Mauricio Handler, Famous underwater Photographer

Expert underwater photojournalist, Mauricio Handler, has an innovative approach to marine photography. He pairs years of experience, an innate creativity, and interesting shooting techniques with a variety of gear to master such beautiful shots. In the following article, Handler shares his gear recommendations to achieve beautiful underwater pictures.

Underwater Gear: Housings, Cameras, Lighting and Brands

Since 1987, Handler has been using Aquatica professional aluminum housings and Technical Lighting Control arms exclusively and has never had a reason for changing. These brands have evolved quite well, according to Handler, and have kept up with technology. He says,

They[Aquatica housings] have gotten smaller, lighter and versatile. I love my housings and how they feel in my hand. Like Nikon cameras, these housings are ergonomic and feel right for me.

Handler is adamant that Aquatica creates the best housings and is also the best value for the money.

As for cameras, Handler recommends Nikon cameras, using the Nikon F3, F5, D100, D2x in the past and today using a Nikon D3 DSLR camera. He pairs the Nikon D3 with Aquatica D3 professional aluminum housing with a 9.25” glass dome port, his primary port.

In regards to lighting, Handler tends to stay with Ikelite strobes and is currently using the Ikelite DS160 strobes. Of this product, Handler says “They are powerful yet compact and Ikelites customer service is second to none”. He also uses hand held lights by Light and Motion and is looking forward to using his new Sola 4000 watt hand light in his up coming December workshop on the island of Saba.

Mauricio Handler at one of his workshops

Land Gear: Cameras, Lenses, and Lighting

Handler also uses his Nikon D3 on land, pairing it with lenses he always carries with him. These lenses are the Nikon 17-35 2.8, Nikon 35-70, Nikon 70-200 and a Nikon 300 2.8. He also uses a 60mm and a 105 for close up work. If shooing wildlife, he brings along a 1.4x and a 2x teleconverter.

For lighting on land, Handler uses a SB800 strobe hand held away from the body with a sync cord as a fill flash. He believes off camera flash allows for very  spontaneous working.

For long exposures on land, he also uses a Gitzo tripod, Really Right Stuff ball head and a Cable release.

Underwater and On Land: Favorite Lenses

Typically shooting extremely large animals, Handler tends to use wide-angle lenses exclusively. Since it is much more complex to frame, illuminate and control a large scene as opposed to a small area in macro, he is very precise about the lenses he uses.

According to Handler, “When I used DX format there are two lenses that really shined and they are the ones I recommend to all those shooting in the DX format.  One is the Nikon 16mm and the other is the Tokina 10-17DX”. These two lenses and primarily the Tokina 10-17 are his number one lenses for ultra-wide angle shots.

For marine-life type photos, Handler praises the Nikon 17-35, as it can bring the subjects in a bit closer. He also recommends a short-barrel zoom to allow him more flexibility of movement and distance.

These days, Handler uses a FX sensor (full frame). With this, he recommends a Nikon 17-35 as he feels it delivers the best images. His favorite wide-angle set-up is the Nikon D3 camera with Nikon 17-35 lens in Aquatica D3 housing with an Aqua viewfinder and a 9.25” mega dome glass port along with two wide angle TLC arm systems and 2x Ikelite DS125 strobes.

Land Photography Gadgets

In terms of gadgets and filters, Handler uses Nikon circular polarizer and Tiffen graduated ND filters. Handler explains, “My favorite tool though is the Singh-Ray circular Neutral Density Filter, which reduces the amount of light up to 8 stops. It allows for me to do long exposures in the middle of the day should I choose to”.

He carries all his equipment in his Think Tank backpack, “the most comfortable” backpack he has ever used.

Must-Haves During Shooting

The most important accessories that should never be left behind are underwater housing, a dome or macro port, 2x strobes and other lenses that you might need to switch to while shooting. Handler suggests shooting for an entire day so as to be able to take multiple long dives, switching lenses in between dives.

He also carries a large dry box to hold CF cards, spare batteries, lens cleaner, etc as well as external hand held lights. He uses these as modeling light, back light, and mood lighting. Specific hand held lights he uses include Hartenberger Nanos and a Light and Motion Solas.
 

Exploring the Frozen Frontier from Mauricio Handler/ Handlerphoto on Vimeo.

Dream Marine Photography Equipment

When posed with the question of his most desired equipment, assuming he had no budget, Handler responded with the following list. “I would probably go with a new Epic digital cinema system by RED which has just been released. It shoots high end HD (4K) and you can then pull still frames from it. I would put it in a gates aluminum housing. I would also add two Sola 4000 lights from Light and Motion on TLC aluminum arms”.

However, he felt he did not need to upgrade his diving equipment as he now uses top of the line Scubapro.

On A Budget Gear Recommendations

For most shots, both on land and underwater, Handler believes one only needs a housing, wide-angle lens and dome port. Since most of the work can be done with natural lighting, he suggests purchasing lights later. “Build your system as you go,” he recommends.

No Budget Gear Recommendations

If you are really interested into getting into the business and are not held back by budget issues, Handler recommends a fully comprehensive system for wide and macro. Also, as he is a professional, a dealer and tech support specialist for the very best of underwater equipment, Please contact him immediately for further recommendations and advise.

Read our complete interview Mauricio Handler or contact him through the details provided below;
Handlerphoto ; mauricio@handlephoto.com @ 207-504-0733

Underwater Fashion Photography Techniques with Cal Mero. NIKON D80, 1/200 sec @ f/10 -- Lens used is 12.0-24.0 mm f/4.0 @ 12mm. Surprisingly no flash!

Photographer Cal Mero is best known for his innovative, creative, and flowing underwater fashion photographs. His images are extremely unique and he uses light in a masterful way to truly capture the fluid movements of his model beneath the surface of the water. In the following article, Mero shares the techniques he uses before, during, and after shooting.

Underwater Fashion Pre-Shooting:

Before beginning the actual shooting process, Mero takes a few precautions to ensure a good shoot. The first step he takes is to make sure to bring with him his “jumbled box of assorted goods”. This box contains accessories he might need in order to ensure a successful shoot such as safety pins, clips, extra masks, umbrellas, socks, lead weights, extra towels, and lots of food. Before the shoot even begins it is important for Mero to be well prepared.

He then always contemplates what he considers to be the most essential skill for fashion photography; good communication. Before he can even successfully shoot his model, it is important for Mero to be able to communicate with him/her in order to be able to portray the complex ideas he has in mind but in a concise and easy to understand manner. If you can do this, Mero says, “then you’ll be in a much greater position to produce the images you imagine”.

NIKON D80, 1/60 sec @ f/4.5 -- Lens used is 10.0-17.0 mm f/3.5-4.5 @ 17mm. 3 Strobes were fired for this shot.

Framing, Shooting, and Lighting Techniques for underwater fashion photography:

Once these steps have been taken prior to shooting, the actual image capturing begins. Mero starts by imagining the final outcome. “When I look through the lens, I try to imagine my subject as a final print hanging on a wall. I try to shoot a final printed image with every click of the shutter”. This is how he suggests framing his images; slowly and deliberately, creating fewer but better quality images with every shot.

However, learning to see through the lens this way is not a easy skill to acquire. According to Mero, it takes time and practice but eventually, “the camera becomes an extension of your own creativity”. This is quite a beautiful goal to have in mind and Mero says the best way to achieve it is to bring your camera everywhere, shooting as many different styles and subjects as possible. “You may not have an interest in the subject matter but you definitely learn more about the art of photography with every click of the shutter”.

During underwater shooting, several obstacles can present themselves. Among these, is the problem of scatter. Overcoming scatter is a difficult learning curve for most photographers as there are a few tips and tricks to learn along the way. However, the most important trick is to learn how to “edge light.” This is the process of lighting a scene with the very “edge” of the strobe light.  Mero recommends these articles as great resources on working with this concept: Reducing Back Scatter and Strobe Positioning.

Another concept to master is lighting technique. According to Mero, this is “the single greatest learning curve for photographers”, taking him over two years to come up with the current lighting system he now uses. Having once used six strobes above and below water, he has learned to use natural light more effectively to reduce the amount of artificial light he uses.

Post Processing underwater fashion photos:

Though the actual shooting is where Mero captures his beautiful images, his work could not be entirely complete without a certain amount of post processing. For this, he uses mainly Adobe Lightroom, praising it to be “smooth and intuitive” with “good tonal control”. Mero urges to always shoot in raw so that during post-processing, it will be easier to white balance images. Even his black and white images are shot in raw and then converted to black and white during post-processing with a slight tinge of silver added to the image. Mero comments, “I feel that adding a touch of silver goes a long way towards a better, final printed B&W image”.

Diving While Shooting underwater:

Mero’s diving technique is one which also has great influence over his images. Of free-diving, he says “its great with models as it allows you to communicate regularly whereas scuba equipment presents inherent risks when used in a pool (such as air embolisms, decompression sickness, etc)”.  He advises that scuba equipment can be dangerous if used by photographers who are untrained in scuba diving.

Diving also has its tricky sides for the model! According to Mero, “The most difficult situation in underwater photography for me is working with models with poor aquatic experience, i.e., bad swimmers!”. Not only is it important for him to feel comfortable in the water but the shot is just as difficult to capture when the model is insecure doing the shoot underwater. He advises “patience, good instruction, and a good team of people in and around the water” in order to help the model feel more comfortable. On top of this, he highly recommends Martin Edge’s book The Underwater Photographer for more guidance on this.

Overall, the best advice Mero gives to help achieve his techniques is “practice, practice, practice”.

Cal can be reached at calmero.com.au
He is also the editor of underwaterfashion.org a community website dedicated to show casing great underwater fashion.

Underwater Fashion Shot by Cal Mero

From looking at the radiating photographs taken by Cal Mero, its hard to believe this underwater fashion photographer when he says his first 10,000 photographs were “terrible”. Mero first became interested in the art after he began to pursue the sport of scuba diving in his hometown of Melbourne, bringing with him an underwater camera and shooting pictures of small crabs and fish. Though his photographs now look stunning, Mero’s talent did not come without practice. He first had to master the skill of diving to avoid mistakes such as kicking up the ocean bottom or disturbing the shots in other ways, and once he had mastered this, “then came the photography”.

Though much of his talent comes from endless hours of practice and experimentation, Mero used resources such as other photographers, books, and especially the internet to teach himself the tricks of the trade. One of his first learning experiences came when, after walking into a dive shop with a flooded camera, he was directed to a man lounging in the room and was told “that man knows everything about those cameras”. The man was fellow photographer, David Bryant, and one of the first of many “teachers” Mero encountered. These other teachers include the internet, for one, where he recommends great resources such as www.divephotoguide.com as well as www.wetpixel.com .

Mero’s career as an underwater fashion photographer picked up from there, asking friends to pose as models and becoming inspired by the works of others, such as the jaw dropping work David Dubilet, the creativity of David LaChappelle and of course the dedication of Ansel Adams. He continued to work with mentors and other photographers, learning through discussion and critiquing his own work. Then, in 2008, Mero was published for the first time in a magazine called Scuba Diving AustralAsia. Quite successful, he has since shot six covers and his images have been reproduced in print over three million times!

With years of experience now behind him, Cal Mero is a dedicated professional with a range of techniques and equipment. He admits he continues to improve his ability to use natural lighting, now illuminating his photographs with two strobe lights and shooting with a Nikon D90, and occasionally a D80. Relying heavily on his lens, Mero chose to stick with a Tokina 10-17 mm as the huge field of view allows him to get closer to his subject, decreasing the amount of space and water between them. Whether shooting models or coral reefs, he suggests the same advice: “Basically, I shoot models like I would shoot a reef: get close and use lots of light”.

The beauty of Mero’s work did not come of its own and as final words of wisdom, he advises anyone wanting to begin underwater photography to “Practice, practice, practice. You need to be incredibly familiar with your gear and able to adjust and change all your settings just by touch and feel alone”.

Keep an eye out for future articles on Mero’s techniques and gear recommendations.

Cal can be reached at calmero.com.au
He is also the editor of underwaterfashion.org a community website dedicated to show casing great underwater fashion.

This is one of the most famous and recognizable underwater images of our times. The photo of me working underwater was taken by Brian Skerry. I was with him in Auckland Island, Sub Antarctic, New Zealand covering a feature for National Geographic Magazine on Right Whales. Photo credit goes to Brian Skerry.

As a wildlife underwater photographer I have seen first hand the changes that have occurred and continue to transform our natural world, in particular our oceans, lakes and streams. The list is long and would take many pages to address. The highlights though are clearly the loss of coastal habitat and coral, the increase of pollution, the acidification of our seas and the immense over fishing of all marine species, in particular our apex predators such as Shark.

All these will affect the long term health of our seas, which will in turn affect the feeding of humans around the world. The indiscriminant killing of intelligent marine mammals such as whales and dolphins and seals simply has no excuse and cannot be tolerated at any quota. The ocean is not an open refrigerator for human consumption- it can take just so much of our uncontrolled appetite. Greed, mismanagement and simply not carrying of what lies beneath cannot be sustained for much longer.

I fear that the natural events that I have been so privileged to photograph will not be there the next time I set out to find them yet through my lens I see a clear picture of what the core root of the problem is and that is Man.

Clear and simple, there are just too many of us on this planet for it to remain a healthy viable ecosystem. Too many of us that is, if we all want to have a standard of living such as the over consumption of modern society.

I believe in policy and in education but I think time for the implementation of both of these takes too much time. In many respects this time has run out.

We, the modern societies of the planet must take more concrete, direct action to implement the changes necessary for the immediate reversal in this degradation of the core land and aquatic ecosystems of our planet.

I would like to ask that all of us take time out to educate ourselves and vote with our wallet. We need to simplify our lives and lower our consumption in all aspects of our daily living. Talk to others and take the time.

Are we out of time? I believe that maybe we are. Yet I also believe that mankind can make a change, but it needs to be now.

You can read more about Mauricio Handler and view samples of his work at his homepage, www.handlerphoto.com . You can also join his professional Facebook page Mauricio Handler Photography where he posts short essays and photographs from his many adventures.

Oskar Barnack Award International Photo Competition 2012

Leica has announced that it will open its Oskar Barnack Award photo competition to submissions starting January 16th 2012. An international jury awards a prize to the photographer best able to capture and express the relationship between man and the environment in a sequence of 10-12 images, documented with contemporary, creative, unintrusive, and groundbreaking style.

Contest Rules

The contest is open to professional photographers or aspiring photographers(for the Oskar Barnack Newcomers Competition) and all photos must be submitted online. Photos may not be manipulated or digitally altered in their essence.The digital images prepared for uploading must be no larger than 1920 pixels wide and 1200 pixels high, but have to have at least one of these two maximum dimensions. At least one photo must have been taken within the last year and all images are to be submitted by March 1st, 2012.

Contest Prizes

Lerica is offering generous prizes to both the winner of the Oskar Barnack Award and the winner of the Oskar Barnack Newcomers Award. Winner of the Oskar Barnack Award will receive a Leica M9 camera and a lens worth 9,500 Euros in addition to a cash prize of 5,000 Euros. Winner of the newcomer award will receive a Leica M9 camera and a lens.

For more information on the contest, check out http://www.leica-oskar-barnack-award.com/#/en/information/leica-oskar-barnack-award
Happy Shooting!

This photo was taken freediving and on the surface as two Sailfish, male and female came to the water's surface. Nikon D3 - Nikkor 17-35 mm lens and 2x Ikelite strobes.

What lies below the sea seems a mystery to many of us land dwellers. However, marine photojournalist, Mauricio Handler, does an incredible job of capturing the deep blue sea and shooting images of what occurs beneath the surface. He uses light in an incredible way to portray the creatures that live beneath the surface most beautifully. Handler has had photographs published countless times and is a well known marine photo journalist, represented by the National Geographic Image Collection.

Handler is among the most talented and talked-about underwater photographers of his time. In the following interview, he shares with us his passion for revealing what happens in and around all bodies of water.

This is one of the most famous and recognizable underwater images of our times. The photo of me working underwater was taken by Brian Skerry. I was with him in Auckland Island, Sub Antarctic, New Zealand covering a feature for National Geographic Magazine on Right Whales. Photo credit goes to Brian Skerry.

Have any underwater or marine photographers inspired you?

Though Handler’s work is extremely unique, he credits part of his initial success to other photographers who have greatly influenced him. Chris Newbert, Bob Talbot, Howard Hall, and David Doubilet, with whom he worked for in the beginning of his career, were all great inspirations to Handler. He says, “Hall’s guide to underwater photography was a classic in a time where there was little printed matter on the subject. David Doubilet in particular influenced my visual refinement and I have to credit him for my initial photography perspective”.

Handler has now grown to also greatly respect and admire many other photographers, in particular from the National Geographic realm. “I have gotten to personally know cold water specialist Paul Nicklen and my friend, one of the best in the business, Brian Skerry who I worked in the field for many years. I love their essays on wildlife and the dedication they have given their particular stories”.

He also looks up to underwater black and white photographer, Ernie Brooks, who he claims has greatly moved him. “I would have loved to have been part of his original student base at Brooks institute in California way back in the 80’s,” says Handler of Brooks.

Rolex add campaign poster. Campaign ran for 7 years worldwide from 1998-2003 (more or less). The image is that of David Doubilet surrounded by Galapagos Sea Lions- Galapagos Islands. Image is from the Nat Geo story we did in 1998.

Can you talk a little bit about publishing your underwater photography?

Handler was first published when he lived on the island of Tortola in the British Virgin Islands. He had become seriously interested in photography and had spent countless hours practicing his new passion. It was in the country’s tourist magazine, “The Welcome Magazine”, that Handler first was published. “I made $50 for my effort and I was hooked! I could now make a living….”.

Since then, Handler has been published in many magazines and books and has worked with commercial clients of all types. “I work closely with National Geographic books and National Geographic Digital media who use my work regularly and my images are represented exclusively by National Geographic Stock. I no longer keep tabs but especially now with the digital age, my work is in print all the time somewhere.” describes Handler.

One of his favorite published works was an ad campaign done for Rolex watches in 1997. Handler remembers it fondly, “It showed an image I made of David Doubilet surrounded by sea lions in the Galapagos Islands and the image ran for 7 years across the globe. It was a sepia tone image done on film and it remains one of my favorite campaigns”.

One of my favorite moments. One of my expedition guests and photographer Jim Rakowsky is encountered head on by a giant Whale Shark of the coast of Mexico. We are in about 20 feet of clear blue water.

On your Wale Sharks assignment, were you free-diving while taking photos? What diving gear do you recommend for those serious in underwater photography?

Handler leads many underwater photography expeditions amongst which are two back-to-back Whale Shark photography trips that he leads every summer. Describing the expeditions, he says, “There is no SCUBA diving on either one. All images are taken while snorkeling and most images are really done on the surface as the giant fish come right up to you! You can achieve professional images on these trips and you will only need mask, fins and snorkel”. Handler believes the key to good underwater photography is to be comfortable with the gear and to be comfortable in the water in general. “You do not want to be dealing with a foggy mask or loose fins when the action is happening in front of you. For underwater photography on SCUBA the key is buoyancy and being, again, very comfortable in the water. You need to know your gear inside out so you can concentrate on image-making,” he advises.

Handler also says it is extremely important to float, drift, rise, and fall without disturbing the surroundings. From experience, he knows how necessary it is to observe and understand the behavior of the animals one is photographing.

I have many memorable images, but I like to bring the newer work to the forefront. This is a large gathering of Sailfish feeding on a baitball of sardines. Isla Mujeres, Mexico. This has been the direction my work has been heading. Telling stories of special moments....

What advice do you have for anyone that may want to become an underwater photographer and maybe even try to earl a living as one?

Most importantly, Handler emphasizes, “First rule of thumb is DO NOT quit your day job”. Handler’s advice is quite risky and it is clear he is extremely passionate about his career. He jokingly advises, “Keep your day job, dive and take pictures for the fun of it and slowly see what happens. In time you will sell a few prints and show your work to others. Earning a living is another thing. Seriously, unless you have a trust fund (and many of my counterparts do) take it slow before you jump in and keep that job. If you are single, then stay so! Marriage, a dog, a house and life, will get in the way of this career path” He then shows his true colors, saying “Now, if you really, really want to be a professional underwater photographer, then go out and do it and forget all I just said”.

Please note that Handler is happily married, has twin girls and yes, has a dog! His wife Julia is his business partner and an essential element to his success. To Handler, photography involves taking risks but risks that are worth being taken.

Do you have any advice how emerging photographers can publish their work and stay ahead of the curve?

Harsh but realistic, Mauricio Handler does not tiptoe around the possibility of failure. He is an example of success, however, and gives some tips as to how to go about publishing.

“If you simply get into underwater photography to sell your work you will most likely fail. Take pictures first of all for yourself. If someone wants a photo you took, sell it as a print- never let go of the original RAW or JPEG files. The photo stock market is indeed cluttered and even the best in the business are struggling to move their images through stock”. He also suggests self publishing a portfolio photo book using a company such as www.blurb.com to showcase your work to others but advises the photographer to remember an important rule of thumb, “Not everything we do in life needs to have a financial reward attached to it. Diving and photography can be done for the simple pleasure of being out in the wild, underwater”.

Suppose National Geography would sponsor one and only one photography expedition, what would that be?

“I would like to document the complete coast of Chile and the many natural history and human stories within this, one of the longest coastlines on the planet. I was born in Chile and have always wanted to return for a very extended stay”.

An unfulfilled dream of Handler’s is to document and tell the stories that lie within Chile’s coasts, rivers and lakes. “Chile is an amazing place. I think more than a National Geographic story assignment, I think I would like to convince them to do a book on the country- A book and series of documentaries. That sounds like a project indeed!”.

Handler’s excitement for his passion is contagious and it only creates anticipation to see what he will come up with next.

You can read more about Mauricio Handler and view samples of his work at his homepage, www.handlerphoto.com . You can also join his professional Facebook page Mauricio Handler Photography where he posts short essays and photographs from his many adventures.

Remarkable underwater and marine photographer, Mauricio Handler, is an expert at using lighting, composition, filters, and a variety of other techniques to capture incredible shots. He is one of the most talented underwater photographers in the world and has great insight of the techniques it takes to get a beautiful shot. In the following article, Handler shares his knowledge.

This is a photo Mauricio Handler did of Nat GEO photographer Brian Skerry in Izu Japan. Note the use of multiple lights here: 2 strobes on the camera are illuminating him while his two on camera strobes are turned on to the Modeling light position. In the background, a hand held HMI light separates him from the background. Total of 5 light sources plus the sun.

Before Shooting underwater: Most Important Factors

Before Handler begins shooting, there are a few factors that need to be in order. For one, Mauricio Handler uses many light sources during shooting and it is extremely important for him to be at the site at the right time of day. For Handler, “This continues to be usually in the early morning and late afternoon although, special moments are there throughout the day” as long as it is a low-light setting. “I for one, love cloudy days!”

Another very important factor is complete manual control of the camera, lenses and lights. “You need to control aperture and speed separately to be able to push your camera’s sensor to its limits,” says Handler.

Lastly, remember to use many lights, including strobes and incandescent lights which are crucial to molding an image.

This photo has many elements and was done during one of my early British Virgin Islands' workshops. Frame within frames allow the viewer to focus on the subject at center. It was shot with a Mamiya RZ 67 film camera and uses again multiple light sources to create mood. Hand light, HMI cinema light in background, Sunlight and two on camera strobes. The composition is traditional yet the subject is ventured.

Through the Lens: Framing and Composing

From many years of trial and error, Handler has developed a casualness in shooting. Spontaneously shooting from the hip, he usually captures an image and leaves the composition the way he has taken the shot, almost never cropping it. He has a few rules of thumb he uses in mastering the art of shooting a perfect composition.

“Basic rules of composition like the rule of thirds, frame within frame, off centering your subject, etc. are all present in my images. If you master these basic rules then in my opinion you earn the right to break them if you wish, but not until you learn them,” says Handler. He strongly advises new photographers to pay close attention to the basics and not to experiment too much prior to mastering these rules of thumb.

Shooting Techniques: Lighting

Quite famous for his unique lighting and perfect use of it, Handler shares his interesting technique. While shooting, he primarily uses two strobes, a few hand lights and on occasion a large HMI cinema light. He also controls the exposure in many ways.

However, with so much lighting used underwater, there can be quite a bit of backscatter. Using strobes usually returns backscatter and the contrast with reflective subjects on a dark background is extremely challenging. Handler overcomes this by simply moving closer to his subject. In his words, “If you think you are close to your subject…then get closer!”. He suggests cutting the distance between you and your subject as one way to diminish backscatter. Another technique he uses is to angle his strobes downwards a bit so as not to create such direct lighting. Handler also solves such issues by pushing his camera and knowledge to the edge.

He suggests,

“Slow shutter, low strobe power and getting very close to your subject usually do the trick. Using a camera with a low light capable sensor helps tremendously these days. All these tools are made for this kind of moment”.

An interesting suggestion he makes, however, is to try to use backscatter to the photographer’s advantage. Especially in journalism type work, he feels it can add a bit of realism to the shot.

“If an animal lives in a silt environment then it must remain that way. We cannot just clean every frame up to make it look like crystal clear water…”.

This is one of my favorite images, shot before sunrise in N'gali pass on the Island of GAU, Fiji. The grey reef shark was hunting in the strong current. I broke all rules here, motion, blur and long exposure make for a dynamic action shot.

Underwater Metering Technique

Underwater, Handler pays initial attention to the histogram and overexposure warning signals to guide him, rather than the actual meter. However, after so many years of experience, Handler now tends to guess a lot while shooting, having his own personal formulas drilled in his head. However, he suggests using matrix metering for wide-angle shots and spot metering for macro lenses.

On land, metering is more forgiving as the complete spectrum of color, depth and tones, unlike underwater, are all present.
Here matrix, centered and spot are used as each scene requires it.

Post Processing Technique: Software, Filters, and Work Flow

Handler uses Photo Mechanic to upload, caption, sequence and to initially screen and catalog his uploads. The images he selects to edit are then converted from RAW format with PhotoShop CS5. He also uses Lightroom, which he highly recommends, though he has not yet put all his library through it. Other programs he uses are NIK Color Efex pro 3.0 and Silver Efex 2.0 for some creative color and B&W file conversion.

However, since the images he produces fall into the natural history and marine documentary/ journalism categories, Handler isn’t a big advocate of altering or manipulating this kind of work other than for the basic file conversion using level (exposure), curves (contrast), some saturation and finally sharpening of the final image. Again, he seldom crops and most definitely never over post process any of his images.

Great White Shark, Guadalupe Island Mexico. Natural Light shot with a Nikon D2x and 17-35 lens in an Aquatica housing with 8" dome port.

Handler still recommends putting images through a filter such as Silver FX to get the most of them in black and white. He also uses PhotoShop to clean backscatter up in post production if the images are going to be used commercially as otherwise they would never sell. He uses the clone tool and stamp tools in CS5 (same as using it in Lightroom or Aperture for that matter) to clean out any backscatter.

According to Handler,

“The image needs to be created in camera and the image must stand alone on its own merits and content without the aid of too much post processing. This is the challenge I place myself in as an underwater wildlife photographer. Being there at the right time and having the right tools and knowledge to successfully capture a fleeting wildlife moment that will never return is for me what it is all about.
Nothing more, nothing less.”

You can read more about Mauricio Handler and view samples of his work at his homepage, www.handlerphoto.com . You can also join his professional Facebook page Mauricio Handler Photography where he posts short essays and photographs from his many adventures.

Mauricio Handler during a British Virgin Islands workshop. Note the early rig- a Mamiya RZ67 housed in an Aquatica Housing. Photo Credit: RAUL TOUZON

With an addiction to jet fuel and a passion for adventure, Mauricio Handler created a career for himself in marine photojournalism. His photographs reveal mysteries that exist both above and below sea level, capturing the grace and beauty of marine life. Passionate about documenting life, landscapes, and peoples living close to any and all bodies of water, he set out in 1982 to pursue a career that most can only dream of. In his words, he set out to “invent a career”.

In love with the underwater world

After graduating with a degree in art from the University of Puerto Rico in 1982, Handler decided to travel and he quickly fell in love with the underwater world. He slowly began shooting a few stories through his jobs as a divemaster and a sailing yacht captain, and before long he began getting published enough to make a small living.

“When I started out as a diver with interest in image making, I never thought I would end up making a living and traveling the planet because of my photography.”

Along the way, Handler met incredible people, inspiring and motivating him to continue to pursue a career in photojournalism. His persistence brought him to well-known underwater photographer, David Doubilet, at National Geographic Magazine who served as a mentor and encourage Handler to truly grow as an image maker.

Photo of David Doubilet and Brian Skerry to his right. This was during a National Geographic shoot where I was working with Doubilet. Brian Skerry was yet to be a regular in the magazine - he was there to see how David approached his projects.

Starting out in the mid 80’s, Mauricio Handler shot only with film and with quite an extensive bit of it. Working with Doubilet, he started by being in charge of all cameras, housings, strobes, and film, shooting up to 15 cameras in the water at one time.

“These were very rewarding days.”

Handler learned mainly on his own, since without any Internet he had no options but to use trial and error and a lot of film processing as practice. He also credits some of his acquired knowledge to magazines and other photographers that provided him with inspiration. He now of course, shoots entirely his own projects and has focused on large and often endangered marine life such as whale sharks, sailfish, and marine mammals and has photographed in a variety of different locations accross the globe.

“Early in my development as a visual artist, I followed closely the work of Ansel Adams, the father of black and white photography and one of the greatest photographers of our time.”

Handler’s career took off and since he ended working as Doubilet’s assistant in 2000, he himself has worked very closely with the National Geographic Society as well as campaigns for other companies such as Rolex watches. He leads back to back photography workshops and expeditions throughout the year and has become very involved in sharing his underwater diving and snorkeling photography techniques. A detailed description of his techniques will follow in an upcoming article.

Mauricio Handler seeks neither attention nor praise but only wants to pursue his passion for adventure and enthusiasm for creating images. It is safe to say that this image-making genius is best understood through his own words. “It has been a very rewarding journey that continues to this day and it is this journey and uncertainty in tomorrow that keeps me on my toes and passionate about what I do”. Handler encourages any aspiring photographer to realize that there is no formula or path, only a great reward that is discovered when following one’s own dream. His work can be viewed at www.handlerphoto.com . You can become his fan on his Facebook Fan page at http://www.facebook.com/MauricioHandlerPhotography for updates of his up coming workshops and new projects.

“The only possible risk of failure is that of not trying at all.”

Keep an eye out for future gear, technique, workshops and interview articles about Mauricio Handler.

Nikon D3x, Nikkor 14-24/F2.8

Night and nature photographer, Alister Benn, has mastered the ability to capture incredible shots using even the slightest amount of light available. His talent and innovation, when paired with a variety of gear he uses, create beautiful images. Below, he shares with us his detailed gear recommendation.

Best Cameras and Brands for Night Photography

When Benn started out in photography, he started with solely Canon gear, using a Canon 10D with a 28-1351S lens. He later switched over to Nikon for the purpose of better ISO capability, a wider lens, and to find a camera that could better deal with noise in images.

He sold his Canon equipment and purchased a Nikon 700 and later a Nikon D3x for great detail and great resolution as his printed images can often be up to six feet wide. The D3x does not have as great ISO capability but as his images are usually not single exposure, he can easily work around it with more exposures and blending.

Night Photography Lenses

For night photography, Benn uses only three different lenses. He uses Nikkor 14-24/F2.8 Nikkor 24-70/2.8 and Nikkor 70-300/4.5-5.6. In general, he thinks lenses with wider apertures are better at night so f2.8 etc. He also had a Canon EF 24mm f1 a few years ago which was brilliant for night captures. With these lenses, he says it is much easier to capture the right images with less noise.

“The exposure is correct in camera is key. Trying to drag details out of an under-exposed night shot just generates lots of noise”.

“The Nikkor 14-24 is superb – I use it all the time, and love it”.

Filters

Benn has used Graduated Neutral Density Filters over the years, although virtually never now. He still uses ND filters a lot, most often 3 stop & 10 stop, and a Circular Polariser.

Wildlife Photography Gear

Most of Benn’s bird images were taken with a Canon 1Ds and a EF 500/F4. However, he doesn’t own them anymore as he infrequently shoots images of birds or wildlife.

Gear Recommendations for Beginners

If you are just beginning in night photography with a tight budget, Benn recommends a second hand camera with BULB mode that you should be able to find for under $500. With a budget, comes limitations, however, and the photographer can learn to work around them. Without the greatest ISO, a photographer can work around it by shooting when there is a lot of moonlight and using a shorter exposure time. “I don’t think it is healthy to get too hung up on gear. A camera is a tool, every one has limitations, even the Nikon D3x. If you feel restricted by your gear, there are often ways to work around it with blending etc.”.

However, if you do not have a budget, Benn recommends Nikon D3s and a 14-24/2.8, timer cable release, sturdy tripod and a Really Right Stuff Ballhead, though none of these should be ridiculously expensive in terms of photography gear.

Necessary Outing Accessories

When going out for long shoots at night in extreme locations, it is necessary for Benn to bring the appropriate equipment to stay warm and safe. He covers this extensively in his eBook where he makes a nice list of everything needed. Outside of the necessary camera gear, he writes how important it is to bring a good flashlight, a backup flashlight, a mobile phone, warm clothes, food, and a hot drink. In his words, “No shot is worth dying for”.

“Even in the desert it can get damned cold at night. Survival and safety are vitally important”.

Nikon D3x - Nikkor 14-24/F2.8 - This shot is based on 2 images blended manually about an hour after sunset.

Alister Benn, a master of night photography, uses a variety of techniques, gear, and innovation to create beautiful images. He is well known for his blending techniques as well as his incredible use of color in his images. In the following post, Benn shares his post-processing techniques.

Night Photography Post Processing Software and Editing Technique

Once Benn has captured an extensive amount of images, he is ready to post-process them as the final step in producing his art. He recommends using either Lightroom 3 or Photoshop CS5 to do this.

He tries to treat his images as individuals and recommends doing this so as to not trap yourself into a standardized work flow. Of beginning the editing process, he says,

“I don’t have a one-click 5 minute fix. This year I forced myself to slow down and start to really look at my images in a more critical and analytical way. Treating them as individuals, rather than being on an assembly line”.

Blending Software for Night Photography

According to Benn, the basis of any blending procedure, whether, at night, twilight or during the day is the same.

“You take multiple exposures of the scene and combine them to create a rendition of the scene that satisfies your creative interpretation of the original experience”.

Nikon D3x, Nikkor 14-24/2.8 -- 90 images @ 30 seconds, Big moon, near full. One or two frames before full dark.

He uses Software like Photomatix, LR Enfuse or Nik HDR Soft. These are great tools, he says, but feels that the best way to make sure images are manually blended well is through Photoshop.

Blending Technique for Night Photographers

Blending is a complex task and sometimes a simple Gradient on a Mask between two layers will be adequate, like a digital Graduated Neutral Density Filter, but often, more complex masks are required.

Nikon D3x 14-24/2.8 37 x 3 minute exposures, plus 2 images after sunset and before darkness. Minimal light painting. 5 hours in the cave. nearly full moon.

Benn recommends researching Tony Kuyper, a photographer that helped develop a series of techniques to use Luminosity Masks to blend images as well as his friend Sean Bagshaw who is also a proponent of these techniques and has an excellent series of video tutorials available. Information on Tony and Sean can be found at the websites below.

Tony:

http://goodlight.us/writing/tutorials.html

Sean:

http://www.outdoorexposurephoto.com/index.php?option=com_content&view=category&layout=blog&id=15&Itemid=59

Benn will be developing his own series of processing educational material this winter for the release of The Complete Guide to Landscape Photography at Night, which he will be releasing in 2012.

“When it comes to manually blending images, it boils down to the amount of time you are prepared to invest in an image.”

For a more detailed description of Benn’s post-processing technique, be sure to download his eBook at availablelightimages.com and keep an eye out for his next eBook to be published in 2012.