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exchange rates. Whether that is expensive or not depends on your finances but with virtually zero running costs compared to HID ($100 for a new bulb?!) and with such excellent performance from such a small aluminium package you have a very versatile unit which will give many years of use, and, for me so far, a great deal of practical pleasure.

Welcome to the new kid on the block.


aunoc 1CR LED light w aunoc w aunoc

The aunoc ICR LED light incorporates a single high Power LED powered by a 3 volt CR123 lithium battery in an aluminium alloy 6061 HA III Mil-Spec body Equivalent rechargeable 600 mAh li-Ion batteries are available for more environmentally friendly use.

Just 78mm / 3.07" long with a diameter of 24mm / 0.940", it is about the size of an AA battery on mild steroids. It weighs just 71 g / 2.5 oz on land, has a run Time of 4.5 hours and if you were so inclined you could use it down to 240 metres / 787 feet.

From an underwater photography point of view it is an ideal spotting/ focus light whose light weight and small size wouldn't strain a housing mounting plate. The screw down on/ off action is positive and sealed by a single O ring for simple maintenance.

The output is amazingly bright and would enable autofocus systems to zip into position at instant speeds making it ideal for precise macro work. As a plain dive light it will survive happily in a small BC pocket and the body construction is incredibly robust and very reassuring.

At $98 it is not cheap but I have flooded so many plastic bodied lights that this one would pay for itself in no time.

Peter Rowlands

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Silver Efex Pro software review by Peter Rowlands

If there is one aspect of the film days that I miss it is black and white imaging. Hours spent in the darkroom sploshing about in trays of developer and fixer watching in anticipation as the black and white image appeared on the paper under the red safe light. It was magical stuff with chemical names like Microdol X, Tri X, Neopan and Delta Pro.

In addition to the variations of black and white film there was also different grades of paper to enhance contrast. It was like a little bit of wizardry but, to be honest, I don't really miss the sploshing about bit, it was more about the eventual image with its rich blacks and smoothe tonal range. In addition black and white simplified the image and made you concentrate much more on composition and form.

Never having been much of a dab hand with Photoshop other than a bit of retouching and resizing of images I was always disappointed with the 'desaturate' facility to convert a colour image into a black and white one. I'm sure the controls are in there somewhere but it's not a process I find interesting (or appear to be capable of).

As a result I'd put black and white on the back burner and even avoided using images in UwP so I was excited to learn about Silver Efex Pro, plug in filter software for both Photoshop and Apple's Aperture. The kind people at Nik Software e mailed

The slightly gritty grain and increased contrast of the Kodak TriX 400preset have converted the colour image into one with much more impact and evocative emphasis.

The slightly gritty grain and increased contrast of the Kodak TriX 400preset have converted the colour image into one with much more impact and evocative emphasis.

me a review copy and very quickly I found myself excited at the prospect of producing black and white all over again but without the sploshing about.

The beauty of Silver Efex from my point of view is that they have done all the hard work and research for me and produced a series of effects which emulate the film days of old at the click of a mouse. Firstly you open up your colour image in Photoshop or Aperture and then open up the Silver Efex filter which loads up a whole new page with the image basically converted to black and white.

The 'High structure' style improves the suns rays and increases the atmosphere of the image. Simplifying the tonal range to black and white clarifies the composition and emphasises thatfeeling of the image being a moment in time.

There are then 2 columns left and right full of additional settings to work on the image.

On the left there are settings with thumbnails showing variations in exposure, emulations of push and pull processing as well as various types of


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