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The sharks of Geo!
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I S S U EN° 12F E B2 0 1 6
“REFLECTION FROM THE PAST”by D. SalvatoriCAVE DIVING (PART 2)by C. Llewellyn
AMOS NACHOUM & BIG ANIMALSSpecial interview
MEDITERRANEANGORGON STARFISHby F. Turano
RED, ROUGH ANDFLOATINGNew arms by Isotta
PORTFOLIOGeo Cloete
PAPUA NEW GUINEAWHERE DREAMS COME TRUEby Matteo Visconti
Cover image“Shark”
By: Geo Cloete
Dear Scubashooters,This is going to be a very special issue for our magazine. One year ago we decided to board this amazing trip publishing the number one. We were excited but also very doubtful about so many things; would people enjoy it? Would it be sustainable in terms of production and gathering of information? Just to say two of them. 12 issues, one year: it’s always time for some balance; not only the magazine proved to be worldwide appre-ciated by an always growing audience, but also proved to be su-stainable in terms of people willing to contribute to it in terms of photos, articles and of course advertisement. So we are very happy and proud here at scubashooters and we wish to say a big thanks to all of you dear friends.
But this is going to be an important issue also because the first edition of our big contest “Deep Visions”has come to its end and our jury made an excellent work in choosing the amazing winning shots. I would like to remember once again that this has been a blind judjung, meaning that the jury didn’t know the names of the au-thors; this is how the judging software platform has been thought and built for the purpose. Despite it was clearly stated in the rules that photos showing watermarks with authors’ names or logos would have been disqualified our jury found many of such photos and of course they were forced to disqualify them. This is a very sad outcome especially because many disqualified photos had the potential to be num-ber one or two in their own categories. Some others were disqualified because of animals showing clear signs of stress or framed in un-natural environment ( you don’t expect to find a nudibranch on a crab or a tiger shrimp “flying” mid water ). This is something we will start coming back to over and over in future, ocean con-servation and respect, we would like to point talented UW photographers as well as beginners to the correct behavior and respect of marine life and to increase their sensitiveness towards the so called “staged” shots, those photos were a creature is moved out of its natural habitat simply because not appealing enough or not color-ful enough onto a better and/or more colorful stage to get an eye popping photo; our idea is that in this way sure you will get the eye popping image, but a FALSE image, something you will not be able to see naturally thus exposing the creature to stress and possible death... It’s like movimg a lion from the savana to manhattan and set him free there just to get some amazing shots of the lion jumping onto yel-low taxis and between terrified people. Stay tuned for more on this.
Marino Palla Owner and Founder Scubashooters Network
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aQua magazinewww.revistaaqua.com
free download
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C O N T E N T S
Editor: FABIO STRAZZIVerein Scubashooters, 8952 Schlieren - Switzerland
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EDITORIALby Marino Palla
PAPUA NEW GUINEAWhere daydreams come trueby Matteo Visconti
PORTFOLIOGeo Cloete
“A MAN WITH A VISION AND A MISSION”Interview with Amos Nachoumby Amos Nachoum; Silvia Bogni; Fabio Strazzi; Mauro Mainardi
THE MEDITERRANEAN GORGON STARFISHby Francesco Turano
RED, ROUGH, FLOATINGby Davide Lombroso
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NEAPOLISInternational contest of
underwater photography
“REFLECTIONS FROM THE PAST”:David Salvatori’s first book
92CAVE DIVING.Can It Be Safe And Fun? (Part two)
by Christian Llewellyn
PAPUA NEW GUINEA
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The Papua New Guinea is definitely one of the most interesting goal for divers and not just for them, perhaps because we have always seen it in all those beau-tiful photos of professional photographers or perhaps because for each one of us Europeans being so far away makes itself even more interesting and wished.
The Papua New Guinea is one of the few destinations where luckily nature still reigns in all its forms and is still intact and not devastated from commercial fi-sheries.
I’ve been very lucky to win in a competition a big prize like ten days on Lissenung island in the sea of bismarck.The island is surrounded of wrecks from the Second World War, any dive sites are very rich of life and colors and all of them is 30 / 40 min far by boat.The best ones I still remember very well becuase their explosion of life and color-ful corals are for sure albatross pass, peter’s patch, matrix and lighthouse bom-mie.
Every dive you can go throught schools of jacks or barracuda, other predators such as sharks and tuna hunt frantically sardi-nes and other small fishes.Lionfish wait patiently glass fi-shes passing close by their mouth, colored anemones give home to different types of clownfishes and sometime if you take a look into the deep blue, you can see some eagle rays or some mobula “flying”.
Turtles will accompany you in al-most every dive.The Lissenung island’s crew is doing a great job of conservation and protection of this endange-red species, every morning they check out the island’shores and also the nearby islands looking for footprints that turtles leave when in the night they come to lay eggs on the beach.The eggs are then collected and
stored to prevent preda-tors until they hatch and then release into the sea.
Ten days in papua of course is not enough, so i heard about the chance to join the M/Y Febrina around the Kimbe Bay fully chartered by italian group Diving Tour by Sergio Riccardo.
Words and PicturesMatteo Visconti
(Part One)
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We had the entirely boat for us with two great dive guides who’s shown us any dive spots there.One of the best dive site i will never forget for sure is “father’s reef” where we had a spectacular encounter with a pregnant female of whale shark, we thing she is around 8/10 meters long and it’s so amazing to see this wondefull fish swim-ming to me, i have never seen such a beautiful show, I was so excited that I almost forgot to press the shutter button of my camera.
Restrof island is another place which impressed me a lot, not only for the ri-chness of its waters: co-rals, sponges and macro critters, but also because the colors of this beautiful island at the sunrise.
The PNG has been the far-ther trip I have never had, one of the most difficult journeys: shower, wash teeth and drink just by rain water, no internet, no hot water and no others
comfort, it was really a long trip with long stops over but it gave me also strong emotions both above and under water, it made me feel really on a movie like ju-rassic park or lost and in touch with nature always, but at the same time smiling and kind people made me feel at home.
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I want to thanks Ken Thogpila and all UWMP group for the great prize i won, Dietmar Amon for the warm welcome on lissenung island and Nozaki Fumiyo for guide me underwater.Thanks to Sergio Riccardo and Diving tour for great days on Febrina spent to-gether with the great underwater gui-ding by Joyce and Digger. Hope you like and enjoy my pictures in the same way they gave me emotions and feeling to and the will to save and protect this delicate ecosystem.
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For some of us, the allure of the ocean is so intense that it plays a pivotal role in our lives as we passionately long to spend as much time as possible on, or in, it. This soul-search-
ing as to why I have an undying love for the ocean that burns so fiercely in me, took me down numerous paths. Many varied conclusions were reached, but none which singularly captured the essence. For now, I am content to accept that it’s the sum of all those, and more, as to why the ocean forms an inseparable part of my life.
Subconsciously, it started years before I had even seen the ocean for the first time, but became a reality the day when a friendly surfer spurred me on to catch an incoming set of waves. The thrill and emotions I felt on that day as I sped down the unbroken face of a wave for the first time, is etched into my mind forever. I knew from that moment on, the ocean had opened its doors to a new child, for a life inside it rather than next to it.
Later on in life, scuba diving was added to my repertoire of ocean lifestyle. As I went through the mill of completing numerous dive courses, the burning desire to be able to capture the surreal world in an artistic manner just grew stronger and stronger. It simply is a wonderful world that it would be impossible to not want to share it with as many people as possible. Early on I also realised, that the more people get to see and appreciate the wonders of the ocean, there would be a stronger chance of creating a support base for marine conservation.
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It’s easy to forget when practicing a sport, hobby or activity, which is exclusive to a relatively small number of people, just how fortunate one is. I, therefore, consider myself privileged, not only for being able to explore the last “Great Frontier” in person, but also for being able to capture part of its beauty and to share it with a wider audience. It brings me great joy when people say that it feels like they are there, in the ocean, when looking at one of my photographs.
Both macro and wide angle photography equally appeals to me. Each discipline has such unique challenges and exposes me to such varied facets of ocean life that I can’t imagine shooting only the one or the other. To me, the ocean can’t be divided up in into shooting only one or the other. After all, it is that vast diversity which makes the ocean such an intriguing and magical place to me.
As a proud Capetonian, I have for years been promoting the city as a viable dive destination. Other than spreading the word, I have also created both a Facebook Group and Page. The sole focus of the group is to showcase the wonders which can be seen whilst exploring Cape Town’s underwater world from the shore. Many of which can be enjoyed by simply donning a wetsuit, mask, snorkel and fins. To visit the group, go to Cape Town ~ Just beyond the Shore-line ~. The Page, on the other hand, focuses on both shore and boat dives and thus covers a much wider area. To visit the page, go to Cape Town Underwater Photography.
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Those who have been following my career as an underwater photographer will know that I have been fortunate to have enjoyed great success in some of the top rated local and international photographic competitions. I am truly grateful for those achievements bestowed upon me. Ultimately I believe they have and will assist me in my main goal, that of cultivating a love for the ocean and its creatures and thereby aid the conservation thereof. Towards the end of 2015, I founded a company, Apex7, which will be making a positive contribution to the conservation of sharks. If you would like to read more about the aims and goals of Apex7 and how you can assist, please visit our Facebook Page or www.apex7.co
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This will be a day that I will remember for a long time: Sunday, January 17, 2016.The day I had the opportunity to meet a great person under every point of view.A person who has the power to elevate anyone who interacts with himA true legend, Amos Nachoum.Photographer and adventurer, he talks about his expeditions, his spec-tacular photographs, the awards won and his countless publications.What makes Amos especially a great person is his humanity.His humility, willingness and his love and respect for nature.All this shines through each of his words and gestures By this interview, I hope being able to share with all of you the emotions I felt talking to him.
When did you start tak-ing photos?I start taking photos when I was 20 years old and when people, my friends and my family, saw my pictures. They started to make me question, and that’s how I started tak-ing more and more pic-tures.And I realized that I had something to say.
I started the business in 1980, leading people in every part of the world, making pictures.Soon I realized that I became a businessman and not a photographer. Therefore, I decided to sell the company and go back to the pure pho-tography.Every good business needs to have something special, unique. That is
“A MAN WITH A VISION AND A MISSION”Interview with Amos Nachoum
aMos nachouM, silVia Bogni and FaBio strazziaMos nachouM and Mauro Mainardi
Words: Pictures:
what I under-stood.I noticed that in underwater photography… many people doing similar things, only about macro photography. So I wanted to do something about big fish-es.I also noticed that many of the stories about big fishes were negative stories.
All my experiences were positive: it’s all about the philosophy of a per-son, how we approach and reach things.This is why I started to work with big animals only.In the beginning, I was by myself taking pictures, telling stories and try-ing to sell them for money.However, when editors did not want to give me money for my pictures, I decided to leave this road.I decided to create small groups of person for realize a project of trips photography-based about the big animals.Small groups of two, four persons that will stay in a place two, three or four weeks (very ex-pensive, then) for and amazing result and ex-perience.This is the way I im-agined it, to join and enjoy my vision; and this has been a suc-cess that increases every year, because this kind of experience is unique.
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What is the idea behind “Big Animals”?The idea is that every profession needs to have a goal.When I decided to became a full-time photographer, I thought to myself,
“What is my unique gift to humanity? What am I do-ing? Just take picture?” This was not good.Not good enough for me.There is a Phi-losophy: “Mis-sion without vision is a n i g h t m a r e , and vision without mis-sion is a day-dream”.Therefore, I
need to have a vision and then a mission. The vision is what I see, and the Mission is “how can I make the vision become true”.Well, I was a photographer, yes, wildlife is one and underwater is a spec-ificity, but I needed a specific underwater: the “Big Animals”This make a difference.But it’s not just photography… one thing is just to take picture, but also taking people with me and showing them how good pictures are done.You have National Geographic, BBC, and Jacques Cousteau, everybody taking pictures, beautiful pictures, but no human interest.I want to connect human interest with nature even with the big animals and make it safe: this is my work, my mission.
We saw your stunning and amazing pictures everywhere. Can you tell us how do you succeed in capturing picture of such dangerous animals in their extreme habitat?
First of all, I don’t call them “dangerous”. If you call something “danger-ous”, you are mistaken.A “danger” happens only because you and I don’t do our homework.It’s not dangerous to cross the street with the green light, but if you are going to cross the street with the red light, there will be a danger.
What happens when you have to work in the wild? You have to go with somebody who knows nature very well.So, if tomorrow you have to go diving with the Polar Bear, you’ll have problems.But if you go with somebody willing to make you to pay the right price, not to make you save money and take shortcuts, it won’t be dangerous.If you pay the price for somebody who knows the job very well, like me, or like Inuit guides, or together as I do, I can show you that is not dan-gerous.That because before you pay me, I already spent several years in learn-ing, so I can make your process much faster and shorter.The same happen with the great white. I dive with the great white since 1980, 35 years.I know little bit better than most people How to be “easy” with the shark, so I can take you with me with no danger.
You had to introduce somehow to relate with these big animals. How did you do at the beginning?Well, you go there with no limit of time and no limit of money. Look for
the local people, ask them question and go with them. Work with them and stay there two or three weeks. Then come back and go out a second time. Maybe after two or three times in the field you can feel comfort-able and find out all the arrangements, the logistics features, emergen
cy rules and medical possibilities, how to take people out, how to bring people in, how to take care of the people and myself and then I can start bringing people.In July 2016 I am going to Russia to dive or swim with grizzlies, but I will go by myself first.I met operators there last February, I see the scene, they told me the story about the grizzlies, and I made build a cage for the dive. In August, I came back there, put the cage in the water and made two days taking picture for a try. Now we know we can do that. The next time I can go and take people with me, two or three people, not more.In business world, career and money are the problems, always. When you pay money and spend time, there is pressure to get good results,
and then you make a big mistake. And have troubles.But if I take only two or three people in 10-12 days, it will be easy. I don’t give in to a group pressure, I take the right time for the group and for the animal, and then everyone will be happy.It’s a different way of thinking.How many Ferrari
are built every year? 300, 400? And how many Mercedes or BMW? Many many many. That’s the difference
What was your favorite trip? Or your favorite animal?There is not a favorite trip or animal.My favorite thing is to wake up every morning and smile to the world because I have something else to do.I am not God. We are just messenger. God is in each part of us. We did not create ourselves; we are part of the environment. Creation is how we connect with the animals. There is a lot of philosophy about nature, we are just part of it, and we have to tell the story about Life and how to share it with the next generations.
With which animal you had more interaction?That’s the Polar Bear.I had a situation eleven years ago when I went diving with the Polar bear
and he went diving after me up to 25 meters deep.It was the first time I was really afraid in the water.Nobody knew that a Polar Bear could dive so deep. I am prepared to be different, and that things could be different, but sometimes it was scar-ing.I was back last August, we went diving again, and it was fantastic. So, I learn always-new things and I use it all to make it better next time.
Have you seen any changes in the environment and in the animals’ behavior in these years?Yes, there are big changes.Changes in the number of people, changes in weather conditions, and in pollution.(Amos show us a picture that show a Killer whale carrying a death new-born)This is because of the pollution in the Oceans, coming from agriculture that, for the fertilization of the land, comes to the oceans through the rivers.Pollution get into the krill, krill into the plankton, then to the herrings and to the Killer whale who gives to the newborn a concentrated milk with a lot of vitamins, but poisoned.Dolphins suffered about 30-40% more mortality in the last years because of pollution.These changes are also on the surface, not only underwater.The problem number one is the growth of the population on Earth, so we are invading territories where animals live and they have less places to feed on.But the point is that there is hope.The chang-es of the w e a t h e r are cyclical, we have to give to the a n i m a l s and to our-selves the time to adapt to the chang-es.
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We, the human race, can adapt much faster because of the technology, but animals need more time.We need to give to the animals the time they need and we can start do-ing this in our daily lives and especially in our activity. This is what I do with my work but also you with your magazine and all the people here today.We have to show to the rest of the world what happens, and let the peo-ple feel responsible and connected with the animals. We cannot say to the people what to do, we can make them love the images, the stories they show and then people will start to change some of their daily bad behaviors.Small things but from all the people, this is the chance to change.
Can you reveal a secret for all the photographers? What is your fa-vorite lens for big animals?Honesty I don’t have a favorite lens. My camera is just a tool.You cannot take a Ducati for driving in the Sahara desert, or a Ferrari to drive in Iceland in winter.With the camera is the same thing, camera is my tool and I choose in first place the story that I want to tell to the people. Then I choose the lens. Like a painter that choose his brushes, depending on what he is going to paint.I have never made one day of school about photography, but I went to look at all the successful painters of the past, to look how they created their masterpieces.I did it to understand the reasons why those paintings were so perceived, loved and famous.And I looked at the lines, the figures and the colors they create in their work.Underwater is the opposite: everything is already created. My respon-sibility is how to use the light and how to use the proper lens to tell the story I want to tell.It is not one lens; it’s a matter of “how do I translate what I see”.Modern photographers, and underwater photographers too, are mostly technical and they are not artistic, in my opinion, in my view.Most of them are running to buy the latest camera, the latest lens, but where is the soul and the art behind their pictures?
Is there a place you would like to visit?Let me think……Scala theatre, of course……..I joke, but there is a common sense between opera and wilderness.When you go to the wilderness you never know what could happen, sometime nothing happens.People put pressure because they have paid and they want to see some-thing special.
So I use to tell them “It’s not over till the fat lady sing” as we say in Amer-ica in cabaret and on Broadway.Even in wilderness, you can never say that nothing happens till the end.
Is there any animal you haven’t photographed yet?Of course. There is the Siberian Tiger because it’s very difficult, and the Grizzly underwater, but this maybe next time
Can you describe us differences between taking pictures with big animals underwater and on the land?First of all, there is a big difference between “taking” pictures and “mak-ing” pictures.Everybody can take a picture, but “making” pictures is very difficult.You have to see, to wait, to anticipate, to predict and to be ready for the moment.There is not just luck: luck is when preparation meet the opportunity.So, there is not differences between lands and underwater, the only difficulty underwater is that we are not born to move underwater and we’ve lost a lot of ours abilities and skills.Our brain is a computer that works well on repeated actions, but when we go underwater, there is nothing stable, our brain cannot find itself. Where I am? How do I breathe? Until you make yourself com-fortable in the water, you could not be able to express your cre-ativity.In very cold waters, like Sval-bard, everybody dive in dry suit, but with the dry suit, you have a lot of problems.Too much air inside, too many weights you have to use, so you are not in a comfort condition.For making good pictures in cold waters, I use a 7 mm wetsuit.This is the difference, this is the key: taking or making pictures.
Many thanks Amos.We hope to have soon again your pictures, your words and your adventures with us.
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When speaking of echinoderms, i.e., that group of sea animals usually equipped with “thorns on the skin”, we refer generally to the well-known sea urchins and starfishes. Just a few, instead, know that also crinoids (a.k.a. sea lilies), sea cucumbers and a special kind of “starfish”, if you really want to define them so, such as brittle stars (a.k.a. basket stars), are part of this family. Brittle stars, like stars, are made up of a central body where some arms graft, but there are quite clear differences between the two classes and some are eas-ily detectable even at a super-ficial examination. The arms, for instance, are always very long compared to the body, serpentine and, among other things, devoid of ambulacral wrinkles. The pedicels then, when present, do not serve for locomotion as it happens for the stars and sea urchins, but serve rather to allow the per-ception and catching of food. Brittle stars move thanks to their very mobile and prehensile arms, which use as a handle every ground roughness and all kinds of submerged object. The effectiveness of such a model of locomotion is greater than one would think since the brittle stars are, in all respects, the faster echinoderms. Most-ly sciaphilic, the brittle stars have nocturnal or crepuscular habits. During daytime, they usually refuge under rocks and in crevices, sometimes letting their long sensitive arms out, while they go out in the open at night. The vo-
racity of these animals is well known among researchers: it is difficult to observe other invertebrates more insatiable and willing to swallow any-thing. With amazing regenera-tive abilities, especially for the speed with which they occur, almost all brittle stars have also the possibility of ampu-tating arms, which remain easily into the clutches of the
THE MEDITERRANEAN GORGON STARFISH
Words and PicturesFrancesco turano
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aggressor while the brittle star moves away quickly. Among all species of brittle stars, whose fundamental characteristics we have just analyzed, I want to tell you about one in particular. A brittle star that, although being very difficult to meet under wa-ter for its ability to provide natu-ral camouflage and the deep en-vironments where it hangs out at, deserves to be known for its, to say the least, charming ap-pearance and its distinctiveness morphology and life habits. I am talking about the Astrospartus mediterraneus, also known as gorgon star because of its unique and curious look, which recalls the aspect of the Greek mythol-ogy’s goddess with thousands of snakes for hair. The family gor-gonocephalus, order eurialae (from Greek eurialae that, pre-cisely, is the name of one of the Gorgons), includes brittle stars
s p r e a d through-out the world, al-ways with m u c h branched arms. In the Med-iterrane-an there is a single species
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as, among other things, tells us the Latin name. This usually lives over 50 meters deep, in sandy, muddy and / or rocky environments, often using the ramifications of colonial coelenterates like sea fans to settle more or less permanently. This brittle star keeps its arms mostly curled up on themselves, literally “rolled up” one by one, opening them only during the night for the capture of the food. This makes this animal’s look completely different when seen at night or during the day. We may notice such differ-ences mainly in the Red Sea, where a very large species of this brittle star is easy to encounter because accustomed to climb up to very little depth overnight. The night dive will thus ensure the encounter with the tropical species, very beautiful with its unfolded arms, also because of its large size compared to the Mediterranean cousin. The Mediterranean gorgon star, to the contrary, is quite rare. Large just 40 cm in diameter with open arms, but with a charm all its own, perhaps due to the little information we have about its biology and the few images regarding it. Its tentacular arms, significantly branched from a short distance from the central disc, have the apices so much articulate and mobile that form a tangle where a precise form is difficult to distinguish. At first glance, one has the feeling of watching a confused hank of nylon or something like that. At closer ex-amination, it turns out a fascinating animal instead ... With the long arms extended, the gorgon star turns into a deadly trap for plankton, a tentacu-
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lar network that extends over a broad surface and capable of filtering many cubic meters of water in the unit of time, variable in accordance with the size of the animal. Dissecting a gorgon star, in its stomach we may find cope-pods, larval crustaceans and fishes, annelids, shrimps and much more. Not that I ever picked up a single specimen to find out the contents of its stom-ach, but someone did it for study purposes, allowing us to understanding many things. All this variety of prey, however, is not passively filtered from the water, but captured with appropriate movements of the arms. The thin extremities are capable of grabbing the plankton, holding it through sharp hooks scattered on the joints and blocking it with layers of mucus. In this way, each arm becomes progressively a preys’ collection center, which the arm itself conveys periodically towards the mouth. Meanwhile all the other appendices are outstretched and in action, continuing throughout the night. The Gorgon star’s arms movements, appreciable after dark, immediately brings to mind those of crinoids’ feathered arms. In fact, such movements have the same goal: the capture of food. How they feed and what are the preferred preys of these strange brittle stars, we know from studies made on their relatives from outside the Mediterranean. The family gorgonoceph-alus is present from the surface up to about 2000 meters deep. Equipped
with a small mouth and unable to bite or inoculate poisons, they join the dense range of filter feeders, using their intricate arms to capture what the sea currents incessantly convey. The best and richest currents must be sought carefully. This happens with clever movements of the star that, in the Mediterranean, lies fairly firmly on a gorgonian while in tropical seas takes refuge in the crevices to escape the daylight. Then, at night, it moves at the seabed to climb up, depending on the habitat, on coral pinnacles, sea fans, soft corals, sponges, sea pens or rock spurs more exposed to the currents. Generally, the marine biologist lacks the direct experiences in na-ture: in a nutshell, the practical observation. The underwater photograph-ic documentation, highlighting some unedited natural aspects, provides irrefutable evidence of some moments of animal life. Speaking of experi-ences in the wild, I think it is important to report that I observed the spec-imens I have studied and documented in the sea of Scylla, at the northern border of the Straits of Messina, on some Aegadian’s shoals and only a few in the sea south of Leghorn, at Quercianella, where, however, the specimens I encountered were small-er than normal (small and medium size). These lat-ter “Tuscans” Astrospar-tus were also found at less depths than usual, often in murky water because of the rocky and muddy sea-bed and of nearby rivers, although they are more common and often hosted by slender gorgonians of different species. On Scyl-la’s sea beds, where several shoals constituted by mas-sive submerged mountains are covered with a dense network of sea fans, and lapped by strong and fre-quent currents, we may find the astrospartus below 45 m depth always “hugged” to the gorgonians. Same thing for the specimens found in the sea of Cape Mi-lazzo, in Sicily, always cling-
ing to red gorgonians or white eunicella starting from 30 m deep. Nevertheless, the true realm of this strange animal is the Argentario coast, where we may find many speci-mens even not very deep. In some cases, there are two or three specimens for each sea fan, starting from 25 or 30 m deep. Always nearby the Ar-gentario cape, at the Middle Channel shoal, the number of astrospartus becomes really
exaggerated: a unique show in the wild. I also identified and photographed many specimens in Liguria (Cinque Terre and Portofino promontory) al-though here the depth chosen by this species is much higher. A beauti-ful specimen found in the early nineties, on the seabed of Scylla (Strait of Messina, on the Northern Calabrian side), gave me the opportunity to fol-low his biology for about six years, being a little more than 50 meters deep in a convenient location, allowing me to return several times to visit it. One day it moved, changing sea fan and gaining a few meters deep. Then it disappeared forever, without a trace. A highly successful period, which lasted just over a year, saw me busy with a beautiful specimen, which I photographed and studied carefully, at only 39 m deep. The favorable position, which saw the Gorgon star anchored to a sea fan on the highest part of a medium sized rock, allowed me to achieve among other things beautiful im-ages, even at night, the magic mo-ment to observe the animal with its arms wide open. However, the ar-tificial light, causing the closure of the arms, allows just enough time to make some shots before the ani-mal takes back the typical aspect it keeps during daytime.
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“Reflections from the Past” is a photographic exploration in the heart of Tirino valley in Italy, ending with a dive in the crystal clear waters of the Capodacqua lake.
The lake of Capodacqua is located in the Gran Sasso National Park and Laga Mountains, surrounded by unspoiled nature of vast archaeological interest. The cold and pristine water that feeds the lake comes straight from Gran Sasso along a 27km-long limestone path. The lake hosts two submerged Middle-age windmills and a partly emerged paint manufacturer, located on the edge of the basin. This year the lake was included by Sport Diver among the 50 Best Dive Sites in the World.
“Reflections from the Past” is a photographic book about Nature, history and culture. But ,even more, it is also an opportunity to tell a story about a positive change, a “journey” that each of us can undertake once in a life.
“REFLECTIONS FROM THE PAST”: DAVID SALVATORI’S FIRST BOOK
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My personal journey begins a few years ago, and water symbolizes the divid-ing line between my first and second life. Water was the conduit for intro-spection that led me to renew and become aware of the true and balancing essence of my soul when, at the age of 36, the passion for diving exploded inside of me; the romantic, utopian dreamer of my youth came alive again.Taking underwater photographs immediately revealed to me, a lover of the visual arts, a suitable way to show a new balance in my life; photography and diving was at first a catharsis and affirmation, and then became the tool to profess my infinite love for the sea and the creatures that inhabit it.
In recent years I have had the chance to travel extensively, and I am commit-ted to sharing my past experiences to capture through observance some of the most threatened aquatic species on the planet. I have used these pho-tos in competitions and publications, but until now I had failed to see in my work a common essence on which to base a project and articulate all that is required in the creation of a book.
The desire to go further, to leave the first tangible evidence of my passion for water and photography was very strong. As often happens, sometimes what is hidden right before our eyes is unexpectedly revealed: the lake of Capodacqua.
I have been diving in Capodacqua since 2011, but it was only this year that I realized this magical place, rich in history and charm, was the ideal place to begin my photographic journey. The crystal clear waters of this lake are the perfect means to seek out and discover yourself, a place where peace and tranquillity gives the opportunity for the spirit to grow.
Capodacqua is a unique place, and although well-known by underwater pho-tographers, no one has ever made it the subject of an articulated work. Its proximity to Rome gave me a chance to immerse myself seamlessly and ea-gerly. The submerged watermills are the most famous, but in combing the lake inch-by-inch I had the ability to find my voice. It was here, in the quiet solitude of the cold waters of the lake, that I finally found the way to inter-pret myself, the key to the title of my book.
So, “Reflections from the Past” is a book where the reader can find an obvi-ous photographic line that connects all my work: those of reflections of the images on the separate surfaces of water and air. Even more so, the reflections on Capodacqua seem to come from the past: the stones of the old mills that are reflected on the surface of the crystal waters of the lake tell of a unique area, of saints and warriors, popes and princes, give the perception of something that was, that no longer exists, yet continues to exist through a transformation, immersed in a dreamlike
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dimension. The suggestion is to perceive only the reflection, while the object and story belong to the past.
As such, “Reflections from the Past” is also a story of extraordinary Italian history, a contribution to the recovery of the central role that our country has always had and deserves to have in world culture.
Reflection is in the end an instrument “of reflection,” a mirror to past fears and troubles, for which the exploration of Capodacqua and its surrounding areas is a “journey” whose powers of suggestion become encapsulated and processed in a symbolic way. The final goal is the achievement of a positive thought, peaceful, calm and as clear as the lake’s water; the communion with water being the road to rescue, the map to discovery of what is true and real in life. A “journey” that everyone should take.
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Words and PicturesdaVid salVatori
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WHERE TO BUY
Online on www.reflectionsfromthepast.comDiving SUBAIA CAMPANIA DIVERS - Bacoli (NA) - ItalyScuola Sommozzatori ATLANTIDE - Capodacqua Lake (AQ) - ItalyDiving AMICI DEGLI ABISSY - Castellamare di Stabia (NA) - Italy
ABOUT THE AUTHOR
David Salvatori started underwater photography in 2008. Since 2011 he is participating in the most important national and international compe-titions, achieving many recognitions and awards.
His main interest is around nature photography and conservation is-sues, to which devotes his travels around the world. In recognition of his activities and awareness of some of the most endangered species of the planet, he was selected as a member of the Ocean Artist Society in 2015.
David’s website: www.ilmaresonoio.com
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Thanks to the willingness of the company Isotecnic by Elisa Isotta, I had the chance to try and test the new floating aluminum arms, designed and produced by Elisa, Egidio and Andrea.
Usable both for reflex and for compact cameras housings, what strikes at first sight is the maniacal and accurate workmanship with which they are built. The now famous and classic Isotecnic red color enhances the com-pactness and satisfies the eye.
As soon as in my hands, I immediately assessed the excellent finish of the sli-ghtly rough aluminum, which limits the risk of slipping from the hands during the various handling out of the water.The sphere diameter of 25 mm, equipped by an OR around its circumference, allows a perfect blocking of the clamp.
It is easy to notice that a small Allen screw holds the sphere in its seat. Through this screw, it is possible to replace the spheres themselves for usa-ge with models adopting 20 mm spheres, for those using such system. The produced range consists of arms with diameters of 50 mm and 70 mm and different lengths for usage both in macro and wide.Each single floating arm has stamped, on its ed-ges, the length and the positive thrust, very use-ful information for an immediate calculation of which and how many arms you require.
Obviously, also a wide as-sortment of clamps for different assemblages is available.
RED, ROUGH,
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MY PRACTICAL TEST
Once into the water, it is easy to handling the clamps even with winter gloves, thanks to the generous size of the handles.The different working posi-tions allow total freedom of movement to the arms and, even without tightening the clamp completely, the sea-ling is perfect thanks to the OR on the sphere which, operating the proper clutch, gives the possibility to keep the flash in every position.To take pictures, I use S. & S. D1 flashes weighing 650 gr. on the ground and -0,5 gr. under water, therefore relatively light and ma-neuverable flashes, that the arms could easily support both outside and into the water without having to tighten firmly.
I performed the testing using the following configuration:
- Isotecnic housing for Nikon D7100- Tokina 10-17 lens with Isotecnic mini dome port- Nikon 60 mm, Nikon 80 mm and Sigma 105 mm lenses with Isotecninc port and extension
- For wide angle pictures, 2 floating arms L = 220 mm, Diam. = 50 mm, positive thrust 290 gr. each + 2 normal Isotecnic arms L = 220 mm
- For macro pictures, 2 floating arms L = 120 mm, Diam = 70 mm, positive thrust 330 gr. each + 2 normal Isotecnic arms L = 140 mm
Words and PicturesdaVide loMBroso
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WIDE ANGLE CONFIGURATION- slightly negative buoyancy, which I prefer;- depending on the strobes position, forward or backward, the buoyancy changes a little but it is not annoying. In fact, I think that it might even help in case of current- with my flashes, the housing takes a trim manageable with only one hand that does not strain your arm even after one hour dive- the joints work extremely well, and can be blocked or moved under water without efforts and without any problem- the diameter of the floating arms does not cause any discomfort either during transportation nor while diving
MACRO CONFIGURATION- practically neutral with the 60 mm lens, great trim- trim slightly negative with the 85 mm lens. Very good set-up for macro or underwater photo safari. One-hand transportation while diving is not bothering. This configuration is the one that pleased me the most- the trim with the 105 mm is definitely more negative, since the Sigma’s weight is remarkable. Obviously, using longer arms that give more positive thrust, it is easy to balancing out the negative buoyancy
RESULTSThe arms are excellent and allow immediate adaptability from the first dive. They are impeccably built, but this is not a newness, and the clamps tighten perfectly. You can handle these arms with ease and lightness, thanks to the 25 mm joints. The housing’s trim varies very little in any position, ei-ther the configuration is wide angle, macro and super-macro or underwater photo safari. Once identified the length and buoyancy needed, even the eye is gratified by seeing the “red” housing and arms complex.I strongly recommend to DSLR users to try the floating arm also as a car-rying handle, mounting it above the housing: a “must”
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“Neapolis International Contest of underwater photography 2015” is the title of the exhibition-contest organized by underwater photographers Pasqua-le Vassallo, Guido Villani and Paolo Ardizio, in co-operation with a scientific committee represented by Prof. Gian Carlo Carrada.
The event has been sponsored by the City of Naples and supported by many sponsors.After the great success of the 2014 edition, held at The Terraces at Castel dell’Ovo, this year the event took place at the Casina Pompeiana (Nov. 3 to 9), inside the Villa Comunale in Naples.The Award Ceremony took place Saturday, November 7.
The eventful day saw the presentation “Sharks in Naples” by Eleonora De Sabata, project manager Stellaris, and Mr Pasquale Manzi, owner of Bikini
Diving Centre at Castellammare di Stabia (NA).Afterwards, David Salvatori introduced Italian Underwater Photographic Society (IUPS) - initiatives and future projects.
On exhibition, a personnel by Sergio Riccardo “Jaws: An endangered predator” and some pictures by the members of the jury of “Neapolis 2015” Enzo Troisi, David Salvatori, Guido Villani and Pasquale Vassallo.
In the evening, the President of the jury Dr. Enzo Troisi presented a short report about the quality and quantity of the participating photographs.
The event summoned a strong presence of audience and award-winning photographers, coming from many parts of our country and some from abroad, with the participation of the Mayor Luigi De Magistris and of the Tourism and Culture Councilor Dr. Nino Daniele.
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MCH6SR.indd 1 27/07/15 16:58
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CAVE DIVING.Can It Be Safe And Fun?(Part two)
Words and Pictureschristian lleWellyn
I can still remember my first happy trip to Mexico and the joy of receiving my first temporary certification diving card. Finally I was ready to explore underwater and really push my boundaries. That was until my diving in-structor asked me if “ I Would like to go Cenote diving at the weekend?” My initial thought was that cave diving was dangerous, and not really a great pursuit for a novice diver. However once I entered the gateways to the Yu-catn’s underworld I had no regrets with my choice.Underneath the Yucatn Penisula run three of the longest water systems in the world. Controlling the location of human settlement in this area for thousands of years. The Mayan people could only access this precious water through sacred entrances called “Cenotes” This was a path into the underworld, and was filled with their gods and spirits. They are formed through the Combination of subterranean cave ceilings collapsing and the
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gradual erosion of the lime-stone bed. Which has created a magical world with caverns, tunnels and mystery.For divers news and informa-tion on cave diving has some-times revolved tragic stories of cave systems taking lives, or terrible hazards that were encountered by untrained divers. Creating for some a belief that professional cave divers should only underta-ke this endeavour and that an average diver should stay away at their own peril. Of course you should never dive passed your experience level and never enter a new envi-ronment without the correct training. Such cave training is available throughout the Yucatan to the highest levels, but if you simply want a glimpse at this magical world do not worry. As there are safe and visually stunning cenotes to dive around the Playa Del Carmen area for any average diver who has good buoyancy skills and a bit of confidence. On my recent return visit to Mexico I had the pleasure of following guides from “Phantom Divers,” who are based in central Playa Del Carmen (If you want easy access to all the dive sites on this peninsula then chose Playa Del Carmen as your base) Phantom Divers have a charismatic team of enthu-siastic divers full of local knowledge. They can offer you numerous cenotes based upon your level of experience. I wanted to check out the entry-level dives and was advised to choose two sites. The first would be Chac Mool. Then for a more advanced dive to a sinkhole called Muyai-Ha. Chac Mool: Dive site one.On arriving to Chac mool I was impressed to see well organised kitting areas, with purpose built tables, on site toilets, a café and a large seating area. Gone were the days when there was only the jungle and the cenotes. Detailed maps of all the caves were in place for well-organised dive brie-fings explaining all necessary safety procedures. This covered everything
you would need for a safe and pleasurable dive. Including: • The route through the cave system, following the line and staying within the light zone. • Enforcing good air consumption management skills by using one-third of air going in, one-third of your air to exit and leave one-third as a reserve. • Torch use and giving signals. • Equipment check. • Your positioning and style of fin kick best suited for cave diving. • Good buoyancy skills (As not to hurt any of the fragile topo-graphy underwater). • Focus points and entry/exit procedures.Instantaneously as you descend into this ethereal world and look back at the light hitting the surface. You can understand why the Mayans believed that these pools and caves were truly spiritual. You observe breath-taking silhouettes of divers effortlessly floating through the clear water, with li
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ght shards dancing in the background. The maximum depth on the dive was no more than 40ft – 12m and following the guideline you will have an excellent dive profile with easy access to the light zone at any time. You are able to see all the stalactites, stalagmites and the stunning visual panora-mas. Then at around 30ft – 9m you descend through a metre layer of what seems to be like jelly, but it is actually where the deeper saltwater meets the fresh water. A weird sensation for the senses, as visibility is definitely an issue if you stay at this level. However once though it the crystal clear water reappears. Of course everyone is safety conscious here, and there underwater signs showing the forbidden tunnels leading you further into the cave system and the perils of entering them without the correct gear and training. After a half hour surface interval we were taken on our second tour of this mystical underworld. Cenotes seem to have their very own characteristics and individual focal points. As on this dive we were able to see naturally for-med ceilings, which could only be compared to works of art. Large groups of glorious stalactites hung from the ceilings, while cho-ruses of stalagmites lay be-neath. Even a subterranean tree root had squeezed its way into an air pocket so it could sip the fresh water. As you head back to the li-ght zone you feel truly hum-bled by the experience and privileged that you could witness such beauty. Back on the surface you can re-lax, take a breath, d-kit and try out some of the amazing local cuisine and hospitality. Muyai-Ha: Dive site two.Our second dive site was around thirty minutes north of Playa Del Carmen, with a short drive through the jun-gle and access via a private road. The Muya-Ha sinkhole is an oasis in the jungle with topography constructed of sheer vertical walls leading
down to the surface of the dark clear water. There were kitting up tables and stairs down to the water making this an easily accessible dive site. Our briefing described this amazing natural oc-currence where by the cave ceiling had collapsed leaving the vertical sides, with overhangs and small side caves. At the bottom of the sinkhole lays all the leaves, trees and animals that have fallen into it. Over time it has all started to decompose and create a sulphur layer lying over the bottom. This slowly rises through the depths creating layers of mist around 100ft – 30m. Deep diving experience and training is needed so that you can ob-serve this oddity. While on the second dive we would mostly be exploring a cave, the overhangs and all the large stalactites. So with our torches and cameras at the ready we strode into the pit.Descending into the dark water, your eyes slowly adjust and you start to see mist rising through tree branches, roots and leaves (Which are lying, on a central mound). All around the torchlights explore this surreal wor-ld, which forms around us. You feel like you a floating through a film set.
Your profile slowly winds rising back to the surface. Which leads you up to the overhang and the remains of the caves ceiling. This is where our explora-tion took us on our second dive. The impressive sta-lactites and topography gi-ves you a glimpse at what the cave structure might of looked like in the past. It ma-kes you question had early man lived in the cave before the water rose in the area? Ascending back to the sur-face you can see the jungle looming above you through the water, and you under-stand how easily people can get really passionate about cave diving.Diving the sacred cenotes of the Yucatan peninsula is as visually impressive as vi
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siting their Mayan temples. You truly dive into a different world, but as you leave you know that you will be pulled back to theses mystical loca-tions in the future. There are many recreational cenotes available for the average recreational diver in Mexico, but to discover the true underworld you need the correct training and experience. As there is a reason why the deep technical cave systems of the Yucatan have only been viewed by the privileged few.
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