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Showing content with the highest reputation since 01/12/20 in all areas

  1. 1 point
    Yes they will work, that is the type of connector used on S&S strobes hence the name. Looks to me like these are in the wrong bag. INON uses a screw fitting at the strobe end which is bigger than the connections on your cables. This is the INON type connector: https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0ahUKEwjq5f72z47nAhUV8XMBHR62DakQMwiHASgQMBA&url=https%3A%2F%2Fwww.housingcamera.com%2Fid4748-inon-l-connector.html&psig=AOvVaw3B28qZu4oB4JX9C41NgsT-&ust=1579487590136915&ictx=3&uact=3 which is not what you have.
  2. 1 point
    I have not seen any. What you get out of the can is about as good as it is going to get. If you find a difference, I would appreciate knowing what you have found. Thanks
  3. 1 point
    Greetings Wetpixlers! I'm currently trying out the new Sony A7RIV in a Nauticam housing together with the 90mm macro and SMC-2 diopter, but I'm having issues (to say the least). I come from having used Olympus cameras for the past 7 years or so, so some adjustment was expected but I'm banging my head against the wall much more than I anticipated. The 90mm alone works fine, but as soon as the SMC-2 is put into the equation I just simply cannot get it to lock focus. I'm used to less than stellar auto-focus, my current (potentially previous) EM1 hunted as well when paired with the CMC-2, but this is just at another level. The 4x magnification is no joke! I've done 5 dives so far with this combo, and I think I've seen it lock focus once and only for a second before starting to hunt again. Because of the insanely shallow DOF, all you see is gloriously creamy bokeh swishing by in the viewfinder, so no point of reference to work with. I use back focusing, so what I've been doing to holding the back focus button, let go and any random time and then rock the camera back/forth in hopes to find the right focus distance. It's quite random, and you never know what distance you're going to get :). Earlier today I took the entire setup back to my room, as I wanted to see if I could get the focus to lock on a static object on the bed in a more controller environment. Same issue though - focus just hunts and never seems to lock. Two questions: 1. Am I expecting too much here of the SMC-2, perhaps this is a manual-focus-only diopter? 2. I've tried different focusing settings, but with no improvement. Any other settings that might be worth trying to improve the results? Would be great to get your opinion if you've tried the same, or similar, setup! Thanks! Edit: Corrected topic Patrick
  4. 1 point
  5. 1 point
    Most of this video is shot with sony FE 90mm + SMC-2. First time I used it. SMC-2 is no easy...
  6. 1 point
    F8 is more than adequate, I use f8 on m43 and don't want for depth of field. f8 is equivalent to f22 on full frame and f5.6 ~ f15 on a depth of field basis. I would go with f5.6 or less if you have enough depth of field at the wide end. The MP have little to do with sharpness, that is down to the quality of the lens. If you stop down too much you go into diffraction and sharpness actually suffers. These types of lenses are designed for peak sharpness in the f3.5 - 5.6 range about 2 stops down from wide open, quite unlike SLR lenses which peak at smaller apertures. If you use a dome port this changes of course as you deal with a virtual image. There are a couple of things working against you in the corners at wide angle, a natural tendency to soft corners with the lens and the flat port will add in aberrations at wide angles as well. If you look at tests wide angle sharpness peaks around f3 - 4.5 on the edges, the tele end is sharper towards f5 and has better corners. https://www.photoreview.com.au/reviews/advanced-compact-cameras/fixed-lens/canon-powershot-g7x-mark-ii/ Also the corners suffer from strong distortion correction in JPEG, turning it off in Raw conversions helps and won't cause issues with UW work, read this review: https://www.photoreview.com.au/reviews/advanced-compact-cameras/fixed-lens/canon-powershot-g7x-mark-ii/ under the optics tab. They specifically mention sharper corners with distortion correction turned off. Looking at your example I see it's 1/25 @ f6.3 ISO400. That image looks to be 100% flash lit So I think turning up the shutter speed would have little impact on exposure. That being the case you could increase flash power 1-2 stops to get to ISO200-100 and increase the shutter speed. Where shutter speed is important is when you have blue water as a background of course - in sunlit tropical waters 1/250 @ f5.6 ISO200 is a reasonable starting point for water exposure. If your subject is under exposed turn up the flash power.
  7. 1 point
    f/8 with your camera is like f/22 on a full frame you are at diffraction limit so from sharpness point of view the camera will perform much better at wider apertures in terms of sharpness. As your camera allows you a very fast shutter speed you can just increase that to 1/500 and more to create a dark background if needed. For portrait work f/4 or f/5.6 will be more than sufficient also in terms of depth of field or with wet lenses
  8. 1 point
    The SMC-2 requires a higher level of skill than SMC-1 and 1:1. This is a very niche item for the obsessed super macro fan. My suggestion is to turn off AF and set to manual. Set the 90mm macro at 1:1 and leave it. Then acquire focus at 1:1 once you have done that flip in the SMC-2 and move much closer to your subject to obtain focus. When you are in focus at 1:1 and use the SMC-1 you need to reduce subject distance by about 50% say eight inches to four inches, SMC-2 is about 1/2 the distance as SMC-1 or four inches to two inches. Not aware of your skill level but these are toys that are not easy to use. When I have used SMC-2 and shot 150 images on a dive I will be lucky to get 5 or 6 in focus at F/18 to F/22. Lighting is also a bitch because you are so close to the subject and the obvious damage you can cause if you bump the subject is also a concern. The biggest issue for all super macro is subject selection, at times it is hard to find a subject so small that is not very three demential to photograph. With full frame at this magnification DOF is razor thin so most subjects will only be partially in focus.
  9. 1 point
    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.
  10. 1 point
    Vlad I take my Sentinel off and reinstall on my Aquatica housing regularly for cleaning, travel etc. It is dead simple and really a non-event
  11. 1 point
    In final cut pro you set your project preference to the distribution format of choice in this case 1080 the application will use original or optimised media at the source resolution to create render files at 1080 You can also run a 4K project and then scale down to 1080p at the end Generally I create a master in 4K and let the platform scale down (youtube etc) I only create smaller files for facebook in the rare occasion I put something there in 1080 p but I work in 4K all the way through
  12. 1 point
    My first video with the GH5. There are three or four clips shot with a GoPro Hero 7 mixed in. I did no have my WWW-1 with me and could really have used it on more than one occasion. Please feel free to critique. https://www.youtube.com/watch?v=krKOZOIAB9M&feature=youtu.be
  13. 1 point
    Here is a short video showing all lighting situations with the same set up. As you will see the variations are what we all see. I find it acceptable.
  14. 1 point
    I love my Nikon 70-180 in my Subal housing with my D800 ,you just have to overcome a few things which really are not that hard. I learned about this lens from Seagipsy-he mentioned this in above post as well. You can have a professional shop take off the foot or if you dive a Nauitcam housing you can leave foot on as its large enough to slip it in. I cut mine off myself with a Fein tool while holding it as not to damage lens after taping all parts off to keep lens clean from aluminum filings. If you are handy this is not that hard but for most just have a shop take off the foot and plug the hole in barrel. Next you need to modify a focus gear-I chopped one and added to to a existing gear that fit the barrel-In most housings this gear teeth needs to be in the rear more than most gears to engage inside the housing.You can also have one made with Cad printing technology for about 35$ online Once thats done you will need to stack up some extenstion rings for whatever housing you have. This lens opened up a whole new world of possibilities for me after 35 years of shooting underwater. This lens is a macro lens and has lots of potential most overlook. Thanks Fred
  15. 1 point
    Congrats! Thus, begins your trip down the rabbit hole Alice.
  16. 1 point
    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.
  17. 1 point
    Get a strobe. Start with one and begin to learn. You will not be happy with your photos otherwise. With a bit of practice you'll start to take some pictures that will be really great. Add a second strobe later on when you are ready for more dramatic shots.
  18. 1 point
    ( I'm worried that the addition of strobes would make everything too complex, ) Welcome to underwater photography which is a very complex task -if it was easy everyone would be doing it Two strobes is far surperior to one I agree with Tim Gs post above
  19. 1 point
    I had LR 5 for a long time but any time I had issues with my ageing Mac, it got harder and harder to re-load. Bought a LR subscription and never looked back. Yup you're paying a lot over a lifetime but if u use it professionally, or even as a serious amateur, it's worth it. If you want to own software outright, look at Luminar 4. I also have and use this. It does pretty much everything LR does with a sprinkling of PS thrown in too. Very intuitive. Basically the same layout and features of LR (don't know how they got away with it TBH as to me it's just a copy of LR with a few extra artificial intelligence features added). That aside, it is amazing software. Yes, they ask you to pay for new features, but at the level Luminar4 is now at, I cannot imagine anything else you would need to add. Sent from my CLT-L29 using Tapatalk
  20. 1 point
    Wow -- you did such a great job of getting the fish sharp and clear. The only recommendation I'd make (re: image #1) is to warm it up a bit and to add some exposure to the dorsal spines so the light is more consistent between the base of the spines and the tips.
  21. 1 point
    The last version of Lightroom classic perpetual is the 6.14 Inside the software that are camera RAW processors and profiles so if you have a camera that was not supported by this release you may still try adobe camera RAW and import but it will be sub-optimal. Full list here https://helpx.adobe.com/camera-raw/kb/camera-raw-plug-supported-cameras.html?red=a Furthermore most of the usefulness of lightroom comes from metadata editing and library management which is lost if you migrate elsewhere So when you will get a camera not supported by the last perpetual license you will be pretty much forced into an upgrade unless you want to rework your library
  22. 1 point
    About a year ago, I moved from LR6 to the subscription package. I read a few articles about the process and went ahead with fingers crossed. Just followed the Adobe prompts on screen and with a couple of minor hangups, it all loaded smoothly. It has all worked well since with the exception of the upgrades that come out periodically. Some have been a real PITA with multiple attempts to download them but suddenly they load without me altering anything. The last upgrades however went smoothly. Good luck.
  23. 1 point
    Hi! This is completely my personal opinion based on my own needs and situation. I was using Lightroom 6 in my previous computer. I bought a license for it, but it was not a subscription, I could use it till the end of time if I wanted -- and if my computer allowed. My computer started to show aging issues, so I upgraded, but I couldn't transfer Lightroom 6 to the new computer. Adobe doesn't have the installers in their website, and I didn't want to dig into obscure websites looking for installers. So I went with the new subscription based offering. My feelings? I don't like that I don't own the software anymore. As soon as I stop paying the monthly fee I won't be able to use it. Over a lifetime of use I will end up paying way much more now. Plus, if you update to the new version, your library will be updated to a new version that it's not backwards compatible, so you are pretty much stuck with the new version if you start editing photos with it. I'm sure that this new subscription model is great for Adobe, but I don't like it. Yes, I will always have the latest version, but I don't think that for what I do, how I use Lightroom, the move from Lightroom 6, which I owned, to the subscription based Lightroom, which now I'm just renting, wasn't worth it. I was forced to do it, but I would have happily stayed with Lightroom 6 if I could have.
  24. 1 point
    Ill take a shot, but my opinion is just an opinion as I have never attempted blackwater shots myself. The first link is the best of the three. The eyes are in focus and draws you into the face. I would clean up some of the backscatter though. Link two is my least favorite. The fish is looking down and away and does not pull me into the picture. Link three Is an interesting composition. I like how the fins all fan out around the body. The focus appears to be slightly forward of the eyes though. The coral below and behind him caught some light and distracts a bit as well since it did not black out. The all show blue tinge on the outside fins. Is that from post processing? I would expect white to blue as the light falls off, but some of that bluish is on fins closest to the light source. I just haven't seen it with lionfish before.
  25. 1 point
    The wetpixel forum in the new form awards points to people that have liked or loved post and nothing to thank you as it does not parse the text Moving on with the times
  26. 1 point
    Keldan sell float rings for their lights buy them as the lights have torque that will bend your arms The WWL-1 with the collar together with the 35 macro port and the 14-42 MkII is 880 grams negative in fresh water in total you will need 2 KG of lift muvh better to balance the lights and the housing separately and keep the arms light
  27. 1 point
    The HDR HLG video is here. Also realised HLG is not that popular in US so majority of people will be given a standard SDR version
  28. 1 point
    Yes it is fairly long. This is solved by stacking port extension tubes as needed per Tim's point. The above photo shows how I use it use with just the zoom ring which is near the lens mount. Something like this should work with most housings once you get the appropriate gear for your housing. The focusing ring is more problematic since it is quite far from the lens mount. Special tubes incorporating a focusing knob were built for this (used also for the 200 macro). As well one needs a gear for the M-A ring that you see here to switch focusing modes. The older (non AFS) 60 and 105 macros and a few other lenses also have these rings so you may be familiar with them. I have the lens set to minimum focusing distance (lens is thus shown at maximum physical length) and the ring set at A effectively locking it here so long as AF in the camera is set to off. Also on the lens is the Nikon close-up lens No. 6T. I used the UV as a lens cap when I removed it from the housing then later found a 62mm cap to go on so I am using the "belt and suspenders" principle by leaving both on. The 6T is hard to find so it is a good idea to protect it while out of a housing. It is quite thick and does not fit in a standard filter case so I store it on the lens. With this setup I can vary the magnification using the zoom while holding the rig in a fixed position - this minimizes water movement between the port and subject. Working distance is just a few inches (working distance can be changed by using the other T close up lens (it is either plus or minus 1 from 6) or by focusing). Hidden under the zoom gear is a rubber ring that Nikon installed when I had them remove the tripod foot that is not user removable.

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