By Raymond Carver, Bob Adelman
In a stunning hardcover collector's variation, Raymond Carver's kingdom is illuminated in phrases and images.
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Extra info for Carver Country: The World of Raymond Carver
It was a bad omen. Matt was never on time. He’d returned from a week in the Red Sea observing early taping for the BBC production “Blue Planet”. He placed the company Nikon F90 on the counter. “It’s only slightly wet. ” His voice trailed off. For Crowther, who would later go on to be a key writer for Dive Magazine, this was his first flood. The camera, not withstanding the working top display, was of course ,destroyed. Ocean Optics had paid for Matt’s place on the unique charter to let him try out a range of new equipment as part of his product training.
Most photographers will yearn for that “big” shot, of all or part of a shipwreck in clear water and under the right conditions these shot are attainable. But all too often these ideal circumstances elude us and so you must first learn to recognise and accept the limitations which present themselves on each dive. Unless you have exceptional luck, visibility in British waters is rarely good enough to show large sections of a wreck so you must be prepared to tune your techniques to suit whilst perhaps saving your panoramic shots for those wrecks in the tropics.
And, with the keys to Ocean Optics, I never travel, and rarely enter the water, with only a single camera system. Underwater photographers, especially when starting out, don’t usually have back up camera equipment. It’s a dangerous strategy, brought home recently when a strobe we supplied failed on a trip. If you don’t have a back up, you probably won’t get the shot. In this case the photographer did not have his own back up and was indeed fortunate to be offered a loaner by the group leader. The group leader, by the way, owned several back ups.