Atlantis Dive Resorts Celebrates New Atlantis Infiniti Liveaboard with Special Discounts
If you have even a passing interest in diving the Philippines, you will know of Dumaguete’s mind-blowing critters and Puerto Galera’s stunning coral diversity, and you’ll also know that Atlantis Dive Resorts has a home in each of those prime locations that will serve your every need as an underwater photographer. But what you may have missed is that Atlantis also gives you the option of venturing further afield via their liveaboard Atlantis Adventurer, including the best of the Visayas and Tubbataha regions.
Now, with the acquisition of the Infiniti at the end of last year, Atlantis has greatly increased its offerings with the addition of a second liveaboard. Appropriately named Atlantis Infiniti, the 39-meter (128-foot) metal-hull vessel boasts 11 cabins with ensuite bathrooms, a spacious lounge and sun deck, and of course, a fully equipped camera room. (Our favorite part: The snack and drink bar, which is open all day, offers complimentary beer, wine and local rum!)
To mark the occasion, Atlantis is offering some great deals on upcoming trips—20% or 30% discount on selected itineraries till the end of the year. Check out the press release below and head over to the Atlantis website for information about availability on the new Atlantis Infiniti.
PRESS RELEASE
Introducing Atlantis Infiniti
We are excited to share fantastic news from the Philippines!
Last October Atlantis Dive Resorts and Liveaboards completed the purchase of the Infiniti liveaboard.
At 39 meters long, the Infiniti is a metal hull, IACS (RINA) classed Liveaboard. Spacious and comfortable, the Infiniti is fully air conditioned with nicely appointed indoor areas, a large, fully equipped dive deck with personal diving stations, and a beautiful lounge area and sundeck on the upper deck. The Infiniti offers 11 spacious cabins, all with ensuite bathrooms. The Infiniti offers guests 4 dives a day, and when possible, a 5th dive as a night dive.
Atlantis acquired the Infiniti Liveaboard late last year to increase our liveaboard offering for our guests. We are operating the existing charters until July when we will begin a two months drydock. Extensive upgrades will take place at that time including increasing the size of the dive operation, new chef’s kitchen, refreshments to the interior and exterior as well as mechanical and safety upgrades!
The Infiniti offers three different itineraries, each is 7 nights: Tubbataha, departing from Puerto Princesa, and Visayas North and Visayas South, departing from Dumaguete. Visayas North takes divers to Malapascua, Southern Leyte and Bohol, while Visayas South takes divers to Cebu, Bohol and Negros.
Atlantis has a resort in Dumaguete; you can easily combine the Infiniti with Atlantis Dumaguete with no extra transfers and not losing any dive days!
Infiniti Celebration!
20% Tubbataha June departures!
30% off our standard rates for August 30th and September 6th departures!
All remaining Infiniti 2025 Visayas departures are confirmed, and 20% off!
In this section of our three-part series about traveling with film, we’ll talk about the mode of travel most fraught with peril for film photographers: Flying. Back in the pre-digital days, flying with film was a no-brainer; you could pack your camera gear and buy all the film you needed at your destination (and perhaps get it developed there as well). Today, film is harder to find and airport security is tighter (and potentially more harmful to film), so airborne analog photographers have to do a bit more planning.
(Note that the information in this article is specific to air travel in the United States. Other countries may—and likely will—have different regulations and procedures.)
Here’s the big problem for airborne film photographers: The scanners and X-ray machines used for luggage inspection produce light energy to which film is sensitive. These machines can potentially “fog” your film, causing dark spots or waves on the negatives (or light spots on slides) as if the film had been exposed to light. So the challenge when flying is to minimize or avoid situations that could potentially damage your film.
Note that only undeveloped film is subject to damage. Developed negatives, slides, and prints are no longer light sensitive and cannot be damaged by airport security equipment.
Can you avoid X-rays altogether?
Depending on your destination, it may be possible to avoid bringing film through the airport altogether. If you’re traveling to a big city, you might be able to buy your film locally. If you’re staying at a high-end hotel with a concierge, they may even be able to buy film for you (but beware of hefty prices and fees). You may also be able to mail-order film and have it sent directly to your lodgings; check with the property first to see if they can receive packages (and bring a couple of rolls in case your shipment is lost or delayed). Likewise, if you use mail-order film processing, consider sending the film off for development from your destination before you leave for home.
Never put film in a ‘checked’ bag
Do not put unexposed or undeveloped film in checked baggage, ever. The scanners used for checked baggage are more powerful than those used in carry-on luggage and will very likely fog your film. Film and loaded cameras should always be taken in carry-on luggage.
Always carry your film onboard with you. To avoid a potentially destructive zap from the X-ray or CT scanner, stow (preferably) unopened film in a clear plastic bag and ask for a “hand inspection” at security. Dan Bracaglia
A related side note: When booking your airline tickets, beware of “Basic Economy” tickets, which do not always allow carry-on baggage beyond a small personal item. Buyers of these tickets often board last, when carry-on storage is full, and will sometimes be forced to check their baggage (for a hefty fee), where it could be subject to harmful scanning at stopovers. If you are traveling with film, make sure your air ticket allows you to bring carry-on luggage, and pack your film (and cameras) in a bag small enough to join you in the cabin.
Film in carry-on baggage: Ask for a ‘hand inspection’
The Transportation Security Administration (TSA) says that the X-ray machines it uses for carry-on baggage are safe for photographic film up to ISO 800*. We’ve had slower film scanned with no ill effects, but we also understand that the effects are cumulative and that multiple scans may cause fogging. (We asked TSA if we could run some test scans at our local airport; they politely denied our request, citing security concerns.)
Fortunately, there is one good way to ensure your film will not be damaged: Ask for your film to be “hand inspected,” regardless of its speed.
*Note that at some airports, TSA is introducing more powerful CT scanners for carry-on luggage, which can damage even slower-speed film.
The PopPhoto guide to hand inspections
First: We recommend being patient and polite with TSA agents. Remember that their first responsibility is security, not customer service—and also that they’re subject to a lot of vented frustrations from harried passengers. There’s no need to show fealty; simple politeness and civility will get you a long way.
Film photography is popular enough that most TSA agents should be familiar with hand-scanning requests, but it does slow their workflow. When traveling with film, we always allow an extra ten to fifteen minutes to get through security (a margin we rarely need).
We recommend carrying your film in a clear plastic zip-lock-style bag, with which TSA is familiar. Leave your rolls in their plastic canisters and/or sealed packaging whenever possible. We try to keep our cameras unloaded so they can pass through the X-ray machine, but loaded cameras can also be hand-scanned. Anything you’d like hand-inspected should be kept where it’s easily accessible; a backpack is preferable to a suitcase that must be unzipped.
Before we put our luggage on the belt, we remove our film and loaded cameras, catch the eye of the nearest TSA agent, and say, “I have some film (and cameras) I’d like to have hand-inspected, please.” If asked if the film is under ISO 800 we either say no or (to avoid fibbing) tell them it’s going to be pushed and shot at a higher speed. (They may not know what this means but will generally accept it.)
It’s best to hold off loading your cameras with film until you’ve reached your destination. Getty Images
After walking through the scanners we try to stand somewhere conspicuous without blocking the flow of passengers. Film is usually checked by the same agents inspecting bags that have been pulled for secondary inspection, so there may be a wait. The inspection usually consists of swabbing the individual rolls, then putting the swab in a machine that checks for explosive residue. We’ve occasionally had requests to open boxes and always say yes (so long as they don’t pull your film out of the canister or unspool your 120 rolls, it’ll be fine). Once the machine gives the agent the green light, you’ll likely be sent on your way.
Going home: Have all film hand inspected
Once your film has been shot, it’s still sensitive to light and can still be damaged by scanners, so be sure to have all of your film, shot or not, inspected by hand. We must reiterate: Do not put undeveloped film in checked bags.
If you’ve had your film developed while on vacation, there’s nothing to worry about—as we mentioned earlier, developed film, negatives, prints and slides are not light-sensitive. You can safely put them through the scanners or in your checked baggage.
What about lead-lined film bags?
Several manufacturers offer lead-lined film bags that claim to protect the film from X-rays. (We do not know if these bags protect against CT scanners.) We haven’t tried one in recent years, but if the bags do block X-rays, they will likely show up as a large dark blob on the security scan, which is likely to trigger a secondary inspection. We find it easier to simply request a hand inspection and avoid the inconvenience of having TSA unpack our bags.
Advice for other countries
While we’ve never had a request for hand-scanning denied in the US, we have been refused in Europe, and we don’t know if this was down to security procedures or a language barrier. For this reason, if you do travel with analog cameras overseas, consider bringing a slower-speed film, which is most likely to survive scanning with no ill effects. That said, we understand that some European countries are also introducing CT scanners for hand luggage, which is much more likely to fog film.
Ultimately, it’s best to check the official website for the security agency of the country to which you are traveling. If they don’t have a clear-cut policy covering film, you might want to consider traveling with a digital camera or making provisions to mail your film home before you leave.
I do a little moonlighting for a small computer and imaging company that rhymes with Snapple. They are under the mistaken impression that my nearly 40 years behind the camera means I know what I’m talking about. Still, I like the challenge. One of my first tasks as their Creative Storytelling Specialist (yeah, I don’t know what that means, either) was to help the engineers understand mood as it relates to picture-making.
So to get a head start, I did some poking around the internet in hopes that people with greater minds than I had already articulated the idea of mood. Mostly what I found was the advice to “put more mood in your photographs,” as if I were being told to add more salt to every recipe. Not helpful.
The problem with mood is it’s not really one thing. Add mood? What kind of mood? If mood is about emotional connection then surely we can be more specific about which emotions. But before we disregard the advice entirely, it’s worth acknowledging that it comes from a good place, a recognition of the power of mood.
The desire for more mood in our photographs—not unlike the desire for more salt—is a desire for more flavour. Only in this case, the flavour is emotion. It’s a desire to move beyond the pursuit of perfection in our images toward something a little more poetic. Poetry is about feelings; unless you’re working as a forensic photographer, feelings are probably something you hope to stir with your photographs. And that requires interpretation. It requires making choices that sway an emotion one way or the other. It requires taking some risks because almost every choice that leads to more emotion in our images is a choice that deviates from the playbook we were all given with our first cameras. It’s a move away from average and towards more flavour. Pass the salt, please.
So back to my early efforts to articulate mood as a powerful tool (more like a toolbox, really) in photographic expression. Once I got over the confusion about why so little insightful information was out there, here are the first three realizations I had.
You Can Learn Mood
Mood isn’t the result of secret techniques, or even advanced techniques. It’s more a result of refined sensibilities. Maybe it’s also a matter of priority. It’s in looking for it, chasing it. It’s in recognizing it when you see it and knowing which choices can amplify those emotions through the image. And those are all present as visual cues that we can see and learn from. You can learn this.
Set the camera aside for a moment and think about a photograph that you love—one that stirs something in you. Maybe one of the iconic images that made so many of us feel the power of the photograph and want to pick up the camera ourselves so we could find that power and beauty. What makes you feel the way you do about that photograph? Is it only the subject matter?
I love bears, but not every picture of a bear makes me feel anything. Some make me feel bored. They lack mood. But the ones I love? It’s more than a bear. Bear in great light, perhaps. What kind of light is it, and what did the photographer do with it? Maybe it’s a bear in a great moment. Maybe it’s the camera placement or a story implied by other elements in the frame. Maybe—probably—it’s all that. Whatever it is, you feel it because of something you see. And if it’s something you can see, it’s something you can learn.
In short, don’t spend more time studying your technical tools than you spend figuring out your mood tools.
Light Is Everything
The first thing we look to when we chase mood is light. And so it should be. Light is so often the first thing that hooks us. We feel something about light that resonates with us. We feel differently about backlight than about front-lit scenes. We feel differently about softer light than light that’s more direct and makes harsh shadows. We respond to the shadows and reflections created by light. Where light is concerned, what we seem not to respond to is, well, boring light. Average light. That’s not to say you can’t make expressive photographs in boring light, but it won’t be light to which we respond but something else. A different hook. So if light is so powerful, why do photographers insist on painting with anything but light that has the power of an emotional hook? If you want mood, look to the light.
It’s Not All About Light
At the same time, it’s not all about light. There’s a reason photographers use different focal lengths, and it’s not just to “get more reach” or get more in the frame. It’s because different lenses feel differently. They interpret a scene differently. So do the places in which we put the camera. And the weather. And our choice of moment. Of course light isn’t truly everything. All our choices, all the elements, are everything.
And that’s the problem with “put more mood into your photographs.” It’s every decision we make—or it can be. But here’s the other problem with mood: there are no rules. There are hooks, elements and choices that we do or don’t respond to, but there’s no playbook. Not really. And so it comes down to having a sensitivity to those hooks, taking risks, and knowing what stirs the OMGILT (Oh my God, I love that!). Many things stir emotion in our images—and nearly infinite combinations of them—but you won’t love to use them all. You won’t love the same colours I do. You won’t be as excited by the same focal lengths or perspectives nor drawn to the same subjects or stories.
Your Turn. There’s a Prize.
Are you up for an exercise? How about if I put a prize on the line? In the comments on my blog, tell me about that photograph I asked you to imagine a few paragraphs ago. Describe it. Tell me why you feel the way you do about it. It’s probably not just one thing, but many. What gives that photograph its mood, or what makes you feel the way you do about it? Don’t hold back. I’ll draw one person’s name from the comments below for a free enrollment in my next course, which may or may not be available very soon and is all about mood and making photographs that elicit a more powerful emotional response. Who’s in?
Update: The lucky winner is Jon Lloyd. Jon, I’ll send you an email about your free enrollment in my Shoot What it Feels Like course. Thanks for playing!
As underwater photographers, many of us have witnessed not just stunning reefs and awe-inspiring creatures, but also the gradual decline of our favorite dive sites—due to overtourism, destructive fishing practices, and steadily rising water temperatures. Equally, many of us want to use our images to help encourage efforts to protect the marine environments we care deeply about, but we may not know how best to go about it. If that describes you, you’ll want to make sure you catch the next event hosted by The Underwater Club (TUC), as founder Nicolas Remy talks to Canadian conservation photographer Shane Gross.
During the two-hour webinar, Shane will be discussing some of the conservation stories he has shot, the impact those stories have had, and what he’s learned along the way. The 2024 Wildlife Photographer of the Year will also be offering insights into his award-winning photography, including techniques, post-processing, gear choices, and the business side—how he pitches stories, markets himself, gets published, and uses his work to support ocean and freshwater ecosystems.
As usual, TUC members join for free, while non-members will need to purchase tickets to the event at AU$49 (approx. US$35). Note that this is also the price of monthly membership, so this is the perfect opportunity to join the club and take advantage of all of the membership benefits.
Camera cleaning tools may not be very glamorous, but they are necessary. Keeping your equipment clean not only prevents you from having to spend time editing out water spots or smudges that were on your lens, but it can also keep your camera and lenses working better for longer. The LensPen is one of the most versatile and popular lens-cleaning tools around. And while it isn’t expensive when full-priced, it is currently 50 percent off, which is its lowest price ever on Amazon. It’s a great time to pick one (or some) up for yourself, or maybe as stocking stuffers for photographers you know.
The LensPen is a very simple tool that could really come in handy on or even in-between shoots. It utilizes a patented carbon cleaning compound on one end, which cleans your lens without any fluids required. The other end features a soft, retractable brush for when you just have some dust that needs to be swept away. It lasts a long time, but at this price, it wouldn’t hurt to pick up a few to keep in different camera bags so that you are never without.
Early Black Friday deals on organization & storage solutions
For most of us (including myself), more than just our camera gear needs to be cleaned. Here are some deals to help you out if cleaning up and organizing your office or equipment storage area is on your list this fall and winter.
Today, I’m excited to announce something entirely new! Photography challenge I’ll participate alongside you. This challenge is designed to push our creative boundaries, help us improve our skills, and, most importantly, have fun! This is an experiment and I don’t know how many participants we will have, but I’m looking forward to seeing as many as possible. There might be a small reward at the end of the challenge, but the main reward is to inspire yourself!
The Challenge: “Discovering the Unseen”
The theme of this challenge is “Discovering the Unseen” The goal is to capture something people often overlook in your local area. It could be a hidden corner of a park, a unique architectural detail, or an unusual perspective on a familiar scene. The aim is to encourage us to look at our everyday surroundings with fresh eyes and discover beauty in unexpected places.
Challenge Guidelines
Location – The location should be within a 20 km / 12-mile radius of your home. This is to encourage exploration of your local area.
Timing – The challenge will run for one month. From the 14th of August to the 14th of September 2023. This should give you plenty of time to scout locations, plan your shots, and experiment with different techniques.
Sharing Your Work – Share your final image on Instagram using the hashtag #DiscoverWithMikko. At the end of the challenge, I’ll feature some of my favorite entries on my Instagram Stories. If you don’t have Instagram and want to participate, please send me your photographs at hello@mikkolagerstedt.com.
Feedback – Feel free to comment on other participants’ photos and share your thoughts and love. This is an excellent opportunity to learn from each other and build a supportive community.
Challenge Ideas
If you’re not sure where to start, here are a few ideas:
Night photography. Try capturing a familiar urban or landscape scene at night. Look for interesting light sources, reflections, or shadows.
Minimalist landscapes. Try to capture a landscape in a minimalist style. Look for simple compositions, clean lines, and a limited color palette.
Details. Explore the tiny world of your backyard or local park with macro photography. You might discover a whole new world in the patterns of a leaf, bark texture, or an insect’s intricate details.
Abstract architecture. Look for unusual angles or details in local buildings that can be turned into abstract images.
Remember, the goal of this challenge is not to take the “best” photo but to push your creative boundaries and see your local area in a new light. I can’t wait to see what you all come up with!
As a photographer, I have discovered that starting a project can help me channel my creativity and bring new dimensions to my work. A project can be a way to explore new techniques, themes, and perspectives, leading to personal and artistic growth. Currently, I am working on a new photography series that will challenge me to think more deeply about my craft and explore new horizons. While I cannot reveal my project, I encourage you to consider the benefits of taking on your own photography project.
A project can provide purpose and direction to your photography work. It can help you explore a specific subject or theme, experiment with different techniques, and improve your photography skills.
To inspire you, I have compiled a list of project ideas that can help you enhance your photography skills in various ways. These ideas cover different aspects of photography, such as exploring different genres and experimenting with lighting, composition, and post-processing techniques.
Selecting the right photography project can give new life and meaning to your work. It can allow you to explore new themes, experiment with new techniques, and help you take your photography to new heights. To help you get started, I have curated eight project ideas that can benefit photographers, whether you’re a seasoned professional or just starting.
Project Ideas
1. One Landscape, One Day
Capture a single landscape over 24 hours. This exercise in patience and timing, observing how light transforms the scene, is fundamental for mastering exposure and understanding the nuances of natural light.
2. Seasonal Series
Document the same location across different seasons. This long-term project highlights nature’s transformative power and tests your commitment. It’s perfect for studying changes in color, light, and weather. Below is my try at capturing this location in different seasons.
Here is an ongoing series of this beautiful tree I’ve captured with different seasons, from Autumn to the start of Winter to Mid-Winter. The only season missing is Summer. However, I’ve shot it multiple times and never really gotten anything special in summer.
I’ve got something a little different today. Call it a slight expansion of my teaching skills. Teaching to my passions, if you will. Or you can just think of it as little bit of Friday fun and entertainment.
Specifically, I show you the steps needed to shoot and edit a handful of clips, so that they’re all in sync with the music. Final Cut Pro makes this really easy, but if you don’t know where to look in the software, it’s hard to figure this out. To illustrate, I use the video clips from my own song and music video, A Very Cozy Christmas, which I released back in 2020.
Now, I realize, that a lot of my readers probably don’t use Final Cut Pro, or have any intention of every making a music video for that matter, but who doesn’t love a good music video? The classic ones have such cultural significance in our lives. Or at least they once did.
With that in mind, it might just be fun to watch this video, just to see how they’re made, and to support my efforts. If you enjoy my teaching style, this is a great way to help me expand my audience, which helps me continue to make more photography tutorials. So, even if you’re not a Final Cut Pro user, or a music producer, please consider watching and leaving a comment, just for that reason.
So whether you were raised on videos like Thriller, Jump, Every Breath You Take, Hungry Like the Wolf andSledgehammer, or not, thanks so much for your support and have a great weekend, and I promise, I’ll get back to making some more photography tutorials very soon!
Eight years ago, I got to test a new camera that hadn’t even been announced yet. It was the Fujifilm X-T1, and with its high performance and small, rugged form factor, it was the world’s first weather-sealed, fast action capable outdoor-ready mirrorless camera.
Instantly falling in love with the X-T1, my entire photography life was transformed, and with the successive X-T2, X-T3 an X-T4, I had a front row seat as the X Series cameras came of age over the next few years.
This week, the next chapter began in my X Series life when I snagged the last X-T5 in stock at my local store. As soon as I opened the box and put the camera in my hands, my X Series love was rekindled once again with this new hot-rodded fifth generation model. And with the regular 3-way tilt LCD screen, it felt like home again.
With the radically upgraded 5th gen features and specs that were introduced earlier this fall with the X-H2 and X-H2S, the X-T5 brings almost all of that into the traditional SLR style “X-T” body that so many of us love.
Winter scenics around Anchorage, Alaska
Being “magic hoar frost” season here in Anchorage right now, I immediately slapped a lens on it, (the XF70-300mm), bundled up and took it for a short walk around my neighborhood in the clear, cold -10F degree air. Over the next 53 minutes, I shot a collection of photos that I feel perfectly show of what I’ve always loved about the X Series.
All of these are straight JPEGs, right out of the camera. Most were shot with the Velvia film simulation, although the last photo in this post was made with the new Nostalgic NEG film sim.
I’ll definitely be posting more images and doing some review posts and videos for the X-T5 after the new year. For now, enjoy these snowy photos and have a great holiday season!
If you want to grab an X-T5 for yourself and support my site, you can order one at B&H Photo.
Also, if you do get one, my bestselling Fuji guide, X SERIES UNLIMITED, has been fully updated with all the relevant X-T5 info.
Winter scenics around Anchorage, AlaskaWinter scenics around Anchorage, AlaskaWinter scenics around Anchorage, AlaskaWinter scenics around Anchorage, AlaskaWinter scenics around Anchorage, AlaskaWinter scenics around Anchorage, AlaskaWinter scenics around Anchorage, AlaskaWinter scenics around Anchorage, Alaska. Shot with Nostalgic NEG film sim
Sony makes some of the best camera gear around right now, with cameras and lenses suitable for high-level pros and complete beginners. Right now, you can take advantage of these Sony early Black Friday deals on a selection of equipment covering that spectrum. Whether you are picking up something for yourself or shopping for a generous gift for someone you know, these deals will give you up to $200 in savings.
A 24-70mm is a must-have tool for just about every photographer. This standard zoom offers a bit of every focal length in one, meaning you don’t have to swap lenses as often. The Sony 24-70mm f/4 Vario-Tessar is a budget-friendly 24-70mm that still offers plenty of quality. It’s also very compact and lightweight, making it easier to travel with and hold during long shoots. This lens is a great beginner lens, so if you are shopping for a newer photographer, it would be a great bet.
