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  1. 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!
  2. 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
  3. 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.
  4. 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.
  5. 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
  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
    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:
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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
  13. 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
  14. 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
  15. 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
  16. 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
  17. 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
  18. 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.
  19. 3 points
    Are your handles on backwards or is this your selfie rig? (Just kidding) -Tinman
  20. 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?
  21. 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
  22. 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/
  23. 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.
  24. 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.
  25. 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
  26. 2 points
    Hi Divers Just wanted to share with you a tutorial I did recently in regards to white balancing your camera underwater. Any feedback appreciated, thanks for checking it out!
  27. 2 points
    Typically I use clean output on the monitor because it has its own focus and exposure tools and put the LCD to settings screen If you use full info everything works normally however some of the monitor tools may have an issue with the additional info displayed
  28. 2 points
    For the boys and girls waiting to take the 1dx3 (after 1dx2 upgrade) and wants to upgrade their Nauticam 1DX2 housing.. It is a few dollars for sure, but the upgrade usually covers a housing service in addition to the actual upgraded parts. Various illustrations exists, here is a brief summary. (and yes, it fits perfectly). - New "Mode" shaft - New "Drive-AF" button - Flash +/- button - New ISO button control - Port lock re-position button - Modified tray
  29. 2 points
    Paolo has been kindly sharing his experience on my blog. He has recently won or been placed in a number of competitions but more importantly he likes to experiment Plenty to learn https://interceptor121.com/2020/03/27/121-with-paolo-isgro/ Looking for others that want to share... please get in touch
  30. 2 points
    Tiger beach, Bahamas aboard Aggressor Bahamas by Karyll Gonzalez, on Flickr Bahamas by Karyll Gonzalez, on Flickr Bahamas-2 by Karyll Gonzalez, on Flickr Lembeh, Indonesia with NAD Lembeh Rhinopia by Karyll Gonzalez, on Flickr Lembeh by Karyll Gonzalez, on Flickr paper nautilus/argonaut on jellyfish by Karyll Gonzalez, on Flickr Komoda, Indonesia aboard Indo Siren Nudibranch with emperor shirmp by Karyll Gonzalez, on Flickr Komodo by Karyll Gonzalez, on Flickr Striped catfish eating by Karyll Gonzalez, on Flickr
  31. 2 points
    A couple of random thoughts. I dive with a D850 in a Nauticam housing and a 230mm dome port. I used to take the Neoprene cover off underwater and simply stick my arm through a hole, up to my armpit. My strategy failed in Maui due to strong currents. The cover got swept off and away as I entered the water, so now I just take the cover off on the boat. On the socks - I've been using a pair of Apollo Bio Fins since 2006, and until they wore out I had a pair of hard-soled booties that were nice to walk in. But those booties were a little bit loose. I very often got lower leg cramps until one day I tried on a pair of (very thin) neoprene socks. The original reason (and they work fantastically well for it) was to make it easier to slide my feet into the wetsuit. What became clear though was that my lower leg cramps almost disappeared. Evidently you don't want dive booties fitting loose (like a cowboy boot). There has been a downside though. Ever since I started using dive socks and making my feet tighter in the boots I've had an issue with a grain of sand getting caught between two toes. By the end of a dive I'll have a small sore - or worse - worn into the sides of those toes. So now I premptively wrap a bandaid around my long toe before a week of diving. Problem solved. On barnacles - I wish I had gloves on for my first open water dive in St. Thomas. Went down an old line and sliced one of my fingers pretty well. Blood is green at 70 feet, by the way. On tethering: I'm a zealot here. I once participated in an unsuccessful search for a new rig that got away from a diver as he was getting back on board. First thing I do when I get in the water is attach my tether, before I descend. My tether isn't on a retractor and is about 3 feet, and stretches for more. I let go of my rig quite a lot actually, letting it hang down while I take care of business.
  32. 2 points
    There is an oring you can place on the M67 mount to avoid water flushing You will need to stop the lens to f/11 to get sharp shot maybe f/8 not wider Sent from my iPhone using Tapatalk
  33. 2 points
    My Pro's arrived two days ago... beautiful design and execution. Pairs with the app nicely... All of the accessories from V1 fit nicely on the V2. The neoprene jackets stay on better with the bumpers. Now just need to get them in the water:)
  34. 2 points
    Here is a link on Nautilus Fleet’s website regarding this topic: https://www.dropbox.com/s/a3g70ez3yz733d3/2019-Customs-Cameras.pdf?dl=0
  35. 2 points
    Most of this video is shot with sony FE 90mm + SMC-2. First time I used it. SMC-2 is no easy...
  36. 2 points
    To be honest, I think the m24 port that Nauticam have developed is a great solution and due to the size will be future proof for inbound 8K cameras and all the stuff going forwards. Its just a shame many are stuck with M18 with cameras potentially limited by it.
  37. 2 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.
  38. 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.
  39. 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.
  40. 2 points
    If one dome is 10 cm radius and the other is 12 with the same lens you need two cm more. Fisheye lenses tend to have the entrance pupil right at the end of the lens you can find those on panotools https://wiki.panotools.org/Entrance_Pupil_Database#First_party_lenses For a fisheye lens generally you can try the longest extension until it sees the petals and vignettes and this gives you the best set up. On a fisheye lens I doubt you will be able to see the difference between a 10 cm and 12 cm radius but for a rectilinear lens those 2 cm are worth times 4 for focus distance. You should double check you are using the superdome with the correct extension for the rectilinear lens. In general 20 mm is not very wide however and large domes are not so important. Looking at this lens the entrance pupil is probably inside the housing so if you were using extensions (that will not vignette as the dome is huge) you are probably in a situation where the lens has a lot of distortion and the quality is compromised. Looking at entrance pupils of other nikon prime lenses they all look pretty poor performers. Zoom like 10-24 or 14-24 that are longer lenses will most likely do better at least at wide end due to the geometry of the housing. As you can read I do a lot of tests in the sink or pools....
  41. 2 points
    Hmm. I'll throw in my two cents, but I've not shot the new mirrorless cameras, nor do I feel any particular desire to. I've been shooting Nikon DSLR since 2004, and Nikon SLR since 1992. My mirrorless experience has all been with point-n-shoot cameras, mostly Canon, and then a Sony RX100 II. I've shot all of those mirrorless cameras underwater, and the Nikon D810 and D850 also. Initially I was drawn to mirrorless (point-n-shoots) for IQ and price. IQ meaning 'better than the ISO400 disposable film camera' I used first. But I was drawn to the live view experience as well, being able to see my composition in the rear LCD while swimming along or just holding the camera out with one hand. Ultimately I was tired of missing the shots I so often missed with point-n-shoots, due to poor autofocus. This colors my perceptions somewhat as I became more and more demanding of a camera that quickly and precisely focused where I wanted it. Eye of a critter peeking out from behind something - wide point-n-shoot autofocus couldn't capture that. Fish swimming by - seems to get a lot of shots of fish tails swimming out of frame. I also got tired of the lack of colors, so I took the next step up: went to a 1" sensor (RX100) and added flash (dual YS-D1 strobes). The total cost of camera and rig (included a couple of wet lenses for macro and wide angle I never ended up using) was $5000. Nauticam housing. What I got was a nicer point-n-shoot that had huge advances over my previous cameras only because of adding flash. Autofocus was still too slow. So MY choice was to get one of my DSLR's underwater so that I could finally resolve my autofocus issues. I bought a D810 Nauticam housing, a 105mm macro port and a 230mm dome port. Here's where I can give some advice. I really wanted much better autofocus with the DSLR, and I got it. I also added an expensive high-eyepoint eyepiece so I could more easily see everything from behind my mask. I spent a lot of money for this capability, and for macro I pretty much got what I wanted. For wide angle, not so much, until recently. The recent addition was a Sea and Sea internal correction lens that really, really, really works well and fixes my corner issues with the 16-35 in the dome port. Should you end up with the Canon 16-35 in a full frame camera behind a big dome, you would be well-advised to get this correction lens too. OK - so here's what I gave up, and you should be aware of these tradeoffs too, if not already from your current rig. 1. video. Yes, I can do video with the D810 or D850, but to be honest, mirrorless cameras have always been easier to shoot and tend to have better video autofocus. With any of my point-n-shoots I felt right at home switching to video mid-dive and filming a video sequence. The autofocus on the D850 during video is almost unusable, especially if the camera is also moving. In general, it's much more limiting. 2. focal range. All my mirrorless cameras had a mildly-wide to moderate telephoto zoom lens. To do wide angle, I needed a wet lens. To do macro, I needed a wet lens too. My DSLR choices are the opposite - no choices in the middle. I'm either wide to very wide (16-35) or I'm macro with the 105vr. The Canon choice would be the 90mm macro, and I think that's too short for full-frame. 3. travel-friendliness. I bet your current rig fits in a carry-on, or at least a suitcase. Mine doesn't. I use all of one roller bag for the housing, dome port, strobes and a few odds and ends. I put the camera in the housing, with a lens (or port) attached. I put the lenses and backup camera (RX100, in its small housing) in a waist bag, and then I still have the macro port and 90mm dome port extension (filled with clamps) in a suitcase. If you go full-frame, you go BIG. You also tend to have less lens choices. I'm very pleased with the quality of the shots I get now, but the cost in $, size and weight is up there. A compromise well worth looking at is a DX/APS-C format DSLR. In the Nikon world that would a D500. With a DX/APS-C format camera (mirrorless or not) you get noticeably smaller wide angle options. You also get more focal range options. You still have autofocus during video issues (with Nikon, not sure about Canon here). If you value video a lot, lean toward mirrorless. If you value stills, lean toward a DSLR. That's primarily on the basis of better autofocus performance. Consider also that systems designed for mirrorless (including the lenses) may focus silently, while older design DSLR lenses can have a lot of audible clicking and whirring while focusing.
  42. 2 points
    It takes a loooong time to get to the Maldives (south of India in case you didn't know) but the diving is fabulous, the people are wonderful, and it's well worth the effort. We just got back from 9 days on the Manthiri, had a fabulous time, and wanted to share our experiences with you. Below you'll find the links to the trip report as well as the overall picture page, which contains 12 teaser pix plus links to the full SmugMug slideshow (view it as a single-page collage, click on individual pix for full-screen, or choose "slideshow"). There are also links to the five short videos we created during the trip as well, which includes the Manta Feeding Aggregation at Raa Atoll (even though the title says Baa). You've got to look at at east that one. WAAAAY cool and amazing experience. Enjoy!!! And let me know if you have question or comments (or want to reserve your spot now for our next journey there). MALDIVES 2019 TRIP REPORT MALDIVES 2019 PIX PAGE: 12 TEASER PIX with SMGMUG & VIDEO LINKS - Ken
  43. 2 points
    I used only loc-line parts (and some additional screews to create a quadropod. I used 1/2 " parts but perhaps 3/4" would be more stable. It was very easy to assemble. You can see it in work in this video:
  44. 2 points
    Hi to all, here https://www.flickr.com/photos/scipio2010/albums/72157709339258021you can see my first pictures shot with a Nikon D850 in Nauticam housing, during Macromania 2019 in Puerto Galera, Mindoro island, Philippines Scipionems
  45. 2 points
    I put together my first kit in early 2016. At the time, I believe the Sony A7II was the only full frame mirrorless choice out there. I went back and forth doing hours upon hours of research. It finally came down to a choice between the A7RII and the Olympus EM-1. I wound up choosing the EM-1. Price was a considerable factor. Not only was the Sony body more expensive, but the glass was much more expensive as well. And heavier. From a travel perspective, the M4/3 body and lenses are a heck of a lot smaller and lighter to lug around. At the time, there was not a whole lot of great native Sony glass to pair up with the A7... I would imagine that has changed, but I can't say that I am super familiar with Sony lens offerings currently. Certainly M4/3 have TONS of great lens choices that are tried and true for underwater applications. I have been SUPER happy with my EM-1. Obviously nowadays, you can get the mark II, which has a slightly higher MP sensor (20 vs 16). However, aside from a faster AF, I'm not sure how many of the other modest improvements are going to make any difference to you underwater. And, if you can stomach not HAVING to have the newest model, you'll surely find EM1 bodies and housings in the classifieds for a fraction of what you'll pay for a new body and housing. For me, the 16 MP sensor has worked well enough. I have made prints that I've hung at my office up to 24x36 inches at 300 DPI. Obviously you can't crop as much as you'd be able to crop with the A7RIII, but unless you are planning on making HUGE prints, all a 42 MP sensor is going to do is fill up your SD card faster. Also, do not forget that the EM-1 allows strobe syncing up to 1/320th of a second, which outperforms most other higher end offerings on the market. My final plug for the EM-1 is that the ability to change shooting parameters (aperture, shutter speed) on the fly is BRILLIANTLY easy. Regarding Nauticam vs Ikelite, I've only used Nauticam, so cannot compare the two. But my wife and I both shoot an EM1 in Nauticam and everything has been bullet proof. Vacuum pump and leak sensor are a no brainer. I agree with bill1946, SS YSD2 are a great bang for the buck and have worked very well for me. I have over 200 dives in with my older non-J D2s and haven't had any issues. Obviously numerous posts around these forums will cast some doubt in your mind about D2 reliability. If I had to do it over again, it would be between YSD2 and some RETRAs. Hope this helps!
  46. 2 points
    Few things: Using the 45 viewfinder for macro does take some time to learn, but makes it much better to frame shots once you get used to it. When I first read that you were bumping up against the viewfinder and that it caused a leak I thought you were talking about the housing - but then realized you were talking about your mask. My mask is up against the 45 viewfinder on every shot - haven't had this problem before... 45 vs. 180 viewfinder: I own both, and have used both, but after getting used to the 45 I've basically put the 180 on the shelf and use the 45 exclusively for macro and wide angle. Lots of folks are going to tell you that the 45 is for macro - the fact that I can rotate the viewfinder so I can easily shoot either portrait or landscape while basically staying in the same orientation to my subject ends up being great for wide angle. Also - when shooting subjects at the surface (my family was in both Moorea and Tetiaroa last year shooting humpbacks) the 45 is perfect, because you can float on the surface and shoot with the camera just below the surface (although we spent a lot of the time either shooting slightly downwards where the viewfinder doesn't help as much, or shooting level while free diving to about 10-15 feet - where the viewfinder is fine). Lighting while shooting humpbacks and sharks in French Polynesia: While shooting the humpbacks I think you are already know that you won't be carrying any lights (strobes, lights, etc.). You are going to swim, and swim some more, and yet swim even more to both get close to the whales and position yourself so that can shoot side on or face on. You are going to want to push the minimum amount of camera gear through the water. It's all ambient light shooting. For shooting the sharks at Fakarava and Rangiroa - I would absolutely take your strobes. Even a small amount of strobe lighting helps freeze the outer edges of the sharks against the water background. Because you will be shooting through several feet of water it will make a big difference (and if you shoot on the outer edges of the passes, you will be deep). Weight restrictions are reasonable on the inter-island flights, and scuba divers can check in an extra 5kg of baggage (on the larger planes). Maldives entries: I've been to the Maldives a number of times, and never had an issue with having my camera handed down to me (via the braided handle clipped near both ball mounts). Some of the dives can be "negative entry" - but never to the point where you couldn't quickly return to the surface to collect your camera. Personally, I would never jump off a boat with my housing, strobes, etc. I have made some "quick entries" sliding off a boat to get shots of dolphins or a manta swimming by, but that's been while snorkeling. Last - you can shoot as many or as few subjects as you want on a dive. However, Anilao is very much a u/w photo destination, and the guides are all (very) used to finding a subject for photographers then expecting them to spend 1 minute - 20+ minutes shooting that one subject. When you are shooting they usually wander off to find the next subject for you. U/W photographers usually only have 2 speeds on a dive - slow and stop. If you're diving with a (non-photographer) buddy, this can cause some tension... as you shoot more with your DSLR you will notice that you will start slowing down as you dive - and your buddy is going to end up waiting for you (sometimes a lot, as you find subjects you want to spend time with). My wife has put up with ~20 years of this, and I've noticed that I shoot a little less on a dive now when we dive together (it's a compromise). When I dive with either our son or daughter (who both also shoot underwater) we'll stay shooting the same subject for minutes at a time (and cover less distance).
  47. 2 points
  48. 2 points
    I will start by saying that my equipment is not the limiting factor in getting better images, its the grey matter behind the viewfinder that holds them back! I see great images all the time shot on all formats. I'm a big fan of the m4/3 system in general and Olympus gear in particular - I've had three of them. I currently use an E-M1 mk II in a Nauticam housing. I shoot stills exclusively and macro with the 60mm lens probably 80% of the time and also use a Subsee +5 diopter which allows 2:1 magnification. The E-M1 has very good autofocus and decent continuous focus with tracking that I am starting to appreciate in some situations. The 60mm macro lens is super sharp. The m4/3 system with its 2x crop factor has obvious advantages for macro photography (and for wildlife, which I also do). The size and weight of the body and lenses are of course more travel friendly , but to be honest not a game changer compared to full frame once you pack the housing, strobes, batteries etc. For a benchmark, everything I need fits in a Pelican 1600. I have not used a full frame kit but I dive with people who do, and I believe that the IQ of both ecosystems is comparable. I will say that I have seen images from full frame systems that I don't think I could have made with my setup. This holds especially for wide angle. But I feel no compelling reason to change.
  49. 2 points
    I can add a little bit of information here. I've been diving with a D810 for three years, and a D850 for 6 months, and a 16-35vr for wide angle. I use a Nauticam 230mm dome on a 90 mm extension port. Apparently 70mm extensions were recommended in the past, along with a +2 diopter. For years I tried the 16-35 with and without the diopter, but I was always disappointed in the edge and corner performance, I wondered why I spent so much money and effort on wide angle only to get shots I always had to crop. Then I added the Sea and Sea 77mm internal correction filter. Night and day improvement!!! I have little else to compare, and nothing in the DSLR world, but if you are going for the 16-35, I'd certainly recommend the Sea & Sea lens along with 90mm extension and the 230mm dome.
  50. 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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