The biggest problem with learning Underwater Photography is not having time to practise.
Even when doing a course, there is rarely enough time in the water to try out new techniques or to get comfortable with new settings of your equipment.

Lars has solved the problem.
No matter the level you are at, going with a dedicated group and a skilled teacher at hand, to one of the best-located and easiest setups for doing underwater photography in Egypt, will give you what you never have… time to learn!

If you are at a high level and do not really need the workshop part, you can go anyway. You will have Lars as a sparring partner for your own projects, and before arrival at the camp, we will have a phone meeting and make a plan for your personal project.
Perhaps you´d like to improve your flash skills, be better at wide-angle photography, work with the trim and handling of your setup, or become a better picture editor. All these things Lars can help with. You get a plan and feedback, and during the week, you can adjust your goals if you like. All is open, and due to Lars´s large experience and insight in the photography world, you will be in good company. (besides, being with a large group of other uw-photographers raise the intensity and dialogue about photography, which you are not used to anywhere)

So, are you curious about underwater photography or looking to improve your skills?
A week at Marsa Nakari Dive Camp in Egypt, with Lars, will give you a chance to learn, practice, and explore the Red Sea in a relaxed and inspiring setting. It’s a great opportunity to grow your skills and connect with like-minded UW-photographers. Bring a friend or go by yourself. Just go..!

A Unique Learning Experience

This workshop isn’t just about taking pictures—it’s about developing your skills through hands-on experience. With a combination of personal guidance, group instruction, and plenty of time to explore the underwater world. You’ll return home with improved photography techniques and a network of like-minded UW-photographers.

Your teacher

The trip is led by Lars Kirkegaard / FOTOGRAFIT, who is by far one of the most experienced UW-Photo teachers in Europe.

He has been taking pictures underwater for more than 30 years and has been an active member of the Scandinavian Underwater Community since he took his first Nikonos underwater.
He began teaching photography to other students at the age of 19 and then pursued an education as a studio photographer and later a BSc in graphic arts management.

He has worked with dive publications, dive shows, and dive travels, and therefore has a deep insight into not only photography and photo equipment, but also the business behind it.

Today, he runs the business FOTOGRAFIT, selling underwater photo equipment to the European dive community.

Why Join This Trip?

• Learn at your own pace: We have a plan before we depart to the camp, but there are no strict schedules—dive when you’re ready and take the time you need to get the perfect shot.
• Individual coaching: A pre-trip questionnaire and direct contact ensure we understand your goals before you arrive.
• Diverse diving experiences: Explore house reefs, macro photography spots, and breathtaking dive sites like Dolphin House and Elphinstone Reef of your own choosing.
• Photo review sessions: Every other evening, we gather for image reviews, feedback, and inspiration.
• Teaching talks: Lars will give an intro to picture handling/editing in Adobe Lightroom.
• Relaxed atmosphere: This is a stress-free environment where you can focus on photography, connect with fellow divers, and enjoy the beauty of the Red Sea.
  

Transport to Nakari

The base price is for a full workshop, accommodation, and diving.
So all you have to do is get yourself to the camp and arrive at the time for the start of the workshop.

We also offer a joint flight from Copenhagen (Lars is leaving from here). So if you live in the area, you can join from there and let Lars guide you all the way to the camp (Let us know when you fill out the sign-up form upon registration.)

When you organize your own flight, it is even possible to arrive at a different time or even on a different day if the flight connection from your destination does not align with the start time.

Transfers to Nakari from Hurghada or Marsa Alam airports are easy. If you book your own flight, you can either arrange your own transfer with your airline company or contact the dive camp who will set it up for you. They will then have the Red Sea Diving Safari special car and driver meet you outside the terminal building and take you all the way to the camp. (Let us know if you need help with contacts to the camp).

Hurghada Airport to Nakari – 4 hours
Marsa Alam Airport to Nakari – 1 hour

Diving & Accommodation Details

Nakari Diving

Get an understanding of the diving at Nakari in this post.

Read More

Accommodation

See the different accommodation types in Marsa Nakari.

Read More

Prices:

PRICE – arrive by yourself:
Price for a full specialised photo workshop, including unlimited house reef diving, accommodation in a Royal Bedouin Tent, all meals, clarifying phone call regarding your learning needs before departure, and workshop participation – WITHOUT travel guide and transfer to camp. (see detailed list below):

€1.399,- in shared Royal Bedouin Tent.

PRICE – departure from Copenhagen (price includes flight and transfer):
Price for a full specialised photo workshop, including unlimited house reef diving, accommodation in a Royal Bedouin Tent, all meals, clarifying phone call regarding your learning needs before departure, and workshop participation – AND flights with the group from Copenhagen, incl travel guide and transfer to camp. (see detailed list below):

€2.049,- EUR in a shared Royal Bedouin Tent.

Additional Cost for Upgrades and Single/Solo Accommodation:
Single Royal Tent: €215,-

Shared Deluxe Chalet: €270,- per person
Single Deluxe Chalet: €485,-

Shared Superior Tent: €375,- per person
Single Superior Tent: €525,-

Extra Baggage Options for participants in the group (per way):
Extra dive baggage (23 kg): €105 pr way – (must be pre-booked)


Additional days in the camp and diving are available if you like:
If you wish to extend your holiday a bit longer and stay in the camp (or arrive before), this is possible. It must be organised directly with the camp, but we can make sure you get the needed contacts and have the ends meet.

Bring a friend:
If you wish to bring a friend or spouse who does not dive, this is possible.
The savings on the basic price will be: 315,- EUR

Included for everybody:
✔️ 7 nights accommodation (shared Royal tent)
✔️ Unlimited diving on the house reef
✔️ 2 guided dives on the first day
✔️ All meals, coffee, tea, soft drinks and water
✔️ Workshop with talks and personal coaching

Extra included for guests flying with the group from Copenhagen:
✔️ Flight from Copenhagen to Hurghada (round trip)
✔️ Transfers in Egypt
✔️ Travel Guarantee Fund coverage
✔️ 1 x 20kg luggage (subject to possible changes from the airline company)**
✔️ 1 x 5kg hand luggage

Not included
❌ Accommodation upgrades or single supplements
❌ Insurance
❌ Pressure chamber & environmental fee (12 Euro/prs – paid locally)
❌ External reef dives & truck dives
❌ Unspecified meals & alcoholic drinks
❌ Travel and diving insurance
❌ Personal expenses & tips (approx. €60-70 recommended)
❌ Optional transfer from Hurghada to Nakari if you book your own flight.
❌ Fee to Dive Center if you need a Scuba Review
❌ Fee for Nitrox, 15L tank rental, and dive equipment

Not included for guests flying with the group from Copenhagen:
❌ Visa (paid on arrival – 35,- EUR – bring cash)
❌ Additional luggage (must pre-book)
❌ Meals on the flight if you fly with the group.

**Flights may have a short technical stop in Billund/Aarhus. We experience many changes to flight routes that are beyond our control. We therefore reserve the right to change the flight route and airport, as well as baggage rules for the flight. If a change occurs, we will work with you to find the best possible solution. We will try to avoid additional costs, but unfortunately cannot guarantee this.

Payment dates:

Deposit: €675 / 5,000 DKK upon registration (final amount: 15/2-2027)
Full payment is required for bookings after 15/2, 2027

Booking process:

1. You book your space by sending an email to: info@fotografit.eu
2. You will then be sent a questionnaire that you need to fill out. We will be asking you for your contact details, your dive history, your photo history, and what you hope to achieve by joining the photo trip.
3. After filling it out, you will be sent an invoice with either the deposit 670,- EUR (5.000 DKK) or the full amount, depending on the date.
   (After the Deposit deadline, we will ask for the full amount)
4. After payment of the deposit, your space has been secured, and you will get the final invoice based on your accommodation choice and flight situation.
   

Flight / Travel info from Copenhagen:

Departure: 02 May 2027

• Copenhagen (xx:xx) → Hurghada (xx:xx)
  • Airline: AirCairo
  • Included: 5 kg of hand luggage and 20 kg of luggage (+ one personal item)

Return: 09 May 2027

• Hurghada (xx:xx) → Copenhagen (xx:xx)
  • Airline: AirCairo
  • Included: 5 kg of hand luggage and 20 kg of luggage (+ one personal item)

Flight times and routes may be subject to change

If you have more questions, perhaps this video might answer some of them.
You are more than welcome to write us if it does not.

Secure Your Spot

Send us an email to get on board or to ask questions

For direct inquiries, contact Lars at +45 7027 3015 or info@fotografit.eu.

Images From Previous Trips

The post Camp Workshop 02.05-09.05 2027 appeared first on The FOTOGRAFIT Blog.

Join the Nordic Region’s Premier Underwater Photography Workshop!

With Lars Kirkegaard from FOTOGRAFIT

Why not plan your own dive course where you live?
Throughout the last 15 years, Lars has literally held courses all over Europe and he will gladly come to you as well. All you need is to get a minimum of 3 friends so you are at least 4 people. Then Lars will come and take your photography to the next level. (see specific terms at the end of this post)

Are you just starting out with underwater photography, want to continue your journey, or return to it after a break? Then this is the workshop for you! Join Scandinavia’s most successful underwater photo instructor, Lars Kirkegaard, for a fully immersive (literally and figuratively) experience combining theory, practice, and personal coaching.

What to Expect

This weekend workshop provides a compact yet comprehensive foundation in underwater photography. Through theory sessions, practical dives, and personal feedback, you’ll gain clarity on the many elements that may have puzzled you — whether you’re a beginner or a returning enthusiast.

Typically starts Friday afternoon
Ends Sunday (afternoon)

Course Structure

• Friday: Theory session begins afternoon
• Saturday & Sunday: Morning dives locally, followed by theory, image review, and feedback in the classroom.

Individual coaching is a part of this workshop. You’ll receive a one-on-one phone consultation with Lars prior to the course to define your goals and experience level.

Workshop Topics

• Basic photography principles (ethics, camera, light, composition, planning)
• Underwater equipment & personal gear review
• File handling & workflow
• Introduction to Adobe Lightroom Classic (light editing & tagging)
• Image evaluation & feedback
• Open Q&A sessions

Note: All software should be pre-installed, and camera housings/diving gear must be tested before arrival.

Diving Details

Dive location: Local (easy diving)
You must bring your own dive gear, underwater camera, and laptop
Lightroom Classic is preferred (one week free trial is available on Adobe.com). Alternative software is allowed, but feedback options may be limited.

Accommodation

If the workshop is held at FOTOGRAFIT in Aarhus, Denmark you can stay at a hotel or the nearby Sleep-In Gellerup Hostel — a budget-friendly option just minutes from the workshop venue.

Hostel amenities include:

• Free Wi-Fi & parking
• Communal kitchen and lounge
• Laundry service
• On-site snack bar

Price & Registration for the workshop

EUR 499,- per person (min 4 participants) if held in Aarhus.
You are very welcome to plan your own course locally where you live. All you need is a minimum of 4 participants and a place for Lars to stay. Lars can handle up to 8 people. Are you more than 8 people, Lars will bring an assistant.
Travel & accommodation costs for Lars may occur. (Call and we can talk about it)

To register or inquire, email: workshop@fotografit.eu
A deposit must be paid upon registration. All fees must be paid 3 weeks before the course starts.

Your teacher

Lars Kirkegaard is one of Europe’s most experienced underwater photography instructors, with over 30 years of diving experience — more than 25 of those with a camera in hand. He took his first underwater images with a Nikonos and has been an active contributor to the Scandinavian underwater community ever since.

Lars began teaching photography at the age of 19, later earning a formal education as a studio photographer and a BSc in Graphic Arts Management from the Danish School of Media and Journalism. His career spans roles as manager of Scandinavia’s largest diving magazine DYK, and involvement in dive shows, publications, and expeditions — giving him unique insight not only into underwater photography and equipment but also the dive industry’s broader ecosystem.

Today, Lars runs FOTOGRAFIT.eu, a leading supplier of underwater photography equipment across Europe. With more than 20 years of teaching experience, he is known for his in-depth knowledge, individual coaching, hands-on teaching style, and passion for helping others capture the underwater world.

Why Join This Course?

• Proven course: Lars does not follow any industry-built course, but has designed his own. He has held this type of course for more than 15 years across Europe.
• Individual coaching: A pre-course questionnaire and direct contact ensure we understand your goals before you arrive.
• Photo review sessions: Each day, we gather for image reviews, feedback, and inspiration.
• Teaching talks: Lars will give an intro to picture handling/editing in Adobe Lightroom and make sure you can edit your pictures when you leave.
• Relaxed atmosphere: This is a humorous, stress-free environment where you can focus on photography.
  

Don’t miss this opportunity to level up your underwater photography with expert guidance in a supportive and exciting way.

The post Photo workshop – Learn with Lars appeared first on The FOTOGRAFIT Blog.

When Nauticam releases a new set of optics, I pay attention. Few brands have refined underwater imaging tools with such precision and purpose. Their 2025 lineup of close-up lenses — from the iconic Super Macro Converters (SMC) and Compact Macro Converters (CMC) to the new Mid-range Focus Optimizers (MFO) — feels like a complete ecosystem built for photographers who live for the fine details beneath the surface.

This isn’t just a spec refresh. It’s a rethink of how we approach macro and mid-range imaging underwater — balancing magnification, working distance, and optical sharpness in a way that gives each lens a clear personality.

The Super Macro Converters: SMC-3 and SMC-2

The SMC-3, Nauticam’s latest evolution in its flagship macro series, is a compact powerhouse. Smaller and lighter than its predecessor, it manages to deliver even more sharpness and contrast while extending the working distance a bit — a subtle but crucial benefit when you’re face to face with delicate marine life.

Its bokeh rendering is beautifully smooth, and shooting at wider apertures feels newly rewarding. As Alex Tattersall put it, “The SMC-3 is sharpness, contrast and detail in a small package… its smaller size allows greater working distance from your subject.”

The SMC-2, meanwhile, is the specialist’s tool — built purely for magnification and micro-detail. It’s about revealing what the eye can’t see. Shooting with the SMC-2 is a bit like peering through a microscope at the ocean’s artwork.

Both SMC lenses are engineered for full-frame systems and promise uncompromising optical performance — making them a go-to for serious macro photographers who push their gear as far as it will go.

The Compact Macro Converters: CMC-1 and CMC-2

For travel shooters and mirrorless compact setups, the CMC series continues to impress. The CMC-1 and CMC-2 provide serious magnification with surprisingly light and compact builds, making them ideal companions for smaller rigs like the Olympus EM10ii or Sony A6700.

Where the SMCs are about raw macro power, the CMCs are about versatility. I’ve used the CMC-2 on compact and APS-C systems where portability matters, and it’s consistently produced sharp, vibrant images. Nauticam’s optical coating and precise curvature give it a clarity you rarely see in add-on wet lenses.

Even compact camera users (think Canon G7X shooters) will appreciate how these converters unlock a completely new realm of close-up possibilities without compromising autofocus speed or handling.

Mid-Range Focus Optimizers: MFO-1 and MFO-3

If there’s a true revolution in the 2025 lineup, it’s here. The Mid-range Focus Optimizers — MFO-1 and MFO-3 — redefine what’s possible between macro and mid-range shooting.

These lenses effectively transform the behavior of standard 90mm or 105mm macro lenses, allowing photographers to focus closer, faster, and with greater depth of field. They minimize focus hunting (a common frustration underwater) while maintaining beautiful color reproduction and contrast.

The MFO-1 sits elegantly on a 105mm and quietly improves nearly everything: color fidelity, image sharpness, and focus speed. As Alex Tattersall described, “It sits unassumingly on the front of my 105mm most of the time, improving image quality, reducing hunting and offering some magnification.”

The MFO-3, on the other hand, is the star of the show. It brings a wide, almost cinematic field of view to traditional macro systems — something that both Dr. Alex Mustard and Mike Bartick have praised. Mustard notes, “The MFO-3 basically converts the Canon 100mm into a 60mm macro, and the Sony 90mm into a 50mm — while keeping the fast AF and high-quality optics.”

For underwater photographers working in challenging visibility, the MFO-3 is a dream. It gives you the ability to fill the frame with larger subjects — seahorses, frogfish, or even morays — without backing off into the blue.

In the Field: Voices from the Deep on the MFO-3

The testimonials in Nauticam’s material read like the collective experience of shooters who’ve tested these optics in every condition imaginable.

Mike Bartick describes using the MFO-3 on a Nikon Z8:

“When photographing behavior, quality is paramount… the MFO-3 significantly improved my focus and overall image quality.”

Alex Mustard echoes this:

“Such shorter focal length macro lenses are very valuable for those that dive in poor visibility or shoot larger macro subjects… It’s impressively sharp across the frame.”

And from Yazid El Shaari, who tested the MFO-3 prototype on a Sony A7RV:

“Its wide field of view gave me the leverage to stay close while still framing the full head of a large honeycomb moray cleanly.”

Hearing that kind of praise from multiple respected shooters tells me this lineup isn’t just about specs — it’s about usability, balance, and creative freedom.

Final Thoughts

With this new generation of close-up optics, Nauticam has built something rare — a cohesive system that lets you choose your macro mood. Whether you’re chasing pygmy seahorses with the SMC-2, experimenting with soft bokeh on the SMC-3, or exploring wide-angle macro with the MFO-3, every lens in this lineup feels purpose-built and optically refined.

For me, that’s what defines great gear: tools that don’t just perform, but inspire you to dive again.

The post Exploring Nauticam’s Close-Up Lens Lineup: Precision, Clarity, and Creative Freedom Underwater appeared first on The FOTOGRAFIT Blog.

Got a TG-7 housing and wondering how to hook up your strobes? Don’t panic — the fix is simpler (and a little braver) than you think. Sometimes you just have to cut the cables — literally.

You Need an Adapter

The popular Olympus TG-6/7 housing isn’t born ready for fiber optic cables — it needs a little help.
The AOI FCA-01 adapter mounts neatly onto the housing, but here’s the catch: it gives you only one L-type hole for your cable.
That means you’ll need a split cable if you’re running two strobes.

Want More Flexibility?

A split cable works great for dual strobes — but what if you only want to dive with one (say, when you’re snooting)?
That’s where a quick 45° snip comes in. Cut your fiber optic cable at an angle, expose the inner fiber, and it’ll fit perfectly into your adapter for a clean, reliable flash setup.

Single or Double Studs

You can choose between single or double studs that slot into the L-type hole on the adapter.
If your housing has only one port, just use a double stud and plug both cables right into it — compact, sturdy, and ready for any lighting setup.

Ready, Set, Cut!

Once you’ve trimmed, fitted, and plugged in the new connector, your setup is dive-ready — no loose ends, no misfires, just sharp, beautifully lit underwater shots every time.

Sometimes the best upgrade is just a little courage… and a good pair of scissors.

Link to the AOI – FCA-01:
https://fotografit.eu/products/65-underwater-strobe-accessories/4098-fiber-cable-adapter-for-olympus-pt-056–pt-058-/

Link to fiber optic cables:
https://fotografit.eu/products/448-fiber-optic-flash-cables/

The post Got Only One Hole for Your Flash Cable? appeared first on The FOTOGRAFIT Blog.

When faced with the challenge of choosing a travel-friendly, lightweight camera system, the options may seem overwhelming. Recently, a customer reached out to me seeking guidance after considering the popular Sony RX100 Mark VII. As a devoted Sony user enchanted by the RX100 series, I found myself recommending two compelling alternatives: the Nikon Z 50 Mark II and the Canon R50. Here’s why these might be worth considering:

The Charm of the RX100

The Sony RX100 series boasts a compact, elegant design that many photographers, including myself, find irresistible. However, with the ever-evolving camera market, new contenders have emerged. Nikon and Canon have presented options that not only mirror the professional appeal of the RX100 but also offer enhancements in several aspects.

Alternative Options

**Nikon Z 50 Mark II and Canon R50**: Both these cameras come with a robust setup, resembling pro versions. The portability of these systems is similar to the RX100; however, they introduce some enticing advantages. The fixed bare lens system and port in these cameras mean you’ll have to utilize specific lenses—Nikon’s 16-50mm or Canon’s 18-45mm lenses. This setup yields great versatility, allowing the use of wide-angle and macro lenses effectively.

Picture sensor is APS-C (large and sensitive)

One of the standout features of the Nikon and Canon systems is their larger APS-C sensor, which is significantly more light-sensitive compared to the one-inch sensor in the RX100. This leads to better low-light performance and improved focus capabilities, making these systems suitable for underwater photographers who often work in dim environments.

The advanced autofocus systems utilize roughly 90% of the image area, ensuring better subject tracking across varying conditions—an upgrade over the RX100’s performance.

Practical Considerations

**Design and Build**: The Nikon system is slightly thicker and more expensive, and it lacks a built-in vacuum system, which comes standard with the Canon. On the other hand, the Canon system offers the convenience of an integrated vacuum, eliminating the need for additional purchases.

**Video Capabilities**: Both systems offer superior video features, including higher bitrate codecs, reduced rolling shutter, focus peaking, and the option to shoot in C-Log on Canon, which is advantageous for capturing high-quality video footage underwater.

**Weight and Cost**: In terms of weight, the differences are marginal—both camera systems are relatively heavier than the RX100, but not so much that it would deter portability. Costs are comparable when the necessary lens and housing are factored in, making these systems competitively priced alongside the RX100.

Final Thoughts

Ultimately, the decision between these camera systems will depend on personal preferences and past experiences. A recent conversation with a customer revealed that he opted for the Nikon system, influenced by his history as a Nikon photographer. Both the Nikon Z 50 Mark II and the Canon R50 offer compelling reasons to reconsider staying within the Sony ecosystem. For those exploring new avenues, these alternatives provide an intriguing future for underwater photography.

Whether you’re drawn to the familiarity of Sony, the established legacy of Nikon, or the innovative edge of Canon, investing in a camera system is a personalized journey where versatility, performance, and ergonomics should guide your choice.

Contact & links:
We at FOTOGRAFIT are always ready to help with offers, prices and information about new housing systems.
So do not hesitate to contact us.
www.fotografit.eu

Nauticam housing for Canon R50:
https://fotografit.eu/products/461-nauticam-underwater-housings/5889-nauticam-na-r50-housing-pro-package/

Nauticam housing for Nikon Z50-II
https://fotografit.eu/products/461-nauticam-underwater-housings/6402-nauticam-na-z50ii-housing-for-nikon-z50-ii-/

The post Choosing an Underwater Camera System: Exploring Alternatives to the Sony RX100 Mark VII appeared first on The FOTOGRAFIT Blog.

Testing Your Rig’s Buoyancy if you have to add floats to arms

1. Assemble Your Full Setup
   Start by putting together your entire underwater system – camera, housing, arms, lights, and any accessories you plan to use during your dive. Attach everything securely, just as you would for an actual dive.
   
   
2. Tie on a Long String
   Secure a long, strong string to the rig. You’ll use this to lower it into the water and measure the buoyancy.
   
   
3. Lower the Rig into Water
   Head to a location with easy water access – a dock, pool, or calm shore will do. Gently lower the rig into the water using the string.
   
   
4. Attach a Luggage Scale
   Tie the free end of the string to a luggage scale. With the rig fully submerged and hanging freely, read the weight shown on the scale. This is how much negative buoyancy (in grams) your rig has underwater. Example: If the scale reads 1250g, your setup is pulling downward with that much force.
   
   
5. Calculate Required Floatation
   To make your rig neutrally buoyant, you’ll need to add floats that provide 1250g of lift. For example, StiX Jumbo floats offer 190g of lift each, so: 1250÷190≈6.5 floats.
   In real-world terms, that means 3 floats on each side of your rig should get you very close to neutral.
   
   

Proceedure if you want to exchange some of your existing arms with new ones.

1. If you already have arms, that you want to exchange, you need to weigh the system without them.
   
   
2. Set your system up, but remove the arms you do not want to use anymore.
   In short – you put everything else together, incl the clamps that are to be used.
   (Yes, the system can not be put together correctly, since there are now too many clamps, but you can add them to the system with cable ties, as you NEED to know their weight too)
   
   
3. Now you put the setup (without the old arms) in the water, and see how much the scale reads.
   This will equal the nett-lift of the new arms you have to add.
   
   
4. All our arms are mentioned on our website with nett-lift, and this will allow you to decide what arms you like and shall use.
   
   
5. So, if you are two arms short, and have a nett-negative lift of 1500g, then you know that the two new arms need to have a nett-lift of 750 g each.
   

Final Tips

• Aim for slight negative buoyancy as a system too buoyant is not comfortable.
• Consider trimming your setup in a pool or on a confined test dive before open water use.
• Remember, water types can affect buoyancy slightly. (more or less salt)
  

Need help choosing the right floats for your system?
Feel free to contact us – we’re happy to help!

Here you can see a system put together and ready to be measured.

The post How to Find the Right Buoyancy for Your Underwater Camera Rig appeared first on The FOTOGRAFIT Blog.

Every year a Nudibranch Safari is held at the popular diving site Gulen in Norway.

The event is known to everyone with an interest in nudibranchs, but also by many underwater photographers, because even though Gulen is a cold-water diving destination, it is also a hot spot when it comes to underwater photography. In addition to being an ordinary diving resort, due to its good logistics, it has been used over the years for workshops, TV recordings, training and other events by underwater photographers from all over the world. I started doing workshops here myself almost 15 years ago, where I had Alex Mustard as a co-teacher.

Gulen is a really nice diving site, which has some of Norway’s best wreck dives in the immediate area, and at the same time it has a very easily accessible and usable house reef right in front of the center, which is known to house an extraordinary number of nudibranchs. Because the house reef offers exciting diving from a few meters deep to a good 40 meters without having to move much and because the fjord is over 100 meters deep just around the corner, the variety of wildlife is high.

Nudi for nerds

The nudibranch event at Gulen has existed since 2008 and was started by the well-known macro photographer Christian Skauge because there was a dive trip with bad weather, where you couldn’t sail out to the wrecks. It quickly became a success and after a few years they invited 2 associate professors from the Norwegian University of Science and Technology, Torkild Bakken and Jussi Evertsen. Both worked with nudibranch taxonomy and distribution for Norwegian waters since 1997, which brought the event to a completely different professional level.

The week is usually built around scientific collection, documentation and education about nudibranchs, giving participants the opportunity to learn where the animals are found, what they eat, the variation in the species and how to handle them when they are subsequently studied under a microscope. Every day there are lectures by some really talented guest lecturers on topics related to the biology of nudibranchs and between dives there is study in the field lab, where everything is recorded and documented.

Gulen is the place in Norway where the most different nudibranchs have been spotted and over the years 3 completely new species have also been found, all of which have been officially registered and named: Gulenia orjani, Gulenia monicae and Fjordia chriskaugei.

Photo and nudibranch?

This year, Ørjan Sandnes and Monica Bakkeli, who are the owners of the center, had the idea to shake things up and make the event a little different. Since the event and the participants all spend a lot of time photographing the nudies, there is always a good amount of talk about photography, but because the event has always been of a scientific nature and not a photography course, the photography part has been left alone. The couple had been aware of this for a long time and had decided to do something about it. They therefore contacted me and asked me to handle that part.

Not nudi-nerd

I have to be honest, I have previously had a very strained relationship with nudibranchs. Whether it is because in my younger days I was a wreck enthusiast and tech diver and therefore did not have an eye for these small biological wonders, I cannot quite agree with myself. I have always seen a lot of pictures of beautiful nudibranchs and that is precisely what I mean, beautiful nudibranchs. Because nudibranchs are incredibly beautiful in their nature, I have seen far too many bad pictures of beautiful nudibranchs, and since I have a hard time keeping my mouth shut when I see sloppy photography, it has resulted in many heated discussions. But that was back then. Now I love photographing nudibranchs. Maybe because I have been to so many nudibranch events that I have now learned to find them, which is an important part of getting a good picture.

Admittedly, I still don’t have much interest in the biology, but as a photographic object they are top.

Nudibranchs as a motif

I have a background as an advertising photographer, and for part of my apprenticeship I was at a studio that had a portrait department. It was during that time that we made black and white copies in the darkroom in the basement and then pressed them and edited them with a razor blade before we framed them. During that period I learned a lot about the composition of a face. For example, it means a lot to a good portrait image whether the eye is sharp, the corner of the mouth is relaxed in a smile, whether the lips are dry or shiny, whether the angle of the neck and head matches the turn of the face, as well as the focal length, shadows, exposure, backlight and background. Yes, photographing portraits is incredibly similar to doing macro photography underwater.

Phototechnical or scientific feedback

I had bought into Ørjan and Monica’s idea that it was possible for me to direct the evening’s photo review of the day’s finds. I can usually do that in the routine, because that’s exactly what I do when I hold photo events and workshops. Whether it would work at an event whose primary function was to study nudibranchs, I had no idea. Everything I know about photography falls to the ground if a photo has lost its scientific or documentary value. Was it a challenge that could be solved, so that the participants felt that my feedback was relevant or would I just be in the way?

The daily news

Each day, one or more photos were collected from the participants which I then reviewed in the evening. There was a lot of natural talk about nudibranchs and their findings, but the new element was that we also looked at the photographic technical aspect of the images. It basically worked well and it was clear that all the participants were equally interested in talking about the photographic technical aspect as the biological aspect. Since my biological knowledge of nudibranchs is not great and since many of the participants had a biology background or were just big nudibranch enthusiasts, there was quite a lot of feedback from the participants every evening. Often there was scientific input on a picture that changed both my and the photographer’s view on the choice of a photo angle or lighting. And sometimes there was a discussion about the technical value of the picture versus its scientific value, but it all happened on a both cheerful and a scientifically high level.

Who is right?

One evening there was a picture that really divided the waters. There were people who thought it was one of the best pictures taken of a nudibranch all week, and others couldn’t see the interesting thing in it. This is not an unfamiliar situation for me, because images depend on the eyes that see, and we all put a combination of our diving, life and photography experience into the evaluation of an image. My role was largely to illuminate the different ways in which one can see an image, as well as try to understand the photographer’s thoughts when he/she pressed the button. When I understand this myself, I have to try to convey it to the other participants, which can be both a difficult but also a very fun process.

I always start a photo session by reminding the participants that if the photographer can find joy in a given image, then it has a justification regardless of what the majority of the participants may otherwise think. And that is a good rule of thumb to follow.

Big vs. small?

Another fun discussion arose from a question from a young participant, who exclusively photographed with an Olympus TG-7 compact camera without a tray, but with a small video light in her hand. Her question was for all of us “established underwater photographers”. She asked: “Why do you choose to swim around and photograph with such a large camera equipment as you have, when the subject is so small… and why do you choose to limit your lighting to lights that are attached to an arm system?”

I LOVED that question. And she was absolutely right in her assumption. It is sometimes incredibly stupid and impractical with the large equipment we have, because it goes without saying that small subjects are easiest to photograph with a small camera setup, where it is easy to position yourself in relation to the composition and where it is easy to get a small lamp both close to the subject and placed at the right angle.

The fact that many people choose a large camera is mostly about the fact that you can use a camera with a large CMOS and thereby achieve a lot of detail in the final file, which in turn allows for a lot of post-processing options. And of course there is a big difference between photographing with two fast flashes or a small LED lamp – and she understood all of that very well. However, she was still not entirely convinced that the result was up to the equipment and I understand why. In reality, we all want the best possible quality and the best light, but in the smallest possible package. And it is often a combination that is full of compromises.

All that equipment

Since I make a living selling UV photo equipment, I have many different underwater housings myself. Fortunately, during the week of the safari, I also had the opportunity to play with them. I am always behind in testing new equipment from suppliers, so it is good to be away for several days. Changing equipment during a photo trip is not really something I recommend, because good photos are very much about being comfortable with your equipment and having all the buttons and functions completely under your skin. If you change equipment, you often get set back and have to rethink logitics and buoyancy. I am typically in Norway 2-3 times a year to dive and test, and one of these times is typically at Gulen, so this year I was able to combine business and pleasure. As always when I am out giving lectures or teaching, I had brought a lot of photo equipment with me for the participants to try, and it was popular. Many of the lamps and optics I had with me changed hands many times during the week.

Participant toys and testing

Most people know that creative macro photography is related to lighting, and many use a snoot to bring the subject into focus and exclude the background from the image. I love snoot photography and a nudibranch safari was the perfect place to play with snoots.

One of the most well-known snoots on the market is of course the Backscatters MF-2, which was developed for this purpose, but most flash manufacturers have made an optical or manual snoot unit for their flash. I myself use Marelux’ SOFT which has a built-in focus light and a built-in iris, but on Gulen’s house reef, I and the participants had plenty of time to play with one of my current favorite gadgets; Smart Torch from Weefine, which is an LED lamp with a small lens and a snoot. We put it together with an Olympus TG-7 camera and a small lamp. This allowed us to play with snooting, both with and without backlighting. The small compact cameras are very prone to overexposing, so sometimes it helps to soften the light a little and reduce the contrast in the image. Several of the participants made dives where they held the snoot lamp in their hands to be flexible.

Another light gadget that I brought was the new Ringlight from Weefine. The good thing about photographing nudibranchs with a ring light is that you are typically very close to the subject. And this is precisely where ring lights have their strength. Unfortunately, they work just as badly when you are a little further away from the subject, because they give a lot of backscatter. At Gulen we played around with the lamp for nudibranch photography a lot and it works well as a documentation light, which was the goal for many of the participants. Of course, you have to remember that you remove most shadows in the image and thus reduce the contrast in the subject.

If you want a little highlight or shadow in the image, you can advantageously combine the ring light with another lamp. It can either function as a side light or an effect backlight, there are many fun options.

The participants who used it found that it provided good and even light, which was very useful for identifying nudibranchs, but that it was necessary to give the images some contrast later in the editing.

The process was successful

The week progressed and many nudibranchs were documented. In fact, a record was set with no fewer than 61 different nudibranchs, which is a good thing since a total of 87 different species have been found on Gulen over the years. So there was great satisfaction among the research team with the effort. On the photo front, things also went well, because there were a lot of good photos taken and nice photo talks. The participants seemed satisfied with the feedback they received in the evening. As they got used to us reviewing images, they also remembered to put them on the memory chip for me during the day and to be on time so that we could start the presentation. The most important thing for me was that Ørjan and Monica were happy with their decision to invite me and asked if I would consider coming again next year.

The annual Nudibranch Safari takes place every year in March.
See more info: www.gulendiveresort.com

The post New article in UWP magazine appeared first on The FOTOGRAFIT Blog.

Here you see a double FLIP mounted on an iPhone housing.
That will give the option to use both an average and a really powerful macro lens.
(This setup is a bit exaggerated, as the FLIP system is as expensive as the phone housing 😉

Here you see a FLIP adaptor on an Ikelite housing. An M67/M67 extension is not needed on Ikelite ports, but it will fit right on the port. Always check if your housing port is the furthest front point on your housing. If it is, the housing should not conflict with the FLIP system.

Here you can see the M67/M67 extension ring in place.

The M67 ring is a good and easy solution to make room for a FLIP system.

Get your own ring:
M67-M67 Extension Ring
You can buy it on the FOTOGRAFIT webshop.

The post Adding an M67 extension to a FLIP appeared first on The FOTOGRAFIT Blog.

On a recent dive in the crisp Norwegian waters, I finally got the chance to really test out the Weefine WF079 Smart Torch. Until then I have had it in local waters and one trip to the Red Sea, but never had time to do an intense test.
And wow, what a versatile little light! Whether you’re after razor-sharp macro shots or a dreamy snoot effect to isolate your subject, this compact powerhouse does it all.

I mainly used the TG-7 camera from Olympus. So I was able to get really close to things without much hassle, and I often combine the light with the new Weefine Ring Light 3000 (WFRL3000). The reason I did this was that the snoot is really bright, and if I were not able to measure the light exactly in the spot, the exposure could go off, and the snoot beam over-exposed.
So with the Ring Light, I could lighten the shadows and even out the contrast.
It also had the effect that the background was not completely black, but only subtle… which gave a great effect.

More than just a small light

The Smart Torch isn’t just a great focus light (1200 lumen strong, mind you), it doubles beautifully as a video light or focus light and—here’s the best part—a fantastic snoot setup. Using the WFA61 Snoot Lens, I was able to create dramatic spot lighting that brought out details in my subjects like never before.

It is also possible to add the WFA62 Multicolor Filter and Snoot System into the mix, and you’re set for some real creative play—colored highlights, textured lighting, and complete control over how your scene is lit… I did not use this on this trip, but it is something that I look forward digging into.

This is SO easy to travel with

Another win? It’s super travel-friendly. Lightweight, compact, and runs on a single 21700 battery (included, of course), this kit was ready to go right out of the box.

And if you’re into flash photography, the Smart Torch even supports a flash boost function via fiber optic connection—ideal when you need a little extra pop in your frame.

Fixed with a flexarm

Let me be clear… I am not the biggest fan of flexarms. But I wanted to keep this setup lite… so I just added a single flexarm to hold the snoot. I could also have held it in my hands, but with the small pictures I was making, it was important that I could keep the light very still… so it was a good solution.

So, from handheld snoot experiments to mounted setups, this light gave me all the flexibility I needed to make the shooting I wanted. And yes, a flash will always freeze the moment and keep your images sharp, but they also tend to take up more room and make it harder to get that special shot.
The pictures in this post are just a small taste of what’s possible when tech meets creativity below the surface.

Whether you’re shooting critters, textures, or just playing with beams of light in the dark—this snoot kit is absolutely worth a spot in your dive bag.

What do you need?

If you wish a light of your own, the base light is the Smart Torch (WF079)

But it also comes as a KIT, with the lens and the snoot (WFA61)

The extended KIT with both lens, large snoot, and filter/snoot kit is called: (WF095)

Get help and overview

You can get the full overview of Underwater Snoot Lights in our webshop, and you are always welcome to contact us for more info and good advice on how to mount the snoot.

The post Shooting with the Weefine Smart Torch Snoot appeared first on The FOTOGRAFIT Blog.

When diving with underwater camera housings, one common issue many photographers encounter is fogging in underwater housings. This problem occurs due to the temperature difference between the housing, which is exposed to sunlight, and the cooler water.

The Science Behind Fogging

Fogging occurs due to basic physics. When the housing is left in the sun, it heats up. Upon entering the cooler water, the sudden drop in temperature causes condensation to form inside the housing. This is because warm air holds more moisture than cool air. As the temperature drops, the moisture in the air inside the housing condenses on the cooler surfaces, including the camera lens, leading to fogging that obstructs the view and ruins your shots.

How to Prevent Fogging

To minimize fogging, it’s crucial to manage the environment around the housing. One of the golden rules is to avoid exposing the housing to direct sunlight before the dive. Always keep it in the shade or cover it with a towel when you’re on the beach. Additionally, it’s important to load your camera into the housing in a dry environment, away from the humid beach air, as moisture trapped inside can exacerbate the fogging problem.

While fogging can occur in all types of housings, acrylic housings are particularly prone to it due to their insulating properties. Aluminum housings perform slightly better, as metal dissipates heat more effectively, but the same principles apply.

Additional Solutions

One of the most effective ways to prevent fogging is to use silica gel packs inside the housing. These small packets absorb moisture from the air, keeping the internal environment dry. Most divers use this solution to ensure their housings remain fog-free throughout the dive.

By taking these precautions, you can prevent fogging and ensure a clearer, more enjoyable underwater photography experience.

Solutions

On Fotografit.eu we offer some easy solutions ⬇️

https://fotografit.eu/products/12-housing-accessories/1297-silica-gel—pack-of-6

https://fotografit.eu/products/84-gopro-accessories/1027-anti-fog-inserts

https://fotografit.eu/products/12-housing-accessories/6186-leak-insurace-xxl-satchets-10pcs

The post Fogging in Underwater Housings: Causes and Solutions appeared first on The FOTOGRAFIT Blog.