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Ikelite SIR-DC Housings offer eTTL Compatibility.

To extend the capabilities of the digital SLR cameras Ikelite designed the SLR-DC underwater housing. This housing is injection molded of clear polycarbonate for strength, visual access to the camera, LCD screens and camera controls. The ergonomic design places camera functionality at your fingertips for the ultimate in creative control. The interchangeable port system accommodates a wide variety of lenses from macro to wide-angle to zoom. The rubber handles offer excellent grip and a quick release system for Ikelite's new SA-100 Arm system. An external Ikelite connector is provided to connect single or dual Ikelite Substrobes.

TTL Mode_ Yellow LED

Manual Mode-Yellow LED

-Red LEDs (Compensation)-

Mode & Compensation ikelite

Underwater Systems

50 W 33rd Street Indianapolis, IN 4Ó208 317-923-4523

For «Canon EOS Rebel «Canon EOS 300D

These Ikelite SLR-DC housings for Canon have Conversion Circuitry built into the camera tray. When used with an Ikelite DS Substrobe; the Conversion Circuitry provides real Canon eTTL flash exposure with over and under-exposure compensation of two f-stops in half-stop increments. At the push of a button, switch to Manual Exposure Mode which provides eight power settings in one-half stop increments. All exposure compensation is done with 2 buttons on the back of the housing, no accessing complicated camera menus.

SLR-DC Housing Features:

• Clear Molded Polycarbonate

• Corrosion Free

• Interchangeable Port System

• Clear View of Info Window

• Clear View of LCD screen

• Most Camera Functions Available

• Weighted for Neutral Buoyancy

• Quick-Release Strobe Mounts

• Rubber Hand Grips

• External Connector for Substrobes

• Super-eye Magnifier for Enhanced Viewing with a Dive Mask.

• Dimensions 7.s"L x 4.75"W x 7.2s"H

(19cm x 12cm x 18cm)

Ikelite SLR-DC Housings also Available for

UNikon D7o\Nikon D100 Olympus 1-1 (TTL)

The C5050 as a Prosumer Point-and-shoot

By Matt Segal

In this age of underwater digital photography, we are presented with a multitude of choices of cameras, housings, strobes, lenses, etc. Many of us see spectacular images and think, "I want to be able to take that shot" or "It'd be great to be able to show people what I see underwater," and yet lack the financial means to buy a new dSLR system. For a total cost equivalent to that of a Light & Motion Titan D100 housing (roughly $2700 without ports and accessories), I have over the past year been able to assemble a camera setup capable of shooting photos that I first could only dream of taking.

When I first looked into this whole business of things, I wanted a fair amount of flexibility, reliability, and capability for expansion. To accomplish this, I chose a series of components that, while in some cases not the most expensive or most advanced, suited their purpose. The setup is comprised of the Olympus C5050 digital camera, an Ikelite non-TTL housing for that model camera, a single Ikelite DS-125 digital strobe (with manual controller allowing 10 power settings), and a Transcend 45x 1gb CF card. While the C5050 was adequate in its own right for the majority of pictures that I looked to take, I knew that I would want to explore both macro and wide-angle photography, and I purchased the Inon UCL-165 macro lens and the Inon UWL-100 wide-angle lens to allow some room for creativity.

Despite the fact that Olympus has recently released two new editions to their digital line,

the C5060 and the C8080, 5.1 and 8.0 megapixel cameras respectively, the C5050 remains in high demand among fledgling underwater photographers due to its fixed zoom-lens design (lost in the C5060), its lower noise CCD (compared to the C8080), and its low cost for the amount of available control over aperture, shutter, and flash power. Additionally, the C5050's ability to shoot RAW is incredible, and should always be utilized. The creative aspects over JPEG are innumerable. In regards to housing the camera, there are three major choices: Olympus' PT-015, Ikelite's housing, or the Light and Motion Tetra 5050. As a student, I chose the middle road and went with the Ikelite housing for the greatest amount of durability for the price. In the water with only the camera and the single-handle tray attached, the housing is just slightly negatively buoyant. The housing, like most of Ikelite's products, is rated to 200ft. I doubt the casual photographer is going to be doing much exploring past that depth.

Being that the Ikelite housing is very well suited to Ikelite strobes (there exists the capability for a sync-cord connection), as well as the knowledge that the Ikelite DS-125 has one of the

Ikelite DS-125, digital 1SO64. F5.6 1/200 manual exposure fastest recycling times (on the order of 1 second), one of the largest strobe coverage angles (100° with the diffuser), and enough power to light any scene I could conceive of, I decided to stick with Ikelite in this area. The basic DS-125 has a selector switch for four manual power settings of Full, 1/2, 1/4, and 1/8. To complement these settings, I chose to purchase the Manual Controller, allowing me a range of 10 power settings, from Full to just under 1/16 power. The Manual Controller has a slave sensor on the front, so if I ever was to experience a sync-cord failure, I would be able to aim the slave sensor at the camera's on-board flash. In regards to color temperature of the strobe, Ikelite made a decision many years ago to market strobes with a slightly warmer tone than the competition. Often, this serves to remove the anemic blue coloration of some subjects even when lit by a strobe. If this is undesirable, shooting RAW solves the problem completely through the absolute control of color temperature and tint.

Macro and Wide-Angle

The Inon UCL-165 macro lens, combined with either the Macro Mode (focus as close as 20cm) or Super-Macro mode (focus as close as 3cm), has proved itself to be a very powerful tool. Photographing smaller creatures such as crustaceans, gobies and blennies, or nudibranchs can be slightly more difficult with a prosumer digital camera as compared to a dSLR, and the macro lens allows one to just get a little bit closer to fill the frame with your subject. In both the local California waters where I dive, and on my recent liveaboard trip to Papua New Guinea, I found myself using this lens exclusively on some dives. It is true that the reduced depth-of-focus takes a little practice to get used to, but, in the words of another, "the results can be stunning." Especially when visibility is decreased (it's always a touchy situation in the Channel Islands), the macro lens is there to shoot everything small, where backscatter is less of an issue, and concentration falls more on composition than finding a variety of subject matter.

At the other end of the spectrum is the Inon UWL-100 wide-angle lens. With nearly 100° coverage, it captures the full field of view as

(Right) Inon UCL-165 macro lens, Ikelite DS-125, digital 1SO64, F8.0 1/125, manual exposure (Below right) Inon UWL-100 wide-angle lens, digital 1SO100, F1.8 1/320 manual exposure illuminated by a properly positioned strobe. If I wanted more coverage, I could buy the optional dome unit for the lens, which brings up the coverage to almost 130°, but would also require an additional strobe. Along with the wider field of view, this lens shortens the working distance of the camera, allowing for close-focus-wide-angle photography. Backscatter and lens flare are much more significant problems in wide-angle photography, and when I have used this lens in the past, my efforts have been towards trying to minimize both. I use the wide-angle lens a lot for ambient light photography, because of the fact that it collects so much more light than the standard lens, and there isn't the issue of backscatter. I'm still searching for the elusive "sun rays" that some photographers have become masters of capturing in wide-angle photography.


It is true that for those who have more money than they know what to do with, this is probably not the system they would choose to use. But, for the majority of underwater photographers, a simple, yet capable, system is much desired. My system started as the Olympus C5050 in a housing with merely the internal strobe, and in a matter of time, has progressed to a strobed system with various lenses and accessories that has resulted in photographs that I'm proud to have printed, framed, and mounted on my wall. Sure, I envy the dSLR photographers, with

their fancy setups and powerful lenses. And yes, I do eventually hope to join their ranks. But for now, I'm happy with what I've got, and the results it yields.

Matt Segal

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Libor Spacek by Sabina Casarova

Libor Spacek was born in 1966 in Czech Republic. As a diving instructor and professional photographer he came up with an interesting idea of bringing studio methods down under the water's surface. The result is a unique photo collection of "Underwater Fine Art Nudes" which has been exhibited and published worldwide to great acclaim.

Watching the gorgeous female figures levitating in space, dressed in moonlight, you may be wondering, how did these breathtaking photographs come into existence, especially considering that this all had happened at a sort of weird location, which is a public swimming pool (you could never tell). Well, let's see how such a fine art nude underwater session works...

As with every other ambitious photographer, Libor gets kind of discomposed before the shooting. He has a lot of things to do and forgetting just one of them could spoil the whole event. And Libor is not that kind of person, who needs a crew of assistants around him. So everything is up to him.

First he gets his diving gear ready, so that he can spend more than three hours underwater... Then the photo equipement comes in order. Libor usually works with two cameras; Canon 10D digital reflex camera "instead of polaroid", as he says smiling, yet nearly one fifth of the exhibited images were shot digitally. The undeniable advantage of digital cameras underwater is that you can check the results immediately. The second camera is a 35mm Canon EOS 3. Both cameras have custom BS Kinetics underwater housings. And there comes the dilemma: which photographic material to use? Black&white or colour? Negative or slide? Sometimes Libor even considers medium format, but he hasn't chosen his type yet.

Let's not forget the lights please. Taking a good look at Libor's photos, you'll probably understand their special importance. One good guy invented fantastic 1000W lamps for Libor's use underwater. Don't worry, they work safely. But still they add some feeling of adventure.

Some props like costumes or other requisities are to be used, too. Libor's favourite thing to do except shooting nudes is fashion underwater.

A substantial element of Libor's shooting are the models. But these models have to have a very special relation to water plus swimming

skills and endurance (and fantasy as well). A three hour long session in the cold water is not easy. For the photographer, event though he keeps his body warm in a neoprene suit, the shooting is incredibly exhausting as well. So they all try to eat something to accumulate energy, but mostly there's no time nor apetite for it.

Transporting all the heavy gear to the location is hard work but if you ask Libor, why doesn't he ask another strong guy to help him, he will probably answer, "Me and my Sabi can manage, we don't need anybody else to disturb us." These photos are so magic because everybody is alone while creating one joint thing. The photographer is alone with his lights and camera, the model is alone in the swimming pool - without goggles she can't see anything but contours, half blinded by the chlorine water.

Now comes the last lap of double or triplechecking if everything works, fits and is in the right place. It is very important is to close the housings VERY CAREFULLY, well sometimes you need a seriously bad experience to realize this...

Libor starts to install the lights on the bottom of the swimming pool. Each time there is a different illustration, the lights are relocated during the shoot.

Models are getting ready for the shoot. They put on their makeup and dress up (depending on the shot). They try to concentrate on the posing underwater which is totally different from dry studio shooting.

Not much time is spent with conversation between the model and the photographer. Newcoming models are mostly asked to "try to do what they saw at the pictures". Of course it can never be the same. There are other powers taking effect in the water and that makes the model move even when she doesn't try to make any move.

And now that everybody's ready. Jump! Libor takes his place on the bottom and the model begins to rotate in this same old rhythm: Dive - pose and smile - click - up - breath - dive. Repeating over and over again but mostly without that click sound. Every now and then Libor breaks the surface to say what's wrong with the posing. The poor

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