Shore Diving with a dSLR Underwater Housing

An approach to accessing underwater photography from the shore

By Michael Zeigler

Ever since getting my scuba certification I've done my best to go diving whenever possible.  Since I'm unable to hop on a boat and cruise over to Catalina Island as often as I'd like, I choose to enjoy the wonderful shore diving that is available to me here in Southern California.  Shore diving with basic scuba gear is one thing; shore diving with a full dSLR rig is another story. 

Safety is of utmost importance to me and my approach to diving in general.  Ideally I will have both hands available for entry and exit, and while on the surface.  My goal is to share with you what I've learned about how to successfully shore dive with my dSLR and the system the I've used with my current set-up.  Much of what I learned about the rigging I'm about to share with you is from my buddy Kevin Lee. 

Here I am about to shore dive at Old Marineland in Palos Verdes, CA.  Notice that both of my hands are free to don/ doff my fins, make adjustments to my equipment, or assist my buddy, if necessary.  Photo by Eric Aubort.

The Set-Up

My Ikelite housing is attached to my BC via three connection points: two male clips which are attached at the base of each Ultralight arm ball, and a ring that I attached near the base of the housing.  The two male clips are used to connect to their respective female clips attached to my BC.  The lower ring serves as a connection point to a lanyard which is attached to a D-ring on my right hip, should I drop my housing during the dive.

Photo showing the two male clips attached to the strobe arm ball, and the ring I use to connect a lanyard to my BC.

Close-up of the male clip attached via a ring to my Ultralight strobe arm ball.  The zip tie keeps the clip from moving around too much during the dive, and the clamp keeps the clip from slipping off the ball.

Close-up of the ring attached to the lower portion of the housing.  This attachment is strictly a precautionary attachment, should I drop my housing while doing any kind of dive involving a current, deep floor, or any other condition that would make retrieval an issue.

This photo shows the two corresponding female clips attached to my chest D-rings via stainless steel bolt snaps. Alternatively, some people skip the bolt snaps and attach the female clips to the D-rings directly to the metal rings. 

Here is the rig shown with the clips connected.  At this point, my hands are free, and the housing is free to hang.

Side view of the two connection points: the D-ring and the strobe arm ball.

Side view showing the BC connection and the lanyard connection points at my hip and on the housing.

Tips for shore-diving underwater photographers

• Get spring straps for your fins. You will not regret it.
• Practice your shore diving at great shore diving locations such as Southern California, Bonaire, Bali, or Hawaii. Shorediving.com is a great resource.
• Always scope out alternative exit points, in case conditions/ currents don't allow you to return to where you entered the water.

Summary

Setting up the rig is the easy part.  It takes a bit of practice to get used to shore diving with the system attached.  I was surprised to discover that I use all three clips (always the lanyard connection) when diving from a boat.  Kicking on the surface, making descents and ascents, and dealing with problems (having to shoot a surface buoy from depth, etc) is much, much easier with both of my hands free.  I encourage everyone who dives with a camera, be it a compact or a dSLR, to consider rigging a hands-free set-up of some sort.  

About the author

Michael Zeigler is editor-at-large for the Underwater Photography Guide, trip leader and instructor for Bluewater Photo, and is an AAUS Scientific Diver. Michael's underwater photography and blog can be seen at SeaInFocus.com.

Join Michael as he leads an amazing underwater photography workshop at the famous Wakatobi Dive Resort 11/21/13 - 12/2/13!

Further Reading

• Choosing the right dive equipment for underwater photography

• Making a rope handle for your underwater housing

• Capturing marine life behavior

• Forums

• 10 Tips for Beach Diving

Rediscovering “Focus Check” on the Canon S90

A useful tool when shooting with a compact camera

By Brent Durand

We all get excited to use a new camera right out of the box and sometimes don’t explore every feature we should.  Recently I “rediscovered” the Focus Check on my Canon PowerShot S90, and it has increased the amount of "keepers" I’m bringing back from every dive.  Focus Check is also a feature on the Canon S95, G11 and G12.

Focus Check automatically magnifies the focusing area of the image during review (and playback), allowing you to see exactly where the camera has focused.  This is particularly helpful with smaller apertures when you have a very specific focus-point.

Focus Check displaying the area in focus

The other morning I was shooting with my Dyron 2 Element Macro Lens in surge, which was moving me around a good bit, when I found a blenny that was eager to pose for portraits.  During dives past, I would shoot a lot of photos hoping that I got the eyes in focus, which would bring good or bad surprises when reviewing the images on my computer (since playback on the LCD screen is too small to see these tiny details).

In playback mode, Focus Check allows you to zoom in for a detailed look

Today I saw the usual green Auto Focus (AF) frame before each shot, but got excited every time the 2-second image review popped up because of Focus Check.  The screen shows the full image in the upper left of the LCD, but also magnifies the area inside the AF frame.  In this case, if I saw the eyes, great.  But if I missed, I knew the focus was off and I needed to try that composition again.  And the best part is that I had that info right then and there where I could do something about it!

Manual mode: 1/500, F8, @6mm, ISO 200

Focus Check is always available in image playback mode by pushing display a few times (it’s the last option on the S90, after the display with the histogram).  You can even zoom into the Focus Check with the zoom button.  To activate it during image review, push the Menu button and scroll down to Review Info.  Push the side arrow until it says “Focus Check”.  Now go take great photos!

Further Reading

• Settings for Canon S90, S95, Canon G11 & G12

• Compact Camera Modes

• Wet Lenses for Underwater Photography

Supermacro with the New SubSee Wet Diopter

Tips on using a diopter, for compact and dSLR underwater shooters

By Scott Gietler

A couple of weeks ago, just before the birth of my first baby, I got in 3 local dives using the new Subsee diopters and dual-flip adapter. In this article I want to share some underwater photos, tips, and thoughts on this setup. Although I was using a Nikon D300, Nikon 105mm VR lens, and the Subsee setup, this article can apply to compact camera setups using other wet diopters as well, such as the excellent Dyron macro lenses or Inon macro lenses.

Serpellid worm. F22, 1/250th, ISO 250. All photos were taken during the same day in January 2011 in Palos Verdes, Southern California with a Nikon D300, Sea & Sea housing, Nikon 105mm VR lens

Subsee diopter setup

My Subsee setup consists of 2 wet diopters of two different strengths, +5 & +10, and a custom 2-diopter flip adapter. Each adapter is custom made to fit the underwater housing port you are using. Most people get an adapter that holds one diopter, but I opted for one that holds 2 diopters.

I also used a new Sola 600 focus light, supplied by Bluewater Photo, which was incredible in helping me achieve focus, and approach shy critters.

Reflections on the Subsee diopter + adapter setup

Image Quality - the new Subsee diopters are larger and heavier, and can support full-frame cameras. I felt the quality was excellent and did not notice as much corner blurring that I had noticed in the older, smaller version of their +10 diopter.

Flexibility - I really enjoyed having the option to use the +5 or +10 diopter underwater. They really do not overlap, and for a given composition you have in mind only one or the other diopter will be appropriate. The +5 diopter gave me about 40-50% magnification, and the +10 at least 100% magnification, quite a difference. For many subjects, the +10 is "too much" and you want to use a +5.

Convenience - Being able to quickly flip the diopter back and forth was quite convenient, especially when I saw a skittish fish that I wanted to shoot with my 105mm lens alone, without a diopter.

Weight - this is quite a heavy setup. Although I was able to do three dives with it, my arms were tired, and this system will need a good amount of additional buoyancy for the next time that I take it out. My previous single-diopter setup (with the smaller older version of the diopter) was much lighter.

Achieving focus - with a 105mm lens and a strong diopter, it can be difficult to achieve focus properly. The Sola 600 focus light in wide white-light mode was amazing, and allowed me to quickly locate the subject and achieve focus, even in the dark conditions we experienced that day.

Correct positioning - I was usually able to position the diopters and strobes where I wanted them. Sometimes the strobe would be snug against the unused diopter for front lighting. I found that the best position was having the diopters at the 10 o'clock and 2 o'clock position, like in the photographs.

Build Quality - The diopters and the adapter are built very well, with excellent build quality. The diopters come with 67mm thread mounts, and protective covers for each side. One complaint is the metal screws that like to dig into the sides of my port and the diopters - I'll need to replace these with more gentle nylon screws.

Black-eyed goby. F16, 1/250th, ISO 250th, no diopter

Knob on a knobby starfish. F25, 1/250th, ISO 500, +10 diopter

Underwater photography tips when using a wet diopter

• Obviously, try to choose dive sites that are known for having macro subjects and small critters. If you don't find suitable subjects, try shooting an abstract closeup of an anemone, starfish, or other common subject that will give a fresh look from a supermacro perspective.
• Surge is not your friend. Try to find areas known to be less surgy, or dive deep enough so that you escape the surge. Long period swells can cause heavy surge, short period swells usually have little effect down deep.
• You want to be stable underwater, so make you are properly weighted, which means slightly negatively buoyant. You don't want to be floating up or be lifted up from the bottom because of surge or current.
• For additional stability, hold your port from underneath with your left hand, with your left elbow on the ground if you are in sand or rubble. Speaking of the bottom, try to find subjects that are near an area of sand or rubble you can position yourself in without harming the environment. Do not attempt to photograph subjects that have live sea fans, coral, etc. near them that can be harmed. Let me re-emphasize - for supermacro, you will have to pass up many subjects because they can not be safely photographed without harming the marine life around them.
• Use a strong, even focus light like the Sola 600. The Sola 600 also has a special "red light mode" that helps not scare away shy critters. A strong focus light is essential to avoid "focus lock frustration". 
• Supermacro Settings - play around with your f-stop, F18 to F32 will usually give best results for a dSLR user, F8 or higher for a compact user. Shutter speed doesn't matter, I set mine to 1/250th. For cameras with large sensors, I found that changing ISO can be a quick way to get the exposure that I was looking for. Use your histogram.
• Different people have different preferences for which focus mode they use - single-shot focus mode, continuous focus, or manual focusing. I prefer to use my D300 in "C" mode, continuous focus, for this setup. I move my focus point around, press the shutter half-way, and when the subject is in focus I release the shutter.
• Your setup will be much easier to use if it is slightly negatively buoyant, not too heavy and not too light.
• I prefer longer focal lengths, such as 100mm or 105mm, for wet diopters because of the longer working distance. This is on a cropped sensor dSLR camera. Remember that the diopter will reduce that working distance. If you are a compact camera user, this means you will want to zoom in your lens to 105mm to 150mm focal length (35mm equivalent). 
• Be sure to play around with direct front-lighting, and side-lighting for supermacro subjects. Using snoots underwater and ring flashes can also give excellent results.
• Dark, rainy conditions like I had on my 3 dives is good for macro - it brings out the critters!

Eyes of a coonstripe shrimp. F22, 1/250th, ISO 400, +10 diopter

Feeding Polyps of a gorgonian sea fan. F22, 1/250th, ISO 400, +5 diopter

Christmas tree worm. F20, 1/250th, ISO 320, +5 diopter

Spanish shawl nudibranch rhinophores. F25, 1/250th, ISO 200, Subsee +10 diopter

Eye of a two-spot octopus. F29, 1/250th, ISO 400. Subsee +5 diopter.

Subsee & Sola Light - best way to purchase

Contact Scott, Craig or Mark at Bluewater Photo to discuss which Subsee or Sola light options are best for you, and to place an order.

Further Reading

Learning Super Macro Photography in the PNG

Guide to using a teleconverter in your underwater macro photography

Guide to supermacro underwater photography

Review of the original Subsee diopter

Supermacro winners - Ocean Art Photo Competition 2010

An Interview with SEACAM President Harald Hordosch

By Scott Gietler

I always knew SEACAM had a reputation for high quality underwater housings, but  I knew very little about the history of the company or its owner. At DEMA in Las Vegas, I got a chance to sit down with its founder and president Harald Hordosch and learn some interesting insights into the company.  Below, Harald shares his passion for precision and quality in his products, which he believes every underwater photographer should expect.

Harald Hordosch on SEACAM

I started underwater photography as a hobby, diving in fresh water lakes in Europe. I received my diving license way back in 1972, and I started to house old film cameras. At the time, Hugyfot and Subal were the only housings available for film cameras in Europe, and I thought I could improve on what they were doing. So I started SEACAM, and it became very popular.

It was always very important to me, for SEACAM housings to have the best quality optics and the best viewfinders. We made sure to use the best optical glass, called mineral glass. We make sure to align all of our ports precisely, and make sure the radius of the glass matches the lens.

I also think we produce the best viewfinders for underwater photographers - the viewfinders are important because the photographer must be able to properly compose the subject.

I'm proud that we were innovators with products such as our 9 inch glass dome port, our superdome, our S6 plug / connection, and our S45 viewfinder.

I believe we were also the first to show a small fisheye macro port, 3 years ago. We also invented a remote system 5 years ago for remote triggering and polling of cameras underwater.

I believe that price matches quality, and although we are more expensive than some other housings, our quality matches the price. I consider Subal to be our closest competitor.

SEACAM is preparing a surprise for the underwater photography community, which will make photography easier and much more interesting for beginner photographers. Soon we will present a new line of products, which will of course be manufactured in Austria, like all of our products.

Let's discuss the SEACAM housings. They have a silver design, they are very robust and sturdy housings. We strive to find environmentally friendly non-paint solutions for the outside of our housings. We are the 1st company to start using zinc anodes, which help protect the housing from corrosion. We use very high quality alloys in our housings that don't corrode, and machining these alloys takes more time than inferior quality alloys. In addition to housings, Seacam strobes support our lineup.

Our philosophy is always to improve the quality of our housings, and to innovate. People should expect a lot from their housings, especially a SEACAM housing. They should expect it to last a long time, and they should expect ports to always be compatible.

We are well experienced, we do optical construction ourselves, we are proud of working intensely with professional shooters, and understanding their demands. We do not build things because they are in our mind, we build them because our users ask for them.

SEACAM Official Website

Teleconverters for your Underwater Photography

Using teleconverters for macro and supermacro

By Scott Gietler

Every photographer will benefit from teleconverter and should have one. In this article we'll discuss what a teleconverter is, what types are out there, and why you should use one. We'll also talk about which lens to use them with, brands to purchase, and port and lighting considerations.

What is a teleconverter?

A teleconverter is a small lens that is placed in between your primary lens and your camera body. It enlarges the center portion of the image, effectively magnifying the image.

Tamron 1.4x  teleconverter on the left, diopter on the right

What types of teleconverters are out there?

A teleconverter can magnify the image by 40%, 50%, 70% or 100%. These different teleconverters are referred to as 1.4x, 1.5x, 1.7x, or 2.0x teleconverters respectively. You want a teleconverter that will auto-focus with your lens. The vast majority of people end up choosing a Kenko Teleplus Pro 300 1.4x tele, or a Tamron SP AF Pro - both of which appear to have the same internals, but only differ cosmetically. 

Nikon 60mm lens at 1:1 - no teleconverter                    Same shot at 1:1 with Kenko 1.4x tele.

Why use a teleconverter?

If you are shooting with a macro lens that does 1:1 macro, a teleconverter will allow you to take supermacro photos.

For topside shooters, teleconverters are commonly used with F2.8 or F4 lenses for shooting birds, wildlife or sports when further "reach" is needed for a subject that cannot be approached closely enough, such as a small bird.

Some underwater photography examples

Juvenile fish from Bali, photo by Kevin Lee.  All photos taken with a Nikon 60mm macro (non AF-S version) lens with a 1.4x teleconverter, unless otherwise noted.

Juvenile Fish, Bali

Juvenile frogfish, Anilao, Philippines

Gorgonian polyps, Catalina Island, California. Taken at F25

Should you use a teleconverter with a 50/60mm or 100/105mm lens?

99% of the time I use my teleconverter with a 60mm lens. Olympus dSLR shooters usually use it with the 50mm lens. Using a 100mm or 105mm lens with a tele can work for very skittish subjects such as gobies and garden eels, but you're shooting through a lot of water.

Using a teleconverter with other lenses

People have sometimes used a teleconverter with a fisheye lens such as the Nikon 10.5mm lens or the Tokina 10-17mm lens. Now that the Tokina fisheye is available, there is no need to use the Nikon 10.5mm / teleconverter combination. When using the teleconverter with the Tokina, you'll need a modified zoom ring that will work with the new setup, and you'll want your port extension to be increased another 20mm. Personally I think a mid-range zoom like the Sigma 17-70mm lens is a better alternative than using the Tokina with a teleconverter.

Port considerations

I use the 60mm + 1.4tele combo in the same port that I use for my 105mm lens, it fits in quite nicely. 

Lighting considerations

Don't be afraid to move your strobes around to try front lighting, side lighting and backlighting. When using the 60mm lens with a tele, you can get very close to the subject, making different strobe positions easy to accomplish. For supermacro subjects, I find that extreme front lighting often works well - getting your strobes very close to the port. Backscatter is often not an issue at close distances.

Using a focus light

You'll want a good focus light to help your camera achieve focus properly. Although I find that my Nikon 60mm + 1.4 tele focuses easier than using my 105mm lens, autofocus is slower with a teleconverter, especially when you reach 1:1 or greater magnification.

Tips for using a teleconverter

• Only use your teleconverter with a prime macro lens that has a maximum aperture of F2.8 or F4. 

• I often use continuous focus mode, so the camera does not need to lock focus before taking the shot. I release the shutter when the focus looks good in the viewfinder.

• Move your focus point around to achieve focus exactly where you want to on the subject

• When I dive with my 60mm + 1.4x tele, I can shoot supermacro, skittish fish, small fish, and small nudibranchs. It has become one of the most popular underwater combinations for many macro photographers in Southern California, especially when visibility is less than ideal.

• The Canon 60mm lens will need a 12mm extension tube to work properly with a teleconverter. The new Nikon AF-S 60mm lens will *not* work with a teleconverter (I use the old model). I haven't tried it with an extension tube.

Other ways to achieve supermacro photography

Diopters are also commonly used in supermacro photography. I also use diopters, but not as often as I use teleconverters. However, some underwater photographers exclusively use diopters, especially wet diopters.

More underwater photography examples with a teleconverter

Small nudibranch, Seraya, Bali. Photo by Kevin Lee

Colmani Shrimp, Anilao, Philippines. Taken at F20

Hopkins Rose Nudibranch, Catalina Island. Taken at F16

Pygmy seahorse from Raja Ampat, photo by Kevin Lee

Imperial shrimp, photo by Bill Van Antwerp. Canon 100mm lens, Kenko 1.4x tele. Taken while muck diving in Ambon, Indonesia.

Canon 60mm lens, 12mm extension tube, Kenko 1.4x tele. Photo by Bill Van Antwerp, taken in Ambon, Indonesia.

Flatworm from Catalina Island, crawling on a starfish. Nikon 60mm lens + 1.4x Tamron teleconverter. Taken at F20

Further reading

• Supermacro underwater photography

• Choosing a 60mm or 100mm macro lens

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