So you've heard the news by now that Canon have announced the latest version of their flagship 1dx series. The Canon EOS-1D X Mark III. Before the questions start rolling in to our customer support team, we thought we'd let you know that
YES, we will definitely be making a water housing for the new 1dx Mark III
and in fact, work is already underway to bring the latest and greatest addition of Canon cameras into our current water housing lineup. We actually had our go to guy in the tropics of French Polynesia on the case! So before we tell you a little bit more about what we have in stall for the 1dx Mark III, watch the video below to hear what AquaTech Ambassador and Red Bull Illume 2019 winner Ben Thouard has to say about the new 1dx Mark III after putting it through its paces in the waves of Teahupoo, Tahiti.
The 1dx Mark III is quick, very quick. 16fps through the viewfinder or 20fps in live view. With the 1000 shot buffer and the magic 1DX AF system you will not miss a shot with this camera. The standard ISO range of the 1DX Mark III has also been improved to span from 100-102,400 which should still give amazing image quality and fast shutter speeds even in the poorest lighting conditions. In layman's terms it's going to be a whiz-bang, kick ass surf and sports photography camera.
The 1dx Mark III boosts some rather impressive video specs to back up the performance you would expect out of the camera for stills photography. Building on the impressive features of its predecessor, the 1dx Mark III will capture 4k video at up to 60fps and Full HD up to 120fps with AF. It also boasts 12-bit 5.5k 60p Raw video capture internally at a bit rate of 2600Mbps, but you might find yourself swimming back to the boat a little too often given the enormous amount of memory required to record at this quality. Overall, the 1dx Mark III provides incredible video performance that rivals the best mirrorless cameras available today.
Yep! The EVO III will be backwards compatible with the 1dx/1ds/1dxMk2 cameras as well as perfectly suited for the new 1dx3. The EVO III will replace the original EVO which is now discontinued as the EVO III will provide support for all the current 1dx cameras. Full shutter support will be offered in the EVO III with our new E2 Shutter Buttons and M3 Pistol Grip across the board for all models, where previously only the 1dx Mark II was compatible.
The EVO III is planned for release in early May, 2020. To stay informed on the latest news regarding the EVO III just enter your email address into the box below and hit subscribe. We'll keep in contact with the latest news and any pre-release promotions for the EVO III. We will only send you information related directly to this product and promise we won't spam you with unrelated products, topics or water skiing squirrels!
Huge thanks to Ben Thouard for his insights into the new 1D X Mark III. For more info on Ben you can follow his work on Instagram or via his Website.
AquaTech is excited to announce the new Base Water Housing Kits customized for a wide range of Canon, Nikon, & Sony cameras. The Base Water Housing Kits retail for $995 (USD) and include everything you need to get started: the Base water housing, one lens port, and a pistol grip trigger with 2-button control for focus and fire. Each kit comes with a custom camera plate dedicated to the camera the photographer is using for precise placement within the housing.
Engineered to the same levels as our current range for extreme, shallow water conditions, the new models feature a maximum depth rating of 33 feet / 10 meters and are built using superior quality, high impact polyurethane materials. The housings feature an interchangeable lens port system, quick release safety clips for rapid set up, and standard tripod mounting point. Included in the Base Series Kit is a water housing with the new Base level back plate, a P-65 Lens Port designed to suit a range of lenses commonly used by water photographers, and a two-button Pistol Grip trigger with dedicated auto focus and shutter release for easy single handed operation. The Base is compatible with AquaTech’s full range of lens ports and accessories including Flash Housings and Pole shutter kits,
Creating high quality professional equipment at an entry price point has always been a goal for us. Offering the Base Series as a turnkey solution for those starting out is very exciting and we hope to see more photographers in the water pushing their photography to new limits.
The new AquaTech Base Water Housing Kit’s will sell for $995.00 (USD). Pre-sales for each model will begin on March 1st, 2016 with estimated shipping March 15th, 2016.
To learn more about The Base Series visit the Canon, Nikon and Sony options.
Dark to White from Thurston Photo on Vimeo.
In Dark to White, ocean photographer Philip Thurston provides an insightful story into the increasingly popular shark cage diving experience, and showcases the positives in how education and admiration for the ocean and its most notorious inhabitants, can inspire us to personally value and appreciate both the life we are given, and the life that surrounds us. Enjoy this 8 minute documentary style clip taken on board Calypso Star Charters at the Neptune Islands, South Australia.
Produced by Thurston Photo // Filmed by Philip Thurston, Tyge Landa & Bryce Thurston.
Supported by Canon Australia, AquaTech Imaging Solutions, Manfrotto & Agent Eighteen Wetsuits.
"Coral Bay is such a special place, it's located on Ningaloo reef and there is just so much on your doorstep, you don't have to go far to be surrounded by manta rays, humpback whales, whale sharks that visit through out the year, we see tiger sharks too, people are just blown away by this place and when it comes to photographer there is just so much to capture!" - Alex Kydd, Marine Photographer based in Coral Bay. Enjoy this short clip showcasing one of Australia's many coastal gems, located in the North West.
Alex is shooting with the Elite D810 Water Housing, PD-85 Dome Port.
Connect with Alex via his Instagram Page.
Brought to you by Thurston Photo.
Filmed by Philip Thurston and Matt Blakers.
Featuring AquaTech Imaging Solutions.
Music - Stumble by Kraak and Smaak
You can follow more of Al's work via his Website & Instagram.
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For those who love using zoom lenses, the common 24-70mm focal length is a workhorse and trusted tool for professionals and creatives alike. Nikon recently updated their 24-70mm lens option with the 24-70mm f/2.8 E ED VR which will replace the original version and has the improved optics you would expect in a new replacement and the VR (vibration reduction) for those looking for a stabilized lens. The other new lens we have added is the tiny yet powerful Sony 24-70mm f/4 ZA for those Sony A7 users out there. Being built with legendary Zeiss optics you can expect stunning image quality from this lens. We are also working on accommodating the newly released Sony 24-70mm f/2.8 G Master Lens with the correct lens port and zoom gear.
The Nikon 24-70mm f/2.8 E ED VR will use the P-190 Lens Port and NZ 24-70mm VRZoom Gear
The Sony 24-70mm f/4 ZA will use the P-135 Lens Port and SZ 24-70mm F4 Zoom Gear
]]>With the new release from Nikon in the form of the D5 DSLR camera we have been busy testing and working out the correct options for our existing customers and new customers alike. The latest top of the line DSLR from Nikon will be a welcomed replacement for the amazing D4/D4s models which have been very popular with AquaTech users around the globe. Hosting some improved auto focus performance, 4K video, and highly documented higher ISO capabilities, this camera is sure to perform in the hands of professionals.
For those customers who own a Delphin D4 Water Housing, a conversion kit will allow the unit to be updated to accommodate the new Nikon D5. This will offer the same full control that was previously offered for their D4/d4s models. We will also be releasing a Delphin D5 Water Housing at the same time which will be a dedicated Nikon D5 camera option. Pricing and estimated availability is still yet to be announced, but you can register your interest in knowing first about this new product via sending us an email to contact@aquatech.net
Sound Blimp users who own the current Shadow D4 Sound Blimp for their D4/D4s cameras can rejoice in the fact the new D5 will fit into their blimps and the controls on the back of the blimp will align without any need for customization.
The Nikon D5 will use the AquaTech NEP-1 Eyepiece for those using our soft foam eyepieces and All Weather Shield equipment.
]]>To celebrate the release of AquaTech’s new Base series water housing model, we’ve teamed up with @ocean to give away one of these exciting new kits. The Base Water Housing Kits, retailing at $995.00, are designed to offer a great entry level price point and includes everything you need to get started for professional ocean and water photography.
The winner of the #aquatechgiveaway contest will receive a BASE Water Housing Kit of their choice/camera model! Read below for further details and official rules & terms and conditions.
HOW TO ENTER
1) Take a photo and upload it to your Instagram account
2) Your caption MUST include #aquatechgiveaway @aquatech_imagingsolutions @seanscottphotography @ocean
3) Follow AquaTech on Instagram and Facebook.
– There is a limit of three (3) entries per account. Those who enter more than three (3) images will be disqualified.
– There is one simple theme, THE OCEAN. Enter your best image, which captures the ocean in all its glory!
– Images can come from any type of camera but must be uploaded to Instagram to be correctly submitted.
Gentle use of filters and toning/color correction is permitted, but not the addition or subtraction of any elements of the original picture. No picture can be entered more than once, and the original image must have been taken by the up-loader. (Proof of native capture will be required of all winners, and copyright will remain with the photographer.) Judging will be based on creative and technical merit in light of the theme. If you do not have a Facebook account, please state so in your caption.
Prizes cannot be exchanged for other products, cash or store credit.
The contest begins today, March 7th, 2016 at 12:00pm EST and will end on March 21st, 2016 at 12:00pm EST.
Judge: Sean Scott
Our judge for the competition is the amazing photographer and Aquatech Ambassador@seanscottphotography
Sean Scott is an Australian based photographer. Sean primarily shoots all of his coastal images for his own use in his galleries. This has enabled him the freedom to search for the images that are true to his passions. Having grown up next to the ocean the surf has always been a large inspiration in Sean’s work.
“The feeling you get when you’re out in the ocean and everything looks amazing and perfect is something I have always wanted to share. I found photography as the best medium to help me show people what I am seeing”. Always on the lookout for his next image, Sean has traveled the globe from the Maldives to Hawaii and the remote coasts on the Australia continent. With trips planned to New Zealand, Hawaii, Japan, India, Iceland, Tahiti, Fiji, the Maldives, and Australia.
Connect with Sean:
AquaTech user Steve Wall contacted us about making some custom housings for his radio slaves to allow for him to shoot waves in the dark. At first we thought he was crazy but the results are in and this is only the first step for Steve. Steve Wall is a 23 year old photographer and filmmaker based in Sydney, Australia using the Elite D810 water housing, P-100 Lens Port and custom radio transmitter water housings.
About two years ago, I started experimenting with the use of off camera flash in my surf and oceanic photography. The challenge of using lighting in the surf comes down to the fact that the environment is in a constant state of change, the subject itself, lights and camera are always moving and it’s quite a challenge to manage all the elements, especially when you can barely see what’s going on. For this project, we’re chasing the biggest and meanest waves with the most beautiful shapes – something that only really happens a handful of times each year when swell, wind, tide and weather come into alignment.
When I was assembling gear for this project, one of the main priorities was to utilise equipment that I can not only depend on, but would be easy and quick to operate in fairly testing conditions (and lack of light!) So to keep my Nikon D810 safe and sound, the Aquatech housing system was a perfect fit. Not only can I make all the important adjustments to the camera via various controls, there are electronic connections allowing for various trigger and flash connectivity and accessories. This allows me to use wireless triggers, allowing me to sync with lighting in various positions. For most of these images, I was shooting with the P-80 lens port for the Nikon 85mm, often at f/2.8.
Just like most of our early morning shoots, wake at 2.15am. Fellow photographer and my assistant for the project Dom Dixon and I met up and hit the road up the coast. We arrived a few hours later in complete darkness, to the sound of a thundering ocean. After setting up the waterproof gear, we loaded our jetski into the water – safely managing to get the 500kg watercraft off its trailer and through the shorebreak with only the car lights for guidance. A jetski allows us access to remote locations in a large swell, where getting in and out of the water is difficult during the day and near impossible under the cover of darkness.
All aboard, we tentatively navigated out into the open ocean, feeling the swell lines moving and passing underneath us. From here it was around 10km to our destination, with a distant tower providing a navigational beacon, and the glimmer of moonlight just letting us catch the outline of the oncoming swells. Phosphorescence was glowing luminescent, popping from the boat wake like turquoise fireflies. As we pushed forward, the nose of the jetski cut a darkened silhouette parting a sparkling sea. We couldn’t help but stop to appreciate the calming beauty of this amongst what had already been a pretty hectic morning.
After some steady pace towards our destination, the engine was straining and forward motion came to a halt. I would have been alarmed, had I not known we’d driven over a clump of seaweed hidden by darkness and blocked the water intake for the jet system. Easy fix – “Dom, jump in the water and climb underneath the ski and pull out the seaweed, then we’ll be good to go” At this point we were still miles off the coast, and for just a moment we sat in eerie silence before we fired up the engine again and kept moving.
As we approached the small, shallow patch of reef we would be attempting to photograph as the sun rose that morning, we paused for a moment and pulled out the D810 in it’s Aquatech housing, POP. The strobes fired for the first time illuminating the ocean way ahead of us, something that may have looked quite strange to anyone that happened to be looking on from the shore.
We waited for the slightest bit of light to appear on the eastern horizon before we dared inch closer. Any mistake here is one of consequence – waves break on a shallow reef, before relentlessly bombarding the rock platform and cliffs just a stones throw away. Even with the power of this lighting system, we still need to get right up close and personal, within 10 metres of the breaking part of the wave to get the best results. We had arranged for one to meet us out there that morning, but as the light came up it became apparent the waves were too wild to surf, especially when you can barely see what’s going on. As the sun rose, we shot the open ocean swells approach, gurgling and drawing water off the already shallow rock shelf before exploding skyward with a subtle touch of emerald green coming through the face from the early morning glow. When shooting early on, it’s necessary to shoot at shutter speeds as slow as half a second to capture any of the early ambient glow. As the ambient light levels rise, it’s all about achieving the right balance of natural and artificial light as with any other subject. The distant orange glow of the sky provides a soft and colourful backdrop to the deep blues of a throwing wave.
It’s remarkable the places that water photography can take you, out in the ocean on freezing winter mornings – single digit air and water temps. The biggest of swells, miles from shore, amongst the action just like the surfers. Over the course of shooting this project, the sleepless nights spent driving up and down the coast, freezing mornings putting on icy wetsuits an hour before first light have all been part of the fun. It may seem tough at the time, but when all is said and done I can look back on it fondly, and already be looking forward to the next opportunity to take to the high seas under the cover of darkness.
Steve has a gallery show opening this week at MAF in Manly, Australia. More show details can be found via an event page here. You can see more of Steve’s work via his Instagram & Website.
]]>With the new exciting new release of the Canon 1DxmkII we have been busy testing and working on solutions to accommodate new customers and ensure those former customers are aware of their options with the new camera. We have broken this down into two sections, Water Housings and Sound Blimps for those who use out All Weather shields and Eyepieces nothing has changed and you can continue to use the current products on the 1DxMKII.
Water Housings:
All new orders placed (Shipping from March 7th, 2016) for the Delphin 1Dx placed through our website or dealers will receive a new back plate control layout and customized cable release to accommodate the changes with the 1DxmkII and using pistol grips trigger and switches. This new model will accommodate both the 1Dx and 1DxMKII cameras and offer the same full control over the camera.
Purchase the Delphin 1Dx Water Housing
Any customers who already own the Delphin 1D water housing can send their water housing backplate into our offices to have a new backplate control installed and customized cable release supplied for $200 plus return shipping.
The new backplate control allows for users to switch between video / stills and engage live view in both photo and video mode.
*Please note first generation Delphin 1D housings will not allow the new cable release to be used, however backplate control modifications are possible. Please see images of first generation and second generation Delphin 1D if unsure of model.
Sound Blimps:
All new orders placed (Shipping from March 7th, 2016) for the Shadow 1Dx sound blimp placed through our website or dealers will receive a new internal foam layout to accommodate the new camera. This new model of Shadow 1Dx will accommodate both the 1Dx and 1DxMKII cameras.
Purchase the Shadow 1Dx Sound Blimp
Any customers who already own the Shadow 1D sound Blimp can send their blimps into our offices and have new foam installed at no cost other than return shipping.
For any questions relating to the new Canon 1Dx mkII please email staff on contact@aquatech.net
Join AquaTech user Lloyd Meudell on his daily routine of chasing the curve of the ocean in the early hours of the morning. Based in the small coastal town of Kiama, Australia, Lloyd stares into the rising sun as it pops over the horizon each morning making it’s daily rounds. When the light and swell combine you can be sure to find Lloyd capturing the many moods on offer. After realizing he had an eye for photography it was quick progression from riding waves to shooting them. When we asked Lloyd who influences him the answer might surprise you, “To be honest I have too many, some of the shots I see on Instagram on a daily basis are amazing and from totally unknown people. I’ve always loved the art of Surrealism, so I guess guys like Salvador Dali and Rene Magritte have shaped the way I look and capture things. The ocean itself inspires me more than any other as it’s always changing”.
Although it started as a project of passion and an creative outlet, you can now find Lloyd shooting daily if the conditions offer a chance at some new images to keep his large social media following engaged and if he is not shooting in the water, he is at his printers getting the latest round of artwork out to his customers around the world.
Lloyd, like many artists, works a “full-time” job to support his family as a painter and decorator five days a week, and has been doing this for quite a while and hopes that his passion for photography can see him painting with pixels over the traditional brush work. Social media has played a big part in showing his work to a larger audience and out of the thousands of people following, one day Lloyd got a little surprise. “Well, one day I checked my Instagram and @rondarousey (UFC star) had liked 6 or so of my shots and then she followed, I guess Ronda would be one of the most popular people following my work”, says Lloyd.
Shooting with the Elite 5D3 Water Housing for the Canon 5DMKIII and utilizing the longer zoom lens offerings like the 70-200mm f/2.8 II IS L used with the P-215 Lens Port and zoom gear, Lloyd is able to separate the moving water from it’s background and freeze time. “The biggest learning curve was knowing the sweet spots between 70mm and 200mm and the distance you need to be at from the wave to get those tack sharp images when I started to focus on using the telephoto zoom lens option” says Lloyd.
With a new year just kicking off we asked what we can except from Mr Meudell?
“Just keep shooting, building my portfolio, learning new skills, enjoying time in the ocean shooting or just relaxing, maybe a trip overseas I’m not sure yet”.
Lets hope we continue to see more great work in 2016.
Check out more of Lloyd’s work via his website and Instagram page.
WEB: www.lloydmeudell.com.au
IG: @lloydmeudell
Mornin’ Lloyd: Shot and Edit by James Kates
Email: jim@leboogiemedia.com
Music by: Catman / le Boogie Records
www.soundcloud.com/leboogierecords/c-a-t-m-a-n-joo-koon
If you have been lucky enough to see some of Dave Sandford’s images appear on your news feeds and social media pages you would of defiantly stopped and stared in awe of these crazy images. What you might not of know is that these images have been captured within a lake. We reached out to Dave to share some insight into this body of work and how he captured these images.
Words by Dave Sandford
I have been a professional photographer for 18 years. Shooting professional sports has been my forte, but ever since I can remember i’ve been most passionate about anything to do with water. Oceans and lakes beckon me. Since I was a kid, i’ve loved to be on, in or around water. I’m fascinated by the sheer raw power and force of it, captivated by the graceful movement of a wave and mesmerised by light dancing across it. I’ve been fortunate to shoot from some of the world’s most beautiful beaches but it wasn’t until this year that I was able to add another dynamic to my shooting with the addition of my Aquatech Delphin 1D camera housing, ports, lens tubes and accessories. Earlier this year, I was fortunate enough to spend some time in the surf of Wollongong, NSW, Australia. I befriended and was mentored by Warren Keelan one of the premier ocean photographers in the world. While Warren showed me some techniques and invaluable tips both for my shooting and Aquatech camera gear, in the end, it was just me and trial and error. There is nothing so exhilarating as staring down a massive wave looking for the perfect frame but knowing you’re possibly going to pay the price by getting slammed or rolled when it breaks. I got back time after time with a smile on my face confident that while I may have suffered scrapes and bruises, my Canon 1Dx and Canon lenses were safe and dry in it’s Aquatech camera housing. Seven weeks and 50000 frames later, I had found my new passion.
By fall, back in my native London, Ontario, I was missing the adrenaline rush of surf photography and found myself looking for something to fill that void. Where I turned were the lakes that are virtually in my backyard. I chose to focus on Lake Erie at a time of year (mid October through December) when the Great Lakes can act more like oceans than lakes. With warm sunny beach days behind us, it is some of Autumn’s dark, cold and windy days that transform the Great Lakes into wickedly wild and churning bodies of water.Temperatures often drop below the freezing point at night and daytime highs anywhere between 1 and 10 degrees celsius but I found myself drawn to the rugged beauty of the treacherous waves.
This annual event is called ‘The gales of November’. It happens when the Autumn winds howl across the Great Lakes pulling cold air from the North and meeting warm air from the South. This results in gale force winds at times reaching category 1 hurricane status and generates waves across the lakes reaching heights of up to 35 feet at times. These winds are often referred to as ‘The Witch of November’ for their wickedness and often disastrous results.
The images here were shot on the North shore of Lake Erie, about 500’ off shore from a small lakeside community called Port Stanley, Ontario. Sustained wind speeds of 45-50km/ph, gusting 70-100+ km/ph, often bringing average wave heights in the 8’-10’ range with the unpredictable and erratic wave heights reaching upwards of 25’. And of course there’s the cold water temperatures at this time of year. I’m often asked if I was in the water or on shore….both! My Delphin 1D housing offered the protection of my gear while my wet suit offered enough protection to get me into the water but a mix of testosterone and adrenaline kept me there. Perspective plays a big part in the planning of how you want to portray your subject, it’s no different in this case. Without people or objects it in the waves it can be difficult to show how large they in fact are. Being at water level brings the horizon level much lower in your image thus giving the viewer a better perspective and idea of the size and scale of an empty wave.
I wanted to showcase a side of the Great Lakes that most people don’t normally see. The location I have been shooting (Port Stanley), is notorious for it’s powerful undertow and the wave pattern becomes extremely erratic there. The day’s conditions determined what gear I would use to document the spectacular waves of Erie. I had to determine by the speed and direction of the wind if conditions were safe enough for me to go in the water with my Canon 1Dx, 70-200mm lens in my Delphin 1D housing with P-215 lens tube and pistol grip or alternatively setting up on the shore with my Canon 1Dx, 400mm lens and 1.4x converter (giving me 520mm focal length) all covered by my Aquatech All Weather Shield and Monopod wrap. Depending on where I shoot from shore I still have to battle the elements. Either way, i’m getting soaked with waves breaking on the rocks or pier, or I am literally being sand blasted as the wind constantly blows sand grains across the beach at 50-60kmph and really whips it up with wind gusts sometimes reaching upwards of 100kmph. I came to the lake each day prepared with both my wetsuit, gloves and 7mm boots, as well as my winter jacket, long johns, winter toque, gloves, boots and snowboarding pants. Water temperatures over the course of November were about 11 degrees celsius at months start and down to about 8 degrees at months end. Sitting on shore there is always a windchill factor at this time of year as well. Be it in the water or on land it’s not ideal working conditions or your normal day at the beach. The water is face numbing when your are in it, and it’s a constant battle with the shorter choppier waves. Then on land some days my eyes are so red, dry and scratchy from being blasted in the face with sand all day, sand in your eyes is not a good feeling at all. It can also reek havoc on gear, but this was an element I needed not worry about with the All Weather Shield protecting my camera gear.
These cold days at the lake have been a rewarding challenge to shoot. The images I have captured are generating talk and interest from people all over the world who have never seen waves in the freakish form these lake waves take. I’ve also found it thrilling to bring these massive waves of Lake Erie to people who had no idea that a lake could generate waves so big and powerful. We are nearing the end of the season for the gales of November and I have been thrilled to document and share it in a way I never could have before without my Aquatech gear. You can find more images and information on Dave’s social networks and website: instagram: @sandfordpix / Twitter: @Dave_Sandford / Facebook: Sandford Photography
]]>“The work is a series of of abstract fine art images shot at absolute Sealevel over the course of the last two years. Invisible to the naked eye as they are such fleeting moments the they are none the less real as they are as they are shot in camera. The invisible nature of this occurrence in some way explains why it is difficult to comprehend something we can’t actually see, and hence even for some like myself whom has spent lifetime immersed at Sealevel I can see no perceptible change. So for general public to comprehend incremental rises in Sealevel, over a few hundred years is understandably had to get one’s head around, let alone the whole concept of climate change. As surfers this is our domain so I feel somewhat compelled to attempt to at least raise awareness of the magnitude of this threat that climate change presents. In turn to empower individuals to make changes that eventual will force governments, corporations and organisation to look seriously at solutions. The aim is use my Art to create awareness.”
To see more of Ted’s new body of work be sure to follow his adventures on his Instagram, Facebook andwebsite.
]]>Below is some words from the young Australian photographer Leroy Bellet who is taking the world by storm with his approach to capturing his take on what surfing images should look like in 2015. You should also note when we say young, we mean real young. Sweet sixteen this young man is and in the last year has nailed 4 international magazine covers and counting. Beside to scroll to the bottom of the page to see a great video on how all these images came to life. You can find more of Bellet’s work over on his website and on Instagram.
Standing out from the crowd has never been harder. In this modern world, surf imagery is captured, posted and then lost at the bottom of a feed in all but the click of a few buttons. There are very few iconic surf images that resonate in my mind when I really think about it. There are amazing moments happening in and around the water on a daily basis, but being there to capture them is sometimes more right-place-right-time than anything. Sure it still takes skill to capture them, but it’s hard to build a solid portfolio when your ideology is based around fluke imagery. Nowadays I think the real trick to capturing something remarkable in the ocean is to allow yourself to be willing and creative.
For me, being a teenager, physical willingness comes pretty easy. Testosterone pretty much throws me into situations whether I like it or not, so I feel portraying that in my work is crucial. Creativity means playing a part in making the moment, not just being there. And with this in mind I set out to capture unique and remarkable surf images that would hopefully make the audience spill their coffee, hold their breath and dive for cover. The flash double tow was basically an adaption to Laurent Pujol’s original double tow concept, in which a photographer is towed into the wave by a jet ski, behind the surfer, riding a surfboard themselves. The original idea was different because it gave a unique, dramatic and beautiful perspective on the way surfers ride the barrel. I think this way of documenting barrel-riding can be appreciated by anyone because it really engages the audience in the moment. My daytime version is much the same, however the magnitude and perfect shape of the local reef-break adds a touch of raw Australian beauty. The additional flash element enabled me to light up the subject from behind and meant it would be possible to have unique natural lighting in the background at sunrise/sunset.
I had no previous experience with using speed lights so the technical side of this was new for me. Basically, with the help of a dedicated crew of local surfers we went out in the darkness and just had a shot at it. Equipment wise I made no exceptions on image quality; when you put yourself on the line that much you want to be able to rely on technology. This meant using the Nikon D810 full frame DSLR, Nikkor 16mm 2.8 fisheye, Nikon sb-910 speed-light, Aquatech Elite D810 water housing, Aquatech pd-50 dome port & Aquatech strike 910 speed-light housing. I chose the D810 because of it’s renowned low light capabilities and ISO range. The 16mm fisheye allows for a full wide angle view, to put the audience right in the moment. The sb-910 speed-light has high speed sync and is relatively compact. Aquatech make the strongest and most versatile camera and speed-light housings on the market and their small pd-50 dome port always keeps water droplets to a minimum. My basic settings were: 1/1 (full power) on the sb-910 at 17mm (the widest flash possible), ISO of 800, shutter speed of 1/800sec and aperture of 5.6 on the D810.
What I’d imagined the images to look like was reflective and glossy but I was surprised at just how much clear water absorbs artificial light rather than reflecting it. The result was an eerie image in which only turbulent water was illuminated and the surfers are either riding into the darkness or the sunrise/set. So after 4 months, 3 hospital visits, 2 broken boards and an infinite amount of memories, I’m proud to present these images and I hope you can appreciate them.
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Shooting in Italy was bit of an eye opener for me. I heard The Mediterranean had clear water, but I didn’t think it would be like Tahiti or Fiji. It’s crystal clear! I’m not used to shooting water that is not moving violently, so it was all about backdrops and the subject at hand – mainly my wife and sea caves! I wanted to pack lightly, taking only 1 camera body (the new Canon 5DSR), couple of lenses and my Elite 5d3 with large dome with port extension. The bare essentials. It was the lightest I’ve ever travelled. Normally I am that dork at the airport with 4 large pelican cases struggling to fit it all in one taxi.
I also didn’t expect the weather to be so damn good, every day. Clear skies for days and days. The light was so predictable. I mainly shot at the start of the day or the end of the day. OK, more at the end of the day (maybe after the odd beer) as I was having a break from waking up at the crack of dawn.
It was my first trip with the new Canon 5DSR. It looks, feels and shoots all the same as the 5D iii. The main difference I noticed is when I got back home and someone ordered a 2.5 metre wide print of a shot from Italy. I cringed when I saw what I shot the image at…F4, ISO 3200 1/500. I just knew those settings won’t blow up huge and the high ISO will pixelate the print at even 1 metre wide. Before calling back the customer to say “Hey Man, can’t do it”…I printed a test strip…and by gosh…it printed beautifully. All those 50 megapixels were working their ass off to present this sharp, non-pixelated image. So happy with the new 5DSR…I just ordered a 2nd one and they will replace my Canon 1dX’s which have been my GO TO camera for years.
You can see other images from my trip here (and order prints if you like them enough). :: uge
]]>Andrew Peacock documented his recent journey, 280 miles of amazing Colorado River photography, using the Elite 5D3 Sports Housing for the Canon 5D MKIII and a varied range of Lens Ports to suit his needs. The images showcase the natural beauty and energy this legendary river system holds. His tale of the journey is packaged up with some great words from Andrew and loads of images. The selection of images below are all shot in and around the water to give you some true feeling of the trip.
“This adventure was a second chance for me to experience a journey that ten years earlier held me entranced by the new world I had entered. An invitation to join a trip to travel 280 miles on the Colorado River, descending through a billion years of geological time through the Grand Canyon, is not one to dismiss lightly. I certainly wasn’t about to do so when an opportunity unexpectedly came my way again this year.” Andrew Peacock
Read and see the full story HERE.
All images are shot Andrew Peacock© www.footloosefotography.com
]]>AquaTech Ambassador Russell Ord has recently featured on the ABC arts series called On Assignment in Australia. In this episode Russell shows host James Simmons the ropes as they chase some images in Russ’s backyard, remote Western Australia.
Russ is seen in this episode using a full range of Sport Housing equipment for his Nikon cameras and lenses. His main weapon of choice is the Elite D810, PD-50 dome port and Pistol grip. Explore the full range of products showcased just over HERE.
View the episode on the ABC iview website here: http://goo.gl/fDEU3n
See more of Russ’s work :
]]>“Shoot this, shoot this!” I yelled across the beach to my video partner, Weston Walker, as I sprinted to the water. He gave me a confused look, but he could see that I was serious and there was no time for questions. It all came together so quickly that I only had time to scramble for my camera in its housing and left my mask and fins behind. I hit the water and immediately began filming. Waves were pounding into my back as our crew’s watermen were quickly adjusting and making a dream a reality. It was a first for everyone. It was unorganized and chaotic as everyone was trying to create the best possible scenario. I just kept filming.
We moved out past the shore break and over the reef, my bare feet taking their chances between sea urchins. The water was shallow enough to make both swimming and standing bad options. I kept filming. After a point, I realized it would be better for me to get out of the way of the crew shooting from shore, so I came in. I walked over to our gear pile under the shade of a palm tree to review what I had just shot, hoping I didn’t blow the focus or make any number of other mistakes that can happen in chaotic situations.
Then it happened. As I got to what I saw as the apex of the situation, the gravity of what I had just shot hit me like a truck. All I could think was that Julia Olson had just entered the ocean for the first time. Julia Olson had just surfed for the first time. Being quadriplegic, this was previously not in the realm of possibility. But it was possible, it just happened. Then I broke down. I was caught off guard so much that I remember saying, “I don’t know what’s happening,” as I handed the camera off to Weston, tears streaming down my face as I walked off to have a moment.
In the ten years I have spent documenting the world around me, I have shot a number of tough situations. When I was starting out and working for newspapers, I often found myself at the scene of deadly car accidents, wildfires, and even a plane crash. It was always difficult, and always affected me, but I always held it together and did what I could to shoot the story as sensitively as possible. The camera always created a shield between my emotions and the story, and enabled me to hold it together like a professional.
This time was different. This time I was experiencing overwhelming joy and happiness. This time no camera or water housing could shield me from the emotional bliss of sharing and documenting a truly positive and life changing moment with a truly beautiful person. Even as I write this, my eyes are welling up and I need some tissues. The moment was life changing for Julia, but it was also life changing for me.
I got ahead of myself with that story because I don’t know any other way to tell it. The scenario materialized, and then struck me as quickly as I explained, which is the nature of moments, and photography, and filmmaking. This all happened while on an adaptive surf trip to Maui with The High Fives Foundation (www.highfivesfoundation.org), an organization that brings light and love, positivity and healing to people who have had life altering injuries.
I have been on a few trips with this group, and I can still say that I have never been around a more positive, fun, and uplifting group of people in my entire life. This is just one of so many stories from that trip, and here is the kicker. Julia wasn’t even a part of High Fives or the trip. She just happened to be on Maui at the same time, heard about what was going on, and came out to the beach that day. The High Fives crew welcomed her in and gave her an experience we will all remember for a lifetime. Not only that, it sounds like she will be making a trip to Truckee, CA this winter to get out in the mountains and go skiing with High Fives.
When that happens I will be there with a camera in my hands and very likely, a tear or two in my eyes.
On behalf of the STAY WILD Studios crew, I would like to send our deepest thanks to AquaTech for their generous support of this project. We could have never pulled it off without your support, and I would have never had the amazing experience of being with, and documenting, Julia in the water if it were not for your help. Thank you.
The day after we returned home from this trip, I ordered a full AquaTech housing set up for myself.
Links to those mentioned in this post:
Julia Olson www.juliasmiracle.com
High Fives Foundation www.highfivesfoundation.org
STAY WILD Studios www.staywildstudios.com
AquaTech Equipment Used on this Project:
]]>Ben Hicks is a Southern Florida based photographer who specializes in water based commercial work capturing sports, wildlife and natural beauty for his clients and fans worldwide. Ben has been using AquaTech equipment for sometime and recently shared 5 images and short stories behind them. Ben uses the Delphin 1D Sport Housing as his main water housing and a varied range of lens ports to suit his Canon lenses.
You can see more of Ben’s work via his website and check out his social media links at the bottom of this article.
Chasing a swell in Dec 2014 with Matt Oberman, Pete Mendia and Evan Geiselman. The last morning it turned on and Matt and I weren’t flying out until the afternoon. I swam out past the super shark infested channel with my 1dx and canon 24mm f1.4 lens in the P-100 lens port. We linked up on a ton of waves all by ourselves. Probably one of the best sessions I have ever had shooting waves in the Bahamas. This photo ran this month in Eastern Surfing Magazine.
Every year I try to explore new areas of Florida, my home state with my cameras alongside. Late December 2014 I took my father up to the springs of Northern Florida to some secret spots without all the tourists to swim with the Manatees. I was shooting a fish at the time and this guy (or girl!) came right up to my 8 inch dome port and just checked me out for at least 5 mins. Unreal experience every time! I was shooting with a Delphin 1D for the 1DX, Canon 24mm f1.4 II lens inside the PD-85 dome with a lens port extension ring.
Our first evening in Nicaragua after traveling all night the morning before, surfing and also shooting about 5 hours earlier in the water, I was on no sleep. Conditions were perfect with the sun going down parallel to the beach and little barrels were coming in before the swell hit in a few days. I always love shooting into the dark, its such and epic way of ending the day! Shot with Canon 1dx, Canon 8-15mm inside Aquatech Delphin housing and PD-75 dome port.
Almost every morning I am in town I swim out to shoot and this is what I see plus a lot more in South Florida. Lately the Tarpon (pictured) have been in schools of 25-35. Just massive minnows! 5ft long at times also. Shot at sunrise Shot with Canon 1dx, Canon 8-15mm inside Aquatech Delphin housing and PD-75 dome I am able to capture the large schools and obtain fast actuate focus.
Connect with Ben via Instagram, Facebook and his website.
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When we reached out to a customer of ours who had recently been testing some new equipment ahead of an upgrade what we heard back made us want to know more. We asked photographer Phil Thurston his thoughts on the new Elite 7D2 Sport Housing and P series lens ports and he was so happy we have combined his thoughts and some images to really showcase his experience with the new equipment. Phil grew up and still lives in a small coastal town. The ocean has always played a big part in his life. At times it was surfing with friends chasing uncrowded waves and now it’s that same adventure and determination directed into his photography.
It was about 20 years ago when my fascination for the ocean began, first as a frothing kid on a bodyboard which carried through my teens before I picked up my first camera at the age of 17 on my virgin voyage to Hawaii. It was on that big intimidating Island that my course began to change, I couldn’t for the life of me (which was at stake a few times) manage to get even one decent wave from the crowds, primarily due to my personality that actively avoided confrontation. So, I purchased a small 5MP Sony Cybershot and decided to document my trip from the safety of being behind a lens. I enjoyed it so much that upon returning home I began to build a housing out of perspex and silicon instead of studying for my HSC. My inventive streak produced a pretty shabby looking semi waterproof box that wrecked my camera and left me with the tenacity to invest in a 8MP Sony DSLR (can’t even remember the model) and I turned to my boat building Dad to help me build an upgraded Fibreglass housing. (2004) I succeeded to some degree and went on to establish a housing manufacturing business that lasted the next 5 years, which assisted my brothers passion for filming and taught me the essentials of operating a camera and surf photography/videography. After 150 or so rigs, my circumstance eventually came to a critical decision and I decided to close doors on that venture and pursue part time employment that would allow me to focus more on my own photography and passion for creating short films. Fast forward to the summer of 2012, I sat down with my brothers and made a clean simple logo for Thurston Photo to equip my growing passion with a professional edge that has now become the face of my business, passion and dream of becoming a professional ocean photographer. I really enjoy what I do and I think that makes a big difference with the result. I’m known to happily spend hours straight in the ocean in hope of capturing it in a new and exciting way. I hope you enjoy my work and follow along the journey with me as I continue to grow in fascination and love for ocean photography.
I’ve been using AquaTech housings for about 3 years now (DC5-V2 for my Canon 5D MKII and now the Elite 7D2) and wouldn’t look to another system to house my camera. I’ve experienced some heavy encounters with the ocean and never had the added worry of whether my gear is going to be in danger as well. The key advantages I have with my water photography using the Elite 7D2 housing would be the functionality of what they were designed to do and the peace of mind I have when entering the water with one. Having the ocean as a subject to shoot often involves dramatic lighting changes, unpredictable circumstances and spontaneous opportunities that all demand my attention and focus when I am out there, the security of having an AquaTech system frees up my thought space to focus on the subject without having to constantly check the housing and be worried about the security of the gear inside, and when things do get critical and intense situations do come, I am still able to focus on the shot knowing that my gear is going to be safe. With the oceans spontaneous environment, an opportunity for a shot can present itself within a spit second and disappear just as fast, and with the precision and sensitivity of the controls being so easily accessible and adjustable, I am more often than not, able to make the adjustments to compensate for shutter speed, aperture, ISO or whatever the subject demands, and capture the shot the best way possible. Even when it comes to focal length, the gearing system works fluently and conveniently. The last thing a water photographer wants to be doing is coming in and out of the water to make changes in settings, but with the 7D2 AquaTech system, the advantage is that the design has accommodated a system that enables me to get the shot while the shot’s there! I used the PD-75 dome port for the Canon 8-15mm f/4 and P-80 flat port for the Canon 50mm f/1.2 L for most of my work and the Pistol Grip trigger to help me shoot with my wide-angle work. Enjoy the following images and captions and hopefully this sheds some insight into these recent images and gives you some technical insight into my settings used.
Check out the Elite 7D2 Sport Housing and many more Sport Housings options online
As soon as I had acquired the Canon 50mm f/1.2 this was the shot I instantly set out to get. This particular wave being a favorite and renown for its triangular peaks, I wanted to capture a shot that reflected the nature of the place and for me this is it. My favorite part about this shot is the brilliant lighting on the face of the wave that inspired its name.
Behind every image is an effort, and for this image, great was that effort. The spot is particular wind and tide sensitive, not to mention the swell has to be big and clean and relatively mean, so good days here are few and far between. After a 2km paddle directly out to sea racing the rising sun, I found my position in the swirling currents and intimidating swell lines that were marching through. There is really only 10-15 minutes where the light is low enough to capture an image like this before the contrasts are blown and you can’t get close enough to the disgruntled creature to illuminate the colors of the lip. I had envisioned such a shot as I was paddling out and I’m stoked it all came together. After a few hours of adrenaline pumping moments, fighting raw open ocean currents and dodging 12ft clean up sets, it was a blissful relief to arrive back to land in one piece, especially with a little bit of gold in the pocket.
The power and beauty of the ocean has captivated man since time began, its intrinsic moods of violent anger to peaceful serenity gives it such characteristic and value as a subject for photographers. There really is so many faces to it, so many ways of capturing its qualities, that we can spend a lifetime in and around it and it would still surprise us each time we enter it. One particular quality that captivates me is uniqueness of particular waves, every now and then I’ll witness a wave that stands out among the rest, as if it was the commander of the swell, with an attitude and passion fixated on setting an example for the ranks behind it. From the way it wraps to the platform to the energy it unleashes into the reef is almost like it was alive and gave its all for its one purpose. These moments are like treasure for me as a surf photographer and the 50mm f/1.2 and Canon 7D2 is in my opinion the perfect weapon for documenting these occurrences. For this shot I dropped the aperture as low as possible, compensating with the high shutter speed so that the image would be sharp and my focus would be drawn to the lip.
I couldn’t even begin to recount the amount of special experiences I’ve had with these creatures. Constantly happy and always bringing the most positive energy to the line up, dolphins truly are heavenly creatures. More often than not I will see a pod cruise through the line up when I’m shooting and what I love about the 7D2 Elite housing is that it’s so quick and easy to make small adjustments to compensate for the lighting underwater. This was the only wave they caught this day so I didn’t have a second chance at this shot. With a quick bump up in ISO (as I wanted to keep my aperture around 6.3 to assist in pulling focus underwater) I dove to the bottom and pointed my camera at these speed bullets that shot over the top of me and unleashed the 10fps capacity with the AquaTech trigger system at the critical time. Stoked to have landed this shot, there are seven dolphins in it, which is my favorite number, which inspired the name.
I can’t explain the physics of this so I won’t try but I do know this ball of mass came at me at an incredible speed and force. Moments after this image I was picked up and thrown against the bottom and dragged violently along the platform, losing my fins and Go Pro that was snapped clean from the top of my housing (I was using a sticky adhesive mount at the time). Positioning is always key when shooting these types of images and sometimes you just have to take one on in order to get the shot. Good thing my Canon 7D2 and 8-15mm fisheye was secured safely inside my AquaTech rig, it’s never leaked a drop in some encounters that have rattled me to the core.
I love this image not only because of the composition of the seal, wave and sun but because it tells such a genuine story. I swam out this particular morning by myself before the sun had risen and the water was dark and the line up was pretty intimidating, there was a little feeding frenzy going on out the back too which got me nervous. A lot of dolphins and possible other creatures were feeding for about 15 minutes and before I was discouraged enough to head in, this little seal came and said hello, and just so happened to sit next to me in the line up for the next 3 hours. He sat and waited patiently for the three best waves that came through, catching each one as I shot photos and is in 90% of my shots that I took this day. I told him some stories and we had a good old time, a truly wild and playful encounter and one I’ll never forget.
If you would like to see more of Phil’s work check out the links below and be sure to follow him on social media for regular updates as he scouts the ocean for more memorable moments.
Website, www.thurstonphoto.com
Instagram, @ThurstonPhoto
]]>The AquaTech Soft Cap is a light and practical alternative to the leather snoot style lens caps that are delivered with Canon and Nikon’s big telephoto lenses.
Constructed from a pliant waterproof silicon material, the camera lens Soft Cap makes a snug fit right at the end of the lens barrel without contacting the glass. This simple yet effective product is the perfect protection for your valuable glass. In this clip we show you the easy setup process of the AquaTech Soft Cap and some of the key features.
Visit our website for the current reference charts to see what Soft Cap model fits your lens at www.aquatech.net
The AquaTech Soft Hood, being light and collapsible and very difficult to damage, is a practical alternative to the originally-supplied metal or carbon fiber hoods that you find with the enormous telephoto lenses for DSLR cameras. The Soft Hood comes with a pair of compression straps to perfectly affix the Soft Hood to the outer diameter of your lens barrel no matter the maker. In this clip we show you the easy setup process of the AquaTech Soft Hood and some of the key features. • Lighter than manufacturers’ hoods • Resistant to moisture and abrasion • Packs down small when not in use for ease of transportation Visit our website for the current reference charts to see what Soft Hood model fits your lens at www.aquatech.net
]]>Let AquaTech show you in this video how to install the new flash bulkhead to replace any older bulkhead models or remove the Sport Housing plug, which may be installed on the equipment. We also show you the easy setup process of installing the flash into the flash housing and attaching to your sport housing for use. If you require any further information you can visit our website at www.aquatech.net or email us on contact@aquatech.net
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