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Adventures in Picture Making

Photogrammetry is one of the new tools that is revolutionizing marine archaeology and enabling explorers to share their discoveries with scientists and the public alike. Seattle tekkie Kees Beemster Leverenz discusses some of the methods he and his team-mates have worked through to bring back home the image, err data. You won’t believe your eyes!

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by Kees Beemster Leverenz

The SS Thistlegorm

Marcus Newbold and I found ourselves in the cargo hold of the Thistlegorm, a World War II steamship that’s famous for being packed to the brim with antique motorcycles, trucks, and weapons. Our goal was simple: take just one photo that did justice to the sheer volume of material in the ship. The Red Sea is warm, the SS Thistlegorm rests in shallow water, and we were both equipped with rebreathers, so we had practically all day to set up the shot. 

The plan was to set up a makeshift photo studio 100 ft/30 m underwater in a rusty ship. After an afternoon of begging, we scraped together a half dozen video lights and a couple super-bright strobes from our friends that had come along with us. We arrived in the cargo hold quickly and began the methodical process of placing and adjusting lights for the best effect, careful to avoid stirring up any silt. 

I’d occasionally hear Marcus say something through his rebreather mouthpiece as he worked his way around the hold placing his lights, lighting up the two pickup trucks that dominated the space. While it’s never entirely clear what anyone is saying when they try to talk through a mouthpiece, you can usually tell if someone’s happy or sad, excited or mad. Even without turning around, I could hear from the tone of his muffled words that he was pleased with how his half of the lighting job was shaping up.

Although Marcus seemed pleased, I was having a lot of difficulty. One light in particular was causing me grief, and it was key to getting the photo we imagined. It was the most powerful off-camera light we had, and it needed to be positioned in exactly the right orientation or it wouldn’t go off. After several minutes of adjusting, I managed to wedge it in exactly the right spot. The room was lit, and it was time for Marcus to take his place in the center of the room for the picture. 

Unbeknownst to me, Marcus had adjusted his weight right before the dive, and was having trouble getting comfortable in the water. His buoyancy just wasn’t quite right. So, instead of floating motionless for the picture (like he’d done the previous few days), he started swimming laps. I took a series of photos, but none was exactly right. Every time, there was something wrong with the picture: either Marcus was too far away, or he was too close. His eyes weren’t in focus, or the lights didn’t go off. 

Amidst the controlled chaos of the photoshoot, a group of divers from another boat swam into the cargo hold to explore. We’d spent nearly an hour in one of the world’s most popular wrecks, so we couldn’t expect to spend the entire day alone. However, we weren’t planning on them making any changes to our set!

To my horror, I watched from across the room as one of the divers reached down and picked up my carefully wedged strobe: the one that needed to be in exactly the right spot to work. He turned it over in his hand curiously, unaware of what he’d just done. An instant passed, and then I heard a funny sound from the other side of the room. It was the sound of pure frustration emanating from Marcus, believing that this diver had accidentally ruined our set. While his voice was muffled by his rebreather, the emotion was crystal clear. 

I wasn’t the only diver to hear the noise, and our new friend’s curiosity immediately vanished. The diver quickly replaced the light, Marcus’ initial reaction subsided, and fortunately we only need to make a few quick adjustments to get the shot. The six video lights and three strobes we used for the final image allowed us to capture the depth and the breadth of the room, while keeping Marcus and the 40’s-era trucks well lit. That simply wouldn’t be possible with only the lights attached to the camera.  

Off-Camera Lighting

Using off-camera lights is challenging; it’s much easier to mount your lights on your camera and be done with it. However, breaking free of the standard setup makes it possible to take artistic and documentary photos that you’d otherwise never be able to take. 

There are a few major benefits to taking your lights off your camera. The most significant advantage is that off-camera lights typically reduce the distance light travels through water. With only on-camera strobes, light travels from your camera rig to the subject and then back to your camera (where it’s captured). That’s a lot of water to go through, and it significantly affects both the color and the amount of light you get. With your lights mounted closer to your subject and off your camera, the light emitted only travels about half the distance. That means richer colors and a better lit picture. 

While Marcus and I shot pictures in the hold of the Thistlegorm, we took full advantage of these benefits. The room would have appeared dark and blue even with multiple bright lights mounted to my camera. While placing lights around the cargo hold was effective, this strategy has some significant disadvantages; the setup process takes a long time, and the entire time while you’re preparing you’re subject to the environment. You could stir up silt and cause bad visibility, you can lose a light between two trucks, or you can have someone come in and accidentally steal a strobe. Whatever the case, placing lights around a scene isn’t ideal for all situations, especially when you don’t have a lot of time. 

Inside of the SS Thistlegorm shipwreck with scuba diver. Photo by Kees Beemster Leverenz.
The SS Thistlegorm. Photo by Kees Beemster Leverenz.

Al Qamar Al Saudi 

Our best opportunity to try a different method came a few days after we dove the SS Thistlegorm: Marcus, Alex Adolfi, and I had the opportunity to dive the Al Qamar Al Saudi. The Al Qamar Al Saudi is a roll on/roll off ferry with a large car deck and room for 600-700 passengers. It’s a significantly newer ship than the SS Thistlegorm, having been completed in late 1970 and sunk in 1983. The car bay is also much larger than the cargo hold of the Thistlegorm. During our briefing before the dive, the Red Sea Explorers crew (our hosts) mentioned that the car bay was particularly spectacular, running nearly the entire length of the ship… but that it was a challenge to light. 

Challenge accepted. 

Fortunately for us, there’s significantly fewer divers visiting the Al Qamar Al Saudi than the SS Thistlegorm. Unfortunately for us, that’s because it rests in about 270 ft/83 m of water. The ferry is a deep, technical dive. Even with our rebreathers, a relatively short time on the bottom could mean hours of decompression to avoid injury. 

The wreck is enormous, and even with scooters just getting inside the car bay would take a lot of time. Once we got inside, we wouldn’t have the luxury of time to scout or stage lights. The space was much larger, so we decided to try a different technique: we’d have Alex and Marcus hold the lights and illuminate the inside of the ship as we went. While using divers to hold off-camera lights isn’t quite as reliable as staging a scene, it is much faster than the methodical process of placing lights around a space. 

Both Alex and Marcus were equipped with three lights each. The first light was the same that most GUE divers carry: a good quality primary light, used only for communicating within the team. The second light was a wide-beam video light mounted underneath their rebreathers, pointed back and slightly up, placed to make the divers more visible. Without this light, their dark drysuits and black fins would have been invisible against the darkness in the background of the hold. The final light was another video light that each diver held and pointed at anything they found interesting.

Inside of the wreck of the ferry Al Qamar Al Saudi. Photo by Kees Beemster Leverenz.
The Al Qamar Al Saudi. Photo by Kees Beemster Leverenz.

Although our dive was complicated by a scooter failure, we managed to get several decent shots from inside the Al Qamar Al Saudi during the few minutes we got to spend inside, thanks to the small array of diver-mounted off-camera lights. Marcus and Alex did an excellent job of lighting up the background of the car bay while my on-camera strobes lit up the foreground. With only on-camera lights, the depth of the space would have been hidden in the shadows, and if we had decided to place lights around the space, it’s unlikely we would have gotten any photos at all! As a side benefit, lighting a scene with video lights often makes the dive itself more fun for the divers involved, since the space is lit up everywhere, not just for the camera. 

Off Camera Lighting for Poor Visibility and the PB4Y Project

While artistic photos are a lot of fun, that’s not the only application of off-camera lighting. Support divers and bright off-camera lights have been essential for our 3D photogrammetry projects here in Seattle. 3D photogrammetry uses hundreds or thousands of images and specialized software to reconstruct a complete 3D model of a target, often a wreck. Each picture doesn’t need to be beautiful, but the subject does need to be well lit, so we can apply a lot of the same techniques we used in the Red Sea to our projects at home. 

Our most recent target was the PB4Y, a four-engine bomber from World War II that crashed on a training mission into our local Lake Washington. It’s been there since 1956, disturbed only by a US Navy recovery attempt just after it sank. While the airplane is in remarkable shape and the structure is nearly completely intact, the water that surrounds it is dark, cold, and murky; far from the clear blue water of the Red Sea. 

Lighting a scene is always challenging when visibility is bad. However, proper application of off-camera lighting can reduce the effect of poor visibility on your final picture. Most of the time, poor visibility is caused by silt or other small particles suspended in the water. Backscatter occurs when light bounces off particles floating in the water back towards the source of the light, causing hundreds or thousands of tiny points of light in your picture. If the source of the light is right next to the camera, as is the case with camera-mounted lights, backscatter can significantly reduce the quality of your images. 

By using diver-mounted lights (similar to how we lit the Al Qamar Al Saudi), backscatter can be nearly eliminated. Instead of the light bouncing off the particulate matter in the water towards the camera, it bounces back towards the support divers. The bulk of the light that is captured by your camera ends up being much “cleaner.” 

We’ve managed to model a few targets successfully so far in our dark, cold, and murky lake, and a project the size of the PB4Y has only been successful thanks to skilled lighting divers who illuminated the airplane from just the right angles. For this application, we find it’s best to have one, two, or sometimes even three divers actively moving around our target, lighting the way for the photographer. 

3D photogrammetry of the PB4Y plane wreck underwater.  By Kees Beemster Leverenz
3D photogrammetry of the PB4Y. By Kees Beemster Leverenz

For this project, each of our support divers carried a pair of 33,000 lumen BigBlue video lights. Since the two lights are quite heavy underwater, we connected them with a pair of float arms and rigged them with two bolt snaps. When they’re not in use, they can be easily stowed (in the same way as a stage bottle is attached). 

While we’ve been fortunate enough to have access to a lot of powerful lights, even a primary light can be effective for the purpose of cutting down backscatter or making an artistic photo pop off the screen, if you choose your subjects correctly and you’re willing to make a few mistakes along the way.

Additional Resources:

Are you interested in learning more about underwater documentation or photogrammetry? Explore GUE’s Documentation Diver or Photogrammetry Diver courses. 


Kees Beemster Leverenz is an enthusiastic diver and GUE instructor from Seattle, Washington, who enjoys getting in the water as often as possible. He has been deeply involved with GUE Seattle since it was founded in 2011. Currently, Kees is contributing to both local and global photogrammetry projects, as well as assisting with cave and wreck exploration projects whenever possible.


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Fiona Sharp, You Will Be Sorely Missed

As you have likely heard, we’ve lost one of the irrepressible and much-loved characters in the tech and diving medicine community, 55-year old Australian anesthesiologist and diving physician Fiona Sharp.

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By Rosemary E Lunn
Header photo by Catherine Meehan. Fiona in Sodwana Bay.

Fiona at BonaireTek. Photo by Michael Menduno.

One of the colorful characters in the field of diving medicine died tragically in a rebreather diving accident on Thursday, October 17, 2019. Fifty-five-year-old, Australian diving physician and anesthetist Dr. Fiona Sharp, MBBS, FANZCA, was found unresponsive on a reef at 24 m/80 f. She had been solo diving on a rebreather, and she was discovered with her mouthpiece out. Fiona was medevaced but did not regain consciousness. The incident occurred on the last day of Fiona’s diving trip to Bonaire, located in the Leeward Antilles, Carribean Sea. It was the week after Bonaire Tek. Fiona enjoyed deep rebreather diving and was known to be a bit of a maverick.

“We are shattered.” Bruce and Lynn Partridge, Shearwater Research.

Fiona at AsiaTek. Photo by Michael Menduno.

The disturbing news of Fiona’s death rocketed around the world in a few hours. Many people from the diving medicine and technical diving communities expressed their dismay and distress at Fiona’s death. She was gregarious, fun-loving, irrepressible, and generous. Fiona was a friendly colleague and we had dived together a few times. I wrote a heartfelt tribute about Fiona’s bulldozer attitude to life and diving, and this was published by X-Ray Mag. It includes a myriad of voices from around the globe and amply illustrates just how well-loved she was by her colleagues and friends. 

“Fiona was an individual. She did what she wanted. She did what she loved. She was very much her own person, and drove us mad at times. Fiona was down to earth, had a massive heart, a huge personality, and was very dear to all of us. She will be greatly missed.

Dr. Catherine Meehan

Fiona Sharp was born in May, 1964, in Perth, Australia, and she was bright! She attended Mercedes College Perth, where she was “Dux” in her graduating year. [Dux: from Latin for ‘leader,’ the term that is now used in Australia and New Zealand to indicate the highest-ranking student in a specific achievement). 

Fiona in Sodwana Bay. Photo by Catherine Meehan.

After leaving high school, Fiona studied medicine at the University of Western Australia where she graduated in 1989 as a Bachelor of Medicine and Bachelor of Surgery (MBBS UWA). After serving an internship in Perth in 1989, followed by a year as a junior Resident in Sydney, Fiona moved to England where she gained her Diploma of Anaesthesia (DA) in 1992, whilst working as a Senior House Officer in Anaesthetics in Southend, Essex.

Fiona then returned to Australia and commenced specialist Anaesthetics training. In 2000, she flew once again to the UK where she spent five years practicing diving medicine at DDRC Healthcare (Diving Diseases and Research) in Plymouth. During this period, she was awarded a Fellow of the Australian and New Zealand College of Anaesthetists (FANZCA) Fellowship in 2004.

At the time of her death, Fiona Sharp was working at the Fiona Stanley Hyperbaric Medicine Unit (FSHHMU) in Perth, Western Australia. She had been in post since it opened in November 2014. Prior to that, she was employed at the HMU at Fremantle Hospital from 2007 to November 2014. (The department then relocated to the newly built department at FSH).

Fiona at an event with the Hyperbaric Technicians and Nurses Association. Photo courtesy of Catherine Meehan.

Whilst writing this, I spoke to Fiona’s family and asked: “why medicine?” They responded,

“If you are really smart at school, you are expected to be an architect, a lawyer, or a doctor. Medicine appealed to her; however, it was possible that she could have become a vet because the family did have a lot of animals.”

Fiona’s family

“She was nuts, about everything. But especially about diving.” 

Dirk Peterson

Fiona got into diving in her late teens after trying skydiving and scuba diving. Water prevailed and she learned to dive when she was 18 years old. She was a PADI Divemaster, cave certified and qualified to dive the Inspiration, Evolution, SF2, Drager Dolphin, Mark VI Poseidon, and JJ-CCR rebreathers. 

Fiona with Dr. Neal Pollock, Rosemary Lunn, and Dr. Richard “Harry” Harris at Rebreather Forum 3. Photo courtesy of Rosemary Lunn.

You cannot ever say that diving was her hobby. It was her all-encompassing great passion. Fiona recently told her older sister that she felt happiest when she was underwater. It was therefore natural that she would take an active interest in diving medicine, and she became a fixture at all the major diving medical or tech conferences. SPUMS, UHMS, EUBS, HTNA, as well as EUROTEK, OzTek, Rebreather Forum 3 and other diving industry events. These helped keep her current and educated in this niche sector. 

Fiona loved the diving, diving medicine, and the camaraderie around the bar. She was regularly first up and last to bed. Most often, Fiona could be heard well before she was seen on land and underwater!! She was well-loved by her colleagues at these events and, as many have said, the SPUMS Conference won’t be the same without her. I think she attended at least 17.” 

Dr. Neil Banham, Fiona Stanley Hospital

Fiona’s first South Pacific Underwater Medicine Society (SPUMS) Conference was at Layang, Layang island, in Malaysia in 1999,  a venue well suited to her type of diving because it was deep. It was at a later SPUMS, in 2008, that Fiona’s diving would change. Dr. Catherine Meehan takes up the story. 

I met Fiona at a SPUMS meeting about 20 years ago. In 2008, I chartered the ‘Golden Dawn’ liveaboard. Ten of us flew into Alotau in Papua. New Guinea. and we sailed and dived our way across to Kimbe Bay, West New Britain, to join the SPUMS annual scientific conference. There was a rebreather on board and Fiona had a guided rebreather dive. She enjoyed it so much that she dived with it for the rest of the week. I believe this was one of her earliest experiences rebreather diving, and I think that she embarked on her passion for diving rebreathers shortly afterward.

Catherine and Fiona would regularly dive together, at least two or three times a year, all over the world.

We did a lot of conferences and diving together. We were most recently in South Africa diving Sodwana Bay. She was dressed in her vibrant orange drysuit so it was easy to see where she was, doing her own thing. It was tough cold water diving, but she was very hardy and didn’t miss a dive, even when her suit leaked. It is a good lasting memory of her.”

It was like she had been shot out of a cannon when she entered a room.

Joanna Mikutowicz, DiveTech


Fiona Sharp never did anything by halves, and this is amply demonstrated by a classic Fiona story that her older sister Donna regaled to me.

Many years ago Fiona rang me up and said, ‘I have got two tickets to the rugby game on Friday night, do you want to come with me?’ I thought, ‘Why not?’ One of our kids plays rugby at school. I rocked up at the game and she said to me, ‘Here is your ticket. Don’t worry about paying. And by the way, these tickets are not just for tonight’s game. They are season tickets’.”

She goes on: 

“We ended up supporting the Western Force, a professional Perth-based rugby team, for the next twelve years and watched them play Super Rugby against New Zealand and South Africa. What I found ironic was that I went to nearly every game. I think Fiona missed more games than any of us because she was away diving so much.

Fiona Sharp drew no quarters when it came to life and diving. I only met her a few times, but she left an aircraft carrier shipwreck-sized impression on my psyche and we remained in contact.”

Laura James, Environmental Campaigner, Underwater Cinematographer

Many divers have been generous with their Fiona stories. Todd and Tiffany Winn of Silent O Solutions reached out to me with another classic Fiona tale and said I could share it. When Fiona decided you would be friends, the recipient really didn’t stand a chance. 

Fiona’s reputation as ‘difficult’ preceded her, and our first encounter with her was memorable, to say the least. It was in San Diego for an in-water recompression symposium and training event in 2014. She exceeded my expectations. I believe she only told me I was completely mistaken two or three times. I conceded two of three and agreed to disagree on the third. She had an uncanny ability to defuse my ire with a wry smirk. As she had already decided we’d be friends, I had little say in the matter.

Tiffany Winn
Fiona before a dive in Bonaire. Photo by Michael Menduno.

Tiff liked Fiona immediately and loved her unflinching honesty and authenticity. Fiona threatened to visit us on Maui on one of her transits across the globe, but unlike nearly everyone else she called and texted for a month straight, ironing out the details, and sure enough, one day, showed up. We loaded up our little boat for its maiden voyage, and Tiff and Fifi had a girl’s day rebreathering all by themselves. We had a beautiful day and a fabulous sunset. We will remember her fondly and often, and will miss her dearly.”

Todd Winn

It is only right that I leave the last words to her family. I was told that Fiona had wanted to climb Mount Everest, but she suffered so badly with altitude sickness, that she just about made it to base camp and no further. Fiona was always willing to take a risk, and push herself. Apparently she competed in triathlons in her early 20’s, and she liked challenges. Everyone who came into contact with her soon found out she had a very dry sense of humor.

Fiona didn’t like cheap champagne or wine. It had to be good quality and lots of it, and she always brought home two bottles of whiskey from every trip for her father.

Donna Sharp

Fiona was close to her family. She is survived by her mother, three sisters, a brother, and 18 cousins. She was an “oh so very proud” aunt to 13 nieces and nephews. Typically big-hearted and kind, Fiona had planned to take a nephew to Antarctica this November. You mad as a box of frogs lady, you will be missed. 

The author is very grateful for the assistance of the Sharp family and Dr. Neil Banham, Director of Hyperbaric Medicine at Fiona Stanley Hospital in writing this tribute. 


Dive industry fixer, Rosemary E Lunn (“Roz”) is the Business Development Director at The Underwater Marketing Company. This British firm specializes in providing marketing, communications, social media and event management for the “tecreational” and technical diving industry. Rosemary is a PADI IDC Staff Instructor, BSAC Advanced Instructor, Trimix, and CCR diver. Before moving into the public relations field, she worked as a professional recreational instructor, safety diver, and underwater model underwater and appeared on the History Channel and National Geographic documentaries. She established TEKDiveUSA and organized Rebreather Forum 3 on behalf of AAUS, DAN, and PADI. In 2008, Rosemary co-founded EUROTEK, the European advanced and technical diving biennial conference. She is a respected and prolific diving author, an SSI Platinum Diver, an Associate Member of the Women Divers Hall of Fame, and sits on the SITA Board (Scuba Industry Trade Association).

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