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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 Skerrys 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.

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, overfishing, 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.

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 environmentallyfriendly 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

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.

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.

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)

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.

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 tourists 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 filmbased 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.

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