All posts by tomeasop

Advanced Fundamentals for Underwater Image Makers 3.0

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Advanced Fundamentals for Underwater Image Makers 3.0

Boston Sea  Rovers- Saturday, March 9, 2019

1:00pm – 4:00pm

This is a three hour workshop covering fundamental concepts of underwater imaging. These concepts are part of both modern digital imaging (capture, post processing) and age-old analog underwater photography limitations (color, focus, angle of view .) Understanding these concepts is vital if you are:

  • Trying to optimize your image quality
  • Researching a purchase of new equipment
  • Fix particular problems in your images

Behind all the ‘bells and whistles’ tools, settings and product features available to the modern underwater image-maker, there are some fundamental concepts that will never change, and should be understood if you are to advance in making better and better photographs.

Why?

Most of these ‘bells and whistles’ are short cuts – ‘one size fits all applications’. They do not work on every image, especially the ones we want them to work on the most! You need to know how to get to the heart of the problem and fix it yourself .

Other ‘bells and whistles’ are simply best fit technology that is limited in the first place. But it is all we have so you need to know where it will and will not work. And know the work-arounds if available.

And of course there is ‘Marketing BS’ where camera, housing, lighting and software sales folks tell a story about their products which upon deeper looking, don’t quite hold up to scrutiny.

Have ever asked yourself:

  • Why is the water column in my picture not smooth but instead has ‘banding’?
  • Why can’t I get the color on screen or in a print to match the color I remember seeing on the dive?
  • Why are my corners all blurry?
  • Why does my underwater lighting look so harsh?
  • Why does my camera / lighting system not work as planned on the dive?

To get answers, we will explore the ins-and-outs of underwater port optics, underwater lighting, camera features and settings, filter use, tripod use, color theory, color management, image noise, file types, workflow, and printing and displaying images.

Contact: Tom Easop +1 (603) 283 6630 or tom@EASOPhotography.com

Workshop Outline

In Water Analog

  • Optics
    • Water Column
    • Ports
      • Flat
      • Dome
        • Entrance Pupil Alignment
        • Focus
      • Others
    • Shades
      • Inside
      • Outside
      • Custom / Combination
  • Camera Settings
    • Aperture Size
    • Shutter Speed
    • Display
  • Lighting
    • Speedlight (Flash)
    • Continuous Light
    • Color Filtering

In Camera and Computer Digital

  • Color Theory
    • Color Modes
    • White Point
    • Color Space
  • Color Technology
    • Capture Methods
    • Noise
    • Color Dimensions, Gamut, Tone Curve
    • RAW Image Development
    • Levels, Curves, Color Adjustments
    • File types
    • Color Space Changes

Diving In – Putting It All Together

  • Preparing  – Research, Testing
  • Best Practices Before, During and After the Dive
  • A Hybrid Analog  – Digital Workflow
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Chris Helps Tom with the Tripod on Ferndale and Parat

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After reviewing all the photos I have made while diving the wrecks of the Ferndale and Parat in Sognefjord, Norway, I had been dreaming of making a photo featuring the side of the Parat looking up at the Ferndale. There is a distinctive curve to the superstructure that I wanted to capture. Being geared up for long exposure photography this last trip (summer ’16) I knew it might take a novel approach with the tripod if there were no wreckage jutting out into the water to simply clamp the camera onto. Confidence was low from my recollection of previous dives.

During a dive with just my camera to recon suitable clamping wreckage and finding none, I decided I would have to return with the tripod, but instead of it being vertical like its normally used, I would have to use it horizontally – sideways. Tying it in snug to the wreck would be enough to support the camera exactly where I wanted it.

There are two small port holes in the side of the superstructure and I thought I would use them to anchor the tripod spread onto the side of the wreck using a rope. A rope connected to the tripod, into the hole and then up to the top of the wreck to tie off or possibly just back down to the tripod was the plan. Camera, tripod, and rope while swimming next to the wreck could be a recipe for disaster.

I decided to stage my camera on the seabed and get the tripod set up first. I swam the tripod up to the side of the wreck with one hand and the rope in the other hand, and as I put the rope into the porthole I thought “How am I going to get the rope UP to the top of the wreck now?” I had noticed a torch inside the wreck while I was doing this, and then a hand appeared and like magic, I had a little help from my friend. All unplanned but executed to perfection, and with that momentum, I proceeded to anchor the tripod, clamp the camera, and make the shot.

And Chris got it all on his GoPro vid of the dive. Here is an edited version. Thanks Chris !

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Advanced Fundamentals for Underwater Photographers At 2016 Boston Sea Rovers

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Advanced Fundamentals for Underwater Image Makers – BSR – Saturday, March 12 2016

9:00am – 12:00noon

This is a three hour workshop covering fundamental concepts of underwater imaging. These concepts are part of both modern digital imaging (capture, post processing) and decades old underwater photography limitations (color, focus, angle of view .) Understanding these concepts is vital if you are:

  • Trying to optimize your image quality
  • Researching a purchase of new equipment
  • Fix particular problems in your images

Behind all the ‘bells and whistles’ tools, settings and product features available to the modern underwater image-maker, there are some fundamental concepts that will never change, and should be understood.

Why?

Most of these ‘bells and whistles’ are short cuts – ‘one size fits all applications’. They do not work on every image, usually the ones we want them to work on the most! You need to know how to get to the heart of the problem and fix it yourself.

Other ‘bells and whistles’ are simply best fit technology that is limited in the first place. But it is all we have so you need to know where it will not work. And know the work-arounds if available.

And of course there is ‘Marketing BS’ where camera, housing, lighting and software sales folks tell a story about their products which upon deeper looking, don’t quite hold up to scrutiny.

Have ever asked yourself:

  • Why is the water column in my picture not smooth but instead has ‘banding’?
  • Why can’t I get the color on screen or in a print to match the color I remember seeing on the dive?
  • Why are my corners all blurry?
  • Why does my underwater lighting look so harsh?
  • Why does my camera / lighting system not work as planned on the dive?

To get answers, we will explore the ins-and-outs of underwater port optics, underwater lighting, camera features and settings, filter use, tripod use, color theory, color management, image noise, file types, workflow, printing and displaying images.

Contact: Tom Easop +1 (603) 283 6630 or tom@EASOPhotography.com

Workshop Outline

Analog

  • Optics
    • Water Column
    • Ports
      • Flat
      • Dome
        • Entrance Pupil Alignment
        • Focus
      • Others
    • Shades
      • Inside
      • Outside
      • Custom / Combination
  • Camera Settings
    • Aperture Size
    • Shutter Speed
    • Display
    • Offsets
  • Lighting
    • Speedlight (Flash)
    • Continuous Light
    • Color Filtering

Digital

  • Color Theory
    • White Point
    • Color Modes
  • Color Technology
    • Capture Methods
    • Noise
    • Color Spaces, Gamut, Tone Curve
    • RAW Image Development
    • Levels, Curves, Color Adjustments
    • File types
    • Color Space Changes

Putting It All Together

  • Preparing  – Research, Testing
  • Best Practices Before, During and After the Dive
  • A Hybrid Analog  – Digital Workflow

 

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