A TRIBUTE TO THE LEGENDARY ERNIE BROOKS THROUGH THE LENS: A RETROSPECTIVE, COLLECTOR’S EDITION
No. 120 Issue 1/2021
A TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
AARON WONG, ALAN LO, ALEX MUSTARD, AMANDA COTTON,
AMOS NACHOUM, BECKY KAGAN SCHOTT, BRET GILLIAM, BRETT LOBWEIN,
CHRISTIAN VIZL, DHARSHANA JAYAWARDENA, ELLEN CUYLAERTS, GERALD NOWAK,
HENLEY SPIERS, HOWARD & MICHELE HALL, IMRAN AHMAD, JADE HOKSBERGEN,
MATTHEW MEIER, MATTY SMITH, MICHAEL AW, MICHELE WESTMORLAND,
SHAFRAZ NAEEM, SIMON LORENZ, STEVE JONES, YORKO SUMMER,
MOHAMED SEENEEN, MARY SAYRE, MONICA CHIN, HIDY YU
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ERNEST H. BROOKS II
PORTFOLIO OF A PIONEER
I met Ernie at the DEMA Show in Las Vegas in 2012. HE has dived all oceans of the world, from
We talked about our many shared interests: art, the shallow to deep, sport to commercial, for
ocean, conservation. He has inspired me since that research to science, optics to high resolution,
day, with his passion, his insights and his incomparable Ƥ
art. Like so many others who had the opportunity to and white because of the lasting and timeless
hear him speak, I was drawn to this wise, warmhearted expression it gives to the viewer… you!
gentleman, and I was extremely touched by how he
gave back to the ocean. A single photograph, entitled “Snake
River”, was captured by Ansel Adams in
He told me that everyone is connected to the ocean, 1940. The image presents all the elements:
and he was very keen to be a part of what we do in Asia. the beauty of the sky above, the powerful
He enthusiastically agreed to be a guest of honour at mountains that invite exploration and the
ADEX 2013, as well as accepting an appointment to the ƪ Ǥ
advisory board of the Historical Diving Society (Asia).
He would come back for our event in Singapore for Next to Ansel’s photograph is another
many years. In 2018, ADEX was dedicated to sharks, by photographer Dorothy Kerper Monnelly,
and he graciously allowed us to use one of his most entitled “Daybreak”, where early morning
ȋ
ǯ Ƥ
ƪ
in the pages of this magazine). That same year, the last to illuminate the delicate marshlands of our
year he came to the show, we honoured Ernie as an waterways. And next to these two remarkable
ADEX Ambassador (Emeritus). Ƥ ǡ
Ernest H. Brooks II. This one single photograph
While he had no intention to teach, Ernie was my will also change the way you view all life
mentor. His passion and his love for the ocean have within the sea – the power of the statement
been my inspiration, guiding me in my way of thinking from within the beauty and evolution of this
until today. He will always remain close to my heart, remarkable ancient creature and the struggle
and he will continue to inspire me as he has inspired for continuance in our modern times.
so many underwater photographers from around the
world. Thus, this edition is our collective tribute to Ernie, Ernest H. Brooks II was born to be a
our celebration of his life and work, communicated photographer and his Portuguese ancestry
through the dedications and images of underwater ƥ
photographers who have been touched by this great Ǥ
Ƥ
man. Thank you Ernie. We will miss you. and campsite to witness the majestic
Macrocystis kelp, the “redwoods of the sea.”
One Ocean, One Love
His grandmother was a portrait
photographer, his father a commercial
photographer and his uncle a landscape
photographer. Ernest followed the path of
least resistance to become a spokesperson
Ƥ Ǥ
JOHN THET
Publisher, Asian Geographic Magazines Pte Ltd
CEO, Asia Dive Expo (ADEX)
President, Media Publishers Association Singapore (MPAS)
Founder, Underwater360 | Historical Diving Society Asia (HDSA)
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TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
Ernest has exhibited his underwater ADEX AMBASSADOR (Emeritus)
photography in New Zealand, Australia, Guest of Honour
Italy, Germany, China, Mexico, France, ADEX 2013, 2014, 2015, 2016, 2017, 2018
Canada, Costa Rica, Saudi Arabia, Japan,
Iceland, Chile, Puerto Rico and Portugal. 5 | SDOP
He has been published in National
Geographic and many other leading
magazines in the world. He was one of the
original owners of Islands magazine and his
first cover can be remembered: The Channel
Islands. The Historical Diving Society, USA has
honoured Ernest for his contributions to the
world of commercial diving in the US. The
early 1960s found Ernest filming the abalone
divers of San Miguel Island, the early deep
dives of Dan Wilson of Ocean Systems,
Oceaneering’s Cal Dive and the development
of offshore exploration.
Ernest focused on bringing into being
an educational photographic programme
for students at the Brooks Institute of
Photography in Santa Barbara to study the
challenges of underwater photography for
the future – art, science, technique, futures.
You will know the work of many of Ernest’s
students: David Doubilet, Cathy Church,
Chuck Davis, Richard Salas, the Cousteau
Society, Amanda Cotton and Wyland Nicklins.
Most photographers paint the ocean
with a barrage of colours – blotches of blue
on the glimmering surface, globs of green
of a kelp stalk and splashes of scarlet of a
sponge. But Ernest brushes with a much
simpler palette, capturing all of the ocean’s
beauty with just 21 delicate shades of grey.
1961, Sea of Cortés, Mexico,
Taken in Guaymas during the
filming of The Scuba Lensmen
Above left: 1968 ERNEST patched together his first housing coast of Santa Barbara that my fate was
Guaymas, Mexico, from scratch for a black and white Leica sealed – through my swim goggles I spied
Ernest with early camera at the age of 19 and still has not the kelp strands, schooling fish and sunrays
colour chart strayed into colour photography. His list of disappearing into the depths. With both my
appearances and accolades couldn’t fit onto parents working as photographers I didn’t
Above right: 1962 one roll of 36-frame film, including induction just see Nature, I saw frame and focus lines.
Exakta 35mm with into the Scuba Diving Hall of Fame, being When did you first pick up a camera?
flash bulb attachment. named Legend of the Sea and having his I was given my first camera in kindergarten –
The case was designed work featured in the Smithsonian alongside a Kodak Browne Box. I made one exposure
for Ernest’s first the likes of Ansel Adams. Through it all, the of my class in front of the Lompoc Grade
photos of Devil’s timelessness of his black and white beauties School, superimposing the teacher in front
Hole, Death Valley, continue to serve as a reminder of the of the class. It turned out to be my first
California and Nevada ocean’s resilience, beauty and fragility. published photograph on the front page
We know your father was an avid boater of the Lompoc Review in October of 1940.
and diver. What effect did this, and My father had a photographic studio
growing up in the rich marine environment in town, so my sister and I would work
around Santa Barbara, have on launching together to develop my father’s film – I
your love of the sea? would do the acetic acid while my sister
This certainly was one of the key elements handled the processing times, washing and
that urged me to venture out into the drying. By the time I reached grade school,
Pacific and the Channel Islands. At the age I already had a brown fingernail from all
of nine I entered a swimming contest at the film processing. By the time I turned 19,
summer camp – a 50-foot-long sprint. Not I decided to build an underwater housing
only did I win first place, but also I managed for my Leica camera. It was the perfect
to hold my breath and stay underwater the camera, compact with a sharp lens for my
whole time. By the time I was in high school, love of ambient light. But it wasn’t like a
I was competing in mile-long swim meets. fancy housing of today. There was only
It was during a five-kilometre race off the one control – the shutter. The rest of the
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TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
settings were fixed: 15cm focus, f/8 and a essence – creating that one exposure that Top left: 1997
shutter speed of 1/100th second. It was easy says, “I’m yours, Ernest H. Brooks.” Santa Cruz Island,
and a joy viewing the sunlight from below Your underwater photography crosses the California, Jean-Michel
the waves, looking up. line between a natural history photograph Cousteau in action
You aren’t just a photography pioneer, and art. What mindset does this take?
but also a diving pioneer. What was it You must illustrate the beauty of light and Top right: 1953
like exploring the Channel Islands for the the presence of design, the form the viewer Guaymas, Mexico,
first time? realises is a quality joined together to begin Ernest adjusts his
As a young diver I would pretend to be a “statement”. These visual “words” are the mother’s dive gear
[Austrian diving pioneer] Hans Hass, language of all the people on our planet,
exploring the waters around the eight and a language that all photographers need Above left: 1967
Channel Islands. From the beauty of the to learn as their careers take form. Housing for Ernest’s
massive kelp forests – “redwoods of the You clearly have an appreciation for art, like Hasselblad, the first
sea” – to the marine mammals of San music, for example. What similarities does 70mm Hasselblad
Miguel and Santa Barbara Island, I had his music have to underwater photography? in Plexiglas
desire to tell the world of the beauty of my Music is the driving force, the rhythm and
own backyard. the heartbeat that solidifies the image Above right: 1962
You certainly have a connection to your and composes the visual ballad. All of my Santa Cruz Island,
subjects. How did you establish this? published works strive to begin with a California, A
As a photographer, there must always musical note. Today, many film festivals commercial diver with
be a time when you observe the behaviour blend images with the music chosen by a dysprosium iodide
of your subject, whether it is a sea lion the photographer. Many of my programmes lamp lighting a turbine
or just light rays interacting with the today are enhanced by the music of another propellant meter
water. And then there is a moment when artist, Ernest Cortazone. A single piano in the early days of
it all connects. For me, the technical part serves like the 21 steps of the greyscale research on lighting
is automatic. Pushing the shutter down, that creates the tonal range of the black systems (to record
the moment of the capture is the and white image. the full spectrum of
infrared to ultraviolet)
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Above Left 1961 The underwater world is full of colour. that I was raised with a 4x5 view camera
Sea of Cortés, Mexico, But you choose to stay with black and with one lens.
Ernest with Gene white. What does this add to your images Your résumé includes a long list of awards.
Cornelius, preparing that colour cannot? Is there one that is close to your heart?
to dive with a The majority of my images are exposed just They are all so very touching – each one is
current meter with ambient light in black and white. For a treasure. As it seems, the most recent is
me this creates an image with a timeless remembered in a special way. Being the
Above Right: 1962 statement that bears no date. The delicate first to receive the Hans Hass Diving to
Santa Cruz Island, shades that grey creates have the ability to Adventure Award, presented in Dusseldorf
California, Part of capture a sense of wonderment or freeze by Hans Hass, was overwhelming, as was
a study by the action in the contrasts between highlight the chance to be on stage with my earliest
Dillingham Corporation and shadows. This grace, beauty and mentor, the very same explorer I pretended
into high-output simplicity creates perfection and a lasting to be all those years ago. Other highlights
lighting systems impression on the viewer. that come to mind include being named
with special signature Some of your most iconic images are the “Legend of the Sea” at the 2012 Beneath the
wavelength patterns black and white wide-angle shots of kelp Sea. Of course, nothing is quite the same
to optimise light forests and swarming schools of fish. Do as being immortalised in stone: In 2011, the
penetration aboard you plan these shots? sculptor Viktor unveiled a larger-than-life
early submersible Preparation is key. Appreciating the fact granite bust, which now stands watch at the
vehicles working at that I had only 10 exposures to capture the Maritime Museum in Santa Barbara.
great depths one exact moment, that became my method In the age of digital photography, you stick
underwater – waiting for that moment with a large format Hasselblad. What is it
Top Right: 1983 when all the elements came together in about this camera that you love?
Santa Barbara, one singular frame. With full frame the joy Victor Hasselblad presented me with his
California, International is discovering that your point of view is the favourite in 1961, the 38mm SW with a
Divers’ helmets same as your camera’s. If you want a wide- 70mm back. After 40 years of use without
angle then back up; if you want a medium ever changing the O-rings, aperture, shutter
shot, just get closer. You can probably tell
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TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
speed and prefocused 15cm to infinity, it “Being a photographer is all
remains the best point-and-shoot in the
world! And much like my Blancpain watch about giving back in a way that all
that never fails, quality is something that peoples can witness our fantastic
should never be sacrificed.
Do you have a favourite image? If so, why? ”landscapes of wonder…
Of all my underwater images, I must admit ERNEST H. BROOKS II
that I have a love affair with Spot, a very
special sea lion. Back in 1990, I set out to Above: 1985
snorkel the kelp forest off of Anacapa Sea of Cortés,
Island. At 4.5 metres below the surface, Mexico, Three divers,
nestled in the kelp fronds, Spot appeared. three cameras
A sweet shaft of early morning light graced
her face, spotlighting her expression… 9 | SDOP
priceless. She stole my heart and also stole
my snorkel.
You’re still very actively shooting.
What projects do you have coming up?
Being a photographer is all about giving
back in a way that all peoples can witness
our fantastic landscapes of wonder…
My sights now are set on illustrating a
lasting view of past civilisations and the
monuments remaining. Of course, my
photography will continue to be lit only
by the sun and kept timeless in black and
white, so the memories never fade.
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TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
1962
Death Valley, California
Devil’s Hole, 152 metres deep, the
bottom has never been mapped
ERNEST H. BROOKS II
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TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
1969
Santa Barbara, California
A feather caught in oil: The 1969
Santa Barbata oil spill was the
largest in US waters at the time
ERNEST H. BROOKS II
13 | SDOP
At Anacapa Passage in perfect light, at a focal length of
38mm on a 70mm format camera, this blue shark fills
my frame. Big, sleek and beautiful, this ancient and quiet
form closely glides past as I pan to match its speed
ERNEST H. BROOKS II
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TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
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TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
1983
Santa Cruz Island, California
For Ernest’s book Silver Seas. These smelt
are being corralled by two harbour seals
off the entrance to Painted Cave
ERNEST H. BROOKS II
17 | SDOP
My encounter with the Cousteau family 1988
of divers aboard my vessel Just Love… Santa Cruz Island, California
Here, Dominic glides through my scene with Cousteau diver
ease as I pan right to capture the moment…
ERNEST H. BROOKS II
The Captain enjoyed this image
ERNEST H. BROOKS II
1989
Sutil Island,
Santa Barbara, California
Symmetry
ERNEST H. BROOKS II
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TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
1990
Cocos Island, Costa Rica
“On my 60th birthday with Avi Keppler
on his vessel Undersea Hunter…
This hammerhead appeared on our last dive…
with the sun creating the drama…”
ERNEST H. BROOKS II
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1990
Cocos Island, Costa Rica
Storm Under the Sea:
“Seen from 80 metres below
the surface…”
ERNEST H. BROOKS II
1990
Anacapa Island, California
“A brown gorgonian comes to
life in my darkroom”
ERNEST H. BROOKS II
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TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
Winged Angel: 1990
The most popular image Santa Barbara Island, California
in Ernest’s collection “The delicate shades that grey creates have the
ability to capture a sense of wonderment or freeze
action in the contrasts between highlight and
shadows. This grace, beauty and simplicity creates
perfection and a lasting impression on the viewer”
ERNEST H. BROOKS II
21 | SDOP
1993
Santa Barbara Island, California
Piroutte, on the same roll of film as
Winged Angel. Poet Sally Ellis Vogel
says: Light on centre stage, She
performs for me alone, I am transfixed
ERNEST H. BROOKS II
22 | SDOP
TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
1994
Middle Anacapa Island, California
Michael Meets Spot:
“The President of Light &
Motion Industries was
impressed with Spot too!”
ERNEST H. BROOKS II
23 | SDOP
This image is forever in my mind’s eye... 1994
as the sea was so unsettled in this early Monterey Bay, California
morning light… and there in the moment The Sun and the Moon
when the sun broke through the overcast…
ERNEST H. BROOKS II
this was created… forever!
ERNEST H. BROOKS II
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TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
1995
Santa Cruz Island, California
“This is the Evidence of Man”
ERNEST H. BROOKS II
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These kelp forests are so quiet… 1995
with beautiful light… Santa Catalina Island, California
Curves
ERNEST H. BROOKS II
ERNEST H. BROOKS II
26 | SDOP
1996
Southern Tubbataha Reef,
Sulu Sea, Philippines
Red coral sea fans
ERNEST H. BROOKS II
TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
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1998
Santa Catalina Island, California
Sea Pearls series
ERNEST H. BROOKS II
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TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
IMAGES AND CAPTIONS FEATURED ABOVE 1935–2013
WERE TAKEN FROM ǴA HISTORICAL AFFAIR VOL. Iǵ
PUBLISHED BY ASIAN DIVER
Somewhere in time, as captured
by ERNEST H. BROOKS II
29 | SDOP
AUKlex Mustard
ADEX Speaker (2020, 2016)
Ernie Brooks was not just a
huge talent in underwater
photography, a visionary
giant that we now all benefit
from standing on the
shoulders of, but he was also
a gentleman. In an age when too many
photographers are consumed by their ego,
Ernie was also a fantastic inspiration as a
person. When I wrote my popular book
Underwater Photography Masterclass,
I could not cover the topic of monochrome
without paying tribute to the maestro.
This is from those pages: “Powerful
black and white images start not with
conversion software but underwater,
with decisions you make about
composition and, particularly, the use
of light. Black and whites are all about
finding and shooting visually appealing
shapes and shadows. If you are lacking
inspiration, check out the work of Ernie
Brooks, the master of this discipline.�
A school of bigeye trevally
(Caranx sexfasciatus) forming a
circular shoal in open water,
on the drop-off of a coral reef
by Alex Mustard
WHEN
September 2018
WHERE
Ras Mohammed National Park,
Sinai, Egypt
HOW
Nikon D850, 28–70mm lens,
Nauticam WACP-1,
Subal housing, Seacam strobes
(f/11, 1/60s, ISO 500)
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TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
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TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
A school of horse-eye jacks
(Caranx latus) swimming over the
bow of the USS Kittiwake wreck,
while diver (Colin Bristow) looks on
by Alex Mustard
WHEN
August 2012
WHERE
Seven Mile Beach, Grand Cayman,
Cayman Islands, British West Indies
HOW
Nikon D4, 16mm fisheye lens,
Subal housing, Seacam strobes
(f/13, 1/200s, ISO 400)
HONG KONG
Simon Lorenz
ADEX Speaker (2020)
In our small world of
underwater photography
Ernie Brooks was a legend
and a visionary. He paved
the way for us to enjoy
what we do today with
his early work and his dedication to
training the next generations. His
black-water photography remains
timeless and impactful despite being
shot in the last century.
Whale Shark
by Simon Lorenz
WHEN
June 2017
WHERE
Tubbataha Reef, Philippines
HOW
Nikon D500, Tokina 10–17mm fisheye lens,
Isotta housing, Inon Z-240 strobes
(f/8, 1/200s, ISO 200)
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TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
Schooling Barracuda in Banda Sea
by Simon Lorenz
WHEN
September 2017
WHERE
Banda Sea, Indonesia
HOW
Nikon D500, Tokina 10–17mm fisheye lens,
Isotta housing (f/9, 1/800s, ISO 250)
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TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
ECAlYlMeAnNISCLAuNDySlaerts
ADEX Speaker (2020, 2019, 2015)
ADEX AMBASSADOR I’ll never forget my first
Ocean Conservation Photography meeting with Ernie. We bid in
ADEX VOICE OF THE OCEAN the Women Divers Hall of Fame
auction on his book Silver Seas
Judge 2019 and won it. Ernie proposed
36 | SDOP
to sign it for us and to my surprise he The Elements
knew my work. From his first words to by Ellen Cuylaerts
the precious times we spent together, to
our correspondence, he was kind (to my WHEN
whole family), supportive and giving with July 2013
every letter, every touch, every smile and WHERE
every approving nod. I’ll miss his sparkling Devil�s Grotto, Grand Cayman,
eyes, his laughter, his talks passing Cayman Island
wisdom on to the next generation. Our HOW
mission is to make him proud! Nikon D800, 16mm lens
(f/6.3, 1/160s, ISO 800)
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Manta Magic
by Ellen Cuylaerts
WHEN
March 2014
WHERE
Kona, Hawaii
HOW
Nikon D800, 16mm lens
(f/5.9, 1/100s, ISO 1600)
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TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
Three Graces
by Ellen Cuylaerts
WHEN
July 2015
WHERE
Tonga
HOW
Nikon D800, 16mm lens
(f/9, 1/200s, ISO 320)
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MUSAichele Westmorland times. We spoke of creating black and
white images of underwater creatures
ADEX Speaker (2020, 2015) and environments. The consummate
artist that he was, had me reaching
When I had the opportunity back, in my mind, when I would stand
to see Ernie at various in my own darkroom. I knew then, I
functions, we would go to a had to return to understanding and
quiet place in the showroom composing so that in this digital age,
and sit. We chatted about I would plan images to convert. My
how important art is in hero, my inspiration, and one of the
society. That’s because he knew about kindest people on the planet. I had
the documentary film I worked on for been online with Ernie in November
many years. It is the story of an American 2020, and my heart was broken when
woman artist who travelled to Melanesia he was gone the next day. I was so
with her sidekick – to paint portraits. Their grateful to see him one last time.
journey took place in the late 1920s. He
would hold my hand and ask how the
film was coming along. Ernie inspired me
to continue on, even through difficult
Spinner dolphins (Stenella longirostris)
by Michele Westmorland
WHEN
February 2012
WHERE
Manuka Bay,
Big Island, Hawaii
HOW
Canon EOS 5D Mark II,
16–35mm lens,
Seacam housing
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TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
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TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
HUSAoward Hall and Michele Hall
ADEX Speaker (2020, 2017)
I didn’t meet Ernie until late in life,
but his adventures in the California
Channel Islands aboard Just Love
inspired dreams I pursued, since
I first picked up a Nikonos camera
and began visualising underwater
images. Eventually I did have a
chance to meet Ernie, spend some
42 | SDOP
TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
time with this gentleman, and even had A manta ray with Ed Stetson
a chance to dive with him. For those by Howard & Michele Hall
wonderful moments, I will always be
grateful. During those quiet times WHEN
when I find myself alone deep in cold May 2018
temperate waters, I often imagine WHERE
the faces of absent friends among the Mexico
amorphous shadows at the edge of HOW
visibility. This morning, I believe I saw Canon EOS 7D, 15mm lens
Ernie among them. His life was well (f/6.3, 1/125s, ISO 640)
lived, and his voice will be missed.
43 | SDOP
Australian seals off Montague Island ADEX VOICE MattyAUSTRALIA Smith
by Matty Smith OF THE OCEAN
ADEX Speaker (2020, 2019, 2016)
WHEN Judge 2021
October 2019 When listening to Ernie�s stories, I learned
WHERE he certainly led a colourful life, a life of
Montague Island, true adventure. He had a great knack for
New South Wales, Australia somehow squeezing all that splendour
HOW into the black and white tones of silver
Nikon Z6, 16–35mm lens, halide and soft, heart-warming words.
Aquatica Digital housing
(f/11, 1/250s, ISO 400)
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TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
Humpback whale in Tonga
by Matty Smith
WHEN
October 2019
WHERE
Vavau, Tonga
HOW
Nikon Z7, 14–30mm lens,
Aquatica Digital housing
(f/11, 1/400s, ISO 400)
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TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
Humpback whale
by Matty Smith
WHEN
October 2019
WHERE
Tonga
HOW
Nikon Z7, 20mm lens,
Aquatica Digital housing
(f/9, 1/400s, ISO 400)
46 | SDOP
TRIBUTE TO THE LEGENDARY ERNEST H. BROOKS II
ImranSINGAPOREAhmad
ADEX Speaker (2020 , 2019, 2018, 2016, 2014)
Our gentle giant, Ernie
Brooks. A wonderful smile
and a warm heart so huge,
not even the ocean could
fill it. You will always be
remembered. Thank you for
being part of our lives and encouraging
us to always do it better for our ocean
and the love of art.
In shallow waters, this beautiful
whale shark hovers and waits
for the bagans to return
by Imran Ahmad
WHEN
March 2017
WHERE
Gorontalo, Indonesia
HOW
Nikon D4, 13mm lens,
Seacam housing,
Seacam 150D strobes
(f/11, 1/250s, ISO 250)
47 | SDOP
AUSmA/ISoRAsELNachoum
ADEX Speaker (2020, 2016, 2011)
He stood tall, erect and
strong. He had a classic
but modest style, and
always dressed sharp.
And his smile rarely left
his chiseled face. When he
talked, he exuded warmth, confidence
and gentleness; he invited you in and
wanted to know you, too. And when
he was talking about the ocean and
photography, I was swept away.
He was a master of black and white
as well as infrared photography, both
underwater and above water, too. He
had a unique ability to translate wildlife
and emotion into shades of grey. Ernie
was a genius, a master of light, and his
work is iconic. But above all, people
were drawn to Ernie as to a beacon –
always inviting, sharing, teaching, and
radiating a genuine love of life.
Polar Bear Family
by Amos Nachoum
WHEN
August 2015
WHERE
Canadian Arctic
HOW
Nikon D4S, 17–35mm lens
(f/8, 1/320s, ISO 200)
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2021-01-01 Scuba Diver
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