SEA&SEA Ambassadors [Takuya Nakamura]

AMBASSADORS

My partner for the tough "Henoko" shoot was always SEA&SEA.

Takuya Nakamura

underwater photographer

At the age of 10, he encountered diving in the Keramas Islands of Okinawa and was captivated by the underwater world. For more than 20 years, he has continued to visit and photograph the Henoko Sea, which is his life's work.
He has published numerous articles in newspapers and magazines on the theme of environmental problems in the sea and the drama of life, and is also active in giving lectures and other activities.

Official Site

GALLERYS

Half-surface coral reef

［DATA］
Housing: MDX-Z7 (Optical Dome Port 165, Intermediate Ring 20+30)
Camera: Nikon Z6
Lens: NIKKOR Z 14-30mm f4S
Natural light
Location: Madang, Papua New Guinea

A stunning coral reef is photographed at half-water level. After focusing on the coral in the foreground underwater with auto focus, change to manual focus with the switch lever on the outside of the housing. This avoids the focus moving due to the shimmering water surface, allowing the photographer to concentrate on shooting without stress. Furthermore, the internal correction lens corrects barrel distortion, and the flow of water around the periphery of the image is also sufficiently suppressed.

Underwater forest

[DATA]
Housing: MDX-Z7 (Optical Dome Port 165, Intermediate Ring 20)
Camera: Nikon Z6
Lens: AF-S Micro NIKKOR 8-15mm f/3.5-4.5E ED
Strobe: YS-D3 MK LIGHTNING
Location: Tago, Tottori Prefecture, Japan

Honda straw grows in clusters in the shallows. A mebaru was swimming comfortably among them. To create a forest-like atmosphere by preserving the pale hue of the blue cover, I adjusted the light intensity of the strobe to a low level in manual mode and modulated the light to bring out only the hues of the fish.

Lavendar

[DATA]
Housing: MDX-D500 (NX Compact Macro Port Base + Compact Macro Port S)
Camera: Nikon D500
Lens: NIKKOR 60mm f2.8G ED
Strobe: YS-D3 MK LIGHTNING

A lavender-like coral species that has lost its color due to bleaching. The combination of an APS-C D500 sensor with a 60mm macro lens is my most reliable combination for close-up subjects because of its compact port and fast response time.

PRODUCTS

Currently using MDX-Z7, MDX-D850, MDX-D500

Strobes are YS-D3 MKII LIGHTNING and YS-D2

INTERVIEW

●Housing acclimated to the body

When I was 10 years old, I picked up my first motor marine.

The NX-100 PRO housing for the Nikon F100 was the first SLR housing I purchased. I have used it for a long time so far: NX-100, MDX-D100, MDX-D200, MDX-D300, MDX-D500, MDX-D800, MDX-D810, MDX-D850, MDX-Z7.

I started using them initially because they were reliable products, but now they have become like a part of my body: the position and hardness of the buttons, the tension of the shutter release, the operability of the dials, the position of the grip, and the underwater balance.

●Wide shooting emphasizes mobility.

Currently, I use the MDX-Z7 (Nikon Z6) and the YS-D3 MK LIGHTNING for wide-angle photography.

The YS-D3 MK LIGHTNING is excellent for continuous shooting without waiting for the recycle time, even with schools of fish approaching at GN16.

The MDX-D850 and the YS-D3 MK LIGHTNING are used for macro. I prefer crisp, detail-oriented pictures, so I use the MDX-850 for its high resolution. Since the camera uses thumb AF for focusing, the locking mechanism of the AF-ON button eliminates the need to half-press the button to focus, allowing the photographer to concentrate on the shutter release opportunity with fast-moving subjects.

I use the YS-D3 MK/LIGHTNING because I like its ability to use the manual GN1 fine light and its excellent fast shooting performance for wide-angle photography.

●Tough, unbreakable equipment

In my life's work of photographing Henoko, I climb a stream in the forest with two housings in the morning and swim 400 meters one way from the shore in the afternoon with two housings as well.

I have used SEA&SEA housings for all the forest, river, and ocean shoots in Henoko that I have been taking for the past 20 years. I believe that I have been able to continue these tough shoots for many years because of SEA&SEA's lightweight sets, not only for underwater balancing but also on land.

When shooting on long location shoots or in remote areas, the most demanding thing is to have tough and unbreakable equipment.
Many modern housings use plastic for important levers such as the shutter and REC, which makes us a little uneasy when we are on a shoot that we will never be able to shoot again. I have been able to have them replaced with metal parts on a case-by-case basis, and so far I have not had any serious problems. I welcome the cost reduction and easier purchase, but I hope they will continue to make products that can withstand the frequent use by professional photographers.