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Dive Expedition in the Bahamas

Stuart Cove, Liz Parkinson and David Benz set off aboard aboard a 65-foot Hatteras on an expedition to uncover new dive sites and extended itineraries beyond the reef, wrecks, walls, sharks, and underwater Hollywood dive sites that are in Stuart Cove’s extensive local playground off New Providence Island (Nassau). The team ventured out to the Abacos and went diving on sites like the Orange Bowl, Danger Reef, Andros Blue Hole and Autec Buoy in 3,400 feet of water. They also dived the newest wreck in Stuart Cove’s fleet of wrecks, the Sea Trader. Here is a sampling of what they found.

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Imaging: Understanding Your Camera’s Histogram

If you’re not already shooting with the help of your camera’s histogram, it’s time to start. A histogram is a graph that shows the distribution of tonal values from black to white in your image, and it’s a very accurate indicator of overall exposure. If you’re not checking out the histogram as you shoot, your exposures are a guess at best.

ALL DATA ARE NOT COLLECTED EQUALLY

ETTR (exposing to the right) is a RAW-image-capture technique that increases the exposure of an image in order to maximize the amount of data collected by the camera’s sensor.

Because the digital image sensors collect 50 percent of all available data in the single brightest stop, underexposing your photo by even a small amount is tantamount to tossing a significant amount of information out the window. An underexposed shot often looks just dandy on the back of the camera, but in fact, the LCD preview is a terrible predictor of exposure. Use the histogram to analyze what kind of exposure you’re capturing with each shot.

For the sake of this example, let’s say that a camera has five stops of dynamic range (from darkest to brightest) and shoots a 12-bit RAW image, which is capable of recording a total of 4,096 tonal values. You’d think that each of the five stops should be able to record 850 tones — about a fifth of the total — but that’s not how it works. In reality, the brightest stop (farthest to the right on the histogram) collects a weighty 2,048 values, with each subsequent stop to the left (darker) recording half the amount of the previous one. In short, the right side of the histogram holds the data, and the left side holds the noise.

WHEN TO USE ETTR

This technique isn’t something you’ll necessarily use on every shot. It’s not easy to use the ETTR technique when the dynamic range of the camera is already pushed to its limits; for instance, when shooting sun balls or other ultra-high-contrast scenes. ETTR pays of most in moderate- and low- contrast shooting scenarios, where the ultimate goal is to bias your exposure brighter, with the histogram snugged up to the right, but not so far to the right that the highlights get “clipped” by running into the right edge.

DON’T OVERDO IT!

Pay close attention to the camera’s highlight-warning “blinkies.” When you see them start to flash, it’s time to back off. They’re a friendly reminder that you may be in danger of blowing out highlights. Specular highlights, which are reflections of light from shiny surfaces like water, fish scales and critter eyeballs, might not contain enough critical detail to worry about in small amounts, but completely obliterated highlights are not recoverable and spell doom for your picture. A little clipping is OK; a lot is bad.

BASIC POST WORK FLOW FOR ETTR RAW CAPTURES

All ETTR images need work in post. Right out of the camera, ETTR captures often appear washed out or overexposed. All those yummy tones in the brightest part of the image need to be mashed back toward the left of the histogram in order to restore richness, saturation and contrast to the shot.

Remember, the Highlights and Shadows sliders are detail sliders meant to restore detail in bright or dark areas without affecting clipping. The Whites and Blacks sliders establish the actual white and black points in your photo.

  1. In the Basic panel, slide the Highlights slider all the way left.

  2. Slide Exposure toward the left to lower the overall brightness level.

  3. Add Contrast if necessary.

  4. While holding down OPT (Mac) or ALT (PC), click on the handle of the Whites slider. You’ll see a black- clipping preview screen. Slide the handle toward the right until you begin to see small areas of color. Slide back toward the left until just the tiniest pinpoint of light pixels remains. Those light pixels are the white point in your image.

  5. Slide the Shadows slider to the left until the shadow details are as you desire.

  6. While holding down OPT (Mac) or ALT (PC), click on the handle of the Blacks slider. You’ll see a white- clipping preview screen. Slide the handle toward the left until you begin to see small areas of color, then slide back toward the right until just a smidge of dark remains. Those dark pixels represent the black point in your image.

  7. Re-adjust any of the Basic panel sliders as needed.

  8. Move on to the HSL panel (Hue, Saturation and Luminance) and local tools.

Click here for more photo tips, or head to scubadiving.com/photos

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Using Instagram to Promote Your Dive Business

If your social media activities are limited to Facebook, consider adding an Instagram account. The popular photo sharing app is easy to use and can help expose your business to a new demographic. Use Instagram to upload recent scuba class … Continue reading

The post Using Instagram to Promote Your Dive Business appeared first on PADIProsEurope.

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Liveaboard: Diving in Indonesia Aboard the Komodo Dancer

A train of four giant mantas charges overhead, and it’s not a freak encounter. The site’s full name is Manta Alley, but superstition has local guides simply calling it the Alley lest the wonders fail to appear, which is rare. Right now, 15 of them — each roughly 12 feet across — are winging laps around Langkoi Rock, a craggy pinnacle of the south side of Komodo, the Indonesian island best known among nondivers for dragons. As for the mantas, they’re here when cold water is, pushing in plankton. And the action is nonstop.

Being in the shadow of beings so large and powerful is humbling. It’s why Noh Atta Abola, steering mate of the M/V Komodo Dancer, is kneeling on the sand, arms overhead. He can’t help the visceral gesture of awe.

The big stuff, from mantas to mola mola, is just part of the reason experienced divers consider Indonesia — and this luxury vessel — the trip of a lifetime. It’s a reward best appreciated after countless hours logged over reefs, learning to identify enough fish species to appreciate the record-setting biodiversity of this underwater Amazon. Moreover, participants need skills honed for the sometimes challenging conditions, from down-currents to drift dives ending in open water.

The 10-day voyage I’ve just begun starts on the island of Flores, 36 hours by boat if traveling nonstop to the end point of Bali, itself a destination most lengthen their trips to experience. Before I embarked, I had wanted to revel in the magic of the place, devoting a week to touring the incense-heavy temples —local myth alleges Bali has a thousand.

The dive trip will be a whirlwind. The itinerary promises a parade of wonders so large it’ll take work to keep pace, and so small it’s a hunt to acknowledge their presence. I imagine it’ll feel much like standing before the ornate temple altars — like what Abola experienced today: a feeling of awe so overwhelming you can’t help but be brought to your knees.

NIGHTLY SHOWINGS

It’s just after sunset, and Rob Morgan-Grenville is briefing us on a site called Circus, supposedly one of the trip’s best night dives. But after he uses the words sand, rock and coral rubble, I debate tugging on a damp wetsuit.

“It’s not the pretty corals we’ve been seeing all week,” Morgan-Grenville admits, referring to sites like Crystal Rock, where every inch of coral is alive, supporting anthias and schools of rainbow runners so thick they obscure any divers among them in the water column.

But muck diving is one of the main attractions of Indonesia. The only possible reason to skip it is a cold Bintang beer — unlimited for guests. But the stocked fridge will wait, so I opt in.

We start by hunting stargazers. Earlier, guide Gede Merta had shown pictures: The fish buries itself in the muck. Only its face — bug eyes and a frowning underbite of corn-kernel teeth — is visible.

I find nothing but broken coral bits until he shakes his dive light, commandeering our attention. Then he aims a wire pointer at the black sand.

The alien is no bigger than a baseball. It’s a lesson repeated when Merta points out a bobtail squid, no bigger than a bumblebee. I think it’s a juvenile till later that night, when we gather in the salon to pore over the Reef Creatures book.

Turns out, bobtail squid are no bigger than golf balls, making their sparkling iridescence somehow more magical.

And so the next few days and nights pass, muck diving at sites such as Fuzzy Bottom of Sumbawa Island. We’re treated to encounters with algae octopuses, dragon sea moths, spiny devilfsh and Bobbitt worms — all of which we truly only appreciate when Merta shows us those pages. And he would know. On the book’s credit page, Merta is listed among eight dive guides whom authors Paul Humann and Ned DeLoach thank for helping them locate the critters.One thing not mentioned in the book: Merta has even discovered a few species.

PRAYING FOR GREATNESS

It’s the last day of the dive trip, and Merta and Morgan-Grenville can’t seem to agree. We’re at Gili Tepekong, an island of the southeast coast of Bali — and just hours from where the yacht will harbor for the final night. This area is known for mola mola, aka ocean sunfish, but the season for seeing them extends only from roughly June to October. Right now, it’s April.

“It’s too early — we don’t have a prayer,” Morgan-Grenville tells us, not wanting to get our hopes up.

“They’re there,” says Merta.

And now, at 78 feet under the surface, Morgan-Grenville is gesturing wildly with his free hand, flashing a thumb up, while gripping his camera with the other.

We all fin deeper, and there, at 100 feet, is a mola mola, glowing white as the moon. Its apple-size eye follows us, its tiny mouth pursed in a pucker.

As I stare at it, and it stares back, I have to laugh. In a way, I’m not surprised. This is Bali, the land of a thousand temples and a population dedicated to its gods. With so much devotion, it’d be wrong not to expect at least a few miracles.

FIVE REASONS TO DIVE KOMODO DANCER

Tender Diving. All sites are accessed by tenders, facilitating drift diving and access to offshore pinnacles.

Local Flavor. The lunch buffet is a highlight, when the chef prepares spiced fish cakes, vegetable curries, beef satays, banana fritters and more.

Komodo Dragons. During much of the trip, no other boats are in sight. When Komodo Dancer moors of its namesake island, visiting these killers is as easy as a dinghy ride.

Day Excursions. Take time for optional land- based excursions, including a pink beach without a soul on it.

Stay for Ubud. Add a day or two to explore Ubud in Bali’s interior. You’ll tour temples, including one of the most famous,the Sacred Monkey Forest Sanctuary, home to 600 macaques.

NEED TO KNOW

When to Go

M/V Komodo Dancer devotes most of the year to seven- and 10-day treks between Bali and Labuan Bajo, on the west coast of Flores. In October and November, itineraries travel between Flores and Alor, giving guests the chance to dive with whales, plus muck critters like wonderpus, blue-ringed and starry-night octopuses.

Dive Conditions

The southern region has greener waters with temperatures ranging from 72 to 77 degrees; it’s where manta sightings are much more frequent. The northern region sees visibility of 100 feet or more, and water temperatures around 82 degrees are standard.

Operator

The 124-foot Komodo Dancer accommodates 16 guests in eight staterooms: two owner suites, two cabins with full-size beds, and the rest with bunk beds.

Price Tag

Rates start at $2,700 for seven nights, double occupancy. Deluxe and master suites are also available. Nitrox upgrades cost $100 for seven days, and $150 for 10 days.

Click here for more information on bucket-list liveaboard adventures, and make sure to check out special discount pricing for a trip aboard Komodo Dancer

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LOOK: A Thorny Seahorse with the Fractalius Effect

Photographer Dragos Dumitrescu captures the shy mood of a thorny seahorse in the Philippines

Dragos Dumitrescu

Photographer Dragos Dumitrescu captures the shy mood of a thorny seahorse in the Philippines with a special effect.

PHOTOGRAPHER
Dragos Dumitrescu

LOCATION
Dauin, Philippines

ABOUT THE SHOT
Seahorses — everybody loves them! I always try to capture the shy mood of the creature, but I also try to avoid the strobe shining in its eyes; seahorses are extremely sensitive to light. Using a Canon G12 set at f/8, 1/200 sec and ISO 100, and a single Inon S-2000 strobe, I finally got the shot I wanted a few months ago in Dauin, Philippines. Because this is a thorny seahorse, my main goal was to get the yellow edge a bit pointy to enhance the charm of this critter. I started by applying contrast to the original photo before adding a plug-in filter called Fractalius. Charming shape of the shy one, isn’t it?

GO NOW
Atmosphere Resort; atmosphereresorts.com

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