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  1. 5 points
    I am happy to share my latest video-interview with Max Ammer, the pioneer of diving in Raja Ampat, West Papua in Indonesia. About 30 years ago, Max came to Raja Ampat in a search of World War II relics. This is a story about how Max built the very first dive resort in Raja Ampat - Kri Eco Resort, and later - Sorido Bay Resort, about conservation efforts of Max and his partners, training local people and building the very first electrical boat in Raja Ampat. Video is shot with Sony NX80, and a few clips with Sony 7Rii. ENJOY. https://youtu.be/vcmAxOhLgEM
  2. 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
  3. 4 points
    I recently took this shot on a trip to the Souther Great Barrier Reef. It is my best example of balancing flash & ambient so far. I put my lower strobe on a very low power setting tucked in close to the left handle and had the upper strobe on a high power at full rabbit ear position. Hope you enjoy looking as much as I did making it Thanks,
  4. 4 points
    Just did my first dive with the R5 and thought I'd share some sample footage (youtube links below). It's nothing special, just a few different scenes to give you a feel for the image quality. I have the camera in a Nauticam housing with ZEN 230mm dome, using the RF 15-35mm. Settings on all these videos: 4K 30p, HQ mode (oversampled from 8K), ALL-I compression, Canon Log on. Files were edited in Premiere and exported in maximum render quality. Footage was shot on St. Eustatius in the Dutch Caribbean. All videos are shot at around 70 ft depth, conditions were not great: it was an overcast day, still early in the morning, so not a lot of light or colors available at that depth. No artificial light was used, just ambient light. I used a white slate to manually white balance the footage, which is a bit of a hassle on the R5. Taking into account these low-light conditions, I think the camera produced some fantastic video. I am sure though the footage will be much more vibrant in shallow water with more sunlight. Interested to hear what you think. Happy to upload more footage with different settings next week if anyone is interested.
  5. 4 points
    I also mostly stayed close to home last year. Thankfully, the Buffalo National River is only 10 minutes away. These images of a River Cooter and Longear Sunfish were two of my favorites of the year:
  6. 4 points
    Very happy to see the return of this topic! My fave reflects my long-term salmon project that was influenced more by the weather that was excessively wet in 2020 and poor salmon runs than by covid. I took this shot during one of the few and short sunny spells in early July before any salmon had returned to this stream. I used a lens that I had used for this same purpose (juvenile salmon) but with film back in the 90s, the Nikonos RS 28mm. This was one of the lenses that Harald H brought with him to DEMA in '19 following the SEACAM mdification. I have used several other lenses for a similar purpose but was challenged by the nature of underwater optics. This lens has a much flatter field as well as being a sharper water-contact lens. Its small size also helped as the lens was not completely submerged due to the shallow water depth. Rocks on the bottom (get in the way) did not help either.
  7. 4 points
    Monterey, California. September 2020.
  8. 4 points
    last weekend we went dove the 'Flagpole' dive site in Hood canal, it is probably one of the best diving spot in that area, and behold, this easily wingspan 10 foot plus giant pacific octopus decided to come out of its den and say hi to us. absolutely once a life time experience for myself. shot on 1dx + retra strobs, WACP1 7-1 by Joe Hua, on Flickr 13-1 by Joe Hua, on Flickr 12-1 by Joe Hua, on Flickr 2-1 by Joe Hua, on Flickr 1-1 by Joe Hua, on Flickr
  9. 4 points
    Hi everyone, New member here, thought I'd introduce myself with some shots from my home country, Scotland. These recently featured in the Dive Photo Guide photographer of the week. Having some trouble linking images from elsewhere so here's a link to the article and a small sample. http://www.divephotoguide.com/underwater-photography-special-features/article/underwater-photographer-week-mark-kirkland
  10. 4 points
    Nice images, Adam. However, obviously it all depends upon one's situation and subject matter. Not everyone shoots large subjects in open water with artificial lighting. I'm normally shooting small subjects in shallow freshwater streams with natural lighting. And yes, many of my wide angle shots could not be gotten with a large dome. Here are a few examples with subjects less than an inch from a 4" dome (closer than a large dome could get) and/or with the housing pressed against the stream bottom (lower than a large dome could get):
  11. 4 points
    How about covering the opposite topic. Moving to smaller sensors and reasons to do so.
  12. 4 points
    I'm pro lanyard all the time. I clip on a coiled lanyard as soon as I splash. I have had to deal with critical safety and rescue scenarios more than once under water where there is no time for spare for the camera. Not having a lanyard already in place means you either don't deal with the emergency when needed most, or you lose the camera.
  13. 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.
  14. 4 points
    Here is an example I shot last week with a similar setup to yours, using a D850 / 15mm Sigma FE / 170mm port + Inon 330 strobes. The left strobe arm is 12+16+8 and the strobe is pointed inward from the upper left. The right strobe is closer in to the right an pointed forward. ISO 250 / F9 / 1/80s Left strobe is -1.5ev, right is -3ev. The water conditions in Puget Sound were relatively good by local standards at 25 foot visibility but this is heavily particulate water. I did not do any Spot removals of backscatter, but I did bring down to 0 to the Clarity/Texture (midtones) of the green water using LR. You can see there is hardly any distracting backscatter in the image. The point of using a lower strobe power is that you don't illuminate the backscatter nearly as much in poor clarity water. You can boost exposure in post processing to get the brightness you want for the image, selectively if needed. I shot at -1.5ev & -3ev which is about 1/3rd and 1/8th power for the two strobes. If I shot in these dark and chunky waters at Full or Half power the image would be blasted out. If you want a darker background use a faster shutter speed. 1/125 or 1/200. The strobes don't impact open water background color. Shutter speed controls ambient light.
  15. 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
  16. 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.
  17. 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:
  18. 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.
  19. 3 points
    I have been ask a bunch of questions about all things A7C and today my 4000 word review has posted in UWPMAG.com issue #119. This is a free PDF download and I suggest you read the review if you have an interest in the Sony A7C. I intensely did my review using only the Sony FE 28-60mm "kit" lens with the WWL-1, WACP and one and two CMC-1 lenses. Some of the macro is in this thread. After reading the review I would be happy to answer any questions. The attached image is with the 28-60 at 28 using the WACP. This is an A/V light shot at ISO-400, F10, 1/125th sec.
  20. 3 points
    Regarding the idea that Sony APS-C cameras are a niche market for housing manufactures is perhaps misunderstood. Housings for A6300/6400/6500/6600 are available from most manufactures for all or some of these cameras. Manufactures include Fantasea, Ikelite, Isotta, Nauticam, Sea & Sea, Seafrogs and more. It would be more accurate to say niche manufactures like Seacan and Subal don't make housings for these cameras. Also Aquatica, Ikelite, Isotta, Nauticam and Sea & Sea have all listed an intent to support the coming Sony A-1 and I suspect Seacam and Subal will perhaps do the same. The Sony A-1 is surely more of a niche camera than the Sony A6000 series cameras. I fully understand the idea that a Sony user could show up on a vacation or workshop may be the only Sony user. I have been in that passion on a number of occasions and ended up helping others more than they needed to help me. Regarding size, most U/W photographers just like land photographers don't need or want to deal with large MP cameras in the 45-60+ megapixel range. I appears that 20-24MPs is the sweet spot for M43, APS-C and full frame for many cameras, including high speed sports cameras. It is also clear that FF cameras in the 20-24MP range out preform M43 and APS-C cameras in terms of image quality. It is clear that DSLR cameras will never be able to compete with mirrorless cameras in regard to size and the gap is widening. Take the new Fujifilm GFX 100S a 100+MP medium format camera which is 150X104X87MM and 900G v. The D850 at 146X124X78.5 and 915G. In addition Fujifilm has been able to reduce the size of the lenses v. past MF lenses. Lastly the new Sony A7c camera and 28-60mm zoom are just a glimpse into the future of mirrorless camera size. The full frame 24.2 BSI sensor camera that is smaller and lighter than the Olympus EM1 III, Comparing Nauticam housings the NA-A7C housing is smaller at 307/172/103 and 1.78kg v 305/175/116 and 2kg for EM1 III. I fully agree that the Sony full frame lenses are bigger and require larger ports. The system can however be used with the 45 port and WWL-1. The Sony 28-60mm zoom is the only full frame lens I am aware of that works with WWL-1, which is very well suited to the 24MP sensor. While the lens works great with the 61MP A7R IV and WACP realistically most users will opt for the WWL-1 simply because of cost just as they may select CMC closeup lenses over SMC C/U lenses. For macro the housing requires that same N100 macro port for the 90mm macro as is does for all of the Sony FF cameras. What is most important to come away with here is that the A7C and 28-60 zoom will likely not be the end of the story. I suspect that smaller FF lenses for this camera will be coming. I also see the ability for a future high res version of the camera. Images are of the already very small Sony A7R IV and Sony FE 28-70mm with the WACP and the A7C with the 28-60 and WWL-1.
  21. 3 points
    I have just downsized from NA-D800 to NA-Z50, a crop sensor mirrorless. The 9" glass dome I had is 3kg, the WWL-C is just over 1 kg. For fisheye I am using the Tokina 10-17 with manual focus in an 8" acrylic dome. Mostly I use it for over/under so manual focus is no disadvantage. I use f16 and focus at about 6m underwater. Yesterday I compared the 10-17 with the Nikkor 8-15 in a camera shop at f16, ISO 200 and a bean bag. I can't tell the difference. New eyes might be a better investment. I intend to get this whole process written up on UWP sometime, but here is a picture of the manual focus mechanism made from a toy helicopter main gear, some drainpipe, a pillar valve top and an Aquatica (with an A to N adapter) dome I didn't mind drilling a hole in.
  22. 3 points
    Night dives in the sandy beaches of Ibiza, in the Mediterranean sea are always a surprise, you can find species that it's imposssible to see during the daylight, this is why I love that kind of diving. SVF13022021083
  23. 3 points
    In November I managed to steal an adventure from and otherwise difficult 2020. After getting Covid-19 tested, keeping a temperature log and donning two masks, I ventured to the Socorro Islands for the first time with the GH5 on the Solmar V. I head read all the report of camera housings getting taxed going through customs, but we got the green light when tapping the button and all was good! Spent 8 days aboard the Solmar V with masked crew and divers. The crew was happy to be back at sea again after being shut down for months. I was happy to be back in warm water. Below is the video of the adventure.
  24. 3 points
    English subtitles - Subtítulos en español - 日本語字幕 The Formiche di Grosseto ("Ants of Grosseto") are three islets included in the Tuscan archipelago (en.wikipedia.org/wiki/Formiche_di_Grosseto). The discovery in 2016 of a garden of Savalia savaglia near the largest islet gave us the opportunity to learn more, with Prof. Carlo Cerrano, the peculiarities of this species and its ecological and biological value. The dives also highlighted a particular type of interaction between the two typical chromatic varieties known for Savalia savaglia. The observation opened new hypotheses on the complex growth strategies of this species. The opportunity provided by this type of exploration underlines how technical diving is a means and not an end. A set of tools that allow to extend the duration of our excursions, to approach demanding dives making them safer and more fun or, as in our case, an example of "citizen science" that is a collaboration between technical divers and scientists. Short bibliography: cutt.ly/Iko2OHp
  25. 3 points
    I post more photos from El Hierro, in the Canary Islands, Spain. I really beatiful island to go such in the water as in land. SVF04012021050 SVF05012021053 SVF10012021089
  26. 3 points
    @Greenjuice and @ChrisRoss, Good news! I was able to get in touch with the creators of the Reef Fishes of East Indies app. They took down the app from the iOS store Jan 2020 as they are in the process of doing a major update and are hoping to re-release the app again soon. I am asking if they have a rough timeline and I am waiting on their response. Cheers, Pomacentridae
  27. 3 points
    When you add the Metabones the lens acts like it would on a DSLR, does that make it better or worse? The Alpha 1 is a bit like the $6500.00 Nikon D6 or $6500.00 Canon EOS-1D X Mark III in terms of user base. Not really targeted at the consumer level.
  28. 3 points
    I'm hoping they will take all that new tech and scale it down to refresh the A6xxx line with a new sensor - that might make me consider upgrading. Otherwise, my A6300 provides a reasonable balance point between price and performance - a $6500 body is way outside my price range, and even if it wasn't, I'd rather spend the money on more dives.
  29. 3 points
    Hi Chris, I will post the results here. I will receive YS-D3 after a week or so.
  30. 3 points
    Hello, here you are some pics of my last trip to El Hierro, in the Canary Islands, Spain. SVF11012021047 SVF05012021092 SVF05012021016
  31. 3 points
    San Jose Del Cabo . I just landed at SJD (Cabo San Lucas, Mexico) I thought it would be beneficial to the group to share my experiences. First off I am very a very experienced traveler and have cleared Mexican Customs at least 30 times. This time was just a bit different and not just because of Covid-19. At my check-in in the US I was directed to fill out an online questionnaire about my Covid-19 possible exposure. It also asked for what seat you were in and contact info (email and phone). I assume that this was for Contact tracing. I filled it out and took a screen cap of the QR code generated at the end of the questionnaire (thinking I might need it later).Waiting for the flight was uneventful. There was a whole lot of plexiglass up everywhere and not may stores or restaurants open in the terminal. There was a disturbing amount of single use plastics being utilized in the airline club (I asked the bartender to fill up my water bottle with her beverage gun and instead sh gave me 5 small plastic cups of water to pour into my bottle. Mask use was a high priority on the American Airlines flight that I was on. The person behind me was reminded twice to where his mask. Once off the plane we we all put onto a shuttle bus for the short trip to the terminal. The Bus was not as packed as some others I have been on, but there certainly wasn't any real attempt at social distancing. Prior to getting into the Immigration hall we had to fill out a form asking us if we had knowingly been exposed to Covid-19. This form asked me the same questions that I had answered on the online questionnaire. I filled it out and handed it to the agent. He looked it over, signed it, and handed it back to me. No one else ever asked for it. It wasn't scanned in or anything....so I'm, not really sure what the point was, but as a frequent traveler to Mexico, I am not surprised by this. After collecting my bags I headed to the Customs hall. When I handed in my customs form the agent asked me about my bags (3 checked bags and 2 carry on). She asked me what was inside the bags and I answered, truthfully, saying "1 is scuba gear, another is clothes and the last is for my camera." She asked how many cameras I had and I told her, truthfully, that I was traveling with 2. She then specifically asked me if I had a housing. I said "yes" (no point in lying about it). I was directed to a separate table in the hall where my carry-on bag and my UW camera bag were inspected. The Agents seemed only to be interested in my housing (a 4-5 year old Subal). They asked me very specific questions. They asked me how old it was and how much I could sell it for (not how much was it worth or how much I paid for it). When I was asked about how much I could sell if for I laughed and said that IF I could find someone to buy it I wouldn't expect to get more than $450USD for it. I asked them about what was going on and they informed me that since the value of what I was bringing in exceeded $500USD I was subject to a 19% duty. I told them that it wasn't for resale and I was going to be leaving with it. They said that it didn't matter. In my mind I see the dollars adding up (we all know how much a full UW photo kit costs). The agents stated that "it's not that much, don't worry". He went on to say that they just assume that the rest of the gear is valued at $500 and so I would only be responsible for the 19% on the housing (valued by me at $450). When i pushed back on this He changed the value to $350USD and informed me that I would have to pay around $57USD for the duty. Doing a quick time vs. money evaluation I agreed. I was then led into an office where a woman charged my credit card the $57USD. She also recorded the serial number off of my housing. I was given a receipt and a form (on which was a description of my housing and the serial number) that had both been stamped with some sort of official looking seal. The woman expressly told me to retain the receipt and the form as this was a one time fee and that as long as I had the same housing and the form, I would not be charged again. I repeated it back to her just to make sure that nothing was lost in translation. I then collected my bags and went outside the arrivals hall to brave the gauntlet of taxi drivers. Throughout the the entire experience the Mexican Customs agents were professional and polite. I have travelled in Mexico for years and am have had experiences with the "mordida" (bribe) and this had none of the feel of that. While I didn't like having to pay more money, it is their country and their rules. I felt the agent worked with me a bit and wasn't trying to take advantage of the situation; I travel with 4 strobes that are at least $800 a piece, never-mind the multiple dome ports and all the rest of the stuff that goes along with this crazy hobby. My advice to anyone dealing with a similar situation is to remain calm, remain respectful, and work with the agents to get to a reasonable number. Do not attempt to lie or conceal what you are traveling with...it won't end well for you. I hope this helps other travelers. Oh, I also asked my driver and the management at the hotel I am staying at prior to departure about what they plan to do about the upcoming Covid testing requirements for people returning to the US via air and they said that all of the hotels and resorts are working to have onsite rapid Covid testing for guests that conforms with the requirements of US health officials. I have faith that the Mexican toursim industry will be on top of this latest change. Stay safe.
  32. 3 points
    I am really happy with the Backscatter Mini + Snoot. It's the best addition to my camera gear in years. Previous snoot setups I tried were frustrating and difficult to aim and this is a relative breeze. Highly recommended. Here is an example shot of a Pacific Spiny Lumpsucker. Maybe 2-3cm long, shot with D850 & 105mm, Backscater Mini Snoot, SubSea +5 closeup lens. I don't love the "spotlight" effect of a bright circle on black so I add a little fill from an Inon 330 at about 1/8 power off to left the side. [ f/18, 1/250th, ISO 100]
  33. 3 points
    I got my a7s3 and Nauticam gear just before a big dive trip in the Caribbean in late November. Shot three Sony Profiles settings, sLog3/SGamut3.Cine, HGL3 and No profile. File format:XAVC S 4K at 60fps10 bit 4:2:2 for all profiles. Customize the C4 function for white balance (So I could execute WB in right hand UW and hold Grey slate and later chip chart with left hand). I used official Sony LUTs and Leeming LUTs in post for evaluation of clips. Will edit in FCP and finish color in Resolve. It was a well balanced neutrally buoyant rig with Keldan 4x Lights, red and blue filters were consistently used. I was hoping because of the lowlight capability of this sensor to shoot with no lights so as to not scare off fish. In field evaluation I sensed that just a bit of light made a huge difference in color accuracy and saturation. So after a 3 dive and no lights I shot the remaining 20+ dive with light. My takeaways: 1- Love the setup, would choose sLog3 if time in post permits CC, If not post time then I would go with no profile. You lose 1 maybe 1.5 stops of latitude but generally clips were nicely saturated and accurate. I understand some people think the sony color science is to be avoided but I saw no issues. In also I preferred Sonys LUTs over Leeming LUTs for 90% of the shots. Whats my experience in Video color science? 40Plus years surface shooting and a successful life doing so. UW shooting is just my hobby, 2- I used SDHD cards for the XAVC s 4K file format and they bogged down a Late 2013 Mac Pro with 32GB Ram and top end graphics cards. Had to use proxy's to not go crazy in post. I did buy and have tested the new Sony CFExpress Tough card and "I think" it performs well enough to be able to avoid proxies in post. This is because the CPU has to do less calculations than with a codec that has more compression. I did a surface shoot yesterday (Birds in Flight) using sLog3 S&Q settings for 120fps with XAVC S I 4K and I filled a 160GB card in well, not very long. Luckily I had a laptop to download to continue shooting. Take Away 2.1 if you want 120FPS you better mean it! Or have lotsa expensive cards. Moving them into post and seeing performance will take place in a couple days (I hope). Apologies on long post, but a couple further observations. Cost, yea I'd say camera "May" be a1/3 of the get in the water costs. so, lights and floats, buy the best you can. Housings often are sacrificed if you go for a new camera, but odd note here, I have an a7R4 and it goes in the a7s3 housing. Most of the buttons on the top work but the only button on the back at seemed to work was the Disp button. I am exceptionally happy with this my 3rd rig. Should be able to last the rest of my life. Knock on wood!
  34. 3 points
    Happy holiday and hopefully more diving in 2021 with better images for all wetpixel members. Great resource, information and help here for which thanks to all. Have a great 2021
  35. 3 points
    It's been 29 years since the great tragedy in Red Sea.
  36. 3 points
    Nauticam added the FE 28-60mm lens to its Sony port chart and Sony owners should be excited. First the lens works with all Sony FF cameras. It also works with the excellent but not cheap WACP-1 resulting in an AOV of 130 to 68 degrees, the older Sony FE 28-70 goes to 59 degrees. The new Sony FE 28-60mm also works with the less expensive WWL-1 which until now only worked on Sony mirrorless with the SonyFE 28mm F/2 so young have the same added zoom range. Because the 26-60mm lens takes a 40.5mm lens filter the diameter is small enough to work with the sub-full frame CMC-1 and CMC-2 closeup lenses that many M4/3 and APS-C owners now use. At this time Nauticam lists the Sony FE 28-70mm with Techart Sony to Nikon Z AF adapter for use with WAPC-1.If you want a zoom lens for the Nikon Z system and WACP-1combo the Sony 28-70 is the only choice. Sony and Nikon Z both use the same 120/20mm port extension for the Sony FE 28-70mm and WACP-1. No port extension is required with the Sony FE 28-60mm and WACP-1 so I would expect the same may be true for Nikon Z and WACP. I would also point-out that Nauticam WWL-1 was designed for full frame even though it has been widely adopted for sub-full frame cameras. Even on high res full frame cameras like the 62mp Sony A7R IV results are excellent and superior to any wide angle lens and port combination I have tested. You can read my review of the WWL-1 on full frame in back issue #114 at uwpmag.com. I have attached photos of the Sony A7c with 28-60 zoom and A7R IV with 28-70 zoom for a size comparison.
  37. 3 points
    Most folks here use Photoshop, Lightroom, and other commercial systems for their photo editing workflow. I thought I'd speak a bit about a purely open source workflow. It may not be as pretty, it may not be as polished, but it works for me. The tools I mention should work on most any operating system, closed or open (I use OpenBSD). This isn't a post to discuss why to use open source, but instead what kind of tools are available. Popular tools for RAW open source editing tools these days are RawTherapee, darktable , and (far less popular) UFRaw. For JPGs, there's GIMP, digiKam, and Shotwell. darktable, digiKam, and Shotwell have powerful photo management facilities; while GIMP, RawTherapee, and UFRaw are primarily editors. In this post I'll talk about UFraw (specifically, nufraw), GIMP, and Shotwell. There are plenty of other tools---these are just those that I've used! Let's start with getting photos from your camera. This part depends upon the camera---whether with an SD card reader, Wifi, and so on---and your system. I use the USB interface to my Nikon and download photos with gphoto, but most operating systems (or if not, then photo management tools) have facilities for doing this themselves. On OpenBSD, I have a hotplugd(8) script download images when I plug in my camera. It uses a notification to my window manager (i3) when the download is complete. This lets me get right back to work after a dive, with my photos ready for viewing and editing when I next take a break. Once downloaded, my happy time begins with Shotwell. Not to make too much a point about it, but I consider this the "weak link" in my workflow: the tool is slow and buggy. Ideally I'd like something like macOS photos that lets me quickly cull, group, sort, tag, and filter my photos. With sometimes hundreds of photos from a single dive, I use Shotwell to quickly cull out of focus and poorly exposed photos, grouping the rest into those I'd like to edit. Above we see a quite underexposed Cratena peregrina that looks ripe for some editing fun. Next is the editing sequence. Shotwell has some editing tools, but I need to work with RAW images. At this point, some folks use darktable, some use RawTherapee, but I prefer pairing GIMP and UFRaw (nufraw). Shotwell lets me open nufraw with a keypress. There's a lot of benefit to working with groups of photos as allowed by darktable and RawTherapee, but I prefer editing one by one, letting each photo have its own flavour. I really like n/ufraw---the source code is simple C, so I can jump in and tune hard-coded parameters if desired. Here, I'm able to colour correct, adjust exposure levels, saturation, and so on. Above, I've bumped the exposure and saturation, as the original photo is fully stopped down, and also boosted the highlights a bit and raised the black point. I'll often use nufraw to configure each layer of an image, then I send the image to GIMP by using the button in the lower right corner. Once pressed, GIMP picks up the image and I can fit it into my working image. Here I have two layers: the first is the brightly-exposed photo on top then below is a much darker photo to fade out the vegetation around the subject. In this screenshot, I'm manually bringing in the lower layer with the "erase" tool. Most often, however, I use GIMP just to sharpen the photo and remove sediment and back-scatter. I also really like GIMP: not only is it a workhorse of a tool, I can also interface with a fairly straightforward plugin mechanism in C. I've written a few small plugins that let me despeckle regions by detecting closed regions of contrasting colours and blending with the surrounding colours. A fairly simple matter, but makes removing back-scatter from backgrounds much easier! Not a bad result---a bit gimmicky, as I've dropped the background a bit too much, but sometimes it's fun to play with our images. If this C. peregrina were to have a voice, it would be whinnying majestically. I follow up by exporting the editing results into a new photo alongside the old one, which is picked up again by Shotwell. I then break apart the originals and the edited files. I'm happy with ufraw and GIMP, but recently have considered whether using RawTherapee might be more efficient than sending from ufraw to GIMP. As for Shotwell, the question is not if it should be replacement, but simply by what! Do you have any tips, tricks, or experience with open source workflow that you think I might use?
  38. 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
  39. 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
  40. 3 points
    AFAIK, the only strobes currently on the market that offer HSS capability are: SeaCam SeaFlash 60D and 160D - strobes can be triggered by sync cords or fiber optics, but HSS is available only when using sync cords, only with Canon and Nikon cameras, and Canon/Nikon support is strobe model-specific - i.e. there's an SKU that works with Canon, and another SKU that works with Nikon. On the upside, HSS is available in TTL and manual modes. Retra Prime and Retra Pro - fiber optic triggering only, HSS is available only in manual mode, requires an LED trigger board in the housing to supply the proper triggering signal. UWTechnics and TRT Electronics have triggers compatible with Canon, Nikon, Sony, Panasonic and Olympus cameras (separate SKUs for each manufacturer as they have different flash communication protocls); UWTechnics triggers are shaped to fit a specific housing, whereas TRT triggers are generic boxes that fit most housings.
  41. 3 points
    Start working on your upper body strength. Fellow D850/Nauticam user... My rig is about 25lbs out of water.
  42. 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
  43. 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.
  44. 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
  45. 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
  46. 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
  47. 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
  48. 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.
  49. 3 points
    Are your handles on backwards or is this your selfie rig? (Just kidding) -Tinman
  50. 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?

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