In my prior newsletters I discussed point-and-shoot digital systems. They are easy to use, moderately priced, and produce excellent images. However, they do have limitations. When the ambitious amateur wants a mote creative tool, then it is time step up to the SLR system.

The Single Lens Reflex, better known as the SLR, is a camera consisting of three parts: the body, the lens, and the charge-coupled device (CCD). This is a camera that allows the photographer to view the image through the viewfinder, not on the Liquid Crystal Display (LCD) as you do on a point and shoot.

The image is passed through the lens and is reflected onto a mirror. The image from the mirror is then displayed on a prism allowing the photographer to view this image as he/she sees it through the viewfinder.

The instant the shutter is activated, the mirror moves out of the way and the image is recorded on the CCD at the exact same moment he/she sees it through the viewfinder. What you see is what you get.

An SLR system is more sophisticated and therefore more expensive than a point and shoot. So before you buy, I strongly recommend you get in touch with a photo pro. Set up an appointment to discuss your interest in selecting a camera, housing, and strobe. Make sure you make it known how much you can afford. Make sure the photo pro knows his business. Steer clear of sales clerks in dive shops, camera stores that deal only in topside cameras, mail order outlets, or online sales personnel who haven’t the slightest idea what to recommend. You could be wasting your money on a system that will not suit your needs or fit within your budget.

There are many selections on the market. Hopefully the following will make your selection an easy one.

SLR Camera Body
For those people ready to advance to the new autofocus SLR digital, I recommend you look at a medium-priced body. The high-end camera is not always the best way to go. Leave the expensive ones with a multitude of bells and whistles for the pro who makes a living at photography. Many times the medium-priced camera for underwater use offers more versatility than the ones that cost megabucks.

While the camera body, sensors, and mechanical parts are important, it must have all the features and controls that will give you the maximum quality for the dollars you spend. Nikon and Canon are the benchmark for the pros. The manufacturers of housings lean toward both for a few of their top sellers. Narrow your choice to either one. Look for a body that is affordable and one that offers 5 to 8 megapixel resolution, with the necessary functions for underwater photography. If you have the budget, go for the 8 megapixel camera.

Lenses
Choose your lenses with care. The lens is the tool that creates the image. The lens is the most important part of the system.

It is best to have two prime (fixed) focal length lenses that are made exclusively for digital cameras, one wide angle and one macro. This combination gives you the best of both worlds for underwater imaging.

My choice for wide angle is a 10mm or 15mm with an aperture spread of f/2.8 to f/22 behind an 8-inch dome port. These two lenses are great for extreme close-focus wide-angle images taken within inches from the dome port to infinity with excellent clarity and sharpness. When concentrating on pelagic and wide scenic shots, the wide-angle lens does a most excellent job.

The second lens should be a macro lens behind a flat port. This lens will give you coverage down to and including 1:1 reproduction of the small critters. The most common macro lenses used in underwater photography are the prime (fixed) 60mm and 105mm. Ask your photo pro about the differences between lenses. He can tell you what each lens can do for you. All macro lenses should have an aperture range of at least f/2.8 to f/32.

Yes, you can use lenses that were made for the film camera—if they fit and work on your digital SLR. However, these lenses have a focal length multiplier of approximately 1.5. Example: the focal length of a 16mm film lens has the approximate field of view of a 24mm lens when used on a digital camera.

Reason: the digital CCD which is used in lieu of film records incoming images electronically. The CCD is smaller than 35mm film, therefore cropping out a portion of each shot. The 35mm camera that produced a full view of the scene is now recording approximately two-thirds less than that of a 35mm film area. It’s not as bad as it seems. So if you have lenses previously used on a 35mm camera you can use them, but be aware that the coverage area will be smaller and you will need to compose accordingly.

A word about zoom lenses for underwater use
Zoom lens design for the manufacturer is complicated. The more range you try to put in a zoom lens, the more compromises you must make. You lose quality in order to get range. Often people seek a wide-range zoom to duplicate what they could do with a point-and-shoot digital camera on land.

I don’t recommend long-range zoom for underwater photography because people have a tendency to shoot subjects too far from the camera. They zoom in on a subject that is too far away and cannot be sufficiently illuminated by strobe or natural light. Long range zooms also compromise depth of field. Images appear too blue and fuzzy. When this happens, I hear people complaining all the time that their images are terrible. Where is the color? The picture is out of focus! What am I doing wrong? The camera is junk!

The camera is not junk. The image is terrible because the photographer was too far away from the subject. No matter what camera you use underwater, be it a $1000 system or a $5000 system, the image will be bad if you don’t get close enough to light it.

If you insist on purchasing a zoom for underwater because it’s cheaper than buying two lenses (a wide angle and macro) go for a short-range 10-18mm or 12-24mm zoom. These short-range zooms are less compromising and produce very good results. Some people master them, and most do not.

Get a medium range zoom with a focal length of 18mm to 55mm for topside photography only.

The Underwater Housing
So you now own a digital SLR and you want an underwater housing. You begin an intensive search for a housing but find out no one makes it. You spent megabucks on your camera only to find out you can’t use it underwater.

If you are going to make the jump into an SLR, find out what underwater housings are available before you buy!

If you are serious about learning how to be an accomplished digital still photographer or videographer, please join us in La Paz at The Underwater Imaging Academy October 10 – 16. See our website for details. www.JoeLiburdi.com

Closer to home, Joe is offering private photo lessons at a reasonable fee of $50 per hour, minimum three hours. The classes are one-on-one and conducted either at his home in Aliso Viejo or at Liburdi’s Scuba Center in Costa Mesa. By appointment only. Call 949-448-0499 or e-mail Joe at orca2@cox.net .

New PADI Digital Underwater Photographer Course will be given at our Underwater Imaging Academy in La Paz.. For details please visit www.JoeLiburdi.com

This offer is incredible! Here is a top-of-the-line underwater video system designed for professionals and very serious amateurs.