2006/12/19

世界十大潛場

Fantastic world

你的心目中世界十大潛點包含哪些?抑或是,另外一種問法,你去過的心目中十大潛點包含哪些?知名的旅遊潛水作家Tim Ecott,寫下他心目中的世界十大潛場,文章裡面,除敘述潛場特色之外,還包括推薦相關的resort以及潛水店,以下是他的前十大潛場:

1. Rocktail Bay, Kwazulu-Natal, South Africa
2. Rangiroa, Polynesia
3. Sulawesi, Indonesia
4. The Maldives
5. Little Cayman, British West Indies
6. Cocos and Malpelo, Eastern Pacific
7. The Bismarck Sea, Papua New Guinea
8. Sipadan Island, Malaysian Borneo
9. Surin and Similan Islands, Thailand
10. Bikini Atoll, Marshall Islands

世界十大潛點全文連結

其中,只有蘇拉威西,西巴丹以及Similan曾經去過,PNG去過的是Milne Bay,不是作者介紹的The Bismarck Sea,而其他潛場當中,只有Cocos island比較讓人感興趣...是否因為歐美人地域緣故,他介紹的潛點,除了少數去過的點很棒之外,大多好像是不太吸引人的地方?!

我心目中的十大潛場:

1.Fiji
2.North and South Sulawesi
3.Cocos island
4.Sipadan
5.Similan
6.PNG
7.Anilao and Tubbaataha
8.Komodo Area
9.Iran Java
10.Palau

你認為呢?

2006/12/17

得獎的Sardine Run影片!

這是得到World Festival of Underwater Pictures ANTIBES - FRANCE 2006 獎項的影片,內容是南非sardine run,作品應該是浮潛拍攝而來,無論是掌鏡技巧,穩定度,還是剪接配樂等等,都是完美充滿震撼力!佩服這些水底錄影高手,在低溫與波浪翻揚之下,還可以拍出如此作品,真是.....看完之後,血脈噴張,好像全身細胞通通都活躍起來了!

Video Link

找魚到這裡!

這是一個很棒的魚資料搜尋網站,裡面還有魚的照片可供參考,推薦給大家使用!

CCMA ReefFish Database

Mauricio Handler的鯨鯊豚

這位專業攝影師,以拍攝鯨豚與鯊魚專長,我真的喜愛那主題背後的藍,深奧的寶藍色,傳遞出海洋帶給潛水員的深層感動!好好欣賞喔~

Mauricio Handler

2006/12/15

不錯的吳文欽攝影團

正在考慮要參加哪一個,四月份的南美洲是我的最先選擇,而杜拜阿曼七星級旅館也很有吸引力....相信參加這樣的攝影團,收穫一定很多,愛好攝影的朋友可以參考看看!

世界旅遊攝影會 2007 行程 預定表

1吳哥窟2007/1/4 –8共五天
2吉林霧淞 + 哈爾濱 + 雪鄉 + 齊齊哈爾2007/2/1 -- 10共10天
3香港--煙火節(初二)2007/2/18 -- 21共4天
4雲南--羅平油菜花 + 元陽梯田 + 普者黑2007/2/23 – 3/3共9天
5 北海道之冬 丹頂鶴 2007/3/6 - 13共8天
6美西國家公園(增加石濤谷波浪岩)2007/3/21 –4/1 共12天
7南美洲 (智利+阿根廷+巴西)2007/4/14 - 29共16天
8杜拜 + 阿曼 七星級飯店之旅2007/5/1 –6共6天
9沙巴 + 紅毛猩猩之旅2007/5/10 – 14共5天
10陽朔 + 龍脊梯田 + 雲南紅土地2007/5/20 – 28共9天
11希臘—愛琴海之春 攝影渡假之旅2007/6/1 - 10共10天
12秘魯 太陽祭 2007/6/16 -- 28共13天
13阿拉斯加 – 棕熊捕鮭魚 (可接秘魯團)2007/6/28 – 7/3共6天
14西南非 -- 納米比亞 攝影渡假之旅2007/7/5 - 17共13天
15肯亞+ 斯里蘭卡2007/7/27 – 8/5共10 天
16阿拉斯加 之秋 + 北極光2007/9/14 - 21共8天
17加拿大東部之秋2007/10/08 – 17共10天
18克羅埃西亞 之秋 2007/10/20 – 30共11天
19南極破冰船 – 帝王企鵝2007/11/5 - 21共17天
20印度 (含南印度)2007/12/10 - 22共13天


更多訊息連結
吳文欽 世界攝影藝術館

Todd Essick

藝術沒有邊界,心中感受更是人人不同,欣賞點不一樣的水攝作品....

Todd Essick

2006/12/14

乾杯!

冷冷冬天,來杯熱清酒暖呼呼~呵呵!請大家喝一杯.....

My Japan--14

Jenny's美食遊記連結

2006/12/13

難以拒絕的日本誘惑力...

好像忘記該回來了!也許,是為了老年時候長待日本做準備,我,又要出發了....

12/26~12/31 東京 房總半島 江戶魚市場 之旅

美食與旅遊心得,無奈,目前尚掛在腦袋中等待輸出,對潛水,好像有點忘記感覺了....

為了反省,這次要順便逛逛Steve介紹的新宿潛水用品店,嘿嘿嘿....

1/14~1/25緬甸潛水之旅期待中....

2006/12/03

12/5~12/12九州山陰東海走一圈!

總是愛去日本吃吃喝喝,即使是坐新幹線晃來晃去,看看美食的書籍,都覺得是一種幸福的享受。

去東南亞國家,是一種簡單平凡的社會,步調如此緩慢而悠閒,而日本,卻是剛好顛倒,集所有效率,乾淨,美食,極致完美的緊張生活於一身,你喜愛哪一邊的生活,抑或是,兩者之間的綜合體?在台灣,效率工作之餘,可以透過潛水享受放逐自我的另外一種生活步調。我也是,愛熱帶國家的悠閒緩慢,愛簡單,但是,也愛日本複雜系統的井然有序,會讓人覺得,人類,就應該要有這種充滿希望的幹勁與進步精神。



這,也應該算是潛水之餘的一種充電之旅,我是否不太正常,享受新幹線的速度與分秒效率,的確會產生快感。

走吧!
行程細節

2006/11/26

Eckhard Krumpholz超凡照片!

強力推薦這位水陸兩棲的攝影師Eckhard Krumpholz,簡單的取景與線條,充滿變化的光影以及構圖,闡述著藝術的確沒有邊界!

這是我看完照片的心得,你呢?

2006/11/24

水陸都棒的Anthony Plummer!

掃去陰霾,來點好照片!這位水陸兼俱的攝影師,Anthony Plummer,作品實在美的令人暈眩,西巴丹廣角拍的很棒(誰說能見度是問題?我啦~其實,厲害攝影師不受影響!),陸地作品很有感覺,色彩飽和與取景生動,張張佳作,值得讚賞!
Anthony Plummer

悲傷的早晨

How sad this morning......

之前曾經介紹過的一位優秀攝影師Alessandro Dodi,48歲,義大利米蘭人,因為潛水時心臟病發死亡,蠻喜歡他的照片與網頁,而他的作品,贏得許多攝影比賽,是美感與創意兼俱的藝術家,人,就這樣走了,潛水界很小,雖然不認識他,透過長期看照片,卻又很像認識他........難過的週五早上.....


生命倉促與短暫,邵曉玲也是這樣的例子....我該為我自己留下什麼?我能做的,就是不斷的拍,不斷的潛,不斷的走看世界角落,我能吸收與反芻多少?我的能量有多少?不知道,但,我會盡力!

電腦前,只剩下他網頁的音樂與作品.......

2006/11/23

該裁圖嗎?新文章的分享....

知名水攝討論區wetpixel有一篇推薦討論文章,標題為"To crop, or not to crop?",裡面有許多數位攝影專家的意見,可以參考!

文章連結

拍攝心得報告..

Ornate Ghostpipefish Couple

Cardinalfish

水中攝影經常使用超小光圈使背景變成黑色,凸顯前景當中色彩鮮豔的魚主題,這樣的效果自然是很好,我大多數也是這樣用,不過,若是主體顏色較深,或是想要創造一種魚在藍綠海中的真實感,嘗試在相同光圈之下,減低快門,可以獲得這種效果,不過,微距鏡頭快門若是慢於1/100,就要小心手震問題,這支防手震鏡頭,我將快門放在1/25,拍攝黑色鬼龍(想像黑色鬼龍小光圈,快門1/100變成黑色背景,自然不能看!放大光圈之後景深變淺背景亮亮糊糊的也不好..),光圈依然縮在32,就這樣,背景顏色跑出來與黑色做對比,凸顯鬼龍,重點是,我將相機擺放垂直拍攝,單手拿,不會手震,效果也很滿意~

另外,這群cardinalfish,我也想試試看藍綠背景的效果,光圈一樣縮小,讓快門達到1/25,拍出這張照片,我想,連續看黑色背景看久也會膩膩的,加點視覺變化會更好,更何況,牠的確是生長在這樣的海色當中...嘿!也許藍一點更好,不過,我已經無法再減低快門,已經手快要斷掉了....

全程單手握相機拍攝,十六潛,每一潛70分鐘,這支防手震設計大概是為我設計的吧!哈~

拍攝靈感,來自Alex Mustard的文章--最欣賞那張goby,背景全藍的照片!
文章連結

如何拍好魚臉...

花錢加入coral realm已經滿一年了,剛好到了是否要繼續的時間點,不過,我已經將所有文章,包括各種魚的習性,分辨以及拍攝方法,都放入自己信箱,這篇文章,是我反覆ㄧ直閱讀的部份,剛好討論區有人問到如何拍攝,eye contact是一張成功照片做重要的因素,卻也是最難,只有偶像大衛都必列累積最多這種照片,拍遍所有魚的臉,也是我的夢想,與大家分享。

PS我是會員,可以轉載在私人網頁上面,希望他人不要copy,以免觸犯著作權,

Fish Watching - Photography
How to be a Better Fish Photographer


More sedentary fishes, like this arceye hawkfish, are easy to photograph, but more seasoned fish photographers will have shots of more active species as well.
Every year, there are more and more camera toting divers boarding dive boats around the world. Some of these divers are satisfied to take snap-shots of some of the marine life they encounter. Other divers are looking to shoot professional quality images to "WOW" their friends or to decorate their office walls. If you're one of these divers or even if you're just shopping around for the best photo equipment, you'll find some tips and techniques in this article to help you avoid some common underwater photography pitfalls and maybe even take your photos to the next level of professionalism.

� What's the Best Camera? Single-lens-reflex Camera or Nikonos?

It may be possible to take good, full-frame photos of small, bottom-dwelling fishes with the Nikonos close-up kit or extension tubes. But if you want to take professional-quality photos of small fishes (under 10 inches in length), you will want to invest in a housed single-lens-reflex camera or a Nikonos RS (a camera that is no longer in production).

There are several inherent problems with viewfinder cameras like the Nikons V and the Sea and Sea cameras. First of all, you will have to estimate focus distance. Although it can be done when taking fish photos, it is difficult for most divers to accurately estimate distances underwater. Also, the lenses available for these cameras limit the type of subjects you can photograph. For example, you will rarely get great photos of small, mobile fish with the lenses available for the Nikonos cameras. Some ingenious viewfinder photographers are able to get great photos of more agile fishes with close-up kits using tricks like baiting them into their camera framers. But by in large, it is difficult to get consistently good, small fish photos with these cameras. Viewfinder cameras are, however, good for shooting larger fishes and reefscapes. For example, you can get awesome shots of adult Napoleon wrasse or a school of bannerfishes with the Nikonos V and a 20 mm lens. Unfortunately, the most difficult Nikonos lens to use is the 35 mm, which is purchased by most new underwater photographers. The limited depth of field relative to a wide angle lens requires the photographer to be very accurate when estimating distance. For example, if you set the focus to 3 feet and an aperture at f 5.6, the depth of field for the 35 mm lens is between about 2.7 to 3.5 feet (a window of focus of less than 10 inches). With the 20 mm lens set at the same aperture and same distance, the depth of field is between about 2 to over 5 feet (a 3 feet "focusing window"). So, with the 20 mm lens there is a better chance of getting a fish in focus than with the 35 mm lens.

NOTE: Nikon will soon stop manufacturing the Nikonos camera and the accessories.

� More Light on the Subject: One or Two Strobes?


With a single strobe you will often get a shadow along the bottom of the fish that can be very distracting.
I, personally, believe that using dual strobes will improve the quality of your fish photographs. However, some of the best fish photographers in the world use a single strobe mounted over the lens (e.g., Roger Steene, Paul Humann).

One advantage of using two strobes is it helps eliminate the distracting shadows that are sometimes created when using a single strobe. These shadows can be extremely problematic if the fish you're photographing has a dark belly. Another advantage when using dual strobes is that you will be able to shoot at higher apertures, which means you'll have a greater depth of field.

One disadvantage of using dual strobes is that having two strobes and strobe arms makes it more difficult to get into tight spaces, like under overhangs and in caves. (Many photographers use extremely long arms with their strobes, which is not necessary when taking fish photos with a macro-lens.) I've had good success with both dual sync cords and the Ikelite TTL slave when using two strobes.

� The "Marriage" Between Film and Strobe

When it comes to the final photos, the color temperature of the strobes you use and the film you select can make a big difference. Some strobes are "warm", which create pleasing (and sometimes exaggerated) reds, oranges and yellows. Others are "cold", which can result in slightly muted or warm colors.

So what's the best color temperature? It's actually a function of personal preferences. I personally like warmer colors, so I use Velvia film and Ikelite Ai (100) strobes. I have also used Nikonos SB 105 and the Ikelite Substrobe 50 strobes (which tend to be slightly cooler) with the same film. Although the results were good, I personally prefer the Ai/Velvia marriage better. Some of the more popular films used by professional fish photographers include: Fuji's Provia 100 and Kodak's professional Ektachrome 100. Some photographers also use Velvia, but instead of shooting it at its normal ASA (which I am told is actually 45 - I shoot it at 50) they push it to an ASA of 90. If you try this technique, you must remember to tell your developer that you "pushed" the film. "Pushing" film often adds to the film development cost.

� Should You Use TTL (Through the Lens Metering)?


TTL works wonderfully with all but the darkest or most reflective fishes. In the case of this midnight parrotfish, the strobe overexposes the light blue in an attempt to properly light the darker body coloration.
Why not, it works great in most situations! There are several exceptions that you'll want to keep in mind: when your subject is either very dark (e.g., a midnight angelfish) or when it is highly reflective (e.g., a tarpon). Also, you wouldn't want to use TTL if you're shooting a subject on a light sand bottom which would result in an overexposed photo.

How do you deal with these exceptions? If you own a housed SLR with an exposure compensation dial, overexpose it if it's a darker subject and underexpose if it's a reflective subject. When doing this, it's a good idea to bracket (e.g., compensate by � of a stop, by � a stop and/or by a full stop). Note: If you're using the Nikonos and want to compensate the exposure, simply change the film speed dial. To underexpose by a full stop double the ASA setting (e.g., change the ASA dial from 50 to 100). To underexpose by a stop divide the ASA by two (e.g., change ASA dial from 50 to 25).

� Which Lens is the Best Choice?

The lens you choose is a function of the fish you want to photograph. If you're interested in shooting smaller reef fish, the 105 mm lens is the ultimate lens. This telephoto lens lets you fill the frame with most of the smaller, less approachable reef fishes. Some professionals will also use the 200mm for shy or smaller species. The depth of field with this lens is small and you will have to use high powered, narrow beam strobes so that you can shoot at higher apertures (e.g., f22, f32).

The 60 mm macro-lens is a good choice for more sedentary species, for medium to larger forms, or if you want to shoot smaller fishes with a lot of habitat. It's also possible to get good full frame shots of smaller fish with this lens, but it will often take time and patience to get close to the fish. (You can shoot the same fish at 1.75 x the distance with the 105 mm lens.) With the 60 mm you get greater depth of field than the 105 (at the same apertures) and it has terrifically crisp focus. Some fish photographers are also using zoom lenses, like the 80 to 28 mm. This enables them to shoot small fish, like a clownfish, as well as larger species, like a full grown sweetlips, on the same dive. In most cases, the lens will need to be modified slightly and you will have to use auto focus, at least in some housings. A Nikonos armed with a 28 or 20 mm lens will work on larger fishes, like adult angelfishes, sweetlips, snappers and jacks but they are not practical for small fish photography.

� Technique: Prefocus and "Swim" the Fish into Focus

Although it's easy to get good sharp photos of more sedentary fish species (e.g., frogfishes, lionfishes), getting perfectly focused shots of the more mobile forms is a more difficult task. In fact, if you want determine the talents of a fish photographer, check out how many of their photos are of more active species like wrasses, angelfishes, butterflyfishes, anthias, etc. With active fishes it's difficult to rack the focus in and out fast enough to get a good photograph. So, most pros prefocus the camera and "swim" the fish into focus. Just focus on a stationary object that's similar in size to the fish you want to photograph. After you prefocus the camera, look through the viewfinder and slowly move toward the fish or let the fish approach you. When the fish comes into focus (this might only last for a fraction of a second), press the shutter button.

How about auto focus? I've had some success using 60 mm macro-lens and auto focus, but in most cases I think manual focus is the best!

� Technique: Fill the Frame with Fish


"Hey - What's that orange blob in the middle of that photo?"
Fish photographers vary on how much habitat they leave in the frame (around the fish they are photographing). In some cases, you may not have a choice because of the specific fish's disposition. For example, filling one-third of the frame with a shy, rare fish is better than getting no photo at all. Also, some photographers like having space around the fish so the photo can be used in a greater number of formats (e.g., if there is enough space around the subject the photo can be cropped for either a vertical or horizontal format). Other photographs may want to show the habitat where the fish lives, as well as the fish itself.

But, many fish photographers are not happy with a photo unless the fish fills the frame! Renowned fish photographers, Roger Steene, is such a person. He's often not happy with a shot unless the snout of the fish is almost touching one edge of the frame, and the tail is nearly up against the opposite edge! Of course, filling the photo with fish often means investing more of your dive time on each subject. If you want to get photos of as many species as possible on your trip, you might be more successful in your objective if you fill about one-third to one-half of the frame with fish, and rely on cropping if you ever want to publish your shots.

� Are you a "Fish Chaser"?


A nice "butt shot" of a queen angelfish - don't bother chasing fish, its a waste of time.
From time to time, we all have been guilty of this unproductive behavior, but some fish photographers are perennial fish chasers. Rather than stalking their quarry or remaining still and letting the fish draw near, they try to out-swim and out-maneuver them! You might see the fish chaser dash from 60 to 20 feet in their futile attempts to catch-up with their finned subject. While they can be comical to watch, they usually end-up back at the boat 30 minutes before the rest of the dive party (and hopefully not in physical distress from embolism). Unfortunately, when Fish Chasers gather around the light table after the E-6 is done, they can never understand why their shots don't look like those of the more experienced photographers. They typically have a lot of great fish "butt shots", that is photos of fish swimming away from their camera! The subjects are also small in the frame.

Just remember, there are very few cases where trying to out swim your subject is going to work, so it is best if you never develop this bad habit.

� Flipping Rubble and Wafting the Sand

Flipping rubble and wafting the sand are two very effective for attracting certain types of fishes, in particular opportunistic predators, like certain groupers, wrasses, sand perches, triggerfishes and puffers. These fishes often associate with other species that disturb the substrate and flush out potential prey. So they are quick to arrive when they sense this activity. Many of these fishes will come very close to inspect what goodies you may have exposed.

One potential problem in using these techniques is that it stirs up sediment which can cause back scatter in your photos. The amount of sediment suspended and the length of time it stays in the water column is a function of the substrate type and the water currents. Obviously, wafting fine sediment or mud can lead to conditions that will make seeing, let alone photographing, your subjects difficult. This is especially true if it is in a quiet lagoon (the habitat where you normally find this type of substrate). In contrast, wafting coral sand in an area with brisk water movement will not impede you ability to take good photos. The same applies to flipping pieces of rubble (e.g., you are going to have problems if you pull a dead coral branch from the mud and flip it over). Be aware that there are divers and dive masters that frown on this technique, suggesting that you are disturbing the environment and exposing cryptofauna (hidden animals) to excessive (unnatural) levels of predation.

� Keep an Eye on Your Air Supply

It's very easy to get caught up in a subject and forget that you are terrestrial not amphibious! The next thing you know it's getting a little harder to extract air from your nearly empty scuba cylinder. It's not uncommon for serious photographers to dive alone, which compounds your problems if you ran out of that precious, life-giving gas. I will be the first to admit that I have been reckless about watching my air supply. The last such incident occurred because I was engrossed in trying to photograph the spawning behavior of scrawled filefish. Fortunately, my wife, Janine, was nearby and she gladly lent me some air so I could make a 5-minute safety stop and get back to the pier.

So, be sure to keep a close eye on your air supply. This especially applies to those going after that deepwater goby or butterflyfish. For you fish photographers that often dive alone, a Spare Air or a pony bottle may be a great investment in your dive safety.

� Tip: Be fish-friendly

I know how tempting it is. You say: "If only that frogfish was in front of that orange sponge, with its side, not its tail, facing me! It won't hurt to move it over there." Well, it might not, but then again it might! Some animals live in a particular location for a special reason. Maybe the location where it has chosen to roost is an area where it blends better with its surrounding and is less conspicuous to potential predators. Maybe it's found an ambush site with a particularly large assemblage of smaller prey fish. You ask: "What if I move it from point a to b, and then move it back to point b when I am done taking pictures?" The fact is, the fish's little brain is not able to discern a good-hearted photographer from a hungry predator. So, when you move any fish, you are going to cause it some stress. This in turn results in a neuroendocrine response, with hormones being released into the blood stream that effect the "normal" metabolic and osmotic state. Spotte (1992) lists the following physiological effects that result from stress "osmoregulatory disturbances, depletion of�itamin C, changes in the oxygen-binding properties of hemoglobin, altered lactate metabolism, altered lipid metabolism, changes in the blood chemistry, and immune suppression resulting in predisposition to disease."

Am I saying that by moving a frogfish and spending five minutes taking its photo is going to kill it? No, but there will be a metabolic cost to the fish if you incite a stress response. If the fish you stress is otherwise healthy you may not cause its demise, but if it is in poor health to begin with, physiological effects brought on by stress may be its undoing. Also, if the fish is a resident of a particular area that gets a lot of diver traffic, it's more likely that it will move off to find a new place to live if it's frequently harassed by photographers.

2006/11/22

超酷的freediving攝影師!

南非freediving水攝好手Roger Horrocks,是另外一位我自己相當欣賞的攝影師,照片獨特的構圖技巧與衝擊力,不輸Fiona,他們都是freediving高手,也因為如此,許多珍貴畫面,得以產生。世界水攝高手多如山,各有千秋與自己獨特的創造力,為多變的水中魅力釋放能量,真是精彩......

flickr連結

個人網頁連結

推薦照片一

推薦照片二

推薦照片三

推薦照片四

推薦照片五

我不會freediving,可能因為潛伴禁止的關係,這輩子不會有機會學到freediving,不過,真是羨慕freediving拍攝鯊魚,鯨魚,海獅以及殺人鯨的攝影師,這才是,真正的Cool...

2006/11/20

去緬甸潛水囉!

12/5~12/12 Japan 中國 九州 八天美食之旅

1/14~1/25 Burma Mergui Archipelago 與Similan九天船宿廣角之旅
船的連結

2月 西班牙

2006/11/18

Lembeh Resort

Lembeh Resort,位在藍碧島的半山腰上面,面對KBR,以容納24位客人的小巧精緻著稱,上次住過KBR,CC一直對老舊的房間以及食物怪味頗有意見,這次選則這家評比更高的resort,結果發現,無論是服務,房間,潛水的潛導程度,還有食物以及環境等等,都遠遠超過KBR,若是與價格與品質比來看,這家resort也遠遠超過wakatobi(原先認為這家最好..),也比西巴丹的SMART更好。

wakatobi的服務是瑞士精神般的無微不至,但是,客人卻感受的到這是用心管理與規定出來的,而Lembeh看不見管理流程,服務卻是用心到家,每天一定自動幫你沖洗裝備,拿相機,而這些都只是小事,重點是,沒有一件事情是需要額外操心的,只要專心拍照即可。

我們的房間,位居半山腰,算是第二高,視野相當好,可以看見整個海峽船隻出入與日落,因為比較高,也聽不見船的馬達聲(KBR的另一缺點),安靜優雅乾淨的舒適環境。

餐廳廚師是老外,早餐與中餐是自助式,口味偏向西式,有相當高的水準,在中餐用餐的時候,就可以點選晚餐,而晚餐菜單每天不同,總共有七份,這樣,可以確保每一天客人吃到的都不ㄧ樣,重點是,跟在西方餐廳吃飯一樣,品質相當好(能讓CC滿意的唯一resort),甜點更是我的最愛,每天都不ㄧ樣...吃好,睡好,潛水拍照自然好...呵呵~我跟CC將這家resort列為第一名。

以下是 Lembeh Resort的照片:



































藍碧照片出爐

照片連結


Filefish Juvenile

Bobtail cuttlefish

Harlequin Shrimp

Pygmy Seahorse

Harlequin Crab

I am not monkey, i am a fish with hair...

Can you dig the hole?

Emperor Shrimp

Tube Warm Blenny

Ornate Ghostpipefish

這是十一月初再次回到藍碧所拍攝的照片,選出十張我自己最愛的作品。

也許是潛點生物太豐富,加上住在質感很棒的Lembeh Resort,而潛導本身又曾經在Darawan專門帶日本攝影師,因此,他找的東西很偏向日本風,特別是蝦蟹與Goby,色彩與種類相當,而我也拍的相當得心應手。曾經有一潛,他要我去拍海參屁股裡面一隻小螃蟹,就這樣,海參屁屁一開一合,我對焦燈打不進去,結果,弄很久,拍出來只有屁屁的形狀,看不見螃蟹,我也放棄拍攝,上來潛導拿著Silent Symphony這本書,William Tam所拍攝海參屁屁的螃蟹,構圖真是美極了!哎~潛導眼界夠廣,小妹技術不足..

不過,已經對這次結果感到小滿意了,每一支潛七十分鐘,一天潛四支,一位潛導帶兩位潛水員,真是幸福!不過,愛看大魚的CC,已經阻止我明年再回去Lembeh Resort,他要我開始安排大魚行程(Fiji,Burma或是Cocos island...),嘻嘻~我可以開始再拍廣角,結果還是我受惠!

2006/10/30

張力十足--女性水攝影師Fiona Ayerst

從未看過一位水底攝影師的"張力"如此具有爆破力!欣賞照片,屏息與驚嘆,大概是我所能用的形容詞,而且,她是女攝影師,一個網頁這樣介紹這位南非的水中攝影師:

Fiona Ayerst

"Fiona Ayerst is a freelance adventure-sport and underwater stills photographer. Fiona has won numerous international and local photographic competitions both underwater and topside, and in 2003 was awarded the prestigious Fuji Getaway Wildlife Photographer of the year award.
Fiona has also written articles for various publications. She travels extensively all over the world and is currently arranging specialist workshops for digital photographers in Kenya and submerged safaris all over the East Coast of Africa.
Fiona, a qualified attorney, ran her own very successful legal practice for many years.
Fiona is a PADI Master Scuba Diving Instructor, and teaches courses in diving and underwater photography."

點擊這個連結,欣賞她在Flickr上面的部份作品,記得,一張一張慢慢點回去,會越來越緊繃神經,一個攝影師的張力與創造力,可以到達這種程度,真是精彩!潛水技術,更是不在話下,魚兒,就像是在她身邊...

照片欣賞

網頁連結

專業攝影師,要的不是平白空洞的構圖,要的是別人對他作品的印象深刻,我想,這位女攝影師,真的是做到了...佩服這位厲害的女人。

2006/10/29

潛水與吃,哎!沒救。

這次轉機到藍碧,趁機經過新加坡,其實,呵呵~還不是為了"吃"!計畫好了,趁住在逛街鬧區的機會,到外面吃吃美食,新加坡朋友說要帶我們去吃米其林好料的,我又不可能穿高跟鞋與套裝去潛水,而且,我認為,還是小吃比較棒,這是貪吃的CC搜尋研究出來的口袋名單,我看,在日本一天吃五餐的惡夢,在新加坡可能重新上演!

11/7 晚餐吃天天海南雞飯or黃亞細肉骨茶. 逛小印度, 阿拉伯區, 牛車水
11/14 早餐吃亞坤早餐店; 午餐吃黃金海岸餐廳or長堤海鮮樓的辣椒螃蟹&黑胡椒螃蟹or Muthu’s Curry的咖哩魚頭. 逛烏節路&濱海區

美食小吃
肉骨茶: 是當地華人最具特色的早餐,牛車水區內更為普遍。
拉餅(Roti Prata): 印度民族早餐,喜愛重口味的話還可以加椰汁、咖哩或蛋,吃起來非常有彈性;吃印度拉餅還要配拉茶,喝起來可是比泡沫奶茶還要香濃可口。在小印度或阿拉伯區都很容易找到。
馬來式早餐: 偏好甜味的人可以嘗嘗,在炭烤土司上加奶油及椰漿,再配上一杯很濃的熱奶茶。在小印度或阿拉伯區都很容易找到。
沙爹(Satay): 傳統馬來美食,炭烤後再沾特殊的花生沾醬,在碼頭邊或老巴剎吃最道地。
拉薩麵(Laksa Lemak): 結合娘惹和馬來口味,湯頭是加了椰奶的香辣湯汁,在百貨公司美食街或街上Kopitiam(咖啡店)都吃得到。
海南雞飯。

特色料理
京都飯店三樓的「宏仁堂御膳廳」(Imperial Herbal Restaurant),中午的套餐比較划算。
印度菜(一定要嘗嘗咖哩魚頭)、娘惹菜(融合華人和馬來族的口味)及泰國菜。

十大美食
咖哩魚頭 Curry Fishhead
菜頭粿 Fried Carrot Cake
囉喏 Rojak(大雜燴)
辣椒螃蟹 Chilli Crab
黑胡椒螃蟹 Black Pepper Crab
肉骨茶 Bak Kut The
沙爹 Satay
印度拉茶 Teh Tarik
印度拉餅 Roti Prata
海南雞飯 Hainanese Chicken Rice
炒粿條 Char Kway Teow
叻沙 Laksa(最具代表性的娘惹美食)

有名餐廳
長堤海鮮樓: 辣椒螃蟹, 1018 East Coast Parkway #01-102, 1100-1500, 1700-2400
黃金海岸餐廳: 辣椒螃蟹/黑胡椒螃蟹, 01-03 East Coast Seafood Center
天天海南雞飯: #10 Maxwell Road Food Center, 1100-2000
亞坤早餐店: 18 China Street, #101-01 Far East Square, 0730-1900
黃亞細肉骨茶: 208 Rangoon Road, 0600-1400
Muthu’s Curry: 咖哩魚頭, 72-78 Race Course Road
文東記餐廳: 福建薄餅/炒蝦麵, 199 East Coast Road, 1100-2600
Sin Zam Zan Restaura: 印度炒麵, 697/699 North Bridge Road
Kinara印度餐廳: 黃薑飯, 57 Boat Quary, 1200-1430, 1830-2230
蕉葉阿波羅餐廳 The Banana Leaf Apolo: 印度煎餅, 54/56/58 Race Course Road
土生仿娘惹餐廳: 馬來椰漿飯, #5 Shenton Way UIC Building #B1-16/17
大巴窯囉惹Emporium & Cooked Food Center: 囉惹, Blk 51 Old Airport Road #01-125D, 1200-1900
樟宜村小販中心: 窩打, Blk 2/3 Changi Village Road
Laksa叻沙: 97 Tanjong Pagar Road, Blue Ginger, 1130-1500, 1800-2200
中(山合)魯美食中心: 娘惹糕/點心, 0700-1500
適香沙嗲: Blk 335 Smith Street #02-079 Chian Town Complex
福順菜頭粿: Blk20 ghim moh road #01-18 ghim moh market and cooked food centre
歐南園炒粿條: Blk531a upper cross street #02-18 hong lim market and food centre

2006/10/28

照片欣賞!

照片欣賞

一對水底攝影師夫婦,Julie與Cor在PNG,Fiji,Solomon islands,以及Wakatobi所拍精彩微距照片,歡迎進去賞圖!

2006/10/25

台灣小吃與擬態章魚..

現在的台灣天氣,應該是最舒適的了!真想多待在台灣久一點,多去品嚐一些道地小吃與美食,台北市第一名各種美食,應該已經吃得差不多了,常常跑出去潛水,回來之後,即使是小小一碗米粉湯,或是牛肉麵,甚至是家庭小炒,都吃到幸福滿滿.....

手上有105mm之後,決定回去反攻藍碧,順便將上次的遺憾-擬態章魚拍回來,原先訂的Kasawari,因為八月才開幕,連絡之後,卻是回信很慢,我在猜,許多設備可能尚未就緒,而美國攝影師評價文章也不多,決定等過半年資訊比較完整再去住住看,減低風險。而KBR已經住過,潛水運作團隊很專業,也有房間,但是,Lembeh Resort卻也同時回覆,比較之後,決定前往沒住過的Lembeh resort。

11/7~11/14,期待出發當中....


(最近,忙於研究各種微距拍法,上網讀書與討論,因此網頁更新較慢,下次藍碧回來,會多po一點東西補償大家喔!)

2006/10/23

Puerto Galera

原先到Puerto Galera的Atlantis,是為了要學rebreather,不過,到那邊才知道,器材出了一點問題,為了安全起見,決定暫時放下學習之旅,純粹潛水泡湯,而我也剛好拿到新的防手震105mm微距鏡,這裡環境,正好適合練習,此外,1224mm變焦廣角鏡頭,變焦控制扭剛剛裝上去,因此,就這樣,展開新鏡頭的廣角與微距練習之旅。

Fantastic world

Aim to the sky

Live together


其實,以潛水環境來說,明多洛算是最發達而且也最完整的區塊,除了晚上的風花雪月笙歌達旦比較不適合安靜渡假之外,只要乖乖待在較高級一點的resort裡面,還算是蠻安靜的。而潛點發展成屬於技術潛水的深潛與船潛,還有洞穴潛,另外還有適合廣角取材的Canyon(就在這裡拍到幾張滿意的廣角景,還有第一次的manta,就在這裡邂逅了!)以及wreck,加上muck diving極為人稱道的sabang beach,其實,許多藍碧才有的生物,這裡也可以找到一部份。

值得一提的是,這個鏡頭,讓我拍到首次真正滿意的豆丁海馬。而快速對焦,好像也讓我不須rebreather也可以拍到魚的臉,還有,勻稱平滑的散景,真是讓我的魚變成油畫的主角了!

How do i look like?

Nudibranch

Pygmy Seahorse

Tread-sail Filefish

Feel the current...

我想,我是愛上這兩顆鏡頭了..

全部照片

2006/10/11

最新行程報告

10/16~10/21 Mindoro Atlantis

11/7~11/14 Lembeh Strait Resort Lembeh Resort

12/5~12/12 Japan 中國 九州 八天美食之旅

1月 馬爾地夫

2月 西班牙


4/1~4/14 關東 東北 北陸 14天美食之旅

5/11~5/22 wakatobi

6/23~7/5 阿拉斯加北極熊 + 棕熊 攝影之旅


旅行,閱讀,然後,再旅行,再閱讀.....

2006/10/06

鴨寶寶Lina

就是愛這種大光圈造成的淺景深柔焦效果,這是鴨寶寶Lina,超口愛的。一般而言,陸地微距攝影,都以大光圈來製造淺景深讓視覺美感更集中。
My sister-Lina2

My sister--Lina1

my sister-Lina3

my sister-Lina4

2006/10/03

藍碧Kasawari Resort(新)







這是藍碧新開Kasawari Lembeh Resort的照片,對方寄過來給我們看,以便確認我們的行程,這樣美好的地方,怎可不去?該resort從八月初開幕至今,已經有百位客人進住,評價似乎很好,我想,KBR太過老舊,食物有點小味道,這裡應該都可以獲得改善,至於潛導程度,因為是專為攝影而設立的resort,應該有一定水準的。

就這樣囉,11/5到11/12將前往這裡潛水,目前攝影師Tony Wu正好在此附近拍照,最後有幾天會住到這裡來,剛好出發之前,可以先看看他的照片與相關資訊。

X-Ray雜誌下載

第十三期X-Ray雜誌已經出刊,可以下載喔。(這本雜誌涵蓋範圍廣泛,照片優美,編輯流暢,也是我愛的雜誌之一,當然,免費下載更是棒呆了)

X-Ray雜誌下載

2006/10/01

眼冒金星...Rebreather!

原文內容





安排在10月15日啟程到菲律賓技術潛水大本營--Atlantis學習Rebreather,老實說,網路上資料不太多,中文更是不用說了,完全沒有,這是一篇我認為寫得比較清楚完整的內容,想說在上課之前先稍稍預習一下,嘿~真是....快速看完兩眼昏花,慢慢看完有看沒懂,大概,還是得依賴現場教練的實地教學,就跟Nitrox一樣,理論內容繁雜無聊,考試可以過就好,而實地背起來簡單輕鬆....希望,一切過程如此美好!

總之,結果最重要,只要到時候...我的魚兒在我身邊與眼前游來游去,任由我拍照,不會被泡泡嚇跑,嘻,都值得了...