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Showing content with the highest reputation since 12/21/19 in Posts

  1. 2 points
    Get a strobe. Start with one and begin to learn. You will not be happy with your photos otherwise. With a bit of practice you'll start to take some pictures that will be really great. Add a second strobe later on when you are ready for more dramatic shots.
  2. 2 points
    I really like my Sony. The a6000 is a 2014 camera, so not really the latest tech. Also switching to a different brand and get the equivalent (dry land) lenses just because a particular housing was cheap, I don't think I'd save money. I wouldn't switch to a smaller sensor, I wouldn't probably switch to full frame either. I definitely wouldn't switch to DSLR, because I've never had one and mirrorless just makes much more sense to me. So my switching options would be limited Fuji and Canon, and I probably wouldn't accept just any one of those. However I might start looking for used housings for Sony as well. I could upgrade the body, especially to an a6500 for IBIS, or a6600 but that is the latest tech... I have never touched a pro brand housing and I have no idea what it is that makes up the retail price. For me the cheap chinese seems to be doing everything a housing should do, maybe just not the exact same quality as the pro stuff. I'm not that interested in adapting lenses so the available SeaFrogs ports are enough. The same housing even lets me upgrade the camera body up to a6400/a6500. Sure I could see some of the pro stuff being the same and would be surprised if not. Maybe that's just another future upgrade, but as of now I think I'll stick to the plan. Ok wow, now that you said it like the tenth time I had to take a closer look Earlier I Googled it and closed the browser tab when I saw the price. So there's more optics in this thing than just flat rear and dome front glass... I thought that all domes are, well just domes and Meikon did their best in making a chinese copy. Now I know what I'm doing. Thank you. - I'll buy a diopter and a flip adapter. Shoot from quite small to medium sized subjects. - I'll try something with the DIY lights, probably won't ever be powerful enough to do much for wide angle shooting. - Keep searching for used strobes and eventually upgrade to those. Good ones. - For a wet dome I'll search for a used WWL-1. - Maybe upgrade the housing in some point and buy some lenses, but although I thought this is where to start, this is actually the last thing to worry when trying to get better shots on somewhat a low budget. I could buy the Meikon dome for starters, but as I am traveling with two backpacks it's nice to not carry a large piece like that. I might need a bigger backpack when I start to collect more gear. If I'll get the 10 - 18 for wide angle I would get a dome port, possibly an 8" one to allow for over/under shots, so that's skipping the WWL-1. I also need my own scuba equipment, including a dry suit for Nordic diving. Practise makes perfection and rental gear guided fun dives makes a lot of spending on practise, also won't be able to spend time on a single subject as the group will keep moving. So even if I could improve my underwater shooting with not so expensive investments, all in all I have a lot to spend on. Also my motorcycle needs a new motor. And that's just for my hobbies. Did I mention I don't make a lot of money as I mainly work to just get by? I have really chosen the worst hobbies to go with my work ethics... So I might be annoying on this forum for quite a while before I have anything to call a complete setup. Have we come to a consensus? Thank you so much everyone!
  3. 2 points
    Thank you all for your interest in my article in UWPMAG.com. Your questions for the most part address the Sony A7R IV and the Sony FE 90mm F/2.8 macro lens. So let me start off by saying that I am Senior Reviewer for uwpmag.com and I have done over eighty equipment reviews for this magazine alone. Most of my reviews address mirrorless cameras from a number of manufactures and that I have not done much with Panasonic because the Editor is a Pana user and covers that equipment. Most if not all of the questions you have ask are answered in those reviews so I will highlight some of the specific issues you have ask about. First is the issue of comparing apples to apples. I am a big fan of 4/3 and M43 having moved from the Nikonos RS film camera to Olympus 43 (E-1, E-300, E330 E-3) as my first digital cameras. I later migrated to M43 with the first camera with an Olympus housing. So first I can assure you that shooting with M43 is not at all like using Full Frame or Medium Format. Both FF and MF require much more critical focus than M43 or even APS-C. The first Sony FF cameras I reviewed were the A7R II and A7 II with the Sony FE 90mm macro. At that time I said that the 90mm macro was the best macro lens I have ever used, prior to that it was the Olympus 50mm F/2 for 4/3. I have never said that the Sony 90 macro was the fastest macro lens I have ever used so let me clarify that distinction. With each new A7R the auto focus has improved and the recent firmware update for A7R III has made the camera even better but not as good as the RIV. As I covered extensively in both of my A7R IV reviews I have completely changed my auto focus setting preferences. With Olympus EM-5, EM-5 II, EM-1, EM1 II, Sony A7R II & III, Nikon Z-7, Canon EOS R and more I have always used AF-S with back focus because that was what worked best for me while reviewing equipment. I also had a manual focus gear for most of those reviews which I used with subjects in the 1:2 to super macro range. I have now gone to what Sony calls AF-C (auto focus continues) and Tracking: Flexible Spot S (also implemented in the A6400 & A6600). This has allowed me to abandon rear focus and I have yet the use the manual focus gear. I want to make this clear, other brands like Olympus have similar focus settings but they have just not worked all that well for me. Sony is a clear leader in the area of auto focus tech and to say that all mirrorless systems have adopted EYE AF may be true but they just don't rise to the quality of the Sony EYE AF. Sony has two native FE macro lenses the 50mm F/2.8 and the 90mm F/2.8 both of which are class leading. With the A7R IV you can toggle between 61MP FF and 26+MP APS-C which gives an equivalent 90 & 135 or 50 & 75. My personal preference is for the 90 over 100/105 because of the wider AOV, they all end up at 1:1 so you have a slightly wider range without having much closer. As a point of reference I have used the Nauticam SMC-2 with excellent results. That is more than enough magnification for me. Regarding adapted lenses like I used for my Canon EOS R and Nikon Z-7 reviews they are just not the same. Mirrorless lens design is just different from DSLR lens design. So while adapted lenses are quite expectable (I use the Canon 8-15 Fisheye zoom with Metabones for Sony) they will never be as good as like quality lenses designed for mirrorless. When Canon and Nikon introduced DSLR's they kept the same lens mount so film users migrate film lenses. How many photographers are still using film lenses on DSLR's only those that have converted Nikonos or Nikonos RS lenses for underwater use. I have done 1000's of dives with Olympus gear and I can assure you that it works very well but is not up to the current Sony standard for AF. Last I am not sponsored by anyone and while I have an opportunity to test a wide range of equipment the equipment I own I paid for just like everyone else. I was accused of being an Olympus fanboy for years and now the same is true of Sony. The truth is I buy what works best for me, I went back to Olympus after a short stint with the Sony A7R II/A7 II productivity decreased. Since the release of A7R III I have been all in with Sony. That does not mean that I would not switch again if someone builds a better mousetrap. All photos with the Sony 90 macro and Backscatter MF-1 flash.
  4. 2 points
    I took a trip aboard the MSY Seahorse in the Banda Sea back in late September/early October. The primary goal of such a trip is to see schooling hammerhead sharks. This was my second attempt and managed to get some good footage of them. It's really quite a challenge to capture them well as you never know when they will show up and how close they'll be. The GH5 has a hard time focusing on such a subject in the water column at a distance. My strategy each dive was to swim off the wall, turn around and focus the lens on a contrasty area on the verge of visibility. Then, I would keep my fingers away from the focus lever for the rest of the dive! When we finally encountered the school, I had to make a few short fin kicks towards them till the focus peaking appeared around them on the monitor, then pressed record! Here is the video of the trip. Comments and critiques are welcomed.
  5. 2 points
    Keldan sell float rings for their lights buy them as the lights have torque that will bend your arms The WWL-1 with the collar together with the 35 macro port and the 14-42 MkII is 880 grams negative in fresh water in total you will need 2 KG of lift muvh better to balance the lights and the housing separately and keep the arms light
  6. 2 points
    For photo only: Nikon D850 or Sony A7RIV. Probably leaning towards the Nikon for Macro and the Sony otherwise, simply because of past experience with the 90mm macro focusing on the sony A7RII. Unless it's significantly improved as Simon has heard, in which case I don't see much benefit to the D850. But I'd be happy with either if all I was shooting is photos. In terms of lens selection, the Canon 8-15 works great on the A7RIV with adapter, the Sony 16-35F4 worked great for wide angle for me in the past (I prefer it to the Nikon 16-35F4), even with a 180mm dome, and the Sony 90mm macro is a great lens, albeit it slow to focus on the older sony A7RII/A7RIII. For video predominantly: Probably Panasonic S1R today or wait for Canon 1DX Mark III. Stabilization is important, adopted lenses are fine on the S1R. But I tend to agree with Interceptor21 that full frame may not be the best option for video, and there's a lot of interesting m4/3 and s35/aps-c options out there. Also, if you're shooting predominantly video, I think an argument should be made to go for a purely video camera rather than a hybrid. I'd take a hard look at the BMPCC 4K and 6k and the ZCAM E2 (along with the GH5, which I own). The Canon C500 Mark II looks very tempting if you've got that sort of budget. If shooting 50/50 Photo/Video: ???? I don't think currently a great full frame option exists. The Panasonic S1R arguably, though I'd prefer to have higher resolution for the photo side. Sony white balance isn't great, and none of their offerings even shoot 4k60, which I've come to love on the GH5, so I wouldn't 'upgrade' to any camera for video that didn't at least have 4k60, stabilization, and prefereably a raw codec. For photos, I'd like to have >= 36mpix. I guess the Panasonic S1R technically meets those specifications, if shooting video in the 4k mode, but no higher bit rate options at 4k60 and no raw. One can hope that the Sony A7SIII when it finally comes around gives us a 36mpix sensor, sensor stabilizaton, 8k30/4k120 (or at least 60) and some form of raw recording. Now that would be perfect. But so long as it doesn't have raw and the sony white balance remains as it is today, I won't be buying it either. What's conspicuously missing from all the above categories IMO is anything from Nikon & Sony's new mirrorless range. Lens selection for these cameras may be fine, but there's nothing particularly compelling about the Z6, Z7 or EOS R for either underwater photos, videos or in a hybrid role.
  7. 1 point
    Thanks, Caleb! I'd prefer to sell the whole package together if I can, but sure -- If I don't get any takers in a couple of days, You'll be #1 for the Sea & Sea strobe. Terrie
  8. 1 point
    The current issue of uwpmag.com has an image attached below using the Somy FE 90mm macro with the Aquatica +10 closeup lens which is designed for full frame cameras. I personally own the SMC-1 which I have used for several years and many of my super macro shots on full frame have been taken with that lens. In back issues at uwpmag.com you can find reviews for Saga +15 issue #76, Nauticam CMC-1 issue #84 and Inon UCL-167 issue #98. CMC 1 & 2 are designed for best results with consumer compacts and M43 cameras. APS-C and full frame would be better served using SMC-1 or 2. With CMC the #1 is the higher power and #2 is lower, it is the reverse with the SMC lenses. Saga is perhaps best with APS-C and smaller sensors as is the Inon UCL-167. Inon has a newer line of C/U lenses called UCL-67 M67 which are designed for full frame cameras. Dozens of other C/U lens manufactures are out there as well, hard to cover them all. I have reviewed Weefine/Kracken Sports 1000 and 3000 ring lights but none of their C/U lenses at this time.
  9. 1 point
    Jaajaj noooo 300€ gracias crack
  10. 1 point
    Yes they will work, that is the type of connector used on S&S strobes hence the name. Looks to me like these are in the wrong bag. INON uses a screw fitting at the strobe end which is bigger than the connections on your cables. This is the INON type connector: https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0ahUKEwjq5f72z47nAhUV8XMBHR62DakQMwiHASgQMBA&url=https%3A%2F%2Fwww.housingcamera.com%2Fid4748-inon-l-connector.html&psig=AOvVaw3B28qZu4oB4JX9C41NgsT-&ust=1579487590136915&ictx=3&uact=3 which is not what you have.
  11. 1 point
    I have not seen any. What you get out of the can is about as good as it is going to get. If you find a difference, I would appreciate knowing what you have found. Thanks
  12. 1 point
  13. 1 point
    Most of this video is shot with sony FE 90mm + SMC-2. First time I used it. SMC-2 is no easy...
  14. 1 point
    F8 is more than adequate, I use f8 on m43 and don't want for depth of field. f8 is equivalent to f22 on full frame and f5.6 ~ f15 on a depth of field basis. I would go with f5.6 or less if you have enough depth of field at the wide end. The MP have little to do with sharpness, that is down to the quality of the lens. If you stop down too much you go into diffraction and sharpness actually suffers. These types of lenses are designed for peak sharpness in the f3.5 - 5.6 range about 2 stops down from wide open, quite unlike SLR lenses which peak at smaller apertures. If you use a dome port this changes of course as you deal with a virtual image. There are a couple of things working against you in the corners at wide angle, a natural tendency to soft corners with the lens and the flat port will add in aberrations at wide angles as well. If you look at tests wide angle sharpness peaks around f3 - 4.5 on the edges, the tele end is sharper towards f5 and has better corners. https://www.photoreview.com.au/reviews/advanced-compact-cameras/fixed-lens/canon-powershot-g7x-mark-ii/ Also the corners suffer from strong distortion correction in JPEG, turning it off in Raw conversions helps and won't cause issues with UW work, read this review: https://www.photoreview.com.au/reviews/advanced-compact-cameras/fixed-lens/canon-powershot-g7x-mark-ii/ under the optics tab. They specifically mention sharper corners with distortion correction turned off. Looking at your example I see it's 1/25 @ f6.3 ISO400. That image looks to be 100% flash lit So I think turning up the shutter speed would have little impact on exposure. That being the case you could increase flash power 1-2 stops to get to ISO200-100 and increase the shutter speed. Where shutter speed is important is when you have blue water as a background of course - in sunlit tropical waters 1/250 @ f5.6 ISO200 is a reasonable starting point for water exposure. If your subject is under exposed turn up the flash power.
  15. 1 point
    f/8 with your camera is like f/22 on a full frame you are at diffraction limit so from sharpness point of view the camera will perform much better at wider apertures in terms of sharpness. As your camera allows you a very fast shutter speed you can just increase that to 1/500 and more to create a dark background if needed. For portrait work f/4 or f/5.6 will be more than sufficient also in terms of depth of field or with wet lenses
  16. 1 point
    Yes this guy really is massive! Sent from my iPhone using Tapatalk
  17. 1 point
    I love my Nikon 70-180 in my Subal housing with my D800 ,you just have to overcome a few things which really are not that hard. I learned about this lens from Seagipsy-he mentioned this in above post as well. You can have a professional shop take off the foot or if you dive a Nauitcam housing you can leave foot on as its large enough to slip it in. I cut mine off myself with a Fein tool while holding it as not to damage lens after taping all parts off to keep lens clean from aluminum filings. If you are handy this is not that hard but for most just have a shop take off the foot and plug the hole in barrel. Next you need to modify a focus gear-I chopped one and added to to a existing gear that fit the barrel-In most housings this gear teeth needs to be in the rear more than most gears to engage inside the housing.You can also have one made with Cad printing technology for about 35$ online Once thats done you will need to stack up some extenstion rings for whatever housing you have. This lens opened up a whole new world of possibilities for me after 35 years of shooting underwater. This lens is a macro lens and has lots of potential most overlook. Thanks Fred
  18. 1 point
    Thanks a lot for your feedback.
  19. 1 point
    I had LR 5 for a long time but any time I had issues with my ageing Mac, it got harder and harder to re-load. Bought a LR subscription and never looked back. Yup you're paying a lot over a lifetime but if u use it professionally, or even as a serious amateur, it's worth it. If you want to own software outright, look at Luminar 4. I also have and use this. It does pretty much everything LR does with a sprinkling of PS thrown in too. Very intuitive. Basically the same layout and features of LR (don't know how they got away with it TBH as to me it's just a copy of LR with a few extra artificial intelligence features added). That aside, it is amazing software. Yes, they ask you to pay for new features, but at the level Luminar4 is now at, I cannot imagine anything else you would need to add. Sent from my CLT-L29 using Tapatalk
  20. 1 point
    Wow -- you did such a great job of getting the fish sharp and clear. The only recommendation I'd make (re: image #1) is to warm it up a bit and to add some exposure to the dorsal spines so the light is more consistent between the base of the spines and the tips.
  21. 1 point
    You can use one of those: https://uwtechnics.com/index.php/online-store/ttl-converters/for-sony It plugs into the flash hot shoe on the camera and has LEDs that go into fiber optic ports. The camera detects it as a TTL-capable external flash and acts accordingly, while the converter flashes its LEDs to trigger your strobes. The built-in pop-up flash stays down if you use it.
  22. 1 point
    Their reply: "I am afraid the decklink mini monitor does not support HDR HLG flag over HDMI. You will have to look at the new Ultrastuio 4k Mini instead. https://www.blackmagicdesign.com/uk/products/ultrastudio/techspecs/W-DLUS-11 Alternatively you can have a look at the Ultrastudio Extreme 3, or internal PCIe card such as the Decklink Extreme 4K 12G. However the Ultrastudio 4K mini is certainly more affordable."
  23. 1 point
    The last version of Lightroom classic perpetual is the 6.14 Inside the software that are camera RAW processors and profiles so if you have a camera that was not supported by this release you may still try adobe camera RAW and import but it will be sub-optimal. Full list here https://helpx.adobe.com/camera-raw/kb/camera-raw-plug-supported-cameras.html?red=a Furthermore most of the usefulness of lightroom comes from metadata editing and library management which is lost if you migrate elsewhere So when you will get a camera not supported by the last perpetual license you will be pretty much forced into an upgrade unless you want to rework your library
  24. 1 point
    I look forward to the day I'm shooting this quality with my a6000! Beautiful work.
  25. 1 point
    Hi! This is completely my personal opinion based on my own needs and situation. I was using Lightroom 6 in my previous computer. I bought a license for it, but it was not a subscription, I could use it till the end of time if I wanted -- and if my computer allowed. My computer started to show aging issues, so I upgraded, but I couldn't transfer Lightroom 6 to the new computer. Adobe doesn't have the installers in their website, and I didn't want to dig into obscure websites looking for installers. So I went with the new subscription based offering. My feelings? I don't like that I don't own the software anymore. As soon as I stop paying the monthly fee I won't be able to use it. Over a lifetime of use I will end up paying way much more now. Plus, if you update to the new version, your library will be updated to a new version that it's not backwards compatible, so you are pretty much stuck with the new version if you start editing photos with it. I'm sure that this new subscription model is great for Adobe, but I don't like it. Yes, I will always have the latest version, but I don't think that for what I do, how I use Lightroom, the move from Lightroom 6, which I owned, to the subscription based Lightroom, which now I'm just renting, wasn't worth it. I was forced to do it, but I would have happily stayed with Lightroom 6 if I could have.
  26. 1 point
    Ill take a shot, but my opinion is just an opinion as I have never attempted blackwater shots myself. The first link is the best of the three. The eyes are in focus and draws you into the face. I would clean up some of the backscatter though. Link two is my least favorite. The fish is looking down and away and does not pull me into the picture. Link three Is an interesting composition. I like how the fins all fan out around the body. The focus appears to be slightly forward of the eyes though. The coral below and behind him caught some light and distracts a bit as well since it did not black out. The all show blue tinge on the outside fins. Is that from post processing? I would expect white to blue as the light falls off, but some of that bluish is on fins closest to the light source. I just haven't seen it with lionfish before.
  27. 1 point
    I would make one correction - the amount of light you need at any given subject distance is set by the aperture. The TG series at the wide end have two apertures - f2 and f2.8 - f8 is only an ND filter you only use that to try to get black backgrounds or maybe for video in shallow water to reduce the shutter speed. f2.8 is very fast meaning the less powerful strobes are adequate, strobes like the YS-01 and INON S-2000. They are fine for compacts shooting at f2.8 - 4 and 1" sensors like a Canon G7X series where you might shoot at f5.6. They are marginally OK for m43 where you would be shooting at f8. Larger sensors need a smaller aperture (bigger f number) to get adequate depth of field and this is the main driver in wide angle work all assuming shooting at the same distance.
  28. 1 point
    I have attached the front page for my Sony a6400 review and I would agree with Jack regarding the A6600. All things being equal you will spend the same amount on housing, ports, gears, extensions, flash etc. for 6400 as you will for 6600. I consider the extra battery life and IBIS alone to be worth the $400.00 or so difference. If you chose to go with A6400 I have one for $775.00 shipped that is like new. You can also find my reviews for A7 III and A7R III in UWPMAG.com back issues. I like the 10-15 zoom for W/A and the Zeiss 50mm macro best.
  29. 1 point
    Personally, I would go for the A6400. I have an A6000 and now I'm considering to upgrade it to A6400. I don't see that much benefit of FF vs APS-C.
  30. 1 point
    ATTENTION AMATEUR & PRO UW PHOTOGRAPHERS planning a trip to Baja Mexico: Now that I have returned from Baja California, Mexico, here is what I know 1st hand. If you fly into Cabo San Lucas or into La Paz, Mexico, expect to pay a fee if the Customs agents stop you and notice that you have an underwater housing. The agent will Google the housing to see it’s worth, then demand that you pay 16% of that price. Many new DSLR UW housings are $4,000 or more. You will pay $640 US dollars to use that fancy new housing in Baja Mexico. The customs agent will also show you an official document in English that states you may bring in 2 cameras and the accoutrements involved, but the underwater housing is a fee by Mexican law. I ran into a pro photographer I know who happened to be staying in the same hotel. He was leading a small underwater photo tour in La Paz. The vacationers were all from Switzerland and they all told me that they had to pay exorbitant fees for their camera housings and their video housings at La Paz airport even though they were all amateurs themselves. Customs officials are targeting underwater photographers at the airport in Cabo San Lucas and in La Paz. If you have a hard-sided protective travel case for your gear they will stop you. The customs agent said I was allowed 2 cameras and the things that go along with that, BUT an underwater housing must be taxed by Mexican customs laws even if you are not a professional. He showed me the document in writing about this customs law. I told the officer that I was NOT a pro photographer, but the document he showed me specifies underwater housings as a taxable item. I told the officer that my housing was old and maybe worth $200 which is true since it is about 7 years old. He got out his cell phone and looked up the model name and number (Olympus PT-EP08 UW case for E-M5) and said it was worth at least $300. In order for me to enter the country and use MY OWN underwater camera case for personal use (I do not earn a living by photography nor do I sell my photos online or in another way) I had to pay $50 US dollars to keep my housing with me. FYI: Customs officers in Cabo San Lucas airport take credit cards for this "Photographer's Fee". Even though Cabo/La Paz is the nearest warm water diving destination to my home, this will be my last vacation here for underwater photography. If you have a nondescript, soft-sided carry-on suitcase that you can carry all of you underwater housings in, then do it. If you have to check your underwater housings through with a hard case and your dive gear is packed in a bag with a diving insignia on it, they will stop you. If they find an underwater camera housing in you luggage, the Mexican authorities will nail you for 16% of the value of that housing at the price that they find online.
  31. 1 point
    IF each bend is bigger than the minimum bend radius you will not keep getting losses, the overall transmission is what is important. Clearly there is no "information" in the pulse from a flash other than intensity. BUT that being said, if your cable is not optimal it just won't trigger your strobe. I have some single core cables that will trigger a Z240 with ease but will not trigger a YSD1 at all if I am using an LED trigger on the camera. Nothing happens, the strobe just doesn't fire. If I use the same system but with a multi-core fiber then the strobe fires. A lot depends on the sensitivity of the optical probe on the strobe and also on what you are using on the camera. If I use the Olympus flash, then things are good with all types of FO cables, but not so much with the Nauticam LED trigger. I would like to believe that 9% loss is not important for most things, but of course there are all kinds of tolerance stack ups that you need to think about, and in some cases 9% or 10% loss is enough to make things not work. Bill
  32. 1 point
    Good luck with your search. Took me two years to find a second one.
  33. 1 point
    Thank you for that. You have some really nice photos on that page! I can only hope I will get comparable results with my WA shooting as I go forward with my new camera. I have not gotten it in the water yet. Still waiting on my housing. But, I was shooting an E-M10 the last few years and when I started using a focus light on it, I did notice an immediate large improvement in my focus accuracy. I have done most of my photography on the wrecks off the coast of NC - usually 100 feet or deeper - so the ambient light is not often what you'd really want for your AF system...
  34. 1 point
    Disposable underwater film camera something like this one....
  35. 1 point
    Hi, why a dx or aps-c camera for macro? Simply better dof. Dont know if only selecting crop mode, will bring the same... And if i compare the D500 with the Sigma 105mm OS against the Sony 90mm on a Axxxx, there are worlds in focusing speed in between... Dont know how it is on the A7 or A9 models. And i would only use single point focusing mode with macro, otherwise the small sharp part is anywhere. The Sony 90mm is sharp, no question, but slow.... Regards, Wolfgang
  36. 1 point
    The wetpixel forum in the new form awards points to people that have liked or loved post and nothing to thank you as it does not parse the text Moving on with the times
  37. 1 point
    Certainly - while I did get away unscathed in Coz I have no intention of returning to any part of Mexico for any reason until they get their house in order on the shakedowns and fraud (that includes the taxi drivers...). So many other amazing places to go.
  38. 1 point
    For sale is a used Micro 4/3 system based on an Olympus OM-D EM-1, Mark 1 camera and a Nauticam housing. The camera system comes with both the Leica/Panasonic 45 mm macro lens and port as well as the Olympus 14-42 lens (with gear) and the semi-dome Nauticam port for that lens. The EM-1 housing was $1870 new, the camera was $1000. The camera comes with 4 batteries and a dual battery charger. Complete system is $900. A second body is yours for an additional $250. Bill
  39. 1 point
    I was on a Nautilus charter the 2nd week of December. After a crappy sequence of broken planes, got there 8 hours late at 11pm and hit the red button. However, they only fixated on the bag with the dive gear and simply asked if we only had 2 sets of regulators, then let us on our way. Not sure if time of day played into it - we were among the first to leave the baggage area. I had a thinktank, but kept the nauticam housing for my gh4 in a carry on laptop bag, though both were put in the xray. I opted not to bring a drone, as a mix of not wanting the extra 3lbs, and not wanting to deal with possible customs hassle for limited shot potential on the trip. However, 2 guests on the charter were tagged - in one case, got the green light, but the agent saw the nauticam logo on a bag. When he presented the Mexican regs as instructed by Nautilus, they got testy with him. Ended up deciding each of these folks was good for an $80 shakedown. If the worst case were under a hundred, it might be easy to ignore the concern, but it's 16% of deemed value and many have been hit for 300+. I'm with you in thinking there are plenty of other places to visit.
  40. 1 point
  41. 1 point
    For years I have used a fibreglass scratch pen/pencil. Works really well and shift all the green corrosion and gunk that you get on pins. And as the glass threads work like a propelling pencil, you can wind them out to get right down to the bottom of a bulkhead if necessary. Only the size of a normal pen so I always take one on trips. Amazon UK have them at about £3.50. Wouldn't be without one.
  42. 1 point
    Stix floats are not enough with shorter arms to lift the GH5 when you have video lights hence my suggestion to get the keldan floats they are expensive but make the light neutral from there you can try and use stix otherwise it will go down with 5+8 arms even when full of jumbo floats (1.6 Kg lift vs 2.0 Kg of the rig)
  43. 1 point
    Hi Folks In 2018 a produced a short film for the Kendal Mountain Festival which was shown at the Petzl Underground session. The film has remained exclusive to that event - until now! I have decided to roll it out to the public for you all to enjoy the 2 years of hard work that went into it. The film documents true cave exploration (no holiday diving or following someone else's line here!) with a team led by a woman (yep, that's me!) We documented our discoveries from the outset and I turned it into a small documentary, designed to inspire women in exploration and bust the myth that being at the top end in technical or cave diving is a man's domain. The footage of the brand new cave passage has only ever been seen by the exploration divers (3 of us!) and the 400 people at the Kendal Film Festival. So grab your front row seat and tune in to Youtube and Vimeo (or via my website) at 9pm tomorrow and join us all to enjoy this premiere. Let's face it - what else is there on telly? About the film: Originally created for the Kendal Film Festival 2018, this film documents a female cave diver who kick started a project in Croatia to continue exploring the cold, deep, underwater cave - Izvor Licanke. The film follows her team as they train, explore and document their discoveries which, as with all true exploration, does not always go smoothly. Directed by Christine Grosart. Filmed by Mark Burkey photography, Maelstrom Photography and Design and Christine Grosart. Exploration of this cave continued with significant discoveries in 2019 and the team are returning again in 2020. Link to watch the film: https://www.wetwelliescaving.com/films
  44. 1 point
    The HDR HLG video is here. Also realised HLG is not that popular in US so majority of people will be given a standard SDR version
  45. 1 point
    On a photography forum it is suprising you don't know how to resize a photo!
  46. 1 point
    I would like to see how the dive community responds to this high tariff before I ever go back. I paid close to $50 in fees for a 7 year old Olympus plastic housing for my little mirrorless Olympus EM-5. I'm shooting with a Z7 now and this Mexican Photographer's tax stopped me from purchasing a housing for it for this trip. I used my old Olympus set up instead which was not ideal, but I'm not about to pay out money on high extortion fees, so the UW camera housing industry just lost a big sale. If you can cancel your Baja destination to go somewhere else, that would be one way to avoid the UW housing fees. If enough divers divert from Baja, it will inevitably affect the money stream. The dive industry there may take notice and plead their case to the government to cease the extortion.. Otherwise, spend $$ on an international carry-on ThinkTank suitcase which is soft sided, and put your housing & cameras in that. As long as they do not inspect your bag at customs, you may be able to fly under the radar, but be prepared with your credit card in Cabo san Lucas or La Paz if they look in your bag.
  47. 1 point
    Yes it is fairly long. This is solved by stacking port extension tubes as needed per Tim's point. The above photo shows how I use it use with just the zoom ring which is near the lens mount. Something like this should work with most housings once you get the appropriate gear for your housing. The focusing ring is more problematic since it is quite far from the lens mount. Special tubes incorporating a focusing knob were built for this (used also for the 200 macro). As well one needs a gear for the M-A ring that you see here to switch focusing modes. The older (non AFS) 60 and 105 macros and a few other lenses also have these rings so you may be familiar with them. I have the lens set to minimum focusing distance (lens is thus shown at maximum physical length) and the ring set at A effectively locking it here so long as AF in the camera is set to off. Also on the lens is the Nikon close-up lens No. 6T. I used the UV as a lens cap when I removed it from the housing then later found a 62mm cap to go on so I am using the "belt and suspenders" principle by leaving both on. The 6T is hard to find so it is a good idea to protect it while out of a housing. It is quite thick and does not fit in a standard filter case so I store it on the lens. With this setup I can vary the magnification using the zoom while holding the rig in a fixed position - this minimizes water movement between the port and subject. Working distance is just a few inches (working distance can be changed by using the other T close up lens (it is either plus or minus 1 from 6) or by focusing). Hidden under the zoom gear is a rubber ring that Nikon installed when I had them remove the tripod foot that is not user removable.
  48. 1 point
    Hi Dave, yeah sure, here are a few. Like I say, taken on the A6000, Sigma 19mm f2.8 lens, Meikon housing, 1 strobe (InonZ330, some of them may have been taken with one Sea&SeaYs-02 strobe before I had the Inon). I've got a Meikon wet lens attached to the housing. The A6000 is 1.5 crop, therefore the Sigma lens is effectively about 28mm, but the wet lens widens it a bit, I'm guessing to about 20 or 22mm?? Not sure. Anyway, it's a total workhorse. Been used for I'd say about 600 dives over the last 3 years, as well as daily blasted on land. I dread to think how many clicks its done and (touch wood) it's still going. People argue that the Sony's have that 'weird colour science' but I've found it's totally fixable in LR. Here are a link to some sample images... (can't upload them direct here as it's saying I can only upload max 0.98mb. Sample images **edit** Oh and forgot to mention re video, obviously there's no 4k but it does have zebras which I use constantly and it absolutely enables you to nail exposure every time. No complaints about the auto focus either.
  49. 1 point
    Don't write off your A6000. I've been using it UW with a Sigma 19mm and Meikon housing for a couple years now. It's a lot of bang for your buck. Don't get me wrong, I'm hoping to upgrade soon but would still recommend the A6000 to anyone. Sent from my CLT-L29 using Tapatalk
  50. 1 point
    I use floats that are used by professional fishermen to balance their nets to compensate buyoancy of my rig. I widen the opening to 25mm with drilling machine and then they fit without any problems over the 1" arms. Cheap, very stable and do not suck in water, even when cut - at least as good as the Stix floats I would say (but you need to tinker a little around). I use the types below, but there are more models available, some rated even for several hundreds of meters (company in Germany, but I assume every nation at the sea has manufacturers of net floats): https://engelnetze.com/schwimmer-cd-250g-auftrieb-91x45mm-14mm-bohrung https://engelnetze.com/schwimmer-y30-270g-auftrieb-67x109mm-14mm-bohrung Wolfgang

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