Acknowledgements

When I was approached by my publisher David Albon to write a fourth edition I thought it would take just a couple of months and be relatively straightforward. But then I sat down, reread my third edition — cover to cover — and made a list of all the changes, up-dates, improvements and 'digital' progress which had occurred since 2005. As a result, my 'just a few months' turned into a year and imposed so much on family life. Without the love, support and understanding from Sylvia, Katie and Jamie, I would never have finished this book, so thanks guys, I love you lots.

I'm so indebted to Judith Young, my own in-house editor. Judith has been inspirational at moulding my own words, ethos and imagination into a readable format. When you're writing a book like this sometimes you can feel like you are all alone and you've hit the wall but Judith has helped me all the way with alternative ideas, positive comments and great coffee! Thanks Judith.

A big thank you goes to our friends Shannon and Amanda Conway, Martyn and Sue Guess, Mark and Eugenia Hardy, and last but not least Bob and Carol Wrobel. I began my own underwater photography back in the 80s, side by side with Bob, and I'm delighted that he's back in the water taking pictures again. Thanks mate and never ever forget that — we started in a shed! I'm grateful for additional photos from Martyn Guess, Leena Roy, Nur Pekin, Amanda and Shannon Conway, and Alex Mustard, and in particular to Kay Newman who gave up several dives to produce an HDR (high dynamic range) image for this book. Also to Danya Cohen who leant me her camera housing to shoot a Hawkfish I had found. Also to Alexandra Hayes who drafted my 'TC' flow chart in Chapter 5.

I have written an underwater photo article for UK's Sport Diver Magazine every month for the last 20 years and received constant support. My thanks to editors Mark Evans, Martin Bruce and the team.

Thanks to all at Ocean Optics and Mavericks Diving in Basildon, UK;Cameras Underwater from both the Devon and London office;Chris and Angela Davy at Aqua Press;Robert White Photographic in Bournemouth;Chris and Dave Beale at AWC;Paul Williams Photographic;Trevor Foster at Bournemouth Photographic Repairs. I want to thank Louise Sanger for involving me in her Baby Splashers venture, several years ago Lou invited me to photograph young babies who had just learnt to swim and it's become such a fulfilling and worthwhile pastime for me. I'm grateful to Jack Bird from Lighthouse Diving who has helped me over the years with a supply of the excellent Kowalski dive/video lamps. We work closely with three tour operators: Hilary, Lee and

Rachel from Divequest. You are top-class Hils, thanks for your meticulous planning and organisation of our long-haul photo workshops.

To Caroline Morley, Tony Backhurst and all his staff for our Red Sea trips, and Dan Lion from Longwood Holidays together with Larry Brown from Emperor Divers who introduced me to the delights of underwater photography at the Coral Hilton Hotel in Nuweiba in the northern Red Sea. Thanks to Mat Trim and all at Fuji for the Fuji F40 compact camera used by Sylvia Edge to create the compact gallery in Chapter 2. Thanks to Paul Morgan for projects yet to come. All the staff at the Carrington Hotel in Bournemouth;Lorraine Bateman for her friendship, wisdom and advice;David Albon, Lisa Jones and all the team at Focal Press. David and Lisa you have been so enthusiastic and helpful with this edition — I'm very grateful to you.

Thanks also to the contributors from underwater photo forums www. wetpixel.com, www.digideep.com,www.divephotoguide.com and all our friends at BSOUP in the UK (www.bsoup.org).

I'm very grateful to my contributors who have shared their expertise with you in this book. In particular Shannon Conway, Stuart Gibson, Mark Koekemoer, Alex Mustard, Pete Rowlands, John Wallis, Steve Warren and Keri Wilk. You have all given up your valuable time in producing new and innovative information and images for the underwater photo public. In the midst of your own career commitments you have all tolerated my persistence for rewrites and submission deadlines and I'm appreciative of your patience and understanding.

Last but not least to my wife Sylvia. You have supported and encouraged my obsession with photography for almost 30 years. There would be no photographs, no books, no workshops if you had not been there beside me to help me do something I truly love doing. Thank you so much, I love you lots.

Martin Edge, 2010

Photographic Information

All of the photographs in this book (with one exception) have been taken using digital cameras since 2005 and since the third edition was published. In other words 'it's all my new work'since that time.

I use Nikon SLR cameras including the Nikon D200 and currently the Nikon D300. My popular lenses are:

• Wide angle — Nikon 10.5 mm fisheye DX. The Tokina 10 mm—17 mm fisheye zoom, Nikon 12 mm—24 mm with a +4 dioptre DX, Nikon

• Close-up and macro — Nikon 60 mm macro;Nikon 105 mm macro;Nikon 105 mm VR lens, Nikon 200 mm macro. When I need additional magnification I use Nikon's 'T'series of dioptres.

Housings: I use Subal housings and ports. Whilst I have used other popular makes like Sea & Sea, Nexus, Aquatica and Seacam I've not had them long enough to become fully acquainted. I use a Subal fisheye dome port for all of my wide angle work, with the addition of a port extender on the fisheye port and flat port when using my Nikon 17 mm—35 mm zoom and my Nikon 200 mm macro lens.

Flashguns: For the last five years I have used Inon flashguns. I prefer the Z220 model, which has never failed me during this time (famous last words). I also carry spare Inon Z240 models which have similar characteristics to the Z220.

Flash arms: I have used a number of types over the years, but favour flash arms made by Ultralight and Inon for their strength, light weight and flexibility.

Other digital cameras: I take every opportunity to try other cameras and housings and over the years must have taken a picture with every camera that I can think of.

Ancillaries: I use a variety of 4 gig size compact flash cards and power my flashguns with energiser lithium disposable batteries. My workflow is Light-room 2 on a Windows XP platform (I may be swapping camps to Mac) to fall in line with the rest of my family. I carry a set of Magic Filters which I utilise when shooting wide angle scenics and wrecks under natural sunlight.

With the current limitations and restrictions on air travel I now pack as light as possible and use a hunter-fisherman-photographer's vest to see me through check-in with as little stress as possible.

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