Training

How to Prepare for your First Night Dive

Scuba Diver Underwater at Night

Exploring the underwater world at night can be even more incredible than diving during the day.

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FIVE TIPS FOR YOUR FIRST NIGHT DIVE

Night diving is one of the most magical experiences you can have as a diver. But diving in the dark does require a little extra preparation to stay safe. Here are five tips to get you ready.

1. Be Gear Savvy

Night dives include equipment you might not use during the day, such as underwater flashlights and tank strobes. Be sure to install the batteries, check the bulbs and familiarize yourself with how these items work beforehand so you’re not fumbling in the dark.

2. Give Yourself A Hand

Hand signals are hard to see at night, so night divers use their flashlights for modified signals. For example, wave the beam of your flashlight on the bottom in front of your buddy (never in the eyes) to get her attention.

3. Dive It During The Day

The best way to prepare for a night dive is to explore the site during the day beforehand. You’ll know the layout of the reef, your entry and exit points, and exactly which sections of the dive site you want to see.

4. Brush Up On Compass Skills

During the day, it’s easy to navigate by underwater landmarks in good visibility. At night, you’ll only see the patch of reef illuminated by your flashlight, so your compass is the most reliable way to get around.

5. Practice Going Slowly

Slower is always better underwater. You breathe less air and see more when you take your time. That goes double for night diving. Not to mention that getting lost or having to make a long surface swim can quickly turn from frustrating to dangerous in the dark.

How to Prepare for your First Night Dive Read More »

Diving the Bermuda Deep

We had been planning this dive over our entire careers.

Our Mission: Descend more than 200 feet in open water, find the peak of a majestic volcanic seamount, then drop to below 450 feet to search for signs of ancient sea levels on what was once a small Atlantic atoll. Our dive would more than double the depth of previous underwater expeditions into the secretive Bermuda Deep.

Biologist Dr. Tom Iliffe and I scanned each other for bubbles and positioned our open-circuit bailout regulators within close reach. We nodded, with a last look at the support team on board the Pourquois Pas – “Why not?” – the name etched on the transom. I chuckled to myself. Iliffe and I glanced at each other, dumped the gas from our wings and rocketed downward, racing to ensure every possible moment would be spent gathering data and documenting our work. I filmed his descent from above, a tiny figure disappearing into the void.

Bermuda ranks high in the history of deep-sea exploration, yet technical scuba and rebreather diving is completely new here.

In 1934, Otis Barton and William Beebe made a record-breaking descent in Bermuda to more than 3,000 feet in their crude metal bathysphere. We would follow in the footsteps of a more recent, unmanned ROV, dispatched by Iliffe as part of a National Oceanographic and Atmospheric Administration mission to find Bermuda’s hidden underwater caves, to explore links between their prehistoric shorelines and the island’s unique cave ecology.

While famous for its caves, Bermuda does not permit recreational cave diving. This is based on efforts to protect these remarkable environments and the life within them. Bermuda caves are biodiversity hot spots for at least 25 critically endangered species, some of which are endemic to a single room in a single cave on the planet. As a result, only a few fortunate scientists and researchers are granted rare collecting and work permits allowing diving with the support of local guides. In this way, the underwater galleries and tunnels of Bermuda will be preserved as delicate time capsules of unique forms of cave-adapted life that might teach us about survival, evolution and the history of our planet. Our hope was to uncover caves or the evidence of former caves in the depths of the bank and seamounts, and perhaps reveal a migratory pathway for the unusual creatures still thriving on Bermuda today.

Iliffe and his team already had mapped the island’s walls and seamounts using side-scan sonar. Following the best leads, he deployed the ROV to create a video preview for targets we should dive. This unprecedented information gathering allowed us to focus on key features of interest to the mission’s scientists. Two years of advanced underwater imaging have brought us to the day’s objective.

The Dive Begins

Dangling his legs from the swim platform in the azure Caribbean water some 18 miles southwest of Bermuda, Iliffe quietly checked his equipment. An attentive safety diver assisted him as he prepped for what would be a challenging dive.

“Can you reach the clip for my bottom-left bailout bottle? I’m having trouble,” Iliffe said. “My sledgehammer seems to be in the way.”

In a calm but firm voice, dive-safety officer Brian Kakuk reminded us that this would be the last deep mission of the project.

I understood his inference: Often it’s the final dive of an expedition that seduces divers into unnecessary risk. Intent on completing all of a mission’s tasks, divers sometimes cut corners. They let the pressure lure them into dives that should have been shelved.

Kakuk was reminding us to keep cool and come home safely. If we had to abort this mission within a hair’s breadth of success to ensure our safety, we would.

Iliffe’s face is barely visible under the increasing load of equipment, now well over 250 pounds. He looks like a Transformer. I run through my own mental checklist. Rebreather: Checklist done. Four bailout tanks: Check. Camera on the transom: Check. Video lights, camera strobes, sample bag, measuring tape, reel, lift bags: All checked. Checked. And double-checked.

With my Sentinel rebreather, bailout tanks and video gear, gravity is not my friend. Slipping off the platform, it’s a relief to hang weightless, the bulk of my equipment suspended and neutral. Support diver Gil Nolan swims in a tight circle around me, giving me a final look, tugging on my gear, then nods approval to Kakuk. Alex Chequer from the Bermuda BioStation radios the Fisheries Department and the hospital, informing them that we are ready to descend. You could cut the tension with a knife, but it’s reassuring to know the entire island is on standby, supporting us with a safety team some 35 miles long.

The Challenger Bank

We reach the timeworn peak of the formidable Challenger Bank in less than three minutes.

A lonely lionfish hunkers in the clumping masses of coral where our hook jerks and bounces, dangling slightly, taut at its maximum reach. The orange surface marker is long out of sight, bobbing overhead on the waves marking our position. Moments like this make me acutely aware of my humanity, swimming awestruck in a place that has been out of reach until now.

Iliffe swiftly ties on his cave-diving reel and flies out over the precipitous drop. It seems like an eternity before he lands on a tiny crag at 460 feet, with the endless wall sloping infinitely downward and out of sight.

He locks off the dive reel, positions his mesh bags and tools and then intently goes to work. I train the camera on my usually reserved friend, preparing to document careful sampling. But Iliffe is like a Walmart shopper crashing through the door on Black Friday. We have only minutes at this depth, and he’s making the most of every breath. Hammer swinging and arms flailing, he grabs rock samples and delicate coral twigs. As though he were loading Noah’s Ark, he bags sets of animals, ensuring he has at least two of everything new or interesting.

I alternate between photographing his feats and the delicate wall, covered with fragile purple hard corals and crusting fiery sponges, flaming in bursts of color. Schools of curious jacks zip around us, while huge crab-eating permit reflect the sultry light back toward us. In this previously unexplored twilight zone, there is no shortage of extraordinary life.

Iliffe collected more than 50 species of plants and animals on those dives that today are yielding new discoveries for Bermuda, some previously unknown to biologists.

Geologists are studying our photographs and rock samples, trying to piece together the changes in sea level over time. Examining deep cave structures and wave-cut notches, they can now determine when sea level was at its lowest point.

The first glimpse into Bermuda’s netherworld suggests that exploration and discovery are still in the very early stages. Future work will focus on determining how the unique life in Bermuda first populated remote island caves.

Did cave-adapted animals migrate upward from deep ocean vents? Did they swim through tiny spaces within the matrix of rock? Or did they arrive in some other way?

We know more about outer space than we know about the pristine Bermuda, Argus and Challenger banks. Yet for those of us lucky enough to be working there, Bermuda Deep offers the chance to join the ranks of aquanauts on the edge of underwater discovery.

Tec Diving in Bermuda

Enrolling in a technical-diving class is one way to experience Bermuda’s rarely dived locations. Deeper dives are generally conducted on the sheer walls around the margin of the Bermuda Bank. Bermuda sits atop a large platform, so these dives are generally farther offshore than dives in recreational depths.

The ultimate tec dive in Bermuda is a visit to Argus Tower, some 35 miles southwest of the island. The peak of this volcanic seamount is reached at 192 feet; on it lie the remains of a submarine communications tower. With swarms of fish, including some large pelagics, this spot also attracts fishing boats seeking a prized catch.

Bermuda also has a very active scientific-diving community that is increasing its efforts on the front lines of the lionfish invasion. Researchers and technical divers have discovered a robust breeding population in the matrix of corals in the 200-foot range. Scientific and research organizations say they will appeal to qualified divers to aid in research and trapping.

Need to Know

You can dive year-round in Bermuda, but the most active season is May to October. Daily dive charters are available during the high season, but check ahead for scheduling. Water temperatures range between 65 degrees F in the winter and 82 in the summer, with visibility from 60 to 150 feet. Late-summer visibility is the lowest of the year.

TRIANGLE DIVING

trianglediving.com

BLUE WATER DIVERS & WATERSPORTS

divebermuda.com

DIVE TEK LLC

441-705-3536

OCEAN SUPPORT FOUNDATION

For information on conservation efforts: oceansupport.org

Diving the Bermuda Deep Read More »

Imaging: How To Take Your Photos To The Extreme In Post Production

TAKE IT TO 11

Why take your RAW adjustments to 11? Because it’s one louder than 10, as Spinal Tap’s Nigel Tufnel so aptly put it. “Taking it to 11” refers to taking something to an extreme — I usually don’t recommend taking post-processing to an extreme, but there are times when a little extra juice from Adobe Camera Raw (ACR) really does the trick.

Maxing It Out

How to take your RAW photos to the max in post production

Erin Quigley

This image of schooling barracuda is way too blue. After white balancing in Lightroom or ACR, I’ve maxed out both the Temp (blue/yellow) and Tint (green/pink) sliders, but I still don’t have the effect that I really want.

I’d like to make the fish more neutral, without having to resort to any elaborate painting or masking.

It would be fab if I could push the White Balance sliders just a little bit beyond their limits — to 11, if you will.

By using a Smart Object workflow in Photoshop, I can.

What Is A Smart Object?

What is a Smart Object in Photoshop

A Smart Object is a Photoshop layer that packages selected image data and embeds it into a special container. This container maintains nondestructive editing capacities for whatever’s embedded inside. Although any layer or combination of layers can be transformed into a Smart Object, only Smart Objects coming straight from Lightroom or ACR will maintain actual RAW image data. In this case I’ll create a Smart Object that embeds the RAW file of the barracuda, along with the Lightroom Develop module adjustments that have already been made to the file.

To open a Smart Object from Lightroom, go to Photo>Edit In>Open as Smart Object in Photoshop.

To open a Smart Object from ACR, hold down the Shift key and click on the Open Object button at the bottom of the window.

A Smart Object can be identified by the small icon at the bottom right of its layer thumbnail. To re-edit the embedded RAW image from within the Smart Object, double-click on the Smart Object thumbnail, and ACR will open. Notice that the original Lightroom Develop module adjustments or initial ACR settings are maintained. By using a Smart Object workflow, you can access and re-edit these settings directly from Photoshop’s layers panel.

Turn It Up to 11 with a Camera RAW Smart Filter

How to use a camera RAW smart filter

To be able to re-edit RAW settings directly from a Photoshop layer is useful on its own, but the object is to go beyond the limits of the original ACR sliders. To do that, a Camera Raw Smart Filter is called for. To add a Camera Raw Smart Filter, go to Filter>Camera Raw Filter. A new ACR window will open automatically.

When I add a Camera Raw Smart Filter to the barracuda Smart Object, I get a clean new ACR window. Because the sliders in the new window start at zero, I can add more of whatever settings are maxed out in the original ACR adjustments.
By sliding the zeroed-out Temp slider to the right toward yellow, I get extra oomph from my white balance. The adjustment knocks back the remaining blue on the fish, and I’m much happier. I could not have achieved this white balance with an ordinary Lightroom or ACR adjustment. At this point, I can jiggle more sliders, brushes or filters on either the original Smart Object ACR settings or the Camera Raw Smart Filter to finish my editing.

Smart Filter Functions

Functions of a Smart Filter in Photoshop

  1. To toggle a Smart Filter’s visibility, click the eyeball next to it on and off.
  2. To reopen a Smart Filter, double-click on its name in the Layers panel.
  3. Smart Filters have their own layer mask. When the layer mask is active, painting on the image with black conceals the effect of the Smart Filter in the painted area. This makes every tool in ACR a potentially local tool.
  4. Smart Filters have a separate blending mode and opacity control accessed by clicking on the small lines-and-arrows icon at the bottom right of the layer.

Saving Smart Objects

When you create a Smart Object in Photoshop via Lightroom, saving the Photoshop document puts the layered Smart Object file into the same folder as the original file and amends the file name to reflect its Smart Object status. The next time you look at the image in Lightroom, you’ll see the Smart Object version right next to the original in the grid. When a Smart Object is created via Adobe Camera Raw, saving the Smart Object opens a Save As dialogue box, which lets you rename the file and save it to the location you wish.

Get Your Hands Dirty

The language of Smart Objects and Smart Filters can be confusing, but push past the mumbo-jumbo. Don’t be afraid to experiment. All the adjustments are completely nondestructive, and mastering this technique will pay off as an excellent addition to your post-production arsenal.


Erin Quigley is an Adobe ACE certified digital-imaging consultant and an award-winning shooter. GoAskErin.com provides custom tutorials and one-on-one instruction for the underwater photographic community.

Imaging: How To Take Your Photos To The Extreme In Post Production Read More »

Imaging: How To Take Your Photos To The Extreme In Post Production

TAKE IT TO 11

Why take your RAW adjustments to 11? Because it’s one louder than 10, as Spinal Tap’s Nigel Tufnel so aptly put it. “Taking it to 11” refers to taking something to an extreme — I usually don’t recommend taking post-processing to an extreme, but there are times when a little extra juice from Adobe Camera Raw (ACR) really does the trick.

Maxing It Out

How to take your RAW photos to the max in post production

Erin Quigley

This image of schooling barracuda is way too blue. After white balancing in Lightroom or ACR, I’ve maxed out both the Temp (blue/yellow) and Tint (green/pink) sliders, but I still don’t have the effect that I really want.

I’d like to make the fish more neutral, without having to resort to any elaborate painting or masking.

It would be fab if I could push the White Balance sliders just a little bit beyond their limits — to 11, if you will.

By using a Smart Object workflow in Photoshop, I can.

What Is A Smart Object?

What is a Smart Object in Photoshop

A Smart Object is a Photoshop layer that packages selected image data and embeds it into a special container. This container maintains nondestructive editing capacities for whatever’s embedded inside. Although any layer or combination of layers can be transformed into a Smart Object, only Smart Objects coming straight from Lightroom or ACR will maintain actual RAW image data. In this case I’ll create a Smart Object that embeds the RAW file of the barracuda, along with the Lightroom Develop module adjustments that have already been made to the file.

To open a Smart Object from Lightroom, go to Photo>Edit In>Open as Smart Object in Photoshop.

To open a Smart Object from ACR, hold down the Shift key and click on the Open Object button at the bottom of the window.

A Smart Object can be identified by the small icon at the bottom right of its layer thumbnail. To re-edit the embedded RAW image from within the Smart Object, double-click on the Smart Object thumbnail, and ACR will open. Notice that the original Lightroom Develop module adjustments or initial ACR settings are maintained. By using a Smart Object workflow, you can access and re-edit these settings directly from Photoshop’s layers panel.

Turn It Up to 11 with a Camera RAW Smart Filter

How to use a camera RAW smart filter

To be able to re-edit RAW settings directly from a Photoshop layer is useful on its own, but the object is to go beyond the limits of the original ACR sliders. To do that, a Camera Raw Smart Filter is called for. To add a Camera Raw Smart Filter, go to Filter>Camera Raw Filter. A new ACR window will open automatically.

When I add a Camera Raw Smart Filter to the barracuda Smart Object, I get a clean new ACR window. Because the sliders in the new window start at zero, I can add more of whatever settings are maxed out in the original ACR adjustments.
By sliding the zeroed-out Temp slider to the right toward yellow, I get extra oomph from my white balance. The adjustment knocks back the remaining blue on the fish, and I’m much happier. I could not have achieved this white balance with an ordinary Lightroom or ACR adjustment. At this point, I can jiggle more sliders, brushes or filters on either the original Smart Object ACR settings or the Camera Raw Smart Filter to finish my editing.

Smart Filter Functions

Functions of a Smart Filter in Photoshop

  1. To toggle a Smart Filter’s visibility, click the eyeball next to it on and off.
  2. To reopen a Smart Filter, double-click on its name in the Layers panel.
  3. Smart Filters have their own layer mask. When the layer mask is active, painting on the image with black conceals the effect of the Smart Filter in the painted area. This makes every tool in ACR a potentially local tool.
  4. Smart Filters have a separate blending mode and opacity control accessed by clicking on the small lines-and-arrows icon at the bottom right of the layer.

Saving Smart Objects

When you create a Smart Object in Photoshop via Lightroom, saving the Photoshop document puts the layered Smart Object file into the same folder as the original file and amends the file name to reflect its Smart Object status. The next time you look at the image in Lightroom, you’ll see the Smart Object version right next to the original in the grid. When a Smart Object is created via Adobe Camera Raw, saving the Smart Object opens a Save As dialogue box, which lets you rename the file and save it to the location you wish.

Get Your Hands Dirty

The language of Smart Objects and Smart Filters can be confusing, but push past the mumbo-jumbo. Don’t be afraid to experiment. All the adjustments are completely nondestructive, and mastering this technique will pay off as an excellent addition to your post-production arsenal.


Erin Quigley is an Adobe ACE certified digital-imaging consultant and an award-winning shooter. GoAskErin.com provides custom tutorials and one-on-one instruction for the underwater photographic community.

Imaging: How To Take Your Photos To The Extreme In Post Production Read More »

PADI Europe, Middle East and Africa 2016 Business Academy Schedule

PADI Business Academy (PBA) continues to be the diving industry’s most innovative and powerful business development tool yet, and is only accessible to PADI Members. If you’re ready to increase your business exposure, sales and bottom line profit you cannot … Continue reading

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