The document discusses using underwater photography to raise awareness of coral reef conservation. It outlines the threats facing coral reefs from pollution, overfishing, and tourism activities. Underwater photography is highlighted as an effective way to convey the importance of conservation to tourists by showing them the beauty of coral ecosystems. The study will examine the persuasiveness of different underwater photography techniques in convincing tourists to support conservation efforts.

1. Underwater photography conveying awareness of coral ecosystem conservation
SECTION ONE: INTRODUCTION
1.1 Background of study
This study is focus on the effect of underwater image in conveying awareness of
coral ecosystem conservation. The use of underwater photography in conveying peoples
especially tourists aware of the coral ecosystem damage and the important of conserve it
are commonly applied to express meaning more clearly and attractive without losing the
whole context of the actual message conveyed. As mentioned by Cal Mero (2009),
underwater photography can use to convey a message about its subject and can change
and inspire its viewer apart from as a medium of communicate. Take renowned
underwater photographer Brian Skerry’s recent photography work on harp seals and the
global fisheries. His emotive photos communicate a message that is hard to ignore.
Underwater photography is the most important medium in transferring awareness
message to tourists in order to stop the destruction of the world coral reefs and restore
their beauty, health and abundance within this century. Nowadays, manipulation on
underwater photography becomes more apparent with the introduction of digital
photography editing. The use of underwater photography in raises awareness is becoming
more common now because the technology of photography become more evolve
compared to the years before. Appropriate use of it can encourage people in preserve the
nature of the coral ecosystem.

2. 1.2 Problem Statement
Coral reefs also know as the “rainforest of the sea” are the most biodiverse of all
marine ecosystems and the greatest expression of ocean life. They are the barometer for
the health of our oceans and possibly our entire global environment. According to the
Department of Marine Parks Malaysia SyMBiosIS, Malaysia has an estimated 4,000 km2
of coral reefs, 75% of which are found around Sabah and Sarawak in East Malaysia.
Coral diversity is highest in East Malaysia, estimated at over 550 species while there has
over 360 species of coral in Peninsular Malaysia.
Nowadays, coral reefs are in crisis which dying at an alarming rate worldwide.
They are now endangered on a planetary scale because of threatened by pollution, over-
fishing, dynamiting and bleaching. Home to more than a quarter of all fish species on
Earth, an estimated 10% of coral reefs have already disappeared and an estimated 58% of
all coral reefs are at risk today. In Southeast Asia, more than 80% of the reefs are at risk
and an estimated 38% of the reefs in the Florida Keys died between 1996 and 2000.
(Cynthia Lazaroff, Planetary Coral Reef Foundation West Coast Office)
Coral reef also is one of the primary tourist attractions in coastal regions.
However, the absence of distinct strategies to ensure the conservation of reefs has already
led to the degradation of these resources in many parts of the ESCAP region. Tourists and
locals are found walking on reefs and doing diving activities which damaging them
extensively. Moreover, the collection of pieces of coral as souvenirs, collection of shells,
dropping of anchors of boats used by tourists and fishermen, are also contributory causes.
Apart from fishing activities, the corals are also exploited and damaged, either
intentionally or out of ignorance, by other tourism related activities. The coral colonies
situated close to popular beach resorts have been most seriously affected and been
subjected to serious damages. These are facing various problems ranging from polluted
sea water, disturbance from tourist divers (unskilled), oil-spill from too many diving
boats, and waste littering. Even the more off-shore and less accessible coral reefs are
facing damages from some of these factors, though to a lesser extent. However, the
tendency of damages is increasing as the tourism activity of scuba diving and snorkeling
are gaining popularity. There is clearly conclude that the increase of tourism industry has
raises the amount of coral degradation.

3. Abdul Jamal Mydin, general director of Marine Park Department told reporters
that in Pulau Payar in Kedah for example, an estimated 60% to 90% of corals were
affected by the bleaching. Besides the peninsula, signs of coral bleaching have also been
reported in Sepanggar Bay, Sabah. Reef Check Malaysia general manager, Julian Hyde
tells The Nut Graph that the bleaching was first observed in April 2010, and the situation
got worse in May and June. In May 2010, the Terengganu government said it planned to
limit the annual number of tourists visiting Redang Island because the increasing number
of tourists was taking a toll especially on the coral reefs. Greenfins Malaysia was also set
up in 2008 to encourage dive operators and their clients to adopt environmentally-
friendly practices to help conserve coral reefs and marine life.
In order to reduce risk of coral degradation, the use of underwater photography is
crucial because it is a multi-disciplinary art that has developed in response to the crisis
confronting biological diversity today.
1.3 Significance of study
It seems that more rigorous coral conservation should be done in order to aware
more tourists. As we can see, due to the advancement of underwater photography, tourists
are becoming more aware of the persuasion effects of the conservation. Therefore, they
are not easily persuaded by common or ordinary conservation campaigns. It means, the
tourists are no longer can be easily affected by the direct or straightforward underwater
photography. Although direct or straightforward underwater photography may brings
about the meanings more effectively, it does not possess the powerful creative pull it its
campaign.
Conversely by applying the uses of more creative techniques in conservation in
convey messages, it may convince the tourists to get more awareness on the coral
damages and the way to sustain them. If the conservation campaigns are successful, this
may help our country to save more marine ecosystem.
Besides that, this study also essentials in order to understand the conveying effect
of underwater photography on coral conservation. One of the hopes expressed for the
future of conservation photography as a field is that it will lead to greater opportunities

4. for funding projects, independent from existing media or science budgets. It will also be
helpful for mainstream media outlets to publish more conservation content. Additionally,
strides for conservation awareness can be gained if the majority of nature photographers,
amateur and professional, will become more engaged in conservation issues, recognizing
their ability to be activists with the cameras.
1.5 Aim and Objectives
The main aim of this research is to study the manipulation of using underwater
image to conveying tourists about the awareness of coral ecosystem conservation.
Specific Objectives:
1. To study the effect of underwater photography whether it manage to convey tourists
aware of coral ecosystem conservation or not.
2. To verify the underwater photography are effective and efficient in aware tourists or
inefficient.
3. To identify whether underwater photography able to sustain the nature of coral
ecosystem from being degraded continuously.
1.6 Research Questions
What is most persuasive way to convince and convey awareness message to tourists on
coral conservation?
Are using underwater photography in convince tourists effective enough?
1.7 Hypothesis
H1: Underwater image able to conveying awareness of coral ecosystem conservation to
tourist.

5. 1.8 Limitation and Delimitation
This is a case study research on Malaysia tourism industry which will be done in
Sabah, Malaysia. Therefore this research will be limited to tourists visiting Sabah area,
highlighting on their preferences on underwater photography in conservation approach.
Respondents’ selection will be general which will include foreign and local tourist from
and outside of Malaysia. This is mainly to ensure sample generalization by employing
probability sampling in sample selection.

6. CHAPTER TWO: LITERATURE REVIEW
From beneath the surface of the water, underwater photographer David Doubilet
exposed a previously unseen world, publishing 70 articles in National Geographic
starting in 1971. His book Water Light Time (1999) includes photographs from thirty
different oceans and seas shot over three decades of exploration, portraying the
underwater world with unprecedented story-telling artistry that fostered new appreciation
for that realm. Both Balog and Ketchum stated the need to reconnect to the natural world
and believed that the power of photography could enable that connection.
Photography can help us remember and reclaim our identities as part of the natural
world… [It is] an antidote to the disorientation of our time; it replaces fragmentation with
focus, forgetting with memory, indifference with affection. These are the impulses
shaping a new breed of activist photography oriented to the conservation of the natural
and human environment (Balog, 2007).
The World Conservation and Wildlife Trust run by CEO Robin Johnson
are launching a new and unique project focused on the general population experiencing
the beauty of the Sea through the means of a nationwide film. At the moment they are
developing a similar film around the UK to use as a taster for what is to come. The film is
a testament to the beauty that lies beneath, the sea and all of its aquatic ecosystems. The
first part of the film focuses on following marine experts to Marine havens around the
world to film how the underwater world operates. The second part to the film is the
impact of the Destruction of the seas on local inhabitants, for example in Thailand, Koh
Tao, Phuket and Krabi. Locals here depend on the sea for cultural and practical reasons,
as they have lived off the sea for generations; by destroying it they are destroying them.
Then finally the third aspect of the film is human impact, they look at human impacts on
the seas and how they are destroying the beautiful life within the sea. They are launching
their taster film on the Marine Life around the UK on October 3rd at 9.00pm 2011 at
the Screen on the Green in Angel, London, where with just one screening they try and
seek interest on the topic and seek investment for their film which will be
launched nationwide (possibly global) to a much larger audience, raising the critical topic
of the destruction of their seas the next of the year. (Robin Johnson, 2007)

7. The Images for Conservation Fund (ICF), founded by John Martin in Texas,
proclaims “Photography is the most powerful conservation tool on the planet
(imagesforconservation.org).” Recognizing that ninety-six percent of Texas and ninety
percent of the Western Hemisphere is privately owned, ICF focuses its programs
primarily on conservation of private land, using photography tournaments as educational
and economic incentives to encourage private landowners to restore, preserve and
enhance wildlife habitat. Photography also is a propaganda device and a weapon for the
defense of the environment and therefore for the fostering of a healthy human race and
even very likely for its survival. When used to its best advantage, dramatically, with
uncompromising sharpness, it is a most powerful means for demonstrating the need for
protecting and preserving the biota. This is because photographs wield a great force of
conviction. Photographs are believed more than words; thus they can be used
persuasively to show people who have never taken the trouble to look what is there
(Porter in Rohrbach et al 2001).
In addition, photography can help break down the wall of rationality and provide
the poetry to warn and inspire. Photography has the power to “touch the images of the
soul” and to become that new language “to convey the feelings of beauty, hope,
inspiration and sacredness for humanity and all other life.” Photography can provide
connection to the wilderness experience, remind us that we are all connected, and provide
the “spiritual spark that ignites understanding.” As Player described general conservation
needs for 21st century, he was essentially describing the role of conservation
photography.

8. CHAPTER 3: METHODOLOGY
This study will be carry out by multidisciplinary research whereby it will acquire
literature from various disciplines such as arts, social sciences and tourism studies. The
use of both approaches in this research is deemed important because they would enable
researcher to further understand the subject matter in which cannot be explained using
only one approach alone. For instances, the use of qualitative method is insufficient at
explaining the matter of tourist’s behavior and perception towards the persuasiveness of
underwater photography to show people who have never taken the trouble to look what is
there, since it concentrates only on interpreting on the message by the text.
Documenting this amazingly diverse region required a wide variety of photographic
techniques, from aerial photography of landscapes to micro photography of insects. On
average, the sun in Gamba broke through the clouds in just one out of three days. Good
lighting was a blessing when it came, but the weather changed rapidly and was difficult
to predict. The typical dim lighting required the use of heavy tripods and fast lenses. High
humidity and constant rainfall conspired against equipment, and salt air and wind-driven
sand in the coastal areas added to the toll. It was necessary to store cameras in dry boxes
with desiccant to keep them functioning.
Camera equipment. I used a Nikon SLR camera system, including 35mm film-
based camera bodies and a D1x digital camera body, with lenses ranging from 20 mm to
600 mm. Macro lenses – 60 mm, 100 mm, and 200 mm – which allow close focus and
high magnification, were the cornerstones of my studio photography. Otherwise,
preferred lenses were 600 f/4 for wildlife and 28mm f/1.4 and 35mm f/2 for
photographing people. For film, when not shooting digital, I relied on Fuji Velvia 50 and
Kodak E100G/GX, often pushed one stop.
Aerial photography. Photographing from above provided an informative
perspective on the landscape, revealing interface and linkages among habitats. This
approach was particularly important in Gabon where the patchwork of coastline,
grasslands, water, and forest defines the ecosystems. Aerial pictures were made from
radio towers as well as a low-flying Cessna 182 aircraft.