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  1. 5 points
    Hi, I would like to share a video from my last trip to the river Traun. The river Traun is the most varied dive spot i know here in Austria. Mainly you dive in a dammed area of the Traun with moderate currents. There you can find a sunken pump room, 500 year old roads from the period of salt shipping, beautiful light under driftwood and under the trees at the shoreline and much more. If the conditions are good, its possible to dive the Canyon at the Traun waterfall. The dive gear has to be roped down, the scuba divers has to jump or climb down the steep rocks to enter the water. The Canyon offers a magic scenery with its washed out rock face, cascades and the crystal clear water of a spring pot Alex globaldivemedia.com
  2. 5 points
    Hey all! I've just finished a group of video tutorials designed for all levels of u/w photographers to speed up their editing workflow: -> tutorials.brentdurand.com/editing The videos (and companion articles) cover Presets, Collections and Target Collections, Watermarks and more. Are there other topics you'd like covered? Shoot me a DM if so. Thanks, and enjoy!
  3. 5 points
    Hello everybody, I just returned from a 3 week trip to Indonesia. My first week was spent in Lembeh with NAD Lembeh and had the opportunity to go on my first black water dives. Needless to say I quickly became addicted and didnt miss any dives. A quick review of my experience with NAD Lembeh. I will echo most of the reviews I have seen on the website regarding my experience, it was phenomenal. Although this was my first trip to Lembeh and thus have nothing else to compare it to I will say that I will not be staying anywhere else during any future visits. I had a nice room by the beach, bed was very comfortable and AC worked to perfection. The food was fantastic, and they were very accommodating since I am vegetarian. The dive boats are great with ample room for all on board. The staff carry all your equipment to and from the dive boat and set it up, including the camera. The camera room was very ample with lots of charging space. There are computers to edit/post but I did not take advantage of this service. Since I was in a room by myself I had my own dive guide/buddy/photographic assistant which was Andri. He was great, very patient and never in any rush to move on. It didnt matter whether we spent 30 seconds or 30 minutes in a subject there was never any rush. Here are a few shots taken during black water. Critique highly encouraged. Many more to come including during regular dives. Many more posted on Flickr. Larval wonderpus Blackwater-2 by Karyll Gonzalez, on Flickr Blackwater-2 by Karyll Gonzalez, on Flickr Larval mimic octopus, maybe? blackwater-7 by Karyll Gonzalez, on Flickr blackwater (1 of 1) by Karyll Gonzalez, on Flickr Larval long arm octopus blackwater (1 of 1)-5 by Karyll Gonzalez, on Flickr Larval Long Arm Octopus by Karyll Gonzalez, on Flickr blackwater (1 of 1)-6 by Karyll Gonzalez, on Flickr
  4. 5 points
    I think the answer will depend on what you mean by underwater photography. Carrying a gopro on a stick is a very different thing than diving with a full kit with tray and dual lights and strobes, with macro and WA swap-able lenses. The amount of dive time will also vary by person. Before you branch out from gopros I would say you need to be able to do a few things consistently and without much thought. Buoyancy is key. You need to be able to maintain your buoyancy even when other things are happening to divert your attention. Particularly early on with photography, trying to figure out the settings and just working the camera takes a lot of focus and with newer divers once they pay attention to that, buoyancy and situational awarness start to fall apart. Once you can keep buoyancy when task loaded that's one sign you are ready Situational awareness. Photography can consume most of the attention your brain can give it until certain things become ingrained through experience and muscle memory. That goes for the physical muscle memory of working your gear and your camera as well as the familiarity to be able to do both without much thought. You should be able to function all your normal dive gear quickly and easily without much thought. S drills, lost mask, reg recovery, etc should be very proficient, and you can do them at any time. Adding a camera system in the middle of these can cause real problems if this isn't able to be handled quickly and easily without much thought. It really helps to get very very familiar with any camera system on the surface, and then with a few shallow dives to work out where your problem areas will be. Each person is going to reach this experience level at different times so its hard to say X number of dives will get you there. If you are diving with a group of divers and one or more is mentoring you, ask them to help you work on some task loading exercises, and work through any buoyancy issues when doing them. You can work on camera familiarity on land. Also if someone in your group shoots, see if you can buddy with them and them let you shoot on a dive to see where you are. If things get to be too much work out a plan to just hand stuff off.
  5. 4 points
    For many years now I have been diving in the Mar Piccolo - Taranto (Italy) at all times of the year. I discovered this place 25 years ago thanks to the collaboration with a local scientific foundation and since then I have never missed an opportunity to return. In recent years, however, the summer temperature of the water reaches almost 30 degrees, creating great problems for the local fauna and flora. Many species move towards deeper waters and others, unable to move, end their cycle with a slow agony. I returned in these days and this little Mediterranean paradise is starting to revive.
  6. 4 points
    The original version of this trip report was posted on the front page of Wetpixel a few weeks ago, but I have now updated it and added some new images on the version I have done on my site. Here is the link to Diving the Witu Islands All the wide-angle images were taken with a Nikon D500 and 8-15mm lens in a Nauticam housing with the 140mm port, which I personally find to be really great combo. The macro images were taken with the 40mm Micro-Nikkor - I screwed up in the last minute packing and left my 60mm and 105mm macros behind... As they say the best lens you have is the one on your camera! I have been visiting Papua New Guinea regularly for 20 years, but this was the first time to the Witu Islands and I really was impressed. When you look at the location of the islands in the Bismarck Sea, relative to the rest of the Coral Triangle, it becomes clearer why they are such so biodiverse. Here are a few images to illustrate what I mean. Don
  7. 4 points
    This is the final cut of my semester project for film class at the Academy for Creative Media Windward. Due to the COVID-19 shutdown I was reliant on b-roll that I filmed during an expedition to Cocos Island, Costa Rica in early March of 2020. This is not a "creature feature", more an experiential film to guide the viewer on a virtual dive in the Deep See submersible. Filmed aboard the Undersea Hunter Group’s M/V Argo, on location at Cocos Island, Costa Rica. Best viewed in 4k, with good speakers or headphones... -Brian
  8. 4 points
    Hi, This video is shot in my home country in the emirates of Fujairah. It is during different seasons. Although visibility is not great, the wreck is full of life and lies in 24m. The whole video is shot in ambient light with red filter using the Panasonic GH5s. I hope you enjoy it.
  9. 4 points
    Hi Divers Sadly we can't dive in Thailand these days and I miss it badly. But it's given me time to do something I've wanted to do for a long time, to rewatch and rank my favourite underwater documentaries. So I made a video about my top 10 favourites. What's your favourite? Check out my video:
  10. 4 points
    Cause I’m using the GH5s which lacks IBIS, I had to come up with a way to balance my rig to to make it feel like a traditional video cam rather than the DSLR restricted position. This setup up helps me avoid all types of roll, pitch and yow. It is not a final setup up but it is so balanced that I can let go of the camera midwater and it will just stay there :). I rely totally on the external monitor for all my needs: exposure/focus etc... I can adjust the camera vertically (lookup/down) by adjusting the DIY floors position.
  11. 4 points
    Stopped in Ambon last October for a few days of diving after a LOB trip in the. Banda Sea. If you haven't dived Ambon it's well worth the stop as the macro life is wonderful and abundant. This was my second time visiting and diving with Critterjunkies. Here's the video of the underwater experience. Comments and critiques welcomed.
  12. 4 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.
  13. 4 points
    Thought i'd posted this before but i don't think i did. A slightly-too-long compilation of 3 days of Oceanic Mantas at Black Rock in the Mergui Archipelago, Myanmar. Very unusual trip in that (i) lots of mantas there and (ii) the visibility wasnt 5m of green for once! Underwater shot with a Canon EOS70D with and without a magic filter. I know there are frame rate stutter issues in places. No sound track as i dont actually have any music stored locally to put onto the footage.
  14. 4 points
    Hi, a video from my 2nd winter stay at East Greenland. We dove in the fjord in front of Tasiilaq. My plan for this video was to capture the elemental force in this region. I wanted to show time lapses of moving ice during the tides, under- and above water, and mix impressive icebergs with macro footage. A big thank you to Sven from Northern Explorers who supported my ideas and let me do what I wanted! The video is actually in the order as i experienced the trip. As i arrived we still had some left over packice. a few days later the winds brought icebergs in the fjord. After a week hundreds of iceberg right next each other were stranded in a bay. Unfortunately the last week the climate change said hello, and we had unusual warm weather for this time of the season and rain. We can´t went out on the snow mobiles anymore, because all the snow was melted away in only a few days.. And at the dive spots which were in walking distance, the viz droped to 5 meters due the melting water which were washed in the ocean. The video was shot in 7 to 8 days, on 13 dives. Enjoy watching! Alex.
  15. 4 points
    Hi, I want to share my latest video with you In winter I have been at the White Sea in Russia for ice diving and i was curious how the landscape and diving might be the rest of the year. Because i like the indian summer colors i decided to come back in autumn. My plan was to capture the autumn mood at the White Sea and create a story around a leave falling and sinking in the sea. On the spot it turned out that this story is not far-fetched, because leaves constantly flushed by the tides in the sea. So, have fun watching! globaldivemedia.com
  16. 4 points
    cardinalfish by Karyll Gonzalez, on Flickr Double ended pipefish by Karyll Gonzalez, on Flickr Flounder by Karyll Gonzalez, on Flickr Jack in jelly by Karyll Gonzalez, on Flickr
  17. 3 points
    I would like to relay an incident I had Christmas Day 2016. I was in Ambergris Caye Belize for a holiday dive trip. It was my 34th dive trip to Belize. I arrived in Belize on 12-22-16. On 12-23 I did two dives on one of the more remote sites there. same thing the next day. On Christmas morning I did a single morning dive with the plan of spending Christmas with my wife. After getting back to the dock i started getting very very tired. I thought I would go back to my room and rest for a while. My condition continued to go down hill. Anyway, We decided to go to dinner and that I would just rest the balance of the evening. Things really went down from there. After arriving at the dinner location I was having problems walking. It was like I was drunk. after that I found that I could not urinate. This could be a big issue after a few beers. I was also having vision issues in my left eye. We blew off the dinner and returned to our room to rest for the night. Around 9:00 PM I used my Sat phone to call Duke University in NC. They manage DAN. I spoke with a tech and then a doctor who told me I was in crisis and required a medical evac. My dive computer data was downloaded and sent to Duke. Wow the day just keeps getting better. Dan said they would get a specially equipped aircraft flown down to get me and medivac me to Miami. When I told them that I was in Belize they were happy as they had just opened a new chamber there a couple of months before my issue. I was told that they were assembling a medical team and they would pick me up at my hotel in 15 min. 10 mins later there was a knock at my door by the med team. They took me to the chamber where i was examined by the doctor. He told me I was suffering Neurological DCS stage 2. very serious. As they were loading me in the chamber the doctor told my wife, You husband is in critical condition and we will do the best we can for him. She freaked out of course. So Christmas night I spent 6 hours in the chamber with a nurse. The following morning I required another 4 1/2 hour treatment. After that the rest of the vaca was just hanging out. stay out of the sun and no beer. The moral of the story is. Buy your Dan insurance. Dan cost me $85.00 a year. They covered all expenses for my injury and medical treatments. They are dedicated to dive medicine and have an outstanding crew backed by state of the art research at Duke. I met a man who also had a DCS issue while in Belize. I was going in to thank the staff for saving my life and for their kindness. The man I met was going in to pay far his 4 hour chamber treatment with staff. He had to put $22000.00 US dollars on his credit card because he did not have the DAN insurance. My bill without the DAN ins would have been over $44000.00 THANK YOU DAN AND DUKE UNIVERSITY. Everyone be safe and use the DAN insurance. This incident has forced me to stop diving. spinal cord injury as a result. I could most likely continue diving but could not place my wife in that situation again. Best wishes to All Bryan
  18. 3 points
    The Zeus faber or John Dory is certainly one of the most representative fish of the Mediterranean mesophotic zone. The John Dory has a high laterally compressed body: it's so thin it can hardly be seen from the front. The large eyes at the front of the head provide it with the binocular vision and depth perception it needs to catch prey. It hides among gorgonians and catches prey by stalking it, then extending its jaw forward in a tube-like structure to suck the fish in. I am always hypnotized by the ability of this fish to advance while remaining with the body motionless while moving only the anal and dorsal fins with an infinite vibration. These two specimens were filmed on Giannutri Island at a depth of 75 meters (250 ft.). In the central clip (00:48) there are 3 other mesophotic citizens: A basket star (Astrospartus mediterraneus) , a melon sea urchin (Echinus melo) and some colonies of red coral (Corallium rubrum). ------------------------------------------------------ Audio track: Antigravity 2 by Dan Skinner & Adam Skinner - via Audio Network Cover photo: Marco Bartolomucci
  19. 3 points
    The debate has taken unexpected turns. Instead of continuing to mourn Olympus or betting on who will be next (Nikon?), comments on children and young generations reminded me of two essays by Italian authors: Massimo Mantellini and Paolo Magrassi. which perfectly center the side theme slightly touched by @oneyellowtang and @Interceptor121 "We live in the "good-enough society", the age of good enough: we don't need the optimal quality of the CD, MP3 is enough; phone calls with perfect audio? Skype VOIP is more than enough". The Internet has radically changed our approach with depth, information, social relations, markets and culture. We listen to music in new digital formats, we photograph the world through the small lens of our mobile phones. We no longer read newspapers, preferring random information that bounces off the social profiles of our "friends". But we embraced Ikea kitchens and Banksy's graffiti, new low-resolution artifacts that fill our lives today. Often through such options we can glimpse the signs of a new intelligence, other times they tell the story of our usual superficiality. In low-resolution technology real time overwhelms the archive. The Internet, the place of memory, is transformed into the space where everything will be quickly forgotten. Let's take music: while still discussing whether vinyl or CD is better, we switched to mp3 and then to streaming. It all happened quickly while we were discussing which are the best gold cables for our high fidelity systems dusty in the living room. Then I go into my son's room and his tech equipment is very simple: a laptop connected to the internet, Youtube and two $10 plastic speakers. If I ask him "how does it sound?" the answer is "great". It sounds great. We can do the exact same thing for photography. The current transformation is similar to the revolution introduced by Polaroid in the era of film. The digital image has changed skin and is now dominated by the speed of the transition to new media other than paper: social networks where our friends will be ready to welcome them and comment on them. The low resolution at least in our photos is not a simple process of degradation for practical purposes but a complex process that expands in several directions. A significant number of photos we see on the net are low-resolution but highly processed images. The software that modifies them before they are published is equipped with predefined filters and options that allow in a few gestures even on the screen of a mobile phone to make the image we have just taken more interesting, artistic or captivating. Such modifications are improvements and adulterations: They make the photos more similar to us and to the idea that we want to suggest us to others, but they intentionally betray the principle of truth. above all, they make the photos that we observe on the net all substantially similar. It's no coincidence that there are now groups of people on the internet who would like to eliminate the use of filters and who add the proud caption "nofilter" as proof of the authenticity of the look that technology has now compromised and deceived everywhere. Within the vastness of the digital offer, everything seemed at hand. Just then we decided to slow down, making an unexpected choice: the reduction of our expectations. Understanding this choice means understanding the contemporary. Low-resolution
  20. 3 points
    I would have upgraded camera bodies more often if manufactures kept the body physically compatible. ie. I can continue to use this year's body in last year's housing. But even with the smallest minor version upgrade they insist on moving a button a few mm and thus a camera body upgrade dictates a housing body upgrade and hence the cost of upgrading is prohibitive. The last time I managed to do that was a Nikon F801 to an F801s! (I still have them sitting in box somewhere if anyone wants to make me an offer) Looking at it naively and simplistically, if manufacturers committed to a standard physical body across several models and just fitted different electronics into it, they could put the cash saved on tooling into the electronics and get more sales from us underwater photographers. But then we have been saying that forever and no manufacturer has listened to us. That is all at a bit of a tangent. As per the original premise, I agree that once you have a camera that can see better than you can, focus faster than you can, and takes pictures technically good enough for what you want to do with them, why should you ever need more? The product becomes a commodity and has to compete on price and convenience rather than technical excellence.
  21. 3 points
    Not to open another HLG thread, I have found the time and worked on some HLG files that were sitting on my hard drive since 2018. There are nothing special in terms of content or editing but I just wanted to see how they behave and how much I can push them. These were graded and edited on REC 2100 HLG color space and gamut on the free version of Davinci Resolve using only the scopes as reference as I dont have an HDR monitor. No secret sauce on exporting etc, just followed youtube recommendations for HDR content. I intentionally pushed the files way more that I normally do to have an idea of how much they can be abused and to my surprise and contrary to what I read they handled it well. If this is was a commercial shoot I would have pushed way less the footage to make it more compatible for SDR devices. If you are watching on an SDR monitor you will notice the abuse more but it is only a matter of the monitor color space, watch it in an HDR tv and you ll see the difference. For sure there is more room to play with as HDR and its workflow still holds secrets and requires some extra equipment but I think if you are a bit careful when shooting the footage HLG is a viable and quick solution to have HDR and acceptable SDR content. PS not LUTS have been used or abused during the making of this clip
  22. 3 points
    Hey all, I am just bumping this thread to let you know that my video won the April 2020 monthly video contest at Scubaverse. It was a pretty tough field with 19 entries, many of which were much more technically proficient than mine. It seems that I scraped by on the strength of my script and narration. The rundown on all the films, including mine, is at the following link: https://www.scubaverse.com/april-2020-video-contest-winner-and-review/ Cheers, Doug
  23. 3 points
    Hi all, Here I am with my latest effort. You have English and Spanish subtitles Bottom trawling is the most common and destructive fishing practices in the Mediterranean Sea. Bottom trawling represents a major threat to the seafloor ecosystem. Yet soft bottoms are not desolate stretches of sand but complex ecosystems, populated by organisms that are fundamental to the conservation of fish stocks. Giannutri island, part of the Tuscan Archipelago National Park, is a good example of intact marine environments. The fishing ban up to three miles has preserved intact deep habitats and the particular morphology of the island's seabed allows divers to reach the "twilight zone" (i.e. he bathymetric range between 50 and 120 meters.) in a rather simple way. Trimix, DPVs and rebreathers are perfect tools for observing still extremely intact deep environments with less invasiveness. These protected areas suggests how protection, if properly managed, can effectively maintain integrity in environments that host hundred or thousands years old organisms and provide us with natural laboratories where we can study what these environments would be like if they had not been damaged by human activities. On a technical perspective An alternative title of the video could be "History of Panasonic underwater". In the video there are shots taken over many years with my GH2, GH3, GH4 and GH5. So from a technical point of view I'm not at all satisfied with the quality of the footage which in some cases I consider to be very bad. I'm not a professional; I have witnessed some phenomena in a completely unexpected way, with the poor beloved GH2 at 100 meters in winter sea at 1250 ISO or at the end of a dive with flat light batteries. The important thing for me was to be able to communicate a message.. Bye
  24. 3 points
    Red Irish Lord perfectly perched on a sponge. At God's Pocket Nikon D500, Nauticam Housing, Nikon 10.5mm Fisheye, 2x Retra Flashes, ISO 100, f11, 1/125
  25. 3 points
    Excellent photos. I can only contribute with videos, because in the last few years I'm switched from photography. Sorry for the German text but it was a submission to a German underwater video competition. The footages were taken in German lakes close to Leipzig.
  26. 3 points
    Are your handles on backwards or is this your selfie rig? (Just kidding) -Tinman
  27. 3 points
    Sometimes I get the impression this virus has more impact on the brain than on the lungs. Getting bizarre. Here in Germany we had 25.000 peoples dying from the flue in 2018 alone. Zero so far on Corona. And people stack loopaper for the next 10 years... Lets have a Mexican beer, shall we?
  28. 3 points
    Thank you Interceptor, We build the WACP-1 and WACP-2 for underwater photographers who demand superior image quality at larger apertures, such as f/5.6 or even f/4. While the WACP-2 in combination with the Nikon 14-30mm results with 140° AOF images with quite low distortion, and very good image quality across the frame, our main objective is not aiming for zero distortion. First of all, zero distortion doesn't exist at all for any lens in the wide angle range of 130° to 140°. For example, the Canon 11-24mm (max AOV 126°), the Nikon 12-24mm (max AOV 122°) and the Nikon 14-30mm (max AOV 114°) all have certain amount of barrel distortion at the wide end. Naturally, the WACP-2 as an afocal add-on lens mounted in front of a lens having barrel distortion, it will be not able to eliminate the inherent barrel distortion. Using any of these wide angle zoom lenses behind a dome port also doesn't help with barrel distortion. Until now we haven't seen anyone to be able to produce perfect zero distortion images using one of these wide angle lenses behind a dome port. Of course, the normal dome port theory applies here! People can't achieve relatively good sharp corners until closing down the apertures to around f/14, and a dome port could actually induce more barrel distortion to the system. Adding a corrective lens in front of the camera lens may further complicate the issue because it introduces another type of distortion to the system. There is now a 12mm (AOV 122°) lens in the market that claims to have zero distortion, at the price of heavily and unnaturally stretching the images at the corners. It is fine for shooting buildings, but any subject, in particular people, will look extremely unpleasant if placed near the corners. The result of using this lens behind a dome port is yet to be found out. Best regards, Edward
  29. 3 points
    Hi, I wanted to update the topic with some images that show the condition of the color checker after 4 years of use. Honestly, I am impressed with the quality of the chart especially with color blocks that are still retaining the original colors. The main problem is that the pages after a lot of use come out cause the glue deteriorates. This can easily be fixed by using super glue. If you do underwater videography as a profession or you can afford a color checker, it is worth the investment. Remember to chose a video chart that is supported by your editing/color correction program. The color checker needs good lighting to produce good result. It can get you to a good starting point for color correction or can be used as a good reference.
  30. 3 points
    I found the time to do a little write up on underwater white balance that includes some of the techniques I use Hopefully this is useful to most people out there. I have focussed on GH5 picture profile but I guess other camera won't be much different https://interceptor121.com/2019/09/24/the-importance-of-underwater-white-balance-with-the-panasonic-gh5/
  31. 3 points
    Honestly, it isn't that complicated... Looking through my A6300 menus, I have, among those that are relevant: Quality: RAW - there is no real reason to shoot JPEG underwater Drive mode: single - can't really shoot bursts with strobes and pop-up flash, maybe with a LED trigger and low power Flash mode: rear curtain sync Focus mode: DMF for macro, AF-C for wide-angle Focus area: Center AF illuminator: Off AF drive speed: Fast AF track sens: High ISO: 100 for macro, auto 100-800 for wide-angle Metering mode: Center White balance: Auto SteadyShot: On Zebra: Off - it's useful for video, kind of useless for stills with strobes Grid line: Rule of 3rds Auto review: 2sec - wish there was a 1sec option Peaking level: low for macro, off for wide-angle Peaking color: yellow Live view display: Setting Effect OFF - this is important, as if you turn it on, camera will focus with aperture at your set setting rather than wide open. With it off, it will let it maximum light for focusing, and close the aperture as you take the shot. Priority set in AF-S: AF Priority set in AF-C: Balanced emphasis AF w/shutter: On, but I use a trigger extension. If you want to use back-button focus, this goes to off. Exp.comp.set: Ambient & Flash Monitor brightness: Sunny weather Power save start time: 1 min As far as shooting goes, I keep it in manual mode, f/8-f/13 for wide-angle with 10-18mm or 16-50mm, f/11-f/16 for macro with 90mm, f/22 for supermacro with 90mm and +13 close-up lens, 1/160 shutter most of the time, a bit slower if I want a brighter blue background. Sometimes I play with flash compensation a bit if I feel that TTL isn't doing the best job. Display mode is almost always the electronic level; it makes a very handy reference. I shoot with both hands on tray handles, triggering via an extension on the right side. Don't really push buttons much while diving; right hand only really leaves the tray handle to adjust aperture via top knob or shutter speed via rear knob.
  32. 3 points
    I've used the WACP with 28-70mm on several trips over the past year and am impressed with its versatility of FOV range. I believe that is about as close as you’ll get to having your cake and eating it; for now, with full frame. Some examples. At the narrow end (70mm->75degrees): http://www.underwaterdisplay.net/dive63/FJ190513_3215.jpg http://www.underwaterdisplay.net/dive63/FJ190514_3382.jpg At the wide end (28mm->130degrees): http://www.underwaterdisplay.net/dive64/MOR20191007_5670.jpg http://www.underwaterdisplay.net/dive64/MOR20191004_4678.jpg Downside is weight in lugging this beast down a beach but once in the water it’s a thing of beauty. In Moorea recently we did a lot of swimming in the blue and there wasn’t much difference in water resistance (possibly less) between my rig and those using large domes.
  33. 3 points
    Should you find a way to actually make a living off of selling underwater imagery - Keep it a secret! Because if you don't, then soon everyone else will have the the secret and it won't be a secret anymore and you will be back where you started. Inspiration and innovation is the mother of invention. Actually it’s just a mother.
  34. 3 points
    female paper nautilus/Argonaut riding plastic trash. Although I did see many riding their normal jellyfish, this one made me sad considering the amount of trash we are putting into the world and our oceans. Female Paper Nautilus by Karyll Gonzalez, on Flickr paper nautilus/argonaut with plastic trash by Karyll Gonzalez, on Flickr Female Paper Nautilus by Karyll Gonzalez, on Flickr
  35. 2 points
    A few small additions: I have a D850 in a Nauticam housing (along with a D500 in a Nauticam housing). I've shot pretty extensively with the D850. I initially bought it as a possible FF replacement for my D500 - with a focus on wide angle, but even though I've found that the D850 is excellent in a number of areas, the D500 is as good in some areas (and in a very small number of cases, better), so I've kept both. The D850 with the 105vr is a really good combination for macro. Given that I've shot both the D850 and the D500 with the 105vr, for almost any set of conditions the D850 will outperform the D500 w/this lens (although the combination of working distance & subject size does take some adjustment coming from the cropped sensor perspective). There have been some folks that have suggested that something like an 85 or 90mm lens as fast as the 105vr might offer a small amount of additional improvement, however I haven't seen anyone suggest a recommended/tested alternative. However, the one area I've found that the D500 clearly outperforms the D850 is in autofocus in low light. This becomes clear on a blackwater dive - the D500+60mm combination outperforms the D850 in any config. Autofocus characteristics between the cameras are different enough that the D500 retains some advantages in this area. This is has been verified (and written about) by others on this forum previously. Having said this - the D850 shooting wide angle outperforms any results I've gotten shooting a D500 (any lens, any port). For dedicated wide angle I invested in the WACP, and the results have been excellent. The WACP is an investment in both $ and travel logistics, but the results have been worth it (so far). Others have achieved great results with the 16-35 (+ Sea & Sea internal correction lens). It might be worth adding that comparing the 230mm dome and the WACP provides some interesting trade-offs to be made in packing weight, volume and maneuverability u/w. The WACP is much heavier to pack (and heavier out of water), but also much easier to maneuver with underwater (not even a close comparison). I've also found that the WACP is pretty resilient when carried in it's (padded) travel pack, I now regularly travel with it in my checked luggage (in a carry-on roller suitcase that I check). I can usually get a few days of clothes packed around it as well. I certainly don't take it everywhere, but if there will a strong focus on wide angle, I bring it along. Other details: I've shot at ISO 64, but tend to "live" at ISO 100 for most conditions. Shoot with either 2 Inon Z330's or 2 Retra Pro's When shooting with the 105vr I also attach a Light & Motion Sola 1200 light Last - one of the (more subtle) advantages of shooting with the D850 (specifically in raw mode) is the huge amount of flexibility you have in the post processing phase of working with images. For D850 generated images, it feels like you have more flexibility than with previous (Nikon-generated) files. This goes beyond just image size - after playing with D500 raw images and D850 raw images it becomes fairly apparent that you have more ability to adjust images in post that are shot with the D850. This will be a subtle difference for most photographers, but for those who are willing to invest time in post, there is a large amount of flexibility to be taken advantage of.
  36. 2 points
    A camera without a lanyard is a lost camera eventually. I don't use two attachments, just one lanyard on my harness chest d-ring. I'm always holding the camera unless I shoot an SMB, or have an incident to deal with. That's why you need to the lanyard. Safety first, and drop the camera when there is an issue with your buddy our yourself.
  37. 2 points
    The typical timetable to get a medicine through a trial is well over 1 year assuming you have something that works Considering that the level of proximity in planes is not compliant with the requirements to prevent covid transmission I am concerned that if there is no alternative approach there won’t be any trips involving flights for some time. This may lead to disintegration of the diving industry and maybe other touristic enterprises On a positive note pollution is dropping and the air is cleaning at this pace this will be more effective of any government green emissions scheme Sent from my iPhone using Tapatalk
  38. 2 points
    The SMC-2 requires a higher level of skill than SMC-1 and 1:1. This is a very niche item for the obsessed super macro fan. My suggestion is to turn off AF and set to manual. Set the 90mm macro at 1:1 and leave it. Then acquire focus at 1:1 once you have done that flip in the SMC-2 and move much closer to your subject to obtain focus. When you are in focus at 1:1 and use the SMC-1 you need to reduce subject distance by about 50% say eight inches to four inches, SMC-2 is about 1/2 the distance as SMC-1 or four inches to two inches. Not aware of your skill level but these are toys that are not easy to use. When I have used SMC-2 and shot 150 images on a dive I will be lucky to get 5 or 6 in focus at F/18 to F/22. Lighting is also a bitch because you are so close to the subject and the obvious damage you can cause if you bump the subject is also a concern. The biggest issue for all super macro is subject selection, at times it is hard to find a subject so small that is not very three demential to photograph. With full frame at this magnification DOF is razor thin so most subjects will only be partially in focus.
  39. 2 points
    We go there roughly once a month (OK less this year due to the crazy myanmar visa price and new $1000 per boat fee they've introduced!). Myanmar can be highly variable. Typically 3-5m vis and green, sometimes the Mantas are around Black rock (and the Twins), sometimes not. Once a year in roughly February they seem to congregate for a few days in large numbers then vanish (this video was shot over a period of 3 days/12 dives - normally we do 1 day at black rock but customers kept voting to stay so we did). As far as IDs go, we had 50 different individual mantas on this particular trip and yes, I submit to Manta Matcher). Unusually the vis was 15m+ and blue water as opposed to 5m of green as well. The following year we only had 1 day of Manta madness there but got 20 different IDs over 4 dives, the next day there they'd all gone. This time though they were breaching, sometimes as 1s, sometimes as pairs so behaviour was completely different. What was interesting is both seasons we didn't have the same manta on more than 1 dive so that hints there's a very large number of them moving through the area. A lot of the Manta IDs came back as new but several had been seen at Koh Bon / Similans several years previously. Also some of the ones we get in the Similans come back as being at Black Rock and further north so they clearly move around a lot over several years.
  40. 2 points
    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

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