Saya bukan seorang profesional fotografer apalagi UW (Under Water) fotografer, namun saya ingin mencoba menuliskan hal-hal yang saya anggap penting dan seharusnya akan sangat berguna bagi teman-teman yang sedang berusaha mengenal lebih dalam tentang UW photography.
Ijinkan saya menuliskan perjalanan saya dalam mempelajari UW photography di blog ini...
Beberapa informasi mendasar tentang UW photography :
1. Strobe (External).
Strobe bagi seorang fotografer UW adalah hal yang bisa dikatakan 'wajib'.
Internal Flash (yang built in / integrated pada kamera anda) memiliki banyak kelemahan, selain kekuatannya yang terbatas, juga posirinya yang dekat dengan lensa menimbulkan kemungkinan efek back scatter yang besar.
Further reading about backscatter : http://www.uwphotographyguide.com/backscatter-underwater
Penempatan dan penggunaan Strobe yang tepat bisa membuat foto menjadi dramatis.
Misalnya dengan bukaan kecil (f stop besar) kita bisa membuat background menjadi gelap dan hanya bagian yang terkena strobe yang menjadi inti dari foto kita.
Jika strobe ditempatkan di belakang atau di samping object kita bisa membuat benda teriluminasi, seolah-olah transparent dan memancarkan sinar. Object juga bisa mendapatkan 'kedalaman' untuk efek 3D nya.
Demikian sekelumit teknik yang bisa digunakan dengan menggunakans trobe.
Penggunaan strobe yang pas juga bisa menghilangkan efek 'blueish' pada foto yang ditimbulkan karena ketiadaan sinar matahari di kedalaman (diatas 10m).
Merk dan type strobe yang terkenal dan biasa dipakai di Indonesia :
Ikelite : DS51, DS161, DS200,
Sea n Sea : YS-01, YS-02, YS-110a, YS250Pro, YS-D1 (new since Nov 2011 @DEMA)
Inon : S-2000, D-2000, Z-240 (type 4, 2012).
Olympus : UFL-1 dan UFL-2.
Beberapa merk alternatif lain yang bisa dicoba namun harus membeli di Singapore atau Hongkong :
Intova, UltraMax dan Sunpak.
2. Synchronization system (Sync Cable, FO Cable, Optical Slave etc).
Sinkronisasi antara Camera dan Strobe ternyata bisa jadi pembicaraan yang amat panjang dalam UW photography...
Pada intinya teknologi kamera terkini memungkinkan adanya 3 jenis sinkronisasi :
* Slave, manual.
Strobe diatur kekuatannya secara manual, triggernya saja yang disinkronisasi dengan internal flash di kamera. Setting seperti ini bisa wireless atau bisa juga dengan kabel FO (Fiber Optic) (disebut juga Optical Slave).
Pocket kamera dan strobe2 kelas menengah kebawah biasanya menggunakan sinkronisasi jenis ini.
* sTTL atau DS-TTL atau disebut juga Optical Sinchronized TTL atau Simulated TTL.
Strobe diatur kekuatannya sudah dengan teknologi TTL (Through The Lens).
Untuk mengenal TTL silahkan baca link berikut : http://www.moosepeterson.com/techtips/flash.html
Simulated TTL dikatakan demikian karena strobe menirukan internal flash dari kamera.
Strobe harus diatur sehingga ketika internal flash mengeluarkan pre-flash, strobe juga mengeluarkan pre-flash. Kamera akan menganggap cahaya yang dikeluarkan oleh strobe sebagai cahaya yang dikeluarkan oleh internal flash nya, dan kemudian mengatur exposure nya berdasarkan cahaya pre flash dari strobe tersebut.
Kemudian ketika flash dipicu, maka Strobe juga akan mengeluarkan cahaya.
Perlu diketahui bahwa pada sTTL kekuatan cahaya dari strobe biasanya tidak dapat diatur secara otomatis, namun yang diatur hanyalah lama menyalanya. Ketika flash internal padam, begitu pula strobe juga akan off.
Kekuatan cahaya biasanya diatur oleh pemutar / knob manual yang ada pada strobe anda.
Ini sama dengan memberikan kompensasi pada flash internal anda, yang biasanya juga dilakukan secara manual / setting.
Tiap Strobe memiliki pencacah / step sendiri-sendiri, ada yang antara minimal power dan maximum power dibagi menjadi 10 step, 6 step, atau bahkan full analog (tanpa step) seperti YS 01 dan 02.
* eTTL (Canon) atau iTTL (Nikon).
Dibandingkan sTTL maka TTL yang ini adalah yang tercanggih (baca : paling otomatis), dimana strobe akan dihubungkan ke hot shoe dari kamera, kamera masuk ke mode TTL dan strobe dikontrol sepenuhnya oleh kamera baik kekuatannya maupun timingnya dikontrol oleh kamera anda.
Koneksi ini sama seperti memiliki Strobe darat, dimana strobe anda terkoneksi lewat hot shoe di kamera anda.
Untuk melakukan mode ini, dibutuhkan tambahan mekanisme yang disebut dengan 'Sync Cord' (synchronizing cord) yang sebenarnya berfungsi untuk menghubungkan secara electrical Strobe anda dan Hot Shoe kamera anda.
Walaupun eTTL atau iTTL ini menyediakan banyak kemudahan namun biasanya tetap tidak menghilangkan kemungkinan kekuatan strobe bisa diatur secara manual.
Kamera-kamera yang lebih canggih biasanya memiliki option di setting manual dimana anda bisa memilih untuk mengaktifkan atau tidak mengaktifkan TTL.
Namun ada juga kamera yang tidak memungkinkan melakukan TTL di mode manual.
Pro and Cons....
Walaupun eTTL / iTTL adalah sinkronisasi paling canggih, namun banyak yang menganggap koneksi ini memiliki kelemahan, terutama pada Syn Cord port (terletak di casing UW camera) yang sering flooding sehingga membuat kegagalan system (fatal !).
system eTTL biasanya digunakan kamera DSLR yang di dalam air, internal flash tidak bisa dinyalakan (flash tidak bisa pop up, gak muat di casing nya...) karenanya jika Syn Cord port kemasukan air, strobe sudah mengalami trouble. Tidak ada lagi cara sinkronisasi Strobe dengan kamera.
sTTL dan Slave system, jelas memiliki kekurangan dimana masih banyak pengaturan yang mengandalkan manual, namun toh eTTL / iTTL pun biasanya tidak akan lepas dari pengaturan manual.
Sehingga sTTL oleh banyak UW photografer masih dianggap sebagai system yang ideal, kalau strobe gagal, masih ada internal flash yang bisa memicu strobe lain nya di model slave.
Atau kalau kabel FO bermasalah, sTTL memungkinkan diperbaiki di bawah air, atau diubah menjadi wireless Slave system.
Beberapa fotografer Profesional masih memandang pengaturan full manual (tanpa TTL) sebagai pilihan terbaik karena keleluasaan berimprovisasi.
Perbedaan antara Pocket System dan DSLR System
To be added later :).
3. UW Casing.
Casing untuk UW umumnya berpasangan dengan kamera masing-masing.
Misalnya Casing UW untuk G12 bisa dipakai untuk G11 tapi tidak bisa dipakai untuk G9.
Casing UW untuk Nikon D60 khusus hanya untuk D60 / D40 / D40x saja, dst.
Manufacture UW Casing ada beberapa yang aktif dan punya banyak penggemar di Indonesia.
Canon, membuat casing UW untuk kamera-kameranya, biasanya diberi nama "WP-DC" (plus kode angka). Harga biasanya yang termurah di antara manufacturer lain.
Kelemahan umumnya pada materi yang dari plastik dan seal yang kadang kurang pas.
Ikelite, salah satu pembuat casing UW yang terkenal, menyediakan banyak model untuk banyak tipe kamera. www.ikelite.com. (Kode DS ....).
Agen ikelite di Indonesia adalah Divemaster (www.divemasters.co.id).
Anda juga bisa membelinya dari Singapore dan Hongkong.
Olympus, membuat casing, strobe, dan tray system untuk kamera-kamera nya sendiri, biasanya berkode "PT-" (plus kode angka). UW system olympus terkenal compact, powerfull, namun harganya relatif lebih mahal dibanding system dari Canon.
alternatif Under Water Casing untuk Olympus XZ-1 : www.acquapazza.jp/en/
Sea n Sea, dari USA, membuat casing, strobe untuk banyak tipe kamera. www.seaandsea.com. Terkenal karena strobe nya yang powerfull (kode YS-...)
Toko penjual Sea n Sea di Indonesia adalah Divemaster (www.divemasters.co.id).
Keempat merk diatas adalah merk2 yang normal beredar di Indonesia, masih ada merk2 lain yang masih agak sulit mencari barangnya di Indonesia, 10bar, aquatica, nauticam dll.
3. Tray System and Accesories.
Cukup banyak pilihan, tray system
(information will be updated soon)
Accesories yang bisa dipakai :
Wet Lens : untuk menambah kemampuan memfoto baik Wide Angle maupun Macro.
Salah satu alternatif murah untuk wet lens macro adalah dengan menambahkan 'kaca pembesar' atau lup tentu saja harus DIY alias 'Do It Yourself' mode on :).
Focus Light : untuk membantu focus di kondisi minim cahaya, ada focus light yang secara otomatis dapat mati sendiri ketika flash menyala sehingga meniadakan 'hot spot' di hasil foto.
Pointer : untuk membantu mengarahkan hewan2 yang akan difoto :p, menahan tumbuhan-tumbuhan yang menghalangi foto, juga untuk mengaitkan diri kita di karang, memudahkan memfoto walaupun ada arus.
Perawatan underwater housing : http://www.divephotoguide.com/getting-started-with-underwater-photography/underwater-camera-maintenance/
Sorry saya masukin sini karena gak sempat bikin thread khusus hehehe...
Disitu anda bisa melihat bagaimana cara merawat o-ring, groove tempat o-ring dan juga push button yang ada di kamera tsb.
Daftar penjual peralatan Under Water (kamera, strobe, casing, tray dll) online dan rumahan di Indonesia :
Bpk Andy Chan : www.oceanpixel.net : Lokasi : Jakarta - Bali : +62-818-637638. Barang : tray system, strobe Sea n Sea, Inon. Housing Canon, 10bar, Olympus.
Bpk Ricky Tan : Lokasi Jakarta : +62-8181-35586. Barang : Ikelite, Sea n Sea housing, Strobe Sea n Sea, Inon, tray system.
Perlu Battery AA rechargeable yang bertenaga ? Enelope XX Solusinya !
Good website for Underwater Photography :
http://www.divephotoguide.com
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Friday, December 30, 2011
Wednesday, December 28, 2011
Pencerahan : Soft Skill
Soft skills
Eileen Rachman & Sylvina Savitri
‘Soft skills executive coaching”
Dalam tim atau organisasi yang berhasil dan sukses, hampir bisa dipastikan bahwa ada pemimpin yang hebat di situ. Begitu menariknya kita mendengarkan bagaimana para CEO dan pemimpin ini menginspirasi, (jadi tugas CEO dan pemimpin memang adalah ‘menginspirasi’ bukan mengerjakan pekerjaan anak buahnya yang macet J, Rz) sehingga kita sesungguhnya tidak pernah kehabisan bahan untuk belajar dari berbagai “success stories” mereka yang di angkat oleh media.
Hal yang kerap membuat kita tercengang adalah melihat kapasitas total seorang pemimpin sukses dibandingkan dengan kapasitas fisiknya. Ada CEO yang sudah memanfaatkan ginjal dan lever orang lain, ada CEO yang menjalankan peran kepemimpinan dengan berkursi roda, ada pula CEO yang mengupayakan agar selalu bersuara keras karena ia menyadari badannya kecil. Semua pandai, memiliki kejagoan teknis atau “hard skills” yang kuat, namun tidak satu pun yang tidak menyatakan bahwa mentalitas dan kebesaran jiwalah yang menyebabkan mereka survive. Keterbatasan fisik tidak pernah dijadikan alasan untuk menghalangi keberhasilan.
Di lain pihak, kita juga bisa menyaksikan pimpinan atau CEO yang biasa-biasa saja alias melempem. Mereka tidak kalah pandainya, banyak yang memiliki “tongkrongan” keren, tetapi tidak mengeluarkan aura ‘get things done’-nya dengan keras, (karakter pemimpin : get things done !, Rz) bahkan tak mampu mengkolaborasikan tim satu dengan yang lain. Perbedaan yang kelihatan dari para CEO sukses adalah pencapaian sasaran perusahaan dilakukan dengan penuh semangat oleh para karyawannya, sementara CEO yang kurang sukses biasanya memimpin karyawan yang kurang ‘happy’ dan seringkali tidak kuat kerjasamanya.
Kita lihat bahwa apapun bentuk organisasi yang dipimpinnya, seorang pemimpin bertanggung jawab terhadap terciptanya lingkungan yang memungkinkan karyawannya untuk bersinergi dan “excel” dalam pencapaian targetnya. Tidak heran bahwa dalam cerita sukses para CEO, mereka selalu menekankan ‘soft skills’ sebagai modal untuk bisa bekerja efektif, melampaui keadaan, bahkan mengatasi berbagai hambatan. Bila ‘softskills’ ini sedemikian penting, kita tentu perlu mengevaluasi bagaimana perangkat pengukuran kinerja di tempat kerja kita.
Masihkah kita berpatokan pada pengukuran kinerja yang semata berorientasi “hardskills” seperti pencapaian sasaran dan Key Performance Indicator, tanpa mementingkan penularan spirit dan semangat yang positif?
Tanda Kematangan
Dengan kecepatan jalan bisnis, serta sengitnya persaingan, sikap pemimpin atau profesional yang menunjukkan “I have the right answer”, benar-benar tidak efektif. Seorang ahli bahkan menyatakan bahwa sikap ini hanya boleh diperlihatkan oleh seorang mahasiswa. Di tempat kerja, kita perlu bersikap “I can help make this work”, dengan mempertimbangkan sumber daya yang ada, office politics, serta segala agenda yang dimiliki pihak-pihak lain. Tidak heran bila pemimpin yang masih sering bersikap “I’m OK, you re not OK”, merasa diri paling pintar dan paling benar, akan sulit untuk membawa organisasinya berprestasi “beyond average”.
Kesuksesan dalam bisnis sama sekali tidak terletak pada bagaimana mendapatkan jawaban yang tepat, namun lebih pada memastikan gerak roda bisnis bergulir dengan lancar. Ada perusahaan yang seolah jalan di tempat karena para karyawan sampai pada direkturnya tidak menunjukkan ‘rasa memiliki’ yang disebabkan pucuk pimpinannya kurang bisa bersikap asertif. Bila pemimpin sungguh-sungguh ini menciptakan “success stories”, ia memang perlu menciptakan dan menjaga baik-baik atmosfir di perusahaan.
Bila ada pihak yang sudah mulai tidak melaporkan kejadian-kejadian penting, tidak menyatakan pendapatnya, tidak bisa menolak hal yang sebetulnya merugikan perusahaan, atau bahkan menunjukkan sikap ‘walk out’, maka pimpinan perlu bersiaga satu dan mulai menelaah kembali praktek-praktek komunikasi yang dikembangkan. Selain melihat angka pertumbuhan, memelototi indikator pencapaian finansial, para pimpinan juga perlu meraba-rasa bahwa lingkungan kerja masih diwarnai suasana ‘seru’ dan “asik” di kalangan karyawannya, sehingga karyawan tetap bekerja sama dalam pencapaian tujuan. Atmosfir positif ini semakin kritikal bila perusahaan memang sedang mengalami tekanan, apakah tekanan waktu, persaingan, dikeluarkannya produk baru, ataupun perubahan.
Kepekaan & Respons
Banyak orang yang begitu dipromosikan langsung berpikiran: “saya dapat apa?”. Pada saat itulah orang tersebut mulai ‘invalid’, bahkan mematikan tombol inisiatifnya. Sebaliknya, keinginan untuk membuat tempat kerja kita sebuah tempat yang lebih baik adalah tanda awal yang positif.
Dengan sikap mental seperti ini kita pasti tidak keberatan menolong orang lain, berusaha menyelesaikan tugas dengan lebih cepat, mengembangkan hubungan interpersonal dan kerja tim yang lebih baik.
Jadi kekuatan bersikap positif, optimis dan percaya diri bukanlah sekedar bumbu kehidupan bekerja, tapi menjadi sumber kekuatan untuk berprestasi. Kekuatan ini membuat kita mempunyai ‘kontrol’ yang kuat terhadap lingkungan. Sikap “do it yourself” juga sangat terlihat pada figur-figur sukses, yang justru menghilangkan birokrasi, mudah dihubungi, banyak melakukan pekerjaan pekerjaannya sendiri tanpa asisten.
Kita lihat di jaman di mana perkembangan teknologi demikian canggih dan seolah-olah berkejaran dengan otak manusia, ada sisi lain dari kekuatan manusia yang benar-benar perlu diperhatikan dan difokuskan. Kita perlu lebih peka terhadap ‘sense’ dan “respons”, kekuatan sosialisasi, “engagement”, pemilihan kata-kata, interpretasi terhadap waktu dan informasi dengan jeli yang kesemuanya sering tidak dipelajari dibangku sekolah, melainkan di lapangan. Inilah “soft skills”.
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Tuesday, December 27, 2011
Jual Eneloop XX (2500mAh)-Precharged, Harga Bagus Sekali !!!
Langsung saja ya...
Yang minat dengan battery bermutu, bertenaga : Enelope XX, 2500mAh, size AA.
harga : Rp : 115.000,00 COD Surabaya Selatan dan Timur dengan minimum pembelian 2 pack (8pcs). Luar kota bisa dikirim dengan Tiki, JNE dll.
* Harga dapat berubah sewaktu waktu mengikuti kurs !
Informasi sesama pengguna : Battery ini sudah 'precharged', artinya sudah terisi stroom ketika anda beli. (Sudah seperti aki mobil yang 'isi langsung start').
Penurunan stroomnya sangat lambat sehingga walaupun disimpan dalam waktu lama, stroom masih tetap tinggi.
Ketika baru dibeli, sangat memungkinkan untuk dipakai langsung tanpa perlu dicharge.
Tentu saja kalau anda punya waktu untuk charge, lebih baik dicharge sampai penuh, tapi kalau gak ada waktu, langsung sobek packingnya, langsung bisa dipakai !!
Saya yakinkan bahwa ini adalah battery Ni-MH rechargeable yang terbesar capacity nya yang ada di pasaran umum sekarang ini.
Ada cukup banyak merk lain yang memasang angka 2700mAh, tapi saya yakinkan bahwa performance nya kalah jauh dibanding Eneloope XX 2500mAh ini. (juga karena ke-stabilan voltage yang dikeluarkannya).
Hanya tersedia untuk ukuran AA, jika anda membutuhkan ukuran AAA, maka yang tersedia hanya eneloop biasa (warna putih).
Jadi, butuh battery AA rechargeable yang paling tahan lama ?
Ya Eneloope XX 2500mAh lah jawabannya !
Saya menggunakan battery AA untuk strobe YS02 (underwater Strobe) saya, jadi saya pastikan harus tahan lama !! Biar bisa dipakai beberapa kali dive sebelum diganti dengan batteri cadangan (males dan beresiko ganti battery diantara dive...).
So kalau ada battery rechargeable yang lebih besar kapasitasnya dan lebih bagus kualitasnya pasti sudah saya beli !. Dneloope XX 2500mAh ini sudah terbukti dan sangat recommended !
Penampakan :
feature :
Product : Nickel-Metal Hydride Rechargeable Battery
Product Name : XX(Double X)
Nominal Voltage : 1.2V
Rating Capacity (Typ.) 2500 mAh
Rating Capacity (min.) 2400 mAh
Dimensions 14.35mm (diameter) x 50.4mm (height) [Size AA]
Weight Approx. 30g, Pre charged.
Keaslian barang jangan diragukan lagi, karena memang dari Oct 2011 sampai sekarang barang ini masih belum bisa dipalsu, check komentar2 di Ebay dan Google seperti berikut ini :
Kontak saya disini : http://rizalchristian.blogspot.com/p/contact-me.html
atau silahkan meninggalkan alamat email / nomor HP, nanti saya hubungin...
=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_
Yang minat dengan battery bermutu, bertenaga : Enelope XX, 2500mAh, size AA.
harga : Rp : 115.000,00 COD Surabaya Selatan dan Timur dengan minimum pembelian 2 pack (8pcs). Luar kota bisa dikirim dengan Tiki, JNE dll.
* Harga dapat berubah sewaktu waktu mengikuti kurs !
Informasi sesama pengguna : Battery ini sudah 'precharged', artinya sudah terisi stroom ketika anda beli. (Sudah seperti aki mobil yang 'isi langsung start').
Penurunan stroomnya sangat lambat sehingga walaupun disimpan dalam waktu lama, stroom masih tetap tinggi.
Ketika baru dibeli, sangat memungkinkan untuk dipakai langsung tanpa perlu dicharge.
Tentu saja kalau anda punya waktu untuk charge, lebih baik dicharge sampai penuh, tapi kalau gak ada waktu, langsung sobek packingnya, langsung bisa dipakai !!
Saya yakinkan bahwa ini adalah battery Ni-MH rechargeable yang terbesar capacity nya yang ada di pasaran umum sekarang ini.
Ada cukup banyak merk lain yang memasang angka 2700mAh, tapi saya yakinkan bahwa performance nya kalah jauh dibanding Eneloope XX 2500mAh ini. (juga karena ke-stabilan voltage yang dikeluarkannya).
Hanya tersedia untuk ukuran AA, jika anda membutuhkan ukuran AAA, maka yang tersedia hanya eneloop biasa (warna putih).
Jadi, butuh battery AA rechargeable yang paling tahan lama ?
Ya Eneloope XX 2500mAh lah jawabannya !
Saya menggunakan battery AA untuk strobe YS02 (underwater Strobe) saya, jadi saya pastikan harus tahan lama !! Biar bisa dipakai beberapa kali dive sebelum diganti dengan batteri cadangan (males dan beresiko ganti battery diantara dive...).
So kalau ada battery rechargeable yang lebih besar kapasitasnya dan lebih bagus kualitasnya pasti sudah saya beli !. Dneloope XX 2500mAh ini sudah terbukti dan sangat recommended !
Penampakan :
Product : Nickel-Metal Hydride Rechargeable Battery
Product Name : XX(Double X)
Nominal Voltage : 1.2V
Rating Capacity (Typ.) 2500 mAh
Rating Capacity (min.) 2400 mAh
Dimensions 14.35mm (diameter) x 50.4mm (height) [Size AA]
Weight Approx. 30g, Pre charged.
Keaslian barang jangan diragukan lagi, karena memang dari Oct 2011 sampai sekarang barang ini masih belum bisa dipalsu, check komentar2 di Ebay dan Google seperti berikut ini :
| Verifications of a Genuine Eneloop XX Needed? |
|---|
| As of October, 2011, verification of the authenticity of your Eneloop XX is NOT NECESSARY!! | |
 | It is proven that Sanyo has done an excellent job on anti-counterfeiting their NEW Eneloop XX while learning from the past! (There are some FAKE Eneloop AA/AAA around the world but none of eneloop XX are found FAKE at this moment) |
| It's a Sanyo insider's story that Sanyo is not releasing the internal technical specifications and designs of their Eneloop XX makes Eneloop XX almost impossible to counterfeit. |
| Special anti-counterfeiting re-design on the Anode Cap (Positive electrode) on paper-like materials makes it harder to counterfeit. |
Several different packager of eneloop XX were found! These TWO TYPES of PACKAGES are MOST COMMON!
They are BOTH OFFICIAL as they can be found on different Sanyo official sites like Sanyo Hong Kong and Sanyo US
They are BOTH OFFICIAL as they can be found on different Sanyo official sites like Sanyo Hong Kong and Sanyo US
It's been proven for genuineness, the comments and track records are CONCRETE EVIDENCE!
You can also take these to your local Sanyo store for verification too!
If you have doubt, we always recommend you to purchase at your local Sanyo store instead!
You can also take these to your local Sanyo store for verification too!
If you have doubt, we always recommend you to purchase at your local Sanyo store instead!
Kontak saya disini : http://rizalchristian.blogspot.com/p/contact-me.html
atau silahkan meninggalkan alamat email / nomor HP, nanti saya hubungin...
=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_=_
Friday, December 16, 2011
Renang Selat Madura, 11 Desember 2011
Dalam rangka memperingati hari ulang tahun armada RI ke 66 tahun 2011, Koarmatim mengadakan Open house bertajuk "Naval Base Open Day". Berbagai acara diselenggarakan di pangkalan Koarmatim Tanjung Perak.
Dari video ini baru saya mengerti bagaimana caranya 'melihat sasaran' setiap beberapa kali stroke supaya tidak sampai salah arah :). Oh ternyata begitu toh caranya... IC IC :). Maklum masih amatiran... hehehehe...
Ada 2 kapal perang plus 1 kapal rumah sakit yang diperbolehkan untuk dilihat lihat oleh pengunjung umum.
Ada acara sepeda santai, ada acara slalom Moge, dan yang saya ikuti adalah lomba renang menyeberangi selat Madura hehehehe :).
Terdengar menyeramkan namun menantang, dari awal saya memang mengikuti acara ini sebagai uji kemampuan berenang, sekaligus obat penasaran karena lomba renang menyeberangi selat Madura ini rutin diadakan tiap tahun dan baru kali ini saya mendapat kesempatan untuk ikut serta.
Persiapan sudah dimulai sejak bulan October, walaupun saya tau gak akan bisa menang, masuk 100 besar saja sudah sukur :), tapi tekadnya adalah bisa menyeberangi selat tanpa harus ditolong oleh perahu pendamping.
Tiap minggu saya berlatih di kolam Darmo Grand dan sempat diajak Cindy dan Albert latihan di kolam renang koni :). Bulan October saya berlatih 1km non stop, kemudian meningkat jadi 1.5km non stop dan di Bulan November, saya sudah bisa masuk 3km dengan berhenti sebentar tiap 1km. Mendekati hari H saya terus menggenjot latihan, pokoknya tiap kali latihan harus bisa 3km bahkan pernah 4.5km karena informasi beragam yang saya dapatkan tentang lebar selat madura. Ada yang bilang 3km, ada yang bilang 5km, dengan waktu tempuh 20menit - 1 jam.
Lomba dimulai sekitar jam 8 pagi dari ujung Kamal pulau Madura dan finish di bawah patung Jalesveva Jayamahe (Monjaya) di pangkalan Koarmatim. Berikut liputan dari Tv One tentang lomba renang selat Madura :
Pertama datang jam 7 WIB, kami (saya dan teman2 dari A2DC) langsung mendatangi meja panitia untuk mendaftar ulang. Saya dapat 'bola' pelampung nomor 05. Ada P Satriyo, Albert, Choirul, Akbar dan beberapa teman lagi yang dikoordinir oleh Pak Jimmy.
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| Baru daftar ulang, dapat bola pelampung... thank you mbak Sri buat foto2nya !! |
Semua peserta dibawa dengan kapal dari pangkalan Koarmatim, menyeberang ke Ujung Kamal di Pulau Madura. Ada yang naik kapal karet ada yang naik kapal angkut cepat. Saya kebetulan kebagian naik kapal karet :). Lumayan seru, saya jadi bisa meninjau jalur yang akan saya tempuh saat berenang nanti.
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Penyeberangan dengan perahu karet cuman memakan waktu kurang lebih 20 menit saja sampai di dermaga Ujung Kamal.
Semua peserta segera bersiap2 dan melakukan pemanasan.
Kira-kira jam 8:30an WIB kami dilepas secara bersamaan dari Madura. Dimulailah perjalanan 'menyenangkan' ini :).
Kendala yang saya rasa paling berat adalah keruhnya air (very very low fisibility) sampai-sampai saya tidak bisa melihat sesama penyelam yang berenang hanya 1 meter disebelah kita. Bertabrakan, Salah arah renang, arus yang cukup kencang menjadi tantangan tersendiri bagi saya.
Pelajaran yang saya dapat dari sini, adalah pentingnya bisa berenang dengan lurus, penting punya peralatan yang nyaman dipakai, masker gak boleh gampang fogging, snorkel gak boleh bocor, fin gak boleh menyakitkan.
Fin lebih baik pakai yang full foot ketimbang harus pakai booties yang berat.
Kita harus rajin rajin melihat ke sasaran (patung Monjaya) supaya tidak arah. Saya sempat beberapa kali gak sadar berenang mengarah ke Jembatan Suramadu atau bahkan ke arah Madura ! hahahaha... konyol rasanya ketika sudah semangat mengayuh eh ternyata arahnya salah.
Mungkin latihan di kolam itu harusnya dilakukan dengan menutup mata supaya membiasakan diri dengan visibility selat Madura hahaha...
setelah kurang lebih 1 jam, saya lihat saya sudah melewati titik tengah jembatan suramadu, lumayan... dalam hati saya berkata. Semakin mendekati Surabaya, semakin sulit rasanya melihat arah, setiap beberapa kali kayuhan saya harus nongol untuk melihat arah. Masker buram dan cuaca yang berkabut sangat mengganggu sehingga kadang saya harus melepas masker untuk melihat posisi patung Monjaya.
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| Patung MonJaya (JalesVeva JayaMahe) di Koarmatim |
Inilah patung MonJaya yang menjadi tempat finish lomba renang selat Madura.
Setelah kira-kira 1.5 jam berenang, saya sudah merasa sangat dekat dengan pantai Surabaya, tapi langsung saya melihat bahwa saya sudah terbawa arus kira-kira 500 m dari finish point. Sedang asyik2nya berusaha berenang melawan arus, tiba2 kapal karet sudah datang menjemput, "waktu habis" katanya :). Ya sudah lah saya pasrah naik ke kapal karet.
Jadinya renang selat Madura ini : "Berangkat naik perahu, Pulang juga naik perahu" hahahahaha.... ternyata semua anggota A2DC dijemput pakai perahu. Yang paling dekat dengan lokasi finish tentu saja Mas Choirul 'Gundul' yang memang profesinya pelatih renang. Dia dijemput hanya beberapa puluh meter dari lokasi finish.
Pokoknya semua senang, semua selamat sampai kembali ke Surabaya... Choirul sempat kena serempet Ubur-ubur, sempat gatal2 katanya... mungkin ini juga yang bikin Choirul gak berhasil finish hehehehe....
Pak Satriyo alasannya masker bocor, sampai sempet berenang gaya punggung segala hahaha... ok deh pak... pokoknya tahun depan kita coba lagi...
Pak Satriyo alasannya masker bocor, sampai sempet berenang gaya punggung segala hahaha... ok deh pak... pokoknya tahun depan kita coba lagi...
Lomba ini diikuti sektar 375 peserta, terkecil dan terheboh adalah Nadya umur 6 tahun yang juga dijemput kapal dan sempat sekapal dengan saya waktu balik ke Surabaya.
Pemenang lomba ini ternyata membutuhkan waktu hampir 1 jam.
Saya perkirakan saya sendiri bakal butuh waktu kira-kira 2 jam, seandainya gak dijemput kapal hahaha.... lumayan lah untuk percobaan pertama, semoga tahun depan bisa ikut lagii..... targetnya : FINISH gak dijemput perahu hahahaha...
additional info,
28 Des 2011, Seorang perenang melakukan demonstrasi solo dengan melakukan renang selat madura tepat di pinggir jembatan suramadu dengan kaki terikat.
Peliputan lagi lagi dilakukan oleh TV One dan dipasang di VIVAnews : Perenang menyeberangi selat madura dengan kaki terikat.
Videonya adalah sbb :
additional info,
28 Des 2011, Seorang perenang melakukan demonstrasi solo dengan melakukan renang selat madura tepat di pinggir jembatan suramadu dengan kaki terikat.
Peliputan lagi lagi dilakukan oleh TV One dan dipasang di VIVAnews : Perenang menyeberangi selat madura dengan kaki terikat.
Videonya adalah sbb :
Dari video ini baru saya mengerti bagaimana caranya 'melihat sasaran' setiap beberapa kali stroke supaya tidak sampai salah arah :). Oh ternyata begitu toh caranya... IC IC :). Maklum masih amatiran... hehehehe...
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Tuesday, November 29, 2011
Dive Report : Dive Penida & Tulamben, 26-27 Nov 2011
Karena gak belum punya cuti tahunan, walhasil hasrat diving disalurkan ke short trip :).
Kali ini melepas kangen kepada Nusa Penida dan mencoba foto macro di Tulamben.
25 Nov, berangkat dari Surabaya jam 17:00 WIB, ngumpul di McD bunderan satelit seperti biasa dan langsung cabut ke Denpasar.
26 Nov, nyampe di Denpasar, ngambil paket Strobe YS02 + arm + tray di Pak Andi Oceanpixel.com :). Sudah gak sabar rasanya pingin nyobain strobe...
Langsung jemput mbak Dina di jalan ke Benoa dan lanjut ke Benoa Tauch Terminal. Sudah menunggu para guide dari Dugong dive untuk bawa kita ke Penida. Sayang kita datang kesiangan sehingga cuman bisa dapat 2 dive.
Dive 1 : Cristal Bay.
Saya sebenarnya sudah agak pesimis kalau nyari Mola-mola karena out of season. Semula saya minta masuk ke gua tapi kelihatannya para DM kurang setuju sehingga kita dibawa ke daerah coral gardennya. Lumayan dapat si Frog Fish kuning (first time I saw frog fish !!). saya fotonya gak bagus karena belum mahir mengatur White Balance dan letak dan kekuatan strobe... :).
Next time will be better...
Sedang asik asiknya memfoto, tiba2 DM kasih tet tot pakai terompet bebeknya... aduh... Mola-mola keluar !! Padahal sudah tidak berharap akan ada mola-mola, ternyata di 10m saja sudah ada mola-mola, kelihatannya belum terlalu tua, diameter mungkin hanya 1-2 m saja.
Saya sempat dapat 2 foto, dan coba mendekat, tapi si Mola-mola sudah terlanjur ancang2 menjauh dan terus menjauh, saya sebetulnya ingin mengejar namun di tet tot sama DM... oops, bener juga... bisa ilang nanti saya kalau terus ngejar si Mola-mola :).
Akhirnya foto yang saya dapat kurang maksimal, tapi ya sudah lah :)...
Dive dengan hanya 50 menit ternyata bisa melihat begitu banyak hewan :). Memang harus ada guide baru bisa seperti ini hehehe...
Dive 2 : Mangrove Point (Lembongan)
Dive kedua saya minta untuk dikasih drift. Kami coba mendekat ke Mangrove, ternyata ketika sampai disana, arus masih 'mati'. Akhirnya kita putuskan untuk memperpanjang Surface Interval.
Sambil iseng2 nunggu, saya dan P Satriyo coba freedive ke dasar laut. Lumayan 15m an freedive :).
Ketika sampai nyembul di permukaan saya merasakan arus yang lumayan, naik ke perahu kita melihat arus sudah datang... sip... mulai deh drift nya... ternyata semuanya merasakan excitement menghadapi arus sekitar 2 knot di mangrove :). Sukur deh gak ada yang kapok. Cuman masih belum relax aja kelihatannya :).
Jam 2 siang kami sudah selesai dive kedua. Langsung balik ke Benoa. Langsung mandi, cuci alat, dan siap2 balik ke DPS. Ada tukang jagung rebus lewat... lumayan... buat ganjal perut hahaha...
Setelah nurunin mbak Dina yang ada acara kencan dengan Golf, belanja dll kami langsung tancap gas ke Tulamben. Menginap di Puri Madha seperti biasa yang sekarang sudah ada kolam renang 3m.
Wow... sip banget buat berendam dan latihan diving nih !! sudah siap awal Desember kata yang punya Hotel.
27 Nov 2011, Day 2.
Kami sudah rencana untuk sunrise dive di wreck. so jam 6 WITA kami sudah berkumpul di Dive Center.
Siap2 dan 6:30 kami sudah di atas air. Langsung ketemu rombongan Bump Head yang dicari... mantap deh :).
Dive 1 : Wreck - Tulamben.
Sayang matahari sedang tertutup awan sehingga Bumpheadnya tidak bersinar sinar seperti biasa...well.. at least kita lihat persiapan bumphead berangkat sekolah hahaha...
Langsung lanjut foto2 makro terus deh... :).
Dan tentu saja yang tidak mungkin terlupakan adalah schooling trevally yang juga jadi mascotnya Liberty Wreck Tulamben...
Sayang saya merasa fotonya kurang tajam, tolong dong kalau ada blogger yang bisa kasih saran, ini masalahnya apa ya..
apa saya yang terlalu banyak gerak waktu memfoto, posisi strobe, gak ada focus light atau apa ya masalahnya. Ada yang bilang G12 gak bisa fokus titik (seperti DSLR) jadinya focusnya rada2 susah...
Atau mungkin perlu ditambahin macro lens untuk memfoto pygmy ?
Ditunggu saran dan kritiknya ! Pedes gak papa, saya sedia es teh satu galon kok hahahaha...
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Kali ini melepas kangen kepada Nusa Penida dan mencoba foto macro di Tulamben.
25 Nov, berangkat dari Surabaya jam 17:00 WIB, ngumpul di McD bunderan satelit seperti biasa dan langsung cabut ke Denpasar.
26 Nov, nyampe di Denpasar, ngambil paket Strobe YS02 + arm + tray di Pak Andi Oceanpixel.com :). Sudah gak sabar rasanya pingin nyobain strobe...
Langsung jemput mbak Dina di jalan ke Benoa dan lanjut ke Benoa Tauch Terminal. Sudah menunggu para guide dari Dugong dive untuk bawa kita ke Penida. Sayang kita datang kesiangan sehingga cuman bisa dapat 2 dive.
Dive 1 : Cristal Bay.
Saya sebenarnya sudah agak pesimis kalau nyari Mola-mola karena out of season. Semula saya minta masuk ke gua tapi kelihatannya para DM kurang setuju sehingga kita dibawa ke daerah coral gardennya. Lumayan dapat si Frog Fish kuning (first time I saw frog fish !!). saya fotonya gak bagus karena belum mahir mengatur White Balance dan letak dan kekuatan strobe... :).
Next time will be better...
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| Frog Fish |
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| Anemone Fish, I like the color produced by my strobe... |
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| Moray Eel... |
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| Nudi Branch - Chromodoris Annae |
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| Mantis Shrimp |
Sedang asik asiknya memfoto, tiba2 DM kasih tet tot pakai terompet bebeknya... aduh... Mola-mola keluar !! Padahal sudah tidak berharap akan ada mola-mola, ternyata di 10m saja sudah ada mola-mola, kelihatannya belum terlalu tua, diameter mungkin hanya 1-2 m saja.
Saya sempat dapat 2 foto, dan coba mendekat, tapi si Mola-mola sudah terlanjur ancang2 menjauh dan terus menjauh, saya sebetulnya ingin mengejar namun di tet tot sama DM... oops, bener juga... bisa ilang nanti saya kalau terus ngejar si Mola-mola :).
Akhirnya foto yang saya dapat kurang maksimal, tapi ya sudah lah :)...
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| Sun Fish, Mola-mola @ Cristal Bay, Penida - Bali |
Dive dengan hanya 50 menit ternyata bisa melihat begitu banyak hewan :). Memang harus ada guide baru bisa seperti ini hehehe...
Dive 2 : Mangrove Point (Lembongan)
Dive kedua saya minta untuk dikasih drift. Kami coba mendekat ke Mangrove, ternyata ketika sampai disana, arus masih 'mati'. Akhirnya kita putuskan untuk memperpanjang Surface Interval.
Sambil iseng2 nunggu, saya dan P Satriyo coba freedive ke dasar laut. Lumayan 15m an freedive :).
Ketika sampai nyembul di permukaan saya merasakan arus yang lumayan, naik ke perahu kita melihat arus sudah datang... sip... mulai deh drift nya... ternyata semuanya merasakan excitement menghadapi arus sekitar 2 knot di mangrove :). Sukur deh gak ada yang kapok. Cuman masih belum relax aja kelihatannya :).
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| Gus Ipul n Ditto, both wear new fins. |
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| Mbak Dina, sang renasanu :). |
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| Sempatin foto padahal temen-temennya pada pegangan nahan arus hahahaha.... |
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| Ditto in Action... mantap !! |
Jam 2 siang kami sudah selesai dive kedua. Langsung balik ke Benoa. Langsung mandi, cuci alat, dan siap2 balik ke DPS. Ada tukang jagung rebus lewat... lumayan... buat ganjal perut hahaha...
Setelah nurunin mbak Dina yang ada acara kencan dengan Golf, belanja dll kami langsung tancap gas ke Tulamben. Menginap di Puri Madha seperti biasa yang sekarang sudah ada kolam renang 3m.
Wow... sip banget buat berendam dan latihan diving nih !! sudah siap awal Desember kata yang punya Hotel.
27 Nov 2011, Day 2.
Kami sudah rencana untuk sunrise dive di wreck. so jam 6 WITA kami sudah berkumpul di Dive Center.
Siap2 dan 6:30 kami sudah di atas air. Langsung ketemu rombongan Bump Head yang dicari... mantap deh :).
Dive 1 : Wreck - Tulamben.
Sayang matahari sedang tertutup awan sehingga Bumpheadnya tidak bersinar sinar seperti biasa...well.. at least kita lihat persiapan bumphead berangkat sekolah hahaha...
Langsung lanjut foto2 makro terus deh... :).
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| Entah kepiting, entah udang, hewan ini masuk ke tanah, besarnya sekepalan tangan |
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| Ghost Pipe Fish, mungkin jenis Rough Ghost Pipefish melayang dekat Sand Goby. |
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| Belajar memfoto Blue Tunicate... :) |
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| Nembrota Kurbayana, Nudi Branch khas Tulamben. |
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| Lauriera Siagiani, Hairy Squat Lobster ditemukan di Barrel Sponge (bagian dasarnya). Agak sulit memfotonya karena terhalang crevice (lekukan) dari Barrel Sponge. Hewan ini pertama kali ditemukan oleh Wally Siagian. |
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| Candy Crab, Hoplophrys Oatesii ditemukan di Soft Coral. |
Dan tentu saja yang tidak mungkin terlupakan adalah schooling trevally yang juga jadi mascotnya Liberty Wreck Tulamben...
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| Roarrr........ imagine the sound of thousand fishes.... |
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| Into the whirl pool... |
Dive 2 : Emerald
Site ini lebih ketimur dari Alamanda atau Batu Kelebit. 20 menit naik jukung dari Hotel di depan Wreck Liberty. Entry dari perahu, dan harus pakai perlengkapan di atas air.
Guide mengatakan kalau pygmy di wreck sudah habis semua, satu-satunya tempat untuk melihat pygmy adalah Emerald, sedikit ke timur dari Batu Kelebit. Kami harus masuk ke 28 m untuk bisa menemukan 7 buah Pygmy dalam 1 sea fan... lumayan mantaff...... tapi walhasil kena deco hahaha... gak papa... worth it !!
Sempat dapat black ribbon eel juga tapi karena dive comp sudah jerit jerit plus temen2 yang lain udah pada ancang2 safety stop, saya tinggalin deh si ribbon dan gak dapat foto yang bagus :(.
Secara keseluruhan site emerald ini cukup bagus buat macro. coral2 juga masih sehat.
Sempat dapat black ribbon eel juga tapi karena dive comp sudah jerit jerit plus temen2 yang lain udah pada ancang2 safety stop, saya tinggalin deh si ribbon dan gak dapat foto yang bagus :(.
Secara keseluruhan site emerald ini cukup bagus buat macro. coral2 juga masih sehat.
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| Pygmy Seahorse, Hippocampus bargibanti ditemukan di Spot Emerald, kedalaman 28m. |
Sayang saya merasa fotonya kurang tajam, tolong dong kalau ada blogger yang bisa kasih saran, ini masalahnya apa ya..
apa saya yang terlalu banyak gerak waktu memfoto, posisi strobe, gak ada focus light atau apa ya masalahnya. Ada yang bilang G12 gak bisa fokus titik (seperti DSLR) jadinya focusnya rada2 susah...
Atau mungkin perlu ditambahin macro lens untuk memfoto pygmy ?
Ditunggu saran dan kritiknya ! Pedes gak papa, saya sedia es teh satu galon kok hahahaha...
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Thursday, November 17, 2011
How to Start 'Working' in Scuba Diving Industry... Bagaimana mulai 'bekerja' dalam Industri Selam
Saya menemukan sebuah artikel yang bagus di sini.
Original link is from here : http://www.tomcampbell.com/pages/gettingstartedpt3.html
Yang memberikan banyak pencerahan tentang bagaimana harus bersikap untuk bisa mulai masuk ke dalam industri diving....
Walaupun 'setting environment' nya bukan di Indonesia, namun saya merasa banyak ekspektasi yang umum dibutuhkan sudah dijelaskan pada artikel tersebut.
Saya merasa perlu untuk secara spesial meng-copy and paste agar bisa saya baca kembali suatu saat kelak.
Semoga bisa berguna juga bagi anda :
(note : artikel ini secara spesifik menjelaskan tentang bagaimana memulai menjadi pembuat film bawah air profesional. Namun saya temukan tulisan Tom Campbell dibawah ini sifatnya general, bisa diapplikasikan untuk DM baru atau Instructor baru yang ingin masuk ke industri selam).
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IN THE LAST issue of Scuba Gear Reports, I discussed a bit about my background and how I got started as a professional still photographer, then cinematographer (see Getting Started as an Underwater Filmmaker, Part I). You may feel that it seems impossible to break into the commercial underwater film business as a still photographer or cinematographer, especially in today’s depressed and highly competitive market.
There isn’t one successful professional out there who started at the top. Each and every pro has a story of their own on how they got started. Surprisingly enough, many of their stories are very similar. One big difference people entering the business today have that few of us old guys had is this: today, there are experienced professionals who “walk the walk and talk the talk” and are willing to share their expertise. When I was starting out, there were few people I could turn to for advice. Access to pros offers a monumental jump in the process of learning how to become a professional.
Remember there are people out there who have done it and there are those who will continue to do it. You could be one of them. I always try to look on the positive side and give every effort I can to keeping my goals aimed at what I want to do. If I wanted to be an astronaut, it would be ridiculous for me to attempt that, so I know that’s not a goal I should aspire to. Take the right steps, steps that you learn from professionals and personal experience, line things up, and do the best you can.
If you maintain the highest possible quality with the skills you have and word gets out to the right people in the right places at the right time, you may not work full-time in the industry but you may be one of the people who gets to work from time to time. That can be very rewarding. In the meantime, continue to dive and travel as much as you can to acquire high-quality images. Label, file, and log them correctly, and market them properly and you should be able to make some kind of income. There’s always a need for pictures for print media, and there’s always a need for footage for TV and other media, and somebody has to shoot it.
One of the things I would advise, if you want to be in this business, is to start the way most of us did: at the bottom. You may get lucky and get a jump start because of someone you meet, or are at the right place at the right time, but that doesn’t happen often. To best help yourself out, I’d offer a few suggestions:
First: It’s important to invest in yourself!
Most people are not willing to do this; they want a magic bullet that will shoot them right to the top. It doesn’t happen that way. You need to invest your time, energy, and dedication to reach the top, or advance your skills to the level you aspire. If you are not willing to do that, then this is probably not the right business for you. Just because you’ve been to film school doesn’t mean you’re entitled to be a pro! When you attend film school, each class needs to be stretched across a semester. I’ve yet to meet any film school graduate who can tell me how much to charge for an image, or how much to charge for a day rate of shooting! You could get the same information and perhaps more, crammed into a couple of weeks of intensive learning, by spending time with professionals whose work you admire.
How can you do that? There are a few ways. One way, for example, is to join a pro on location. You’ll have the chance to watch them in action, ask questions, have them critique your work, and listen to their advice on shooting and possibly marketing. I lead two or more dive trips a year and on each one I offer seminars, both in basic and advanced cinematography, shooting techniques, and marketing. It’s not uncommon for people to join me who have a keen interest in shooting and who want to learn more. Some of the people who join me have, over their years of taking a camera underwater, picked up bad shooting habits. They love shooting underwater, but wish their images came out better. They simply may have never had the opportunity to have someone look at their work to critique it and offer suggestions, or they may have been too proud, or shy, or unwilling to show their work to a pro. I can’t stress enough that one of the best ways to learn is to shoot something, have someone you respect critique it, then take their advice on how to improve the next time you shoot. It’s rewarding for me to see how someone’s work can improve with just a few tips after their work is reviewed.
It might be something as small as one tip that can change the way your images come out! I can’t tell you how many times I’ve had people come on trips who are still using autofocus with their video cameras all the time, or still photographers who have not learned the art of finding the anthropomorphic value in photographs, which is a big selling factor. Once they start shooting on manual focus, and learn to film a creature as though they are having a conversation with it at eyeball level, their images improve measurably.
It’s always amazing to see the simple mistakes people make with both still and video cameras, but in the beginning, I made them all myself! The first time I look at their material, of which they are quite proud, it is almost painful to see amateur mistakes because they’ve spent tens of thousands of dollars traveling to locations where opportunities are abundant, but they lack the basic skills to capture what is necessary to lead them down the path to becoming pros. By putting a few tips (backed up by being able to show them examples) into practice, I find it very satisfying to see the next round of material they shoot and hear them say, “I never heard that before,” or “I never tried that before,” and their material gets better and better! Even in the course of a short trip, it is remarkable how much improvement I witness and how happy the people are as their work improves. One couple, on a recent trip to Lembeh Straits, wrote down 17 tips from a seminar, and when they put them to use, couldn’t believe how much nicer their work looked! Another fellow who attended the seminar, learned a few things so that on the last day he perfectly captured a sequence of incredible behavior. So again, I stress that you need to invest in yourself! Check out our website (www.tomcampbell.com) for our upcoming trips, as well as for comments from seminar attendees.
Whether you read a book or take a seminar, or travel with a professional, having your work critiqued is simply one of the most valuable things you can do. When I first began shooting underwater there were limited opportunities to ask pros questions, or have my work critiqued because there were so few people shooting underwater, much less making a living doing so. Take advantage of the opportunities out there and invest in yourself!
Nearly 40 years ago I was going to top vacation spots like Bonaire and Grand Cayman when they were first being discovered as good diving areas. I kept the thousands of images I shot on those trips thinking they were very well done. As I continued to travel and shoot stills, I looked at photos in magazines and books and tried to envision how the photographer obtained that image. I wasted a lot of time and film experimenting. But over time, my skills improved, and my early images that I thought were so great became part of my massive throwaway file.
Another aspect of investing in yourself is to think ahead, which is something I’ve always done with my business and my professional life, like playing a game of chess. If I can’t think three or four moves ahead, then I’m always jumping through somebody else’s hoops. But by thinking and looking ahead to where you think the future is going to go and by listening to people and watching things, you can often judge trends. Direct your actions in that manner. If you do so, you are liable to make more money and keep more of it.
As an example, I took a huge risk in 1999. At the time, I was shooting the highest quality standard definition 4x3 video camera, Betacam and the new three-chip Sony. A friend of mine, Richard Anderson from VidFilm in Los Angeles, invited my second cameraman, Dennis, and me to come down to look at a high definition film, which at that time was new. I was literally blown away with what I saw! The crisp sharpness of the 16x9 picture and the vibrant colors were overwhelming. I could not imagine why the entire world would not want to embrace that quality of image. I thought about it for a day and decided I was going to move into the HD arena. So I sold everything I could—as much of my camera equipment as possible, my still library, and threw away my last dollars—and managed to get enough money to buy the very expensive Sony 700A large format HD camera. Amphibico made a beautiful housing for the camera and I scrounged up enough money to buy that, too, instead of the new sports car I’d been dreaming about buying!
I contacted all the major production companies I’d worked with in the past, such as National Geographic, Discovery, BBC, and several others. With much enthusiasm and high hopes I told them that everything I’d provide them from that day forward would be large format HD. I was shocked by all of their replies! People from Nat Geo said “High Definition is probably never going to happen. It’s too expensive to switch over. We’ll continue to buy stock footage that you shoot, but it will be necessary to put it into a 4x3 format on standard definition.” I remember distinctly talking to an official (who shall remain nameless) from the BBC and she said, “We have DigiBeta. We’ll never need to go any higher. We are already at the top.”
Still, I figured if people like George Lucas had embraced HD, it had to be the future! I felt that, in thinking a few moves ahead, I was ahead of the curve. So the overwhelming negative responses I received from the industry were very discouraging and made me question my decision to get into HD. But I held fast to my gut feeling that HD was the future and I continued to build a library. For more than two years I accumulated stock footage starting with the Sony 700, then switching to the first Sony F900s that became available. The material was all carefully logged and labeled (which is boring and tedious) but if you don’t do it, your library has little value. Then one day, the industry suddenly woke up to HD! Everyone who had told me it would never happen were switching to HD and now they needed material for their shows. I had lots of it, and it went flying out the door...and not at the bargain prices the networks wanted! My risk had paid off. But I had to invest in myself and what I thought was the right move. The entire kit soon paid for itself, and stock requests were coming in regularly. To this day, the HD stock library (marketed by BBC Motion Gallery and a few other agencies) makes a substantial income every year.
Second: never oversell yourself!
I think one of the most common mistakes made is to oversell yourself to the degree that you cannot live up to the standards that you’ve claimed. If you are lucky enough to get a job, and you show up on site, you are expected to do what you said you could. And if you can’t, you don’t have to worry about the next phone call!
Once upon a time, for example, there was a young, aspiring cinematographer who had just graduated from film school. He sold himself as an experienced certified divemaster. He wanted to work with us, and came highly recommended by my office manager and a few other people. However, my gut told me otherwise. But against my better judgment, I hired him for an upcoming shoot for Discovery Channel, Hong Kong, that included Truk, Palau, and Japan to film in high definition using the Sony F900 cameras. On the very first leg of the trip, after logging videotape for 15 minutes, he said, “I can’t do this!” Of course we asked why and he answered, “Because I don’t like it.” All he wanted to do was have the camera in his hand to film. Even though he had no experience in the field, or with using the F900 camera, he still felt he should be one of the main cameramen. (My second cameraman, Dennis, had 17 years of experience working with me and using the equipment, so why would I waste a client’s money on someone with no experience at all?)
Our first location was Truk Lagoon, Micronesia, and the first sequence was a ship in 200 feet of water. When confronted with carrying some lighting equipment down, our recent graduate (who, remember, had claimed to be a experienced divemaster) was mortified and said there was no way he could dive past 130 feet! And he’d only made one dive to that depth before. Needless to say, for that portion of the assignment, he sat on the boat. It turned out his only contribution was in carrying boxes. My instinct had proved correct: it was a waste of the client’s time and money to have brought him along, and I was sorry I’d brought him on the job. Word gets around in the industry, and people like that, who sell themselves as being experienced and skilled, will find it difficult to get another shot at working in the production community.
Once, I was working for the BBC as a dive guide when renowned cinematographer Peter Scoones was the director of photography. He was using a Sony BetaCam in a very large housing, towing a battery pack. He asked me if I had ever used a system that size before. I said, “No, but I’d be willing to learn.” Peter gave me the first opportunity to use the camera and housing on a shoot and that somewhat set the pace for me wanting to go with bigger and higher quality camera systems. Had I lied and said, “sure, I know how to use it,” and he put it in my hands, I would have looked pretty damned stupid asking him, “How do you turn it on?” To this day, I have a high regard for Peter and consider him one the most accomplished cinematographers in the business.
You owe it to the production company that offers you employment to be honest and up front about your skill levels. Doing so will make them respect you more and they will be more willing to teach you— and they may even call you back for another job!
Third: Always—think of what the person on the other side of the table wants to hear!
When talking to clients or production people who have the ability to hire you, the best advice I can offer is not to spend time talking about yourself! While you, of course, need to relay your qualifications for a job position, it is not about you, and what you want out of the job. It is about what you can offer the person sitting opposite you. One of the common themes in the many letters I receive are offers from people who tell me that, for no pay at all, they will travel with us just to help out so they can learn everything they can from me so they can further their own career. Unfortunately, that is a very common attitude. Imagine you come into my office and say, “Tom, I will travel with you, carry your bags, and you do not have to pay me anything! I will learn everything I can from you to help my future in this business.” I promise you that I will not hire you!
First of all, it is very expensive with airfare, excess baggage, boat charters, and other travel logistics to bring someone on a trip. If it is a shoot off a boat, I often charter the vessel so that I can have some say in the itinerary, which allows us more control with the boat locations to fit our production needs. I always ensure that the client, who has hired us for the production, gets the best bang for their buck! Bringing someone along who does not pay their way eats into our budget. Second, why would I (or any other professional) want to hire someone who is only there to take what they can get, after we’ve put in decades of hard work to get where we are, then disappear?
Instead, when you are sitting at that table, or writing me that letter asking me if you can be part of my team, think of what I want to hear: I want to know how you can help me. What skills do you bring to the team that can help make it successful? Are you willing to put in some time and money (i.e. invest in yourself) to learn the ropes? Are you willing to do anything to make the mission a success and ensure the client gets the best return for his or her money? If you can answer those questions in your query letter, you have a much greater shot at a second look.
If you have the chance to work with a crew, give it your all, and you will be remembered. Keep in mind that most professionals work with crews who have been together for many years. I’m loyal to my crew, and they are loyal to me. We work as a well-oiled team, each person knowing their job intimately, and what it takes to get the mission accomplished. From time to time, we do need an extra hand, and we’ve brought someone on board for a short time. I like to do that because it gives someone a chance to learn and find out what this trade is all about. In this business you work from time to time and in between there are no jobs.
It is not all fun and glory and diving in exciting locations. Most of the time, you’re in the office, playing catch-up, working on footage, marketing, and doing all the grunt work it takes to make a business successful. I’d say that at least 70 percent of our time is spent in the office and 30 percent in the field. That’s not what most people envision! They want to spend 100 percent of their time traveling to exotic locations, filming under water, and having a great time. Sure, we do that. But it is hard work with long tedious hours and you must keep in mind that you are spending someone else’s money. You have to give them more bang for their buck, do so in a timely manner, under budget, if at all possible, and with better quality than expected. That is how you get hired again and again. However, that doesn’t mean there isn’t an opportunity for you to learn and get better at the trade and find work in the field.
Some other thoughts:
Another thing to keep in mind: when my crew is working for a client, we are always cognizant of keeping their budget in mind. None of us drink (but even if we did) we would not be buying alcohol or other non-essentials, or adding any expenses to the client’s tab. While other crew members are partying on the client’s nickel, my crew is preparing equipment for the next day, logging footage, and making sure we are ready to go!
As you climb the ladder and become better known, you’ll find people may dislike you for no other reason than jealousy over what you’ve accomplished. Unfortunately, sometimes that happens and you will hear comments made about you that are negative. My best advice when you encounter this situation is for you not to stoop to that level. Remember, bad mouthing someone else doesn’t make you a better person. And bad mouthing someone else’s work doesn’t make yours any better.
One of the best things you can do, in my opinion, is to decide what you want to do and specialize in it. Not everybody specializes. Many shooters like to think they are a jack-of-all-trades. I don’t know any of the top pros that would say they are a jack-of-all-trades. Most of us in this business have selected a specialty and that is what we are known for. Sure, we can go out and shoot other things and do a pretty damn good job of it, but it’s not what we specialize in. You don’t go to a brain surgeon to get your knee fixed or an orthopedist to get your brain worked on—it boils down to something that simple. We occasionally get calls to do a topside job, but 98 percent of the calls are for underwater filming.
Speaking for myself, I could go shoot bears, birds, and insects and have a good time with it. But I don’t want to compete with people who specialize in bears, birds, and insects because they are very good at it. And they don’t want to compete with those of us who shoot under water. I personally feel that specializing is important to the level of success you’ll achieve.
In a future article, I’ll talk about marketing and how to make money in the underwater photography and production worlds. There are always opportunities for people who are willing to work hard and provide a service. If you keep some of these tips that I’ve mentioned in mind, it will no doubt help you. Keep diving, shooting, and learning—just don’t give up your day job right away.
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Original link is from here : http://www.tomcampbell.com/pages/gettingstartedpt3.html
Yang memberikan banyak pencerahan tentang bagaimana harus bersikap untuk bisa mulai masuk ke dalam industri diving....
Walaupun 'setting environment' nya bukan di Indonesia, namun saya merasa banyak ekspektasi yang umum dibutuhkan sudah dijelaskan pada artikel tersebut.
Saya merasa perlu untuk secara spesial meng-copy and paste agar bisa saya baca kembali suatu saat kelak.
Semoga bisa berguna juga bagi anda :
(note : artikel ini secara spesifik menjelaskan tentang bagaimana memulai menjadi pembuat film bawah air profesional. Namun saya temukan tulisan Tom Campbell dibawah ini sifatnya general, bisa diapplikasikan untuk DM baru atau Instructor baru yang ingin masuk ke industri selam).
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Getting Started as an
Underwater Filmmaker, Part II
by Tom Campbell
IN THE LAST issue of Scuba Gear Reports, I discussed a bit about my background and how I got started as a professional still photographer, then cinematographer (see Getting Started as an Underwater Filmmaker, Part I). You may feel that it seems impossible to break into the commercial underwater film business as a still photographer or cinematographer, especially in today’s depressed and highly competitive market.
There isn’t one successful professional out there who started at the top. Each and every pro has a story of their own on how they got started. Surprisingly enough, many of their stories are very similar. One big difference people entering the business today have that few of us old guys had is this: today, there are experienced professionals who “walk the walk and talk the talk” and are willing to share their expertise. When I was starting out, there were few people I could turn to for advice. Access to pros offers a monumental jump in the process of learning how to become a professional.
Remember there are people out there who have done it and there are those who will continue to do it. You could be one of them. I always try to look on the positive side and give every effort I can to keeping my goals aimed at what I want to do. If I wanted to be an astronaut, it would be ridiculous for me to attempt that, so I know that’s not a goal I should aspire to. Take the right steps, steps that you learn from professionals and personal experience, line things up, and do the best you can.
If you maintain the highest possible quality with the skills you have and word gets out to the right people in the right places at the right time, you may not work full-time in the industry but you may be one of the people who gets to work from time to time. That can be very rewarding. In the meantime, continue to dive and travel as much as you can to acquire high-quality images. Label, file, and log them correctly, and market them properly and you should be able to make some kind of income. There’s always a need for pictures for print media, and there’s always a need for footage for TV and other media, and somebody has to shoot it.One of the things I would advise, if you want to be in this business, is to start the way most of us did: at the bottom. You may get lucky and get a jump start because of someone you meet, or are at the right place at the right time, but that doesn’t happen often. To best help yourself out, I’d offer a few suggestions:
First: It’s important to invest in yourself!
Most people are not willing to do this; they want a magic bullet that will shoot them right to the top. It doesn’t happen that way. You need to invest your time, energy, and dedication to reach the top, or advance your skills to the level you aspire. If you are not willing to do that, then this is probably not the right business for you. Just because you’ve been to film school doesn’t mean you’re entitled to be a pro! When you attend film school, each class needs to be stretched across a semester. I’ve yet to meet any film school graduate who can tell me how much to charge for an image, or how much to charge for a day rate of shooting! You could get the same information and perhaps more, crammed into a couple of weeks of intensive learning, by spending time with professionals whose work you admire.
How can you do that? There are a few ways. One way, for example, is to join a pro on location. You’ll have the chance to watch them in action, ask questions, have them critique your work, and listen to their advice on shooting and possibly marketing. I lead two or more dive trips a year and on each one I offer seminars, both in basic and advanced cinematography, shooting techniques, and marketing. It’s not uncommon for people to join me who have a keen interest in shooting and who want to learn more. Some of the people who join me have, over their years of taking a camera underwater, picked up bad shooting habits. They love shooting underwater, but wish their images came out better. They simply may have never had the opportunity to have someone look at their work to critique it and offer suggestions, or they may have been too proud, or shy, or unwilling to show their work to a pro. I can’t stress enough that one of the best ways to learn is to shoot something, have someone you respect critique it, then take their advice on how to improve the next time you shoot. It’s rewarding for me to see how someone’s work can improve with just a few tips after their work is reviewed.
It might be something as small as one tip that can change the way your images come out! I can’t tell you how many times I’ve had people come on trips who are still using autofocus with their video cameras all the time, or still photographers who have not learned the art of finding the anthropomorphic value in photographs, which is a big selling factor. Once they start shooting on manual focus, and learn to film a creature as though they are having a conversation with it at eyeball level, their images improve measurably.It’s always amazing to see the simple mistakes people make with both still and video cameras, but in the beginning, I made them all myself! The first time I look at their material, of which they are quite proud, it is almost painful to see amateur mistakes because they’ve spent tens of thousands of dollars traveling to locations where opportunities are abundant, but they lack the basic skills to capture what is necessary to lead them down the path to becoming pros. By putting a few tips (backed up by being able to show them examples) into practice, I find it very satisfying to see the next round of material they shoot and hear them say, “I never heard that before,” or “I never tried that before,” and their material gets better and better! Even in the course of a short trip, it is remarkable how much improvement I witness and how happy the people are as their work improves. One couple, on a recent trip to Lembeh Straits, wrote down 17 tips from a seminar, and when they put them to use, couldn’t believe how much nicer their work looked! Another fellow who attended the seminar, learned a few things so that on the last day he perfectly captured a sequence of incredible behavior. So again, I stress that you need to invest in yourself! Check out our website (www.tomcampbell.com) for our upcoming trips, as well as for comments from seminar attendees.
Whether you read a book or take a seminar, or travel with a professional, having your work critiqued is simply one of the most valuable things you can do. When I first began shooting underwater there were limited opportunities to ask pros questions, or have my work critiqued because there were so few people shooting underwater, much less making a living doing so. Take advantage of the opportunities out there and invest in yourself!
Nearly 40 years ago I was going to top vacation spots like Bonaire and Grand Cayman when they were first being discovered as good diving areas. I kept the thousands of images I shot on those trips thinking they were very well done. As I continued to travel and shoot stills, I looked at photos in magazines and books and tried to envision how the photographer obtained that image. I wasted a lot of time and film experimenting. But over time, my skills improved, and my early images that I thought were so great became part of my massive throwaway file.
Another aspect of investing in yourself is to think ahead, which is something I’ve always done with my business and my professional life, like playing a game of chess. If I can’t think three or four moves ahead, then I’m always jumping through somebody else’s hoops. But by thinking and looking ahead to where you think the future is going to go and by listening to people and watching things, you can often judge trends. Direct your actions in that manner. If you do so, you are liable to make more money and keep more of it.As an example, I took a huge risk in 1999. At the time, I was shooting the highest quality standard definition 4x3 video camera, Betacam and the new three-chip Sony. A friend of mine, Richard Anderson from VidFilm in Los Angeles, invited my second cameraman, Dennis, and me to come down to look at a high definition film, which at that time was new. I was literally blown away with what I saw! The crisp sharpness of the 16x9 picture and the vibrant colors were overwhelming. I could not imagine why the entire world would not want to embrace that quality of image. I thought about it for a day and decided I was going to move into the HD arena. So I sold everything I could—as much of my camera equipment as possible, my still library, and threw away my last dollars—and managed to get enough money to buy the very expensive Sony 700A large format HD camera. Amphibico made a beautiful housing for the camera and I scrounged up enough money to buy that, too, instead of the new sports car I’d been dreaming about buying!
I contacted all the major production companies I’d worked with in the past, such as National Geographic, Discovery, BBC, and several others. With much enthusiasm and high hopes I told them that everything I’d provide them from that day forward would be large format HD. I was shocked by all of their replies! People from Nat Geo said “High Definition is probably never going to happen. It’s too expensive to switch over. We’ll continue to buy stock footage that you shoot, but it will be necessary to put it into a 4x3 format on standard definition.” I remember distinctly talking to an official (who shall remain nameless) from the BBC and she said, “We have DigiBeta. We’ll never need to go any higher. We are already at the top.”
Still, I figured if people like George Lucas had embraced HD, it had to be the future! I felt that, in thinking a few moves ahead, I was ahead of the curve. So the overwhelming negative responses I received from the industry were very discouraging and made me question my decision to get into HD. But I held fast to my gut feeling that HD was the future and I continued to build a library. For more than two years I accumulated stock footage starting with the Sony 700, then switching to the first Sony F900s that became available. The material was all carefully logged and labeled (which is boring and tedious) but if you don’t do it, your library has little value. Then one day, the industry suddenly woke up to HD! Everyone who had told me it would never happen were switching to HD and now they needed material for their shows. I had lots of it, and it went flying out the door...and not at the bargain prices the networks wanted! My risk had paid off. But I had to invest in myself and what I thought was the right move. The entire kit soon paid for itself, and stock requests were coming in regularly. To this day, the HD stock library (marketed by BBC Motion Gallery and a few other agencies) makes a substantial income every year.
Second: never oversell yourself!
I think one of the most common mistakes made is to oversell yourself to the degree that you cannot live up to the standards that you’ve claimed. If you are lucky enough to get a job, and you show up on site, you are expected to do what you said you could. And if you can’t, you don’t have to worry about the next phone call!
Once upon a time, for example, there was a young, aspiring cinematographer who had just graduated from film school. He sold himself as an experienced certified divemaster. He wanted to work with us, and came highly recommended by my office manager and a few other people. However, my gut told me otherwise. But against my better judgment, I hired him for an upcoming shoot for Discovery Channel, Hong Kong, that included Truk, Palau, and Japan to film in high definition using the Sony F900 cameras. On the very first leg of the trip, after logging videotape for 15 minutes, he said, “I can’t do this!” Of course we asked why and he answered, “Because I don’t like it.” All he wanted to do was have the camera in his hand to film. Even though he had no experience in the field, or with using the F900 camera, he still felt he should be one of the main cameramen. (My second cameraman, Dennis, had 17 years of experience working with me and using the equipment, so why would I waste a client’s money on someone with no experience at all?)Our first location was Truk Lagoon, Micronesia, and the first sequence was a ship in 200 feet of water. When confronted with carrying some lighting equipment down, our recent graduate (who, remember, had claimed to be a experienced divemaster) was mortified and said there was no way he could dive past 130 feet! And he’d only made one dive to that depth before. Needless to say, for that portion of the assignment, he sat on the boat. It turned out his only contribution was in carrying boxes. My instinct had proved correct: it was a waste of the client’s time and money to have brought him along, and I was sorry I’d brought him on the job. Word gets around in the industry, and people like that, who sell themselves as being experienced and skilled, will find it difficult to get another shot at working in the production community.
Once, I was working for the BBC as a dive guide when renowned cinematographer Peter Scoones was the director of photography. He was using a Sony BetaCam in a very large housing, towing a battery pack. He asked me if I had ever used a system that size before. I said, “No, but I’d be willing to learn.” Peter gave me the first opportunity to use the camera and housing on a shoot and that somewhat set the pace for me wanting to go with bigger and higher quality camera systems. Had I lied and said, “sure, I know how to use it,” and he put it in my hands, I would have looked pretty damned stupid asking him, “How do you turn it on?” To this day, I have a high regard for Peter and consider him one the most accomplished cinematographers in the business.
You owe it to the production company that offers you employment to be honest and up front about your skill levels. Doing so will make them respect you more and they will be more willing to teach you— and they may even call you back for another job!
Third: Always—think of what the person on the other side of the table wants to hear!
When talking to clients or production people who have the ability to hire you, the best advice I can offer is not to spend time talking about yourself! While you, of course, need to relay your qualifications for a job position, it is not about you, and what you want out of the job. It is about what you can offer the person sitting opposite you. One of the common themes in the many letters I receive are offers from people who tell me that, for no pay at all, they will travel with us just to help out so they can learn everything they can from me so they can further their own career. Unfortunately, that is a very common attitude. Imagine you come into my office and say, “Tom, I will travel with you, carry your bags, and you do not have to pay me anything! I will learn everything I can from you to help my future in this business.” I promise you that I will not hire you!
First of all, it is very expensive with airfare, excess baggage, boat charters, and other travel logistics to bring someone on a trip. If it is a shoot off a boat, I often charter the vessel so that I can have some say in the itinerary, which allows us more control with the boat locations to fit our production needs. I always ensure that the client, who has hired us for the production, gets the best bang for their buck! Bringing someone along who does not pay their way eats into our budget. Second, why would I (or any other professional) want to hire someone who is only there to take what they can get, after we’ve put in decades of hard work to get where we are, then disappear?Instead, when you are sitting at that table, or writing me that letter asking me if you can be part of my team, think of what I want to hear: I want to know how you can help me. What skills do you bring to the team that can help make it successful? Are you willing to put in some time and money (i.e. invest in yourself) to learn the ropes? Are you willing to do anything to make the mission a success and ensure the client gets the best return for his or her money? If you can answer those questions in your query letter, you have a much greater shot at a second look.
If you have the chance to work with a crew, give it your all, and you will be remembered. Keep in mind that most professionals work with crews who have been together for many years. I’m loyal to my crew, and they are loyal to me. We work as a well-oiled team, each person knowing their job intimately, and what it takes to get the mission accomplished. From time to time, we do need an extra hand, and we’ve brought someone on board for a short time. I like to do that because it gives someone a chance to learn and find out what this trade is all about. In this business you work from time to time and in between there are no jobs.
It is not all fun and glory and diving in exciting locations. Most of the time, you’re in the office, playing catch-up, working on footage, marketing, and doing all the grunt work it takes to make a business successful. I’d say that at least 70 percent of our time is spent in the office and 30 percent in the field. That’s not what most people envision! They want to spend 100 percent of their time traveling to exotic locations, filming under water, and having a great time. Sure, we do that. But it is hard work with long tedious hours and you must keep in mind that you are spending someone else’s money. You have to give them more bang for their buck, do so in a timely manner, under budget, if at all possible, and with better quality than expected. That is how you get hired again and again. However, that doesn’t mean there isn’t an opportunity for you to learn and get better at the trade and find work in the field.
Some other thoughts:
Another thing to keep in mind: when my crew is working for a client, we are always cognizant of keeping their budget in mind. None of us drink (but even if we did) we would not be buying alcohol or other non-essentials, or adding any expenses to the client’s tab. While other crew members are partying on the client’s nickel, my crew is preparing equipment for the next day, logging footage, and making sure we are ready to go!
As you climb the ladder and become better known, you’ll find people may dislike you for no other reason than jealousy over what you’ve accomplished. Unfortunately, sometimes that happens and you will hear comments made about you that are negative. My best advice when you encounter this situation is for you not to stoop to that level. Remember, bad mouthing someone else doesn’t make you a better person. And bad mouthing someone else’s work doesn’t make yours any better.One of the best things you can do, in my opinion, is to decide what you want to do and specialize in it. Not everybody specializes. Many shooters like to think they are a jack-of-all-trades. I don’t know any of the top pros that would say they are a jack-of-all-trades. Most of us in this business have selected a specialty and that is what we are known for. Sure, we can go out and shoot other things and do a pretty damn good job of it, but it’s not what we specialize in. You don’t go to a brain surgeon to get your knee fixed or an orthopedist to get your brain worked on—it boils down to something that simple. We occasionally get calls to do a topside job, but 98 percent of the calls are for underwater filming.
Speaking for myself, I could go shoot bears, birds, and insects and have a good time with it. But I don’t want to compete with people who specialize in bears, birds, and insects because they are very good at it. And they don’t want to compete with those of us who shoot under water. I personally feel that specializing is important to the level of success you’ll achieve.
In a future article, I’ll talk about marketing and how to make money in the underwater photography and production worlds. There are always opportunities for people who are willing to work hard and provide a service. If you keep some of these tips that I’ve mentioned in mind, it will no doubt help you. Keep diving, shooting, and learning—just don’t give up your day job right away.
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Friday, November 11, 2011
Teknik teknik yang dipakai dalam debat / diskusi
Saya ingin mendata web-web yang menyediakan materi yang menarik untuk belajar teknik2 dalam debat dan diskusi :).
Berikut list nya :
Fallacy (kesalahan argumentasi) :
1. http://www.nizkor.org/features/fallacies/
2. http://www.don-lindsay-archive.org/skeptic/arguments.html
Teknik debat :
1. http://www.vandruff.com/art_converse.html
Fallacy sering dilakukan dalam debat, entah sengaja entah tidak disengaja, namun tidak semua teknik debat bisa digolongkan dalam fallacy (kesalahan) dalam argumentasi.
note : link diatas dapat digunakan selain untuk mendeteksi teknik yang dipakai lawan debat anda, bisa juga anda dengan sengaja melakukan kesalahan dalam berargumentasi dengan maksud menggiring lawan bicara anda ke arah yang anda inginkan...
well... nggak terlalu patriotik sih hahaha... tapi kalau udah kepepet, baik juga untuk dipakai....
selamat menikmati :).
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Berikut list nya :
Fallacy (kesalahan argumentasi) :
1. http://www.nizkor.org/features/fallacies/
2. http://www.don-lindsay-archive.org/skeptic/arguments.html
Teknik debat :
1. http://www.vandruff.com/art_converse.html
Fallacy sering dilakukan dalam debat, entah sengaja entah tidak disengaja, namun tidak semua teknik debat bisa digolongkan dalam fallacy (kesalahan) dalam argumentasi.
note : link diatas dapat digunakan selain untuk mendeteksi teknik yang dipakai lawan debat anda, bisa juga anda dengan sengaja melakukan kesalahan dalam berargumentasi dengan maksud menggiring lawan bicara anda ke arah yang anda inginkan...
well... nggak terlalu patriotik sih hahaha... tapi kalau udah kepepet, baik juga untuk dipakai....
selamat menikmati :).
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