels, drop-offs. Not the best dive site in the Pacific but the islands are enjoyable to visit!
600 fish species, Nudibranchs, spinner dolphins, humpback whales (Nov-May)

Philippines
coral reef varied. 7100 volcanic mountainous islands stretching 1000 miles.
WWII wrecks

Red Sea underwater photography guide

The Red Sea: The World's largest landlocked sea. Surrounded by desert so very little rainwater run-off to spoil the visibility. Sheer drop-offs are a short walk over the fore-reef away. The central Red Sea is the best for diving but is a politically unstable area with unreliable travel connections.

Best Season
Oct-Apr is season but there's more fish in summer

Visibility
80' 100' (north) 100'+ (south)

Water Temp
68 -100 (north) 68 -100+(south)

Wrecks
Thistlegorm, karnatic, Giannis D (Sharm El Shiek) Umbria, Couteaus, habitat (Port Sudan)

Indian Ocean underwater photography guide

Best Season
Nov-Mar (Maldives) Mar-May avoid Xmas! (Seychelles)

Visibility
80;-100;

Water Temp
75-80

Location
Maldives
reef, strong currents. Shore diving off 'Robinson Crusoe' islands or boat dives.
sharks, guaranteed Manta.

Keynya
Whale sharks

Seychelles
granite outcrops

More large pelagics but less hard corals than Red Sea

Europe best underwater photographing dive spots

Best Season
July-August

Visibility
0-60

Water Temp
0-50

Famous Wrecks
Many in Scapa Flow

Location
NORWAY
Killer Whales

SCAPA FLOW
Cold water diving at depth. Not for beginners.
Second largest concentration of sunken warships in the world. The scuttled German fleet. Many war graves.

Caribbean travel guide for photographers

The Caribbean: Has a very distinct flavour of underwater scenery. Large barrel sponges, whip corals rather than Dendronephtya (the soft broccoli like corals found on coral reefs elsewhere).

Best Season
August-Sept calmest

Visibility

50'-100
Water Temp
2-80

Famous Wrecks
Bonegi 1, Ruinui, Tara Maru (Honduras) H ilma Hooker, Mair Bhan (Bonaire)

Location, Dive Types, Subjects
Honduran Bay islands Typical Caribbean purple tunicates

Turks & Caicos islands scenic walls, reef turtles, Whales migrate in Feb
Bonaire Easy diving from shore to reef and drop off. Wrecks, no currents. macro capital of the
Caribbean

Belize The second largest barrier reef in the world, offshore live-aboard.
Cayman islands shore, dayboat, facilities for the U/W photographer Stingray City, Tarpon alley

Grenada 21 x 12 mile volcanic island
Virgins shallow reefs, boats, Humpback, Hyrolab (submerged research habitat) dolphins
Bahamas Shallow Bahaman banks shark feeding, dive with dolphins, blue holes

Barbados
Jamaica drop off, small tropical fish, barrel sponges, eels, rays
Cozumel drop off from shore and offshore reefs

Cuba
Cozumel 2-8 knot currents, drop-offs from 40-2000', small island of Yucatan peninsula (Mexico) Tarpon, silversides, caverns
Cancun reef, grotto dolphins, groupers, coral

Australias best underwater photography spots

Australia is BIG. The GBR alone is 1,400 miles long with more than 2,900 individual reefs and 900 islands. There are 400 species of hard and soft corals, 4,000 species of molluscs, 1,500 species of fish and 15 types of sea snake. Great whites are found offshore in the cooler southern waters and various expeditions are available to find them. The Northwest coast has guaranteed whale sharks and the leafy sea dragon (a sort of sea horse that looks like a piece of weed) can be found at Jervis Bay near Sydney.

Best Season
May-Oct

Visibility
20m

Water Temp
70

Wrecks
SS Yongala

LOCATION DIVE TYPES SUBJECTS
Western Australia ribbon reefs, patch reefs, fringing reefs. Weather can blow up. Whale sharks guaranteed in April.

Sydney leafy sea dragon (Jervis bay)
Coral Sea Barrier reef 20-50 miles offshore so all liveaboard Cod hole groupers, sea snakes, sharks, and dolphins - you name it!

Underwater camera system guide

It is hard to say whether equipment is the solution, or the problem, for underwater photography! There is a confusing amount, and variety, of underwater photographic equipment on offer. We have, therefore, prepared this guide for both the uninitiated and those who just seek to upgrade. It will take you along the various routes open to you when buying underwater cameras and lenses, whilst also giving an overview of what equipment can (and cannot) do for you.

Let’s face it, a camera is essentially a simple device - merely a light-tight box with a lens at the front, a system for transporting film at the back, and a method of controlling the amount of light in between.

Underwater cameras must also conform to this basic design, but obviously have to be watertight/pressure proofed too (or be placed in a housing that is). Underwater cameras must be robust, compact, easy to use, and fit into a budget!

In some ways it is easier to start from scratch. Your choice is then simple - you need a camera (with the right lenses), a flash and some means to hold them together! If you already have a piece of equipment however, your options are limited to other items that are compatible with it.

Whatever your starting point you must realise that everything to do with underwater photographic equipment is a compromise and you need to sort out priorities. You must ask yourself which features you think are essential and which features you think are merely desirable?

The first thing to realise is that you never just buy an underwater camera - you buy a system. Even if you start out with the camera and add lenses, flash, and flash arm later you should consider the system choice as being the most important one to make. You may be surprised - what may have been the obvious choice to begin with may actually be the least effective and most costly in the long run!

WHICH SYSTEM?
The camera is the heart of your system. The basic choice is between a purpose built underwater camera or putting a land camera in an underwater housing. Each route has its advantages (and disadvantages).

The camera housing is the most cost effective way to get the latest technology underwater (and technology means a higher percentage of results). Housings cost more but, when you weigh up the cost of one against the cost of a foreign dive trip, you might be able to justify the extra expense to guarantee coming back with better results. The current trend in underwater photography is towards housed autofocus (AF) camera and this will, no doubt, continue.

Although it takes some time for the current technology found in land cameras to become incorporated into underwater cameras all the essential functions have already found their way into the latest Nikonos and Sea & Sea models - so they will all yield successful pictures if used intelligently. However, as a general rule; the more you pay - the easier it gets.

The alternative to the camera housing is the purpose built underwater camera but, because the market for such equipment is relatively small, the choice of products is limited to only two major players: Nikon (with the Nikonos), and Sea & Sea (with the Motormarine I I and Explora models). If you are just a snap-shooter and cannot justify a major investment outlay for a system (that perhaps you will only use on one dive trip a year) then the Sea & Sea range is the first place to look.

WHICH CAMERA? SLR-V-NON SLR
The main difference that sets camera systems apart is the viewfinder system. The camera in a housing is a Single Lens Reflex (SLR) and has reflex viewing, that is to say, by means of an ingenious prism and mirror system, you can see exactly the image as it is Through The Lens (TTL); whereas, the purpose built underwater camera only has a simple viewfinder to keep costs down.

To avoid confusion (we hope!) we shall refer to underwater cameras as being either SLR or non-SLR. All cameras have some kind of viewfinder but the viewfinder on non-SLR cameras is merely a ‘window’ built in to the camera body (or a slot-in optical lens) which only approximates the actual view of the lens. Unfortunately, with this system, it is very difficult to judge lens coverage, and it is therefore easy to crop your subject accidentally.

Focus must also be achieved by ‘guess-timating’ on non-SLR cameras. You must judge the subject distance and relate it to a scale on the lens. However, with a bit of experience you can get quite accurate, especially with wide angle lenses which are virtually focus free anyway and for macro photography (the photography of smaller subjects) where the subject area is shown by framers.

Although not allowing TTL viewfinding, underwater non-SLR cameras can employ metering systems which measure light (both ambient and, in top of the range models, flash) through the lens. Although not foolproof, TTL metering yields a high percentage of successful exposures in the majority of circumstances underwater. The photographer must, however, still interpret readings in order to balance natural light and flash with this system. The current generation of SLR cameras have, however, gone one step further and now have software which can automatically handle the chore of balancing flash with ambient light.

Both the Sea & Sea and Nikonos are regarded ideal, entry level, non-SLR cameras to start underwater photography and, especially in the case of the Nikonos, an impressive range of lenses and accessories can be added so that it can be the only camera you will ever need to buy. The metering system Sea & Sea cameras employ is not accurate enough to guarantee successful exposures with slide film; an important point if you want to sell your pictures, because most magazines only accept slides. If you want to publish your work you must go the housing route.

CAMERA HOUSINGS

Increasingly, the trend in underwater photography is towards camera housings (even at entry level). The price differential between housed systems and non-SLR cameras is now negligible and when you consider that you always buy a system (not just a camera) then in the long run a housing is usually the best route to go. Land lenses are nearly always cheaper than lenses for non-SLR U/W cameras so, although the initial outlay on a housed system may seem slightly greater, you will save money overall.

There is one distinct advantage in housing a Nikon camera - nearly all the underwater strobes commercially manufactured these days are only Nikon TTL compatible. However, if you own a Canon EOS or Minolta Dynax camera there are housings and underwater flashes available now which give you a system equal to any Nikon (but at a premium).

WHAT TO LOOK FOR IN A HOUSING
There is little point in putting an SLR camera in a housing if you can’t see the viewfinder properly. The problem is that you can’t avoid having your eye forced back from the viewfinder by your diving mask - thus making the average camera viewfinder (which was designed for land use with the eye against it) impossible to see entirely. In order to see the viewfinder image and display information you must move the housing from side to side. To overcome this all the leading manufacturers have a device called a viewfinder optic built in to the rear of the housing. You must be able to see the entire frame for composition. Without an optic you risk cropping your pictures. see below:

with and without a viewfinder optic:

Attention to detail inside a housing is a good indication of quality throughout. For instance the wires onto the TTL socket should be resin sealed in order to protect the terminations, rather than left bare (and open to corrosion).

All housings require a TTL flash socket (usually the almost universal Nikonos fitting) in order to plug in a TTL strobe. As an optional extra you can usually have a second TTL socket fitted to allow the use of two strobes. You should check whether this needs to be done by the factory (necessitating a delay) or whether it can be fitted retrospectively.

You also need some means of attaching a strobe via an arm; either threaded holes underneath the housing to take a tray, or via ‘shoes’ attached to the housing (or on the handles). Most manufacturers are let down by the quality of their own arms. Only one system, Technical Lighting Control (TLC), fit all systems and offer total functionality.

Ergonomics is the so called ‘invisible factor’ in design. Basically it means how well the controls fall to hand. The average SLR camera is designed to be easy to hold and use, with controls falling naturally to the appropriate finger. Unfortunately, all that changes as soon as the camera is fitted into a housing! There are only so many ways that a lever can be made to hit a camera control so mechanical transmission housings are always limited as to how ergonomic they become -especially to the diver with gloves on.

Handles are not vital to the operation of a camera housing but do stop your hand aching, and are particularly handy when passing your camera up to the boat!

HOUSING DESIGNS
The only sensible material to make a camera housing out of is cast aluminium. It is robust, so will generally go deeper, accept accessories better, and has excellent heat sink properties which precludes internal misting in humid climates. Compactness is a major factor in choice of housing for the travelling photographer. The larger a housing is, the heavier it must be in order to remain neutrally buoyant in the water. Bulky units not only take up more space, but also contribute to excess baggage charges and aching arms! The trend now is to build a housing for a specific camera. It can then be constructed to ‘fit like a glove’ and allow you to operate 90%of the cameras controls. Only aluminium housings conform to these specifications.

Most aluminium housings should operate far beyond Sport diving limits (to give a margin for error) which, needless to say, is also well below the depth where interesting subjects are found! Depth rating of housings is dependant upon many variables, such as housing size and wall thickness, O-rings and structural considerations. The depth rating for housings can vary between 40M (perspex construction) and 100M (aluminium).

Most housings are of the clam-shell design, that is to say they split longitudinally down the middle to allow access to the inside. The two halves of a housing should open and close positively, not open accidentally, and without the need of tools. With this brief in mind, manufacturers almost universally install stainless steel clasps these days rather than screws and bolts. Clasp fasteners are pre-tensioned to give the correct closing pressure and there can be no argument as to whether or not a housing is closed properly. It is either open, or closed - end of story! For additional idiot proofing most manufacturers employ the type of clasp with a safety interlock which cannot be opened accidentally.

O-RINGS
The camera housing itself does not keep out water on its own of course. The seal between mating surfaces is made by O-rings (soft rubber rings that flatten out under compression to fill the ‘gaps’). You will find O-rings on the main seal, the Port and on all control shafts that go through the body of the housing. Control shaft O-rings are not user serviceable and it is easy to forget them because you can’t see them. The problem with control shaft O-rings is that, inevitably crystals will form as seawater dries out, and these can abrade the O-ring when you next operate the lever. It is almost universally accepted that, in the fight against water ingress, having double O-rings on all moving parts that go through the housing is essential. Let’s face it, one of the basic principles of diving is that you always have a backup, and double O-rings on all control lever shafts give added security (and longer periods between maintenance). The main clam-shell O-rings do not need to be double as they do not have moving parts in contact with them and are, in any event, user serviceable.

HOUSING TYPES
There are a number of different housing designs. The most basic design relies entirely on autofocus i.e. the ‘capsule’ type housing. The capsule offers only basic control, just a shutter release and TTL flash socket (and is usually a stripped down, budget version of the top of range housing). Capsule housings rely entirely on autofocus and auto-exposure techniques.

There is also a permutation of the capsule housing that takes a number of different models, sometimes called the universal housing (or Uni housing for short).

Some capsule housings have viewfinder optics, some don’t. An optic will increase the cost of a housing by 20% (but also increase functionality by 100%).

Most serious underwater photographers plump for the housings that gives the most control, the so-called Full Function housings. This type of housing allows you to operate the maximum number of controls (within physical limitations).

PORTS AND GEARS

The removable port is an integral feature of the underwater camera housing. There are two basic types, the dome port (for wide angle lenses) and the flat port (for macro lenses). On land a dome port acts like a window but, underwater, it behaves like a negative lens. It forms an apparent image of the subject for your camera to see (which appears closer) but which corrects for refraction. The apparent object distance varies according to the curvature of the dome, with smaller domes creating the greater distances. The laws of physics therefore dictate that bigger domes give sharper pictures!

Ports comprise of an optical element held in an aluminium tube which is physically attached to the housing usually by bayonet mount (and sealed by a user serviceable O-ring). For dome ports there is usually a shade to avoid flare and maintain contrast which may be removable to suit different lenses.

Port elements are made from acrylic or glass but, contrary to what you may think, acrylic is the best material to construct a port because it is easier to repair scratches, does not tend to mist up, and is cheaper. The best acrylic ports are injection moulded rather that vacuum formed.

As we said earlier, larger ports are preferable because larger ports give sharper pictures (and some also allow you to swap lenses without removing the camera from the housing). The optimum size for a dome is 8". This corrects for refraction above and below water so that half in/half out shots are possible. Domes smaller than 8" may require you to put a diopter lens on in order to focus properly (and this is a piece of optical trash you should avoid). A 6" dome is a good compromise.

Lens gears are toothed rings that mate up with external controls on a housing and are required to alter aperture, zoom, and manual focus settings on lenses. These gears either slip on for a tight push fit or are held in place by grub screws. Many lens gears are interchangeable so you don’t need to buy one for each lens but continual swapping results in visible wear and tear to your lens which will reduce its resale value. Much better to buy gears for each lens and leave them on permanently.

Leak Detectors
A good housing will not flood. However, once you introduce the human element into the equation you’re asking for trouble! User error means floods can happen at anytime. The vast majority of floods (99.9%) happen within the first three metres of water. In fact, you would be surprised to learn how many floods happen in the freshwater soak tank!

There is no substitute for diligence, but leak detectors (audible and visual alarms built in to the housing) can help avert a tragedy at times when you are distracted. Considering their cost, relative to a new camera, they are a good investment.

WHICH LENS?
Whether you opt for an underwater camera or housed camera you will also need the right lenses to make it work to full potential. In this area also, a great deal of confusion exists. The ‘standard’ lens for underwater photography is the 35mm - insofar as it approximates what you see. This is the lens usually supplied with non-SLR cameras - but your photographic opportunities would, however, be somewhat limited if the standard lens was the only focal length of lens available.

Indeed, there are lenses where the focal length is less than the diagonal i.e. wide angle, and lenses with a focal length greater i.e. telephoto. Underwater photography suits the extremes of subject sizes, either close and small (macro) or close and large (extreme wide angle). The most useful lenses are therefore wide angle or those having close focus (macro) facility.

Prime and supplementary lenses
Any lens attached directly to the camera body is known as a prime lens. The only disadvantage of the prime lens is that once on the camera, whether in a housing or on an amphibious camera, it cannot be removed during a dive (so you are stuck with looking for subjects of the appropriate size).

The 35mm standard lens is rather difficult to use. At the close distances our typical underwater subject tends to be at, it has limited coverage and is critical to focus. You do not usually buy a 35mm with a housed system but with non-SLR cameras it is worth having one because you can fit supplementary lenses to covert them into a wide angle, or close up, lens. Unfortunately, supplementary lenses are optically inferior to prime lenses, a point usually reflected in their price.

Supplementary lenses are additional elements that can be placed over a prime lens on a non-SLR U/W camera to alter focal length and angle of view. The big advantage of supplementary lenses on non-SLR cameras is that they can be removed underwater and you can therefore swap them during the dive to match the size of subject you discover.

Wide angle
Reducing the amount of water between the subject and the lens gives sharper detail, richer colours, and increased contrast. This is consequently one general principle which is important to photographic success underwater. It also explains why the wide angle is the underwater photographer’s favourite lens (because it allows the underwater photographer to get a good scale of reproduction at close distances).

Typically, wide angle lenses have an angle of view between 90 and 60 degrees. Wide angle lenses have an enormous depth of field (the zone in the picture that appears in focus) and so are virtually focus free, making them very easy to use and versatile. They are suited to most underwater subjects from wrecks to divers and, because they can focus down to six inches in some instances, they can be used for smaller subjects too.

The majority of wide-angle shots that you see in the diving magazines were shot on the 20mm lens in a housing (equivalent to 15mm Nikonos/16mm Sea & Sea). A wide-angle lens should be at the top of your shopping list, right after a strobe. Wide angle lenses do unfortunately suffer from distortions, particularly curvature of field, which is especially noticeable at the edges. On land this effect can be distracting, but it is not a disadvantage in most underwater applications as there are not many straight lines underwater to betray the distortions (except wrecks).

Fish-eye lenses are extreme wide angle lenses and can have an incredible angle of view of 180 degrees on the diagonal! Consequently they have all the advantages (and disadvantages) already mentioned for wide angle lenses - only more so! Some fish-eye lenses give a full format rectangular image, others only a circular area in centre frame.

Macro
Non-SLR and SLR systems go about macro photography in very different ways. SLR cameras use special lenses designed for close subjects whilst non-SLR systems use extension tubes and close-up supplementary lenses.

The macro lens for the SLR is designed for small, flat subjects close to the lens. The typical focal length is 50mm or 60mm but there are longer tele-macro lenses of 90mm to 105mm which are also useful. The most popular Nikon macro lens is the 60mm and this lens should be next on your shopping list after a wide angle lens. The depth of field with macro lenses is minimal (less than an inch) so this system requires reflex viewing to focus.

For Nikonos macro photography with the Nikonos V you use extension tubes. These are rings which fit between the prime lens and the camera body. With extension tubes, you do not require reflex viewing for focusing; the scale of reproduction is fixed, and the subject merely needs to be the correct distance from the lens in order to be in focus. This, and the angle of view of the lens, is shown by probes, wands, or framer attachments. Extension tubes do, however, have the disadvantage of dictating the subject size suitable to fill the frame and, additionally, are non-interchangeable underwater. The Sea & Sea range does not have a detachable prime lens and so uses close-up supplementary lenses for photography of small subjects.

Autofocus lenses for SLR’s
Most lenses for SLR cameras can be focused visually with minimum difficulty. However, there are some instances underwater where visual focusing can be slow, inaccurate, and tiring - such as with SLR macro photography. Autofocus (AF) lenses automatically focus for you and are available in most focal lengths and for most modern SLR’s. Autofocus is faster and more accurate than human reactions and it is not surprising that AF is now the norm.

Autofocus can be a boon underwater for most subjects, and especially useful if you wear glasses. However, some low contrast subjects can actually be frustrating to photograph with autofocus as the lens can continually seek, but does not lock on. However, in the majority of cases, Autofocus systems are so sensitive that they can work even when there is not enough light for the human eye to see (quite a common scenario underwater). An aiming light is a useful accessory to aid AF, it does not need to be strong, a pinprick of light is all you need!

Zoom lenses for SLR’s
Zoom lenses are lenses with a variable focal length and are becoming popular for underwater use in housings. They allow the photographer to remain in the same position whilst varying angle of view, or image size. There are few applications underwater where a zoom is a genuine advantage however, although zoom lenses are an alternative to a range of interchangeable lenses.

As previously mentioned, it is better to stay close to your subject underwater and, as there are no close focus zooms available that go from (say) 20mm wide angle to 50mm macro, you are still stuck with buying two lenses! There is another good reason why zoom lenses are not much use underwater. Wide angle lenses require dome ports and macro lenses require flat ports, so how do you change ports as you zoom through your focal length range? In reality you choose either one port or the other. It is generally accepted that 28mm is the widest zoom lens you should use behind a flat port, any wider you must use a dome (with a plus diopter corrective lens).

Which Strobe?
There can be no argument that the strobe is as important to underwater photography as the underwater camera. However, choosing an underwater strobe can be even more confusing than buying a camera as there are more manufacturers, and more models, to choose from.

Electronic flash is the most practical method to add light underwater and is provided by purpose built underwater electronic flashguns (often called Strobes).

We have tested all of the strobes commonly available in the UK and the results are shown in the data chart which you can download as part of our free U/W photo software. Just Click Here. This will download a genuine Windows Help file which you can browse to your heart's content. To find the data chart search the index of the help file for "Strobe power ratings" and click on the green text.

The data chart lists all the features to look for in an underwater strobe such as how it controls exposure, how powerful it is, and how that relates to it’s power source, and it’s size and weight. The first important feature to consider is the firing mode.

Firing mode
There are four possible firing modes that can be incorporated by underwater flash units: Manual, Automatic, TTL and Slave.

Manual units give a constant output each time they are fired, and so the correct exposure is achieved by the judgement of the photographer relating subject distance to aperture (not as difficult as it sounds). There may also be incorporated a number of different power settings to help the photographer control output.
Automatic strobes have remote sensors that read the light reflected from the subject and automatically quench flash output when correct exposure has been achieved. This method of determining exposure can economise on battery use as the flash need not fire at full power every time, but it is prone to error with non-standard subjects and may not, therefore, yield any more successful exposures than manual techniques in such circumstances.
TTL (Through The Lens) strobes are by far becoming the norm. They also respond to the light reflected from your subject, but this is measured by the camera, not by remote sensor, and also takes into account the aperture selected (and any filters). It is therefore more accurate, more versatile, and less prone to errors.
Slave mode can be incorporated into any of the previously mentioned strobes. The term ‘slave’ denotes that the strobe can be triggered remotely, simply by being in proximity to another flash going off. Such units are useful to augment your main strobe without the necessity of a connecting lead to your main camera. Usually slave mode is at full output so exposure is again determined by flash to subject distance.
Power ratings
The next feature important to your strobe choice is how powerful it is. The power of any particular strobe is expressed as the Guide Number. This number corresponds to the F-stop (aperture setting) required to get the correct exposure at a particular distance, and with a particular film speed. The standard adopted by most manufacturers brochures is the land guide number (which cannot be used for U/W calculations) and is in metres with 100 ISO speed, and is the one used on our table.

To determine the accuracy of the manufacturers stated guide numbers for our data chart, we measured the output of all the strobes tested on a Minolta Flash meter IV which has a known accuracy of one tenth of a stop (far more accurate than the shutter of your camera!). You may not be surprised to see discrepancies between claimed, and actual, guide numbers that we discovered on our test!

Power supplies
Underwater photography requires a lot of light and fast recycle times, which dictates efficient power supplies. It is not necessary to know exactly how the electronics work in a strobe in order to use one, but it is useful to understand the idiosyncrasies of the batteries you put in it! This is especially true when buying a strobe as the number, and size, of battery cells a particular strobe takes will determine its performance. The ideal battery should allow the unit to be able to deliver many firings and recycle quickly. The three main types of battery used in strobes are (1) Alkalines and (2) Nickel-Cadmium (Ni-Cad) (3) Nickel Metal Hydride (Ni-Mh).

Alkalines are extremely efficient in that they give many firings and do not fail abruptly, but have the disadvantage of their limited life-span which makes them costly. The travelling underwater photographer needs a power source that will shoot a roll of film (at least) twice a day for every day of a two week holiday. You would need to carry 14 packs of Alkalines for such a trip (one for every day of your holiday with most strobes). Apart from the inconvenience of carrying that little lot about with you, just think also of the effect on the environment of producing those 14 packs of Alkalines!

Ni-cads can be recharged hundreds of times and are therefore the most cost effective power supply. They are ideal for the travelling photographer as you only need to take two sets with you (one for the flash and one to keep on charge). Ni-Cads offer faster recycling times, but less firings, and fail more abruptly (usually without warning and usually in mid roll!). They normally require 14 hour charging times and can develop a ‘memory’. You must discharge them fully before recharging otherwise they ‘remember’ and will only take a part charge next time.

Nickel Metal Hydride are the latest thing in battery technology. Originally devised as power sources for laptop computers Ni-Mh batteries are also re-chargeable. They deliver more power, quicker, and with no memory problems. They can also accept a charge in an hour!

Most strobes shown on our chart have removable batteries and can use either Alkaline or Ni-Cads. Some strobes however, incorporate integral Ni-cads which cannot be removed but which usually are industrial grade and of high capacity. Some models boast sealed battery compartments, this is a useful feature in the event of a flood as the internal electronics are protected.

TIP! Do not use rechargeable batteries in your camera. Use standard, Alkaline (or lithium) only. The voltage is lower, and this can throw off your meter!

Firing and recycling
It is obviously important that you get a reasonable number of firings per set of batteries from your strobe. The number and size of cells is a rough guide, however, in order to determine how many flashes a strobe will give, the efficiency of the circuitry is the main factor.

It is also important that your strobe recycles quickly if you don’t want to miss any photographic opportunities, especially with action subjects. Even with static subjects, you need to work quickly because the silt will billow up to create backscatter very quickly if you settle in one spot. Like guide numbers, claimed recycle times and stated number of firings should be taken with a pinch of salt.

Coverage
Flash coverage is another factor to consider when purchasing a strobe. The coverage of the flash should match the coverage of your widest lens otherwise your shots end up lit very unevenly. This is probably the commonest mistake to ruin beginner’s shots.

Most strobes cover either a standard or wide angle lens. If you buy a strobe to match your widest lens then you will cover all eventualities, but you shouldn’t be put off a buying a narrow beam strobe if the price is right. Coverage can always be increased by the use of a diffuser to spread the light (at the expense of power output - another reason to over-buy on power).

Flash Construction
Small is beautiful for any diving equipment if you travel extensively, as airline baggage weight allowances were not designed for divers or diving photographers! Fortunately, most flash manufacturers have compact units and lightweight designs are now the norm. However, chargers often weigh as much as the strobe so this is also a consideration. It is a good idea to only carry one charger so that, if you carry a torch for example, you should ensure that you can use the same charger with it as with your strobe.

Flash Connectors
The connectors on the flash that you intend to purchase should obviously match those on the camera that it will be plugged into. There is no standard for connectors on underwater strobes, although the five pin Nikonos V plug and socket is almost universal for TTL strobes. Some types of lead can have connectors which can be unplugged underwater. This is an advantage should you wish to take two cameras but only one flash (or two strobes and one camera).

Flash Arms
You will probably buy a flash arm when you buy a strobe and here lies another minefield. How your strobe is physically attached to your camera can also make, or break, it’s performance. The traditional design is a straight bar which, although functional, is fairly limiting. It is a great advantage to be able to get your strobe off camera and so disconnect systems are to be preferred.

As in the case with connecting leads, there is no standard mount for strobes and so most underwater photographers are forced to customise their favourite mounting arm to mate with their favourite strobe. The most popular design of flash arm is ball jointed. Designs that cannot be locked in position usually require constant attention in use and should be avoided. Ensure that the arm system you buy is compatible with your strobe and housing. Only one manufacturer (TLC) has a system with a high specification and can promise to connect any strobe to any flash.

Flash Extras
There are one or two other integral features to look for on a strobe. These include modelling lamps (built in torches which usually utilise the same batteries). They are useful to preview coverage but not very effective in daylight conditions. Audible status warning signals can be useful (if you can hear them through your hood!).

Choice of strobe
Final choice of strobe should not be made in isolation from the camera it is to be used with, nor subject matter it is to be used for, nor size of pocket that has to pay for it! For example, there is no point in paying extra for a TTL flash if you only have a manual camera, nor is there any point in buying a power flash if you only shoot macro.

Some people go for power strobes but, if you only ever dive in UK waters, a power strobe can be counter productive. All you may succeed in doing with a power strobe is lighting up more suspended particles in the water, and thus get more backscatter. Lesser powered units are therefore to be favoured in lower visibility, so there is some case for buying a smaller strobe if you only dive in UK waters.

Conversely, there is justification for buying a larger powered strobe than you need if the coverage is not sufficient for your widest lens (because you will lose output when you put a diffuser on). Also, because shooting on less than full power shortens recycle times, it could be a good strategy to buy a more powerful strobe than you actually need to improve recycle times. The number of flashes per set of batteries is also correspondingly increased.

There is also a lot to be said for spreading your budget over two strobes rather than one. That way you always have a backup, or can simply use the second one to augment the power of the first. With a second strobe you can ‘fill in’ the shadows and this is a particularly popular set-up with the professional.

All the strobes on the market will do the job, but some will be more suited to your application, and pocket, than others!

FLASH HOUSINGS
It is now becoming popular to house a land flash for underwater photography. Land flashes offer the ultimate dedication with housed cameras and can therefore allow you to take advantage of all the advanced features available to your camera system.

Housing a land flash can also now give Canon and Minolta owners, who were previously put off housing their camera (by not having a TTL flash) the incentive to buy a housing. Nikon owners can experience features not available to underwater strobes, such as 3D Matrix metering Balanced Fill TTL Flash (now that’s a mouthful - it’s just a new style of TTL for ensuring flash exposure does not overpower the subject). There is also a feature on Nikon flashes called Monitor Pre Flash - which measures the reflectivity of the subject and then the camera adjusts exposure accordingly.

However, not all cameras can take advantage of these advanced features. For example Nikon owners should note that Pre Flash and Balanced Fill flash is only available to F90 (or later) cameras. There is, therefore, little point in buying a flash housing if your camera is not compatible with the system flash’s advanced features. For example, using a Nikon land strobe with an F801 camera gives no gains - you will only get standard TTL.

Similarly, some flash housings do not support the advanced functions. Tubular designs of flash housing offer least functionality (because the flash must be opened out straight - a position which is reserved for land bounce flash and so automatically disables Pre Flash and Balanced Fill flash. With tubular designed flash housings you don’t get any of the advantages, but you do get the disadvantages; poor recycle times, lack of power (compared to even the most basic underwater strobe), less shots per set of batteries, awkward handling etc.

Only clam shell, cast aluminium housings allow the (Cobra head) flash to remain in the bent over position with no loss of functionality. Such housings are more expensive (as much work goes into them as a camera housing) and more cumbersome.

Whichever flash housing you choose, it should (as a minimum) allow you to switch it on (and off for natural light shots) underwater.

Macro Photography History

Equipment
Whether it's a shrimp's translucent anatomy or the bizarre colors of a squid's eye, you have three basic ways to achieve the image magnification necessary for macro photography: an external magnifying lens (called a diopter), an extension tube or a macro lens on a housed camera system.

Diopters. The Motor Marine II-EX and MX-10 by Sea and Sea have accessory lenses that easily mount in front of the primary lens to magnify the view. Nikonos cameras have a close-up kit consisting of an external diopter, focus wand and wire framers each sized for the 80mm, 28mm or 35mm lens. One advantage to these systems is that they can be removed in the water, allowing the photographer to shoot both close-up and standard lens images on a single dive.

Extension tubes. Because of its lens interchangeability, the Nikonos can also employ extension tubes - aluminum cylinders that position the entire lens farther from the camera body. The longer the tube, the greater the level of magnification, typically expressed as a ratio: 1:3 (one-third life-size), 1:2 (half life-size), and 1:1 (life-size). Two tubes can be stacked together to achieve 2:1 (twice life-size) magnification.

Single-lens-reflex systems. Macro SLR photography usually means a continuous-focus lens, allowing a range from infinity down to 1:1. Within the Nikon family, the best choices are the 50mm Micro-Nikkor for the Nikonos RS and either the 60mm or 105mm Micro-Nikkor for a housed SLR.
Although all three lenses are bright (maximum aperture f/2.8) and share the same level of maximum magnification, the 105mm gives the photographer the unique ability to work from a distance of 12 to 18 inches and still fill the frame with a small subject. As a result, elusive creatures on the reef - tiny anthias, reclusive jawfish, delicate pipefish, and camouflaged denizens like the frogfish - all reveal their secrets to the 105mm. In contrast, with a 60mm macro lens, you would have to be no more than four inches away from the same subject to fill the frame. Most creatures simply will not allow you that near, no matter how stealthy your approach. The 60mm macro lens is better suited for medium-sized fish, fish that allow the photographer to approach, or environmental portraits (when the background is used to complement the primary subject).

Basic Technique
The framer photographer merely composes the subject within the confines of the wire target and shoots. The camera's aperture and focus are usually preset for the entire dive: minimum aperture to enhance depth of field, and either minimum focus for the extension tube or infinity for the Nikonos close-up kit. Because the strobe is so near, there is plenty of light available for even f/22 with a fine-grain ISO 50 film. Because of the high percentage of background reflecting light back to the sensor, a TTL strobe's automatic exposure is generally accurate for macro shots.
However, a greatly narrowed depth of field can be challenging. With 1:2 macro the depth of field is only about an inch, and with 2:1 there is virtually no depth of field and the image is sharp only at the plane of the framer. If framer and subject are parallel, focus is optimized corner to corner. But when this is either impossible or undesirable, a decision has to be made as to what portion of the subject should be rendered in sharp focus. With marine life, you'll usually want the eyes to be sharp (and also the teeth if possible).

Macro Self-Assignments
Each of the following seven assignments challenge you to explore macro techniques with subjects found on a typical Caribbean reef.

Subject: Fire coral
Purpose: To show how creative lighting can transform the mundane into the fascinating

Technique: Fire coral is a good place to begin: it's practically everywhere and won't swim away. Find a blade of fire coral and gently place the framer next to it. Use open water to provide negative space (empty space) so that the blade and its stinging nematocysts stand out alone. Shoot first with standard lighting: 45 degrees above. Now, remove the strobe arm and hold the strobe behind the subject for backlighting. Continue to make minute adjustments in the strobe's position so that you can see the subtle differences between front light, hard side light, top rim light and back light. Note especially how the varying light renders the nematocysts.

Subject: Moray eel
Purpose: To determine optimal depth of field for varying compositions

Technique: The moray eel provides a good example of a dimensional subject that requires careful consideration of depth of field. Fortunately, the eel will often stay in position long enough for you to try out some compositional variables. Try shooting the eel first from the side, basically parallel to the film plane. Next, move more to the front and compose the eel at a 45-degree angle. This shot will require you to consider where optimal depth of field should be. Try to get both the eye and teeth in crisp focus. If the level of magnification is too great to hold both in focus, try to get the teeth in sharp focus and let the background go soft.

Subject: Sponge and crinoid
Purpose: To show the effect of exposure control on color saturation

Technique: These stationary subjects also allow the framer photographer to approach and shoot multiple exposures. For those using a TTL automatic strobe with ISO 100 film, bracket down first to 50 ISO for a second shot, then up to 200 ISO for a third. The results will allow you to fine-tune your personal preference for macro. For those with a manual camera system, try moving the strobe closer, then farther away. It is much better to work out these exposure variables on a static subject so that when the squid swims by you can make it count.

Subject: Pufferfish
Purpose: To practice ecologically sensitive photography

Technique: The pufferfish is more of an advanced subject because of its mobility, but with a careful approach, a framer or an SLR shooter should have good luck. The goal is to avoid the trite and cruel "puffed puffer," where the fish is forced to balloon itself. Instead, move gently to the puffer and try to capture it in its natural environment and normal, unexcited state. Move slowly, consciously controlling your breathing and buoyancy. Pay attention to depth of field and make sure the eye stays sharp. Sometimes a pufferfish is tolerant enough for you to get a tight head shot with a 1:2 or even capture the iridescence of the eye with a 1:1. Pufferfish are usually easier to approach at night.

Subject: Cleaning station
Purpose: To practice approaching shy subjects

Technique: The symbiosis of the cleaning station provides an example of how the natural rhythms of the coral reef can be used to approach otherwise shy subjects. Depending on its past experiences with divers, a grouper that might normally flee will likely be more tolerant of a photographer while it is being cleaned. Although the fish may be too wary to accept a wire framer in its face, an SLR shooter should be able to come quite near with a slow, non-threatening approach. Try to shoot the cleaning shrimp or gobies as they work around the gills and eyes. Watch especially for the fish to open its mouth for cleaning, and be ready.

Subject: Sand environment
Purpose: To practice exposure compensation

Technique: A world of life exists in the sand plateau, if you slow down and look. Peacock flounders, jawfish, lizardfish, flying gurnards, stargazers, harlequin bass and spotted snake eels are all found in the sand near a coral reef. But for these creatures to blend in with their environment, they exhibit a white or light tan protective coloring. You must compensate for their adaptive coloration to prevent overexposing the film. On your first shot, use a normal exposure setting, then bracket to create underexposure. Those shooting ISO 100 films with TTL strobes should try shots set at 200 and 400 ISO. Those shooting manual systems should try brackets of full, half and quarter power settings on the strobe.

Technique: At night, several species of parrotfish find a coral crevice for hiding, then spin a mucous cocoon, one function of which is to alert the fish to potential predators. Merely touching the cocoon with a wire framer will signal the end of this photo-op, as well as put the fish in danger. The challenge, therefore, is to capture the subject without causing it to swim away. With the SLR there is little likelihood of disturbing the fish. However, for those using the Nikonos close-up kit, try taking the framer off and using only the wand to estimate focus. Because of the relatively generous depth of field, you should be able to get near enough for a sharp photo without touching the cocoon. As you become more adept at estimating distance, take off both wand and framer from the close-up kit, or remove the wire framer from the extension tube, and estimate focus. Sometimes the cocoon is too translucent to record, so try sprinkling a few grains of sand on it to make it stand out.