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BSoUP
Meeting - July 2001
by
Andy Clark
Reproduced
from in focus 72 (October
2001)
PHOTO
TECHNIQUE
Moving
subjects. As if the concept (alone) of underwater photography
were not enough, Linda Dunk added to the problems and practicalities
by casually throwing 'moving subjects' into the arena. More
trouble, more strife and more room for disaster.
But,
as Linda explained, it doesn't have to be like that. A combination
of the right equipment, the right technique and a little experience
in observation mix readily into a cocktail of success and
reward.
On
the equipment side of things - plan your shots. If the subject
won't let you get close, choose a longer lens. Think about
your technique and approach - will you have to pan? Approach
the subject f orm below (less frightening). Take a series
of images moving closer each time (less frightening). Look
for patterns in shoals, herd and break off a few if necessary.
Avoid chasing - you're on a looser.
But
most importantly, have patience and train yourself in observation.
Make note of behaviour and anticipate it. Look out for territories,
prefocus and shoot. "It all seems about exploitation
really,"
Linda
laughingly explained, and advised to sit up at the cleaning
stations, mating and feeding grounds, and catch the flighty
ones when they're asleep! If that fails, "Go for the
young ones, they're easily intimidated."
Consider
ambushing and surprise, and shooting from the hip!
Be
ready, be prepared and experiment - use a red filter over
your spotting torch or aiming light (less frightening), hand
hold your flash - Peter Scoones is convinced strobes on arms
are a major put-off. Watch, learn and anticipate. "These
are creatures of habit. If they do it once, they'll do it
again!' Equally, get to know when enough is enough, back off!
Whatever
you shoot, and however you shoot it, don't be bullies! A little
sensitivity and a little space and who knows? The f ish may
come to you!
FOCUS
ON
July's
Focus On 'People' theme attracted 29 entries, illustrating
once more your enthusiasm and flair for creativity, evidence
of which arrived in various images of divers in silhouettes,
on wrecks and in countless poses with countless backgrounds.
Moody and humorous images. Displays of perfect timing. In
4th place with 27 points - Alex Mustard. In 3 rd place with
30 points - Ken Sullivan - with a superb silhouette of father
and son snorkelling. Holding 2nd place with 32 points - Tony
White - cleverly capturing a diver portrait encircled by glass
fish. And in 1st place with 40 points - Angela Harron - a
gorgeously moody diver in cave, shot in ambient light at Fisherman's
Bank, Jackfish Alley. Congratulations!
MAIN
EVENT
Three
Weeks In The Red Sea unfolded like pages turning in a photographic
essay. A handful of BSoUP members illustrating the magic of
Red Sea diving on a charter without dive master and a dive
buddy called Peter Scoones!
New
experiences and different images with every chapter, guiding
us through some of the marine life - scorpion fish, crocodile
fish, puffas and sharks; and some of the worthy dive sites;
caves and wrecks and pure, deep blue seas.
Talk
of experimenting with manual focus, front and rear curtain
sync, black and white film. Interesting too, the use of zoom
lenses, quite a favourite among some with shots from 17-35mm
and 18-35mm offering the opportunity to add 'blur' to enhance
creativity and to illustrate the not so typical Red Sea scene.
But
perhaps most interestingly was the fact that the contributors
between them managed to depict the Red Sea as I expect it
to be. It was all there, whether intentionally or not - I
suspect not - the guide offered wrecks and caves, hammerheads
and colourful corals, advice on technique; aperture priority,
manual exposure, wreck photography, and the advantages a charter
without a dive master aboard. If I could have captured the
event in it's entirety, I would have bound it and offered
it around as, "Three weeks in the Red Sea - the complete
guide."
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