Tag Archives: Underwater Photography

The end of advanced compact cameras for underwater photography

With the arrival of the new Nauticam N50 port system for advanced compacts I believe we say goodbye to using a large sensor compact underwater.

We already saw some signs when Sony released the RX100 Mark III with a 24-70mm equivalent lens, this effectively killed any use of the camera for macro. The new Panasonic LX100 has a similar problem with a 24-75mm lens but on top it has the new N50 port system in the nauticam housing or a severely limited functionality in the Ikelite version. It is obvious that the Panasonic LX100 will have similar sever limitations for macro but also with only 10 Megapixels really not be a strong competitor.

The last kid on the block is the Canon G7X, this camera looks very similar to the Sony RX100 Mark II and has a 24-100 zoom range that on land is very useful with an aperture of f/2.8 at tele end that is really interesting for land use. However this camera in the Nauticam version has the same port system N50.

So why has Nauticam introduced this? Both the Canon G7X and the Panasonic LX100 have fairly long lenses in terms of physical size and the zoom mechanism is such that the lens is retracted at wide end. This means that there is quite a gap between the lens and the port and wet lenses in those conditions have issues of both corner softness and chromatic aberrations. So Nauticam has introduced a short port with zoom blocked so that wet lenses can be used.

Effectively this is like diving with a fixed 18mm lens on your camera behind a dome with no zoom capability, taking the wet lens off results in horrible pincushion distortion so not really appealing.

Pincushion Distortion at 24mm with flat port
Pincushion Distortion at 24mm with flat port

The dome port does not allow the use of the full zoom at least without a diopter, so this is of limited use too for video.

Cost wise the new housing with the port system are around $1,200 in the US with additional $350 for the dome and $180 for the flat wide port. We are approaching the low end of Micro 4/3 Nauticam housing prices and are more expensive than Olympus OEM options but without the same flexibility and quality in terms of lenses.

It is clear that the Sony RX100 Mark I and II will remain one of a kind and this is the reason why they remain popular few years after launch.

Sony RX100 Mark II Rig June 2014 Front
Sony RX100 Mark II Rig June 2014 Front

 

Nauticam NA-LX100 Pricing Confirmed

It is official now the prices of the NA-LX100 are confirmed

in US $1,200 for the housing with flat port, $180 for the wide short port and $350 for the 3.5″ acrylic dome.

In UK £920 for the housing and flat port, £150 for the wide short port and most likely £290 for the dome.

Which means we can now update the GH4 comparisons for 4K

Super Wide

Panasonic LX100  $899 NA-LX100 $1,200 with Short Port $180 and Wet lens Inon UWL-H100 $522

Panasonic GH4 with 7-14mm and 6″ dome $2750 housing and port only plus camera and lens $2,399

The max field of view of the two options is almost the same however you can’t zoom the LX100 due to the zoom lock on the housing.

LX100 $2,801

GH4 $5,149

Price Difference $2,348

Mid range

Panasonic LX100 $899 housing $1,200  3.5″ dome circa $350

Panasonic GH4 with 12-35mm and 6″ dome $2750 housing and port Camera and Lens $2,399

The LX100 is wider in 4K at 26-81mm vs 28-81mm of the GH4

LX100 $2,449

GH4 $5,149

Price Difference $2,700

Close Up

Panasonic LX100 with NA-LX100 rectangular port $2,099

Panasonic GH4 with 14-42 and 35 macro port $1,815 housing and port $2,680

The GH4 will have more magnification due to the longer focal length with the same diopter.

LX100 $2,099

GH4 $4,495

Price Difference $2,396

The gap is still significant even with the price increase ranging between $2348 and $2700.

I still have some concerns on the 3.5″ acrylic dome for the LX100 as I am not sure about focus distance. If this port works with the full zoom it is definitely the most appealing for video but we will need to check this out.

 

 

Nauticam NA-LX100 Released

On Christmas day Nauticam has released the NA-LX100 housing for the Panasonic DMC-LX100. It is priced at ¥168,000 which is 50,000 more expensive than the last NA-RX100 III.

If this translates correctly in $ and UK prices it means $1,399 plus tax or £895 including VAT for UK.

Here is the original link in Japanese on the fisheye homepage

http://www.fisheye-jp.com/products/compact/na_lx100.html

NA-LX100 with flat rectangular port
NA-LX100 Rear View

 

Prices for the short port for wet lenses and the dome port have not yet been announced but we know that the dome can use the camera at full zoom and that the short port. The US price of the flip diopter for the rectangular port is known and is $220.

Which means we can now update the GH4 comparisons for 4K

Super Wide

Panasonic LX100  $899 NA-LX100 with Short Port and Wet lens $2,000 circa

Panasonic GH4 with 7-14mm and 6″ dome $2750 housing and port only plus camera and lens $2,399

The max field of view of the two options is almost the same however you can’t zoom the LX100 due to the zoom lock on the housing.

LX100 $2,899

GH4 $5,149

Price Difference $2,250

Mid range

Panasonic LX100 $899 with 3.5″ dome circa $1,699

Panasonic GH4 with 12-35mm and 6″ dome $2750 housing and port Camera and Lens $2,399

The LX100 is wider in 4K at 26-81mm vs 28-81mm of the GH4

LX100 $2,599

GH4 $5,149

Price Difference $2,550

Close Up

Panasonic LX100 with NA-LX100 rectangular port $2,299

Panasonic GH4 with 14-42 and 35 macro port $1,815 housing and port $2,680

The GH4 will have more magnification due to the longer focal length with the same diopter.

LX100 $2,299

GH4 $4,495

Price Difference $2,195

The gap is still significant even with the price increase ranging between $2200 and $2500.

There is still an option to use the GH4 with wet lenses although this has only been tried with diopters to date it is technically possible to use a wet wide angle lens.

 

Panasonic DMC-LX100 Nauticam 4K Underwater video becomes affordable

This week I have been in contact with Nauticam that have given me some final details with regards to the NA-LX100 housing that will be released in the next weeks and is already available for pre-order in Hong Kong.

The housing is confirmed to have a changeable port system the default is the rectangular flat port as in the image below.

When shooting 4K the Panasonic LX100 focal length is 26-81mm which means that in water the default port will give a range of 35-108mm due to water magnification. This is however negated by the increased working distance so don’t get too excited about macro.

Panasonic LX100 Flat Port

There will be a flip diopter for the rectangular port as a separate accessory. Due to the limited zoom of the LX100 a strong diopter with power of at least +10 in water is required for macro.

The other option displayed was a mini dome port.

Nauticam LX100 Mini Dome Port

Nauticam has confirmed that this dome is 3.5″ wide and unfortunately there is no provision currently for a flip diopter for this port.

The 3.5″ acrylic port is probably the most versatile option for the Panasonic LX100 and I am a bit puzzled of why the flat port is offered as a default. The mini dome seems perfect for all round reef use when there are no really small critters and medium size fish.

 

Nauticam has also a super wide option that utilizes a short port with a 67mm thread. This takes the Inon UWL-H100 from what we have heard and also a new lens Nauticam has designed.

The zoom will be  locked so the lens will stay at 24mm limited to circa 50mm which means with the wet lens this is a 16-32mm wide lens in water, I am not sure however that zoom in will be a possibility with the Inon lens but will be possible with the Nauticam lens as far as I understand.

Nauticam LX100 Wide wet lens

So what is the strategy for Nauticam and this housing?

It is quite clear for me that the Panasonic LX100 has the same 4K capabilities of the GH4 the same IPB codec and processor. It falls short of cinema options but costs half of the GH4 body.

So for your perusal those are the equivalent options

Super Wide

Panasonic LX100  $899 NA-LX100 with Short Port and Wet lens $1,700 circa

Panasonic GH4 with 7-14mm and 6″ dome $2750 housing and port only plus camera and lens $2,399

The max field of view of the two options is almost the same however you can’t zoom the LX100 due to the zoom lock on the housing.

LX100 $2,599

GH4 $5,149

Price Difference $2,550

Mid range

Panasonic LX100 $899 with 3.5″ dome circa $1,300

Panasonic GH4 with 12-35mm and 6″ dome $2750 housing and port Camera and Lens $2,399

The LX100 is wider in 4K at 26-81mm vs 28-81mm of the GH4

LX100 $2,200

GH4 $5,149

Price Difference $2,950

Close Up

Panasonic LX100 with rectangular port $2,000

Panasonic GH4 with 14-42 and 35 macro port $1,815 housing and port $2,540

The GH4 will have more magnification due to the longer focal length with the same diopter.

LX100 $2,000

GH4 $4,355

Price Difference $2,355

So the performance may be better but the price difference is very high.

The total cost of the Panasonic GH4 plus lenses housing and port is around $6,640 but the LX100 stops at a much more modest $2,400 without the wet wide angle lens. This still does not include flip diopters adapters and lens worth another $800+ but gives an idea that the total will be around $3,200 for the whole set.

You can get a complete 4K underwater video rig around $4,500-4,700 including tray, video lights and all the rest which few years ago would have been unthinkable.

Panasonic DMC-LX100 More Info and Reviews

Like the LX7 the LX100 has a multi aspect sensor. This means that the diagonal field of view does not change in the various aspect ratios.

The camera is a micro 4:3 so the sensor size is half of a full frame sensor at 18×13.5 mm. However only part of this is used by the camera more specifically 13.7×10.3mm are actually used in the same aspect ratio.

Resolution 4112×3088 in 4″3 format

When the aspect ratio changes to 16:9 although the diagonal field of view remains the same the horizontal pixel count increases

Pixel count at 16:9 Aspect Ratio

Now we have 4480 horizontal pixels and 2520 vertical so the horizontal field of view is wider than in the 4:3 or 3:2 aspect ratios.

This means that at normal 1080p the camera will perform like a normal 3:2 sensor at 22.9mm. All of this to say that the LX100 like the LX7 are wider in movie mode than the Sony RX100 Mark III despite the lens is declared at 24mm in both cases as when we go to 16:9 the Sony crops the sensor and goes to 25mm whilst the Panasonic cameras stay at 24mm. So even at 4K 16:9 the LX100 will be marginally worse than the RX100 Mark III at 26mm vs 25mm. Note that the crop is 2.56x at 4:3, 2.47x at 3:2 and 2.38x at 16:9.

We don’t have details about wet lenses yet but for the solution with a dome like the Ikelite housing or the Nauticam mini dome we are talking about a maximum field of view of 79.52º at 4K which is acceptable for most cases.

The challenge like with the Sony RX100 Mark III is at telephoto end were 81mm in 4K is quite little. Panasonic has however the option of the iZoom that was pretty useful with the LX7 and that crops down to a ‘normal’ 1920×1080 which promises to be pretty good with a 2x digital zoom with scaling.

In DxoMark sensor test the LX100 scored the same of the RX100 Mark II and III with a minimal improvement in low ISO.

Which in shorts leaves to the conclusion that unless you need 4K the Panasonic LX100 is not going to be your wonderful underwater camera however if you can process the 100 mbps IPB files that the camera produces, the result when scaled down to 1080p has got so much more quality compared to other 1080p cameras.

The lack of the ND filter compared to the previous LX7 is a miss, but Panasonic though that at f/16 there are anyway the 3 stops so performance will not suffer, we disagree with that as surely diffraction will be substantial at f/16 and we rather have less depth of field near the surface than more.

Let’s face it, the LX100 is half the cost of the GH4 if you use the nauticam housing and this is before the GH4 has added lenses and ports, the GH4 will give you richer color and probably 2/3 step ISO improvement and much more if you use an external recorder but the LX100 is the 4K camera for the consumer and we are looking forward to a full operational housing from Nauticam, Recsea or any other!

 

 

Panasonic DMC-LX100 Ikelite Housing

The American manufacturer is the first to reach the market with a polycarbonate housing for the Panasonic LX100.

Specifications

  • 200 ft (60m) depth rating
  • Controls for all camera functions except Diopter Adjustment Dial, Aspect Selector Switch, Front Control Ring, and Focus Selector Switch
  • Ikelite 5-pin bulkhead with TTL circuitry
  • Near neutral buoyancy in fresh water
  • Weight 4.7 lb (2.1 kg)
  • Dimensions 7 x 6 x 6 in (18 x 15 x 15 cm) including projections
  • 3.9-inch (99 mm) diameter glass lens port

The first thing that we notice is that not all controls are accessible, is this going to be an issue?

Diopter Adjustment Dial – this is normally set fixed

Aspect Selector Switch – this does not change during the dive

Front Control Ring – this controls manual focus and is important

Focus Selector Switch – this switches between macro and normal focus mode an is important if you don’t use a close up lens

As the LX100 with a 24mm lens is not going to be really a photographer dream Ikelite could have spared an expensive TTL converter but I requested confirmation from the manufacturer and they said only a TTL version is planned – not good for us!

Ikelite LX100 Front View
Ikelite LX100 Front View

The housing looks a bit bulky as usual but considering that for video we access a limited set of controls this is not going to be a major problem except maybe the rear metal buttons.

Rear View
Rear View

Probably the best feature of this housing are the accessories.

The housing comes with a large 3.9″ flat round port that per-se is not good for much, however you can add the WD-4 Dome and the macro M67 adapter to improve matters. The WD-4 dome is a glass removable dome that is sharp and will restore the lens field of view and allow for some zooming, the macro adapter allows to mount M67 close up lenses as a push on.

Probably the feature that will miss the most is the focus mode switch as the rest can work quite nicely with focus lock.

Cost wide the housing is $750 with the WD-4 and the Macro adapter this totals at $1115 plus taxes.

The nauticam housing is rumored to be $1,100 without ports so this ikelite housing could be competitive and we like the port system a lot for simplicity even if the choices are a bit limited as all in all this is good enough for video if combined with a selection of diopters. The lack of the focus mode switch could create some challenges in portrait work with the bare port but a series of mid range close up lenses can fix the issue.

Panasonic DMC-LX100 Housing and More

So the LX100 gets the highest score for a compact camera on dpreview with a staggering 85%

Full details are here

http://www.dpreview.com/reviews/panasonic-lumix-dmc-lx100

Of particular interest are the video grab comparisons

http://www.dpreview.com/reviews/panasonic-lumix-dmc-lx100/8

In my opinion the 4K mode of the LX100 is as good as the GH4 there are however fewer options and control and rolling shutter seems to be an issue with the LX100.

Nevertheless the 4K video mode blows the Sony RX100 series away in any version so I guess for land use the Panasonic DMC-LX100 truly is the camera to beat.

I have been waiting patiently for housing and now is confirmed that Nauticam will come up with a housing in early 2015. Wetpixel has a special on Dema on their news section and this has images of the LX100 housing prototype.

http://wetpixel.com/articles/wetpixel-coverage-dema-2014/P1

The housing has a changeable port system similar to a micro 4/3 and 3 ports were shown at Dema

Panasonic LX100 Flat Port

The rectangular flat port is very similar to the Recsea housing for the Canon G series.

Many people get very excited to read that the LX100 has a minimum focussing distance of 3 cm at wide end but this is as such not so exciting as it seems. Due to the wide field of view of 84º diagonal this means that the area captured at the minimum distance is somewhere in the region of 1:1.25 reproduction ratio. So this is not real life macro. This compares to the much smaller area of the older LX7 that had a 1.25:1 and as such offered super macro out of the box (though nobody would shoot macro at wide end or be 1 cm away from the subject).

Which means that the LX100 will need diopters with this flat port to achieve macro and more specifically a close up lens with power in water of 10 to achieve macro. This corresponds to the Subsee 10 or the Inon UCL100 or the Nauticam SMC.

The flat port is nothing to get very excited as in water the camera will behave as a 32-100mm equivalent lens camera and a field of view of only 68º.

The other option displayed was a mini dome port.

Nauticam LX100 Mini Dome Port

This looks around a 4″ dome, if this is the case the camera will not only maintain the land focal length 24-75mm but also potentially be compatible with a flip diopter as the one used with the micro 4/3.

This is a hope more than a guess, Nauticam please ensure you can apply a flip diopter to the dome port as that would be the best all round option for this housing. As previously noted 24mm is wide enough for reef scenes and with a +10 diopter, and possibly an additional +5 or +6 this becomes a great solution for underwater video. At 4K the focal length changes to 26-81mm which is still acceptable.

24mm is not enough for wreck dives or whale sharks so here it comes the wide option.

Nauticam LX100 Wide wet lens

I am not sure if this port will work at all with the zoom but it is declared to offer 110º and therefore a 0.63x magnification.

Nauticam has declared that standard wet lenses do not work with the LX100 and hence they have come up with this specific port system.

Looking at the G7X housing this seems to be just a special adapter with a set of wet lenses more than real ports

Nauticam G7X Housing

Anyway we will have to wait but my favorite option would be the mini dome especially if the flip diopter holder for 4″ dome can be used.

If this is not the case I would have a major problem with this housing as the lens out of the box is not good enough to be used as is. I am slightly confused also by that weird rectangular port considering that 32mm is not wide enough for anything I can’t comprehend the reason for its existence.

We will have to wait and see. I have contacted Nauticam asking if the dome can have a flip diopter holder. Will keep you posted

Final Note: the Panasonic LX100 is not an option for stills as the RX100 Mark III, a 24-75mm lens is not good enough and the lack of fisheye options combined with the short zoom is definitely a no go.

Right now for stills I would still consider the Sony RX100 Mark II as the winner until we get confirmation of that lenses can the Canon G7X use.

Underwater Photography Workshops – My Tips

I thought the Red Sea workshop with Alex Mustard was brilliant to I thought of writing down my notes and sharing them with you.

This final post is a general one and has my lesson learned from attending the workshop, those that follow are generic tips that I think would be beneficial to anyone wanting to attend a similar experience.

Before the Workshop

The experience actually starts before you even attend the sessions key points for me include:

  • Ask questions about the workshop and how it works
  • Know your equipment
  • Take all the gear you have
  • Be fit and self reliant
  • Set your self objectives

I did not really ask many questions before going as Dr Mustard sent a very comprehensive document however this is not standard and it is better to ask in advance about the conditions, the dives, the type of training and generally how the workshops is organized. Some have talks, other have one to one, other are just dive trips where you ask when you need. Not all types fit everyone so better to make sure you go to one that matches your need.

Sadly even this time like in every trip I have come across people using their equipment or part of their equipment for the first time. The end results is wasted dives and opportunities, I cannot stress enough that testing your rig in a pool before going allows you to familiarize with it and make any corrections you need.

Pool Conditions
Pool Practice

Also take all the possible lens, ports, parts that may be useful. Once you are there you don’t want to have regrets about something you have left home. In my case all was there but I did not know about remote strobes otherwise I would have got myself a trigger as I have 2 Z240s.

Transformer Tray
In case of doubt exceed with equipment

In most of those workshops buddy system does not really apply so make sure you are self reliant and fit as the conditions allow to avoid embarrassing or even dangerous incidents. Once there dive within your comfort limit and if you don’t really have a buddy dive with a guide.

It is useful to know before you go what your objectives are, for example what type of shots you want to work on. This means you have something to do over and above the assigned tasks.

During the workshop

Once there you need to stay focused on your performance. Those are additional points to think about:

  • Deliver the assigned tasks
  • Go off the beaten track
  • Learn from other participants
  • Take notes

Sometimes during those workshop there are challenges or set shot that are suggested, this is your opportunity to compare your work with others and therefore you should make sure you deliver those also to find out if there are limits with your equipment.
Eggs
In the Red Sea workshop were given the task of taking pictures of cardinal fish with eggs in their mouth. I realized I could not fill the frame because I lacked a mid range close up lens and my camera would not focus closer.

In addition to the suggested shots you should make changes to those and try something different even if not totally different.

Ras Katy Sunset

There are many landscape split shots but not many portrait so why not try one results can be excellent and it is easier with a small dome.

Other participants also will give a go to the same shots or have better editing skills it is worth to watch and learn.

Trucks
My buddy was setting up a remote strobe I fired a few shots (unintentionally of course) so I got my own shot!

Finally take notes of what you did right and wrong and if you missed anything.

After the workshop

After the sessions are over still there is work to do over and above going over your pictures again.

  • Write down your lessons learned
  • Look at other people images
  • Order any equipment that you missed

Well it goes without saying that I put the notes together and summarized them here.

I also found great to connect to other people and then look at their gallery for other shots that we had not discussed before.

Finally I ordered myself an Inon UCL330, funny I had this lens and sold it not realizing the real use which is fish portraits!!!

That’s all for now if you go on a workshop soon I hope you find this useful.

Red Sea Workshop with Alex Mustard – Part VI Schooling Fish

On Friday we were up for our last 3 dives at Shark Reef the current had not changed but this time I decided to give more a go to the schooling fish after setting up all the backgrounds I wanted.

As you can see from the image on the title we had more of the usual divers chasing fish but this did not deter me this time as I developed a specific technique to do the dive that I used fully on the last two photo dives.

So after a bit of experimental shots like this one

Batfish school from Top
Batfish school from Top

It was time to give it a proper go. To be honest is not that I like batfish that much and probably this is one fish that you can shoot in RAW in ambient light however if you do that you need to sacrifice quite a few ISO stops. With strobes the issue is to get the school in a formation that allows you to do a good job with lighting. This is my best shot for the session.
Schooling Batfish on Reef
What I like about this shot is the light on the fish or most of it where you can see yellow fins but also the background and a hint of surface.

Other fish that featured on the day were jacks but catching a school of those running past is quite hard unless the school is really big and they circle you.

Jacks Schooling
Jacks Schooling

In those type of formation you have all sort of issues with hightlights form the strobes in fact I was shooting 1/4 of power.

Giant trevallies made a more interesting single fish shot like this one.

Giant Trevally
Contrary to what you may think this is a shot with strobes otherwise you would not see the texture of the fish as you see it. Maybe a busy background but good technical exercise.

I also attempted a few anthias shots just to try a well tested technique to get them buzzing out the reef

Red Reefs
In the middle of the dives while I was waiting the barracuda school came out to play. Barracudas are quite tough as they require strobes to lit properly and I find the multitude of black and white shots that you see a bit boring as the fish texture is what makes the shot.

You have several challenges with the formation, if the school is big is difficult to take it all unless you are on the bottom or on the top. In the first case you need to control bubbles in the second you shoot the bottom so better be neat.

Anyway with a bit of patience I got the shot that I wanted

Arrows
It is impossible to illuminate properly all of them but this shot has got the right geometry and I think is quite pleasant.

On the second dive I was lucky to spend some time with a Giant Barracuda that was literally commanding the school at sight, very rewarding from a diving point of view I got so excited that I kept shooting with a relatively slow shutter speed however the fish that is lit by the strobe is well crisp.

Giant Barracuda issuing orders
Giant Barracuda issuing orders

This shot is much deeper than the previous so the blue is colder but still makes for an interesting shot.

On dive 3 I decided to do a bit of video although I had not taken my favorite lens so I had to apply a filter directly on the camera lens. Moreover I had forgot the setting Toy effect on from some other experiment and whilst this is off in RAW it came back in video so the result is a soft warmer image…yuk still was fun to put it together so here it goes

It was time to rinse the gear (if you could call that hosing it quickly on the dive platform) and get ready to leave the day after. On the last day we were asked to put together a selection of our best 10 pictures and were give a video with some gopro footage taken by the ops manager plus our slideshow. Considering the time it was spent to do it the result is excellent.I hope this has given you an idea of the workshop that I definitely recommend, on the next post I will write my personal lessons learned from such experience.

Red Sea Workshop with Alex Mustard – Part V Tiran & Mermaids

As the currents were not playing ball we decided to head to Tiran to dive Jackson reef.

I love jackson as a dive and a video dive but I was a bit vary from a photography point of view as lighting can be a problem.

Anyway there was an option for a hammerhead dive in the early morning or a first dive on Jackson followed by a second before returning to Ras Katy for an afternoon and sunset dive.

Hammerhead are found on the back of Jackson reef when there are shallow thermoclines with the surface at 26C the chances were low however I had alternative ideas for that dive.

As foreseen there were no hammerheads so towards the end of the dive I tried a few shots of the Lara Wreck (that is on the surface) through the Snell window despite the strong surf.

The resulting shot is currently my desktop theme and is here.
Lara from the reef
I tried to get the wreck on the surface, the breaking surf, the sunball, some fish or at least silhouette of fish and the hard coral to give a dramatic moody look to the image.

On dive two was time to have a relaxing dive with not much effort on photos. I saw few tunas at around 28 meters that is unusual and a turtle and some other critters though the shots are not particularly exciting.

In one occasion a dive guide came to be all excited as he had seen a turtle so I went there and bumped into our own guides that were out for a fun dive.

Turtle and Dive Guide
Turtle and Dive Guide

They usually are asked to get out of the frame instead I took the shot for their facebook perusal.

When the turtle had enough she shot off to the surface and I tried a silhouette however I forgot the strobe on

Failed Silhouette
Failed Silhouette

Nothing that lighroom can’t fix and this is the resulting shot after adjustment

Silhouette after lightroom
Silhouette after lightroom

Not bad huh?

Back at Ras Katy I tried few more portraits like this one

Fish Portrait
Fish Portrait

Though my favorite is another
Masked Butterflies

At sunset I was part of the mermaid group, we had a model Katrin Felton  suprising what a phenomena Mermaid tails have become.

We had a 2-3 shots in different poses however only the first was successful as the snell windows was ruined by one of the photographer that keept shooting with strobe…and getting in the way as she did not listen to the briefing properly well no big deal.

Anyway I gave it a shot afterwards Kat was not particularly happy about the barrel distortion that she said makes her look fat! Unfortunately I did not have a rectilinear lens anyway if you find yourself in this kind of set up make sure you have one.

Mermaid Kat I
All in all it was a bit of fun again I tried to include some fish, the reef, the mermaid, the sun rays. I looked at other pictures of the mermaid and I think she can’t appreciate how important is not to see the knees too much but I guess she likes to focus more on her figure on how slim she looks lol!

All in all another great day and a different perspective on shooting model underwater.