In the past we’ve focused on teaching you about underwater still photography, including (amongst other topics) equipment, locations and techniques. In the next few issues, we’re going to be diversifying a little, with a series of articles about underwater video.

In the last issue we looked at the advantages and disadvantages of digital underwater photography compared to traditional film systems. Now we’re going to look at what kind cameras and housings are available on the market today, the costs involved, and which one is right for you.

As any diver knows, at depth light is ab­­sorbed, and one by one the colours of the spectrum disappear.  Red is the first to go which disappears at around six metres, followed by orange, yellow… Underwater photographers are constantly battling against the effect water has on colour and light, and use various methods to return good colours to their images.  .

Have Camera...Will Trave. Travelling with cameras, selecting a photo-friendly operator

UR-PRO filters have been popular on compact cameras because they can be mounted to the outside of a camera housing, can be removed if not needed and can be used at the same time as an external wide angle lens. Some video camera housings have a built in filter-drawer, leaving the filter easily accessible in case it’s needed, or easily removed if the shooter chooses not to use it.

In issue #9 we took you through some tips of the trade for selecting a dive operator that will help you properly facilitate your underwater photography. In this issue we’d like to share with you some hints and tips for getting all of your valuable camera equipment to your destination safely, and without incurring costly excess baggage fares.

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