Jump to content

Leaderboard


Popular Content

Showing content with the highest reputation since 01/15/20 in all areas

  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. 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
    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):
  5. 4 points
    How about covering the opposite topic. Moving to smaller sensors and reasons to do so.
  6. 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.
  7. 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.
  8. 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
  9. 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
  10. 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.
  11. 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:
  12. 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.
  13. 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.
  14. 3 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
  15. 3 points
    One of the main reasons for me to use small dome ports is because the water is too shallow to use a large one. I have used the Seacam fisheye macro port FMP and wide port WP for this with the Nikkor 10.5, 16, and 8-15mm and Canon 8-15mm fisheye lenses. The WP is not made for fisheyes but when the fisheye lens used with it is focused very close, it will not vignette. The WP is also the least expensive Seacam dome and given that the ports are often scratched by rocks being tossed at them by my photo subjects need to be considered expendable. First attached shot shows a Sockeye Salmon pair preparing to spawn. The other pix show Sockeye Salmon gathered at the mouth of a creek located about 2 km away from where I am sitting. They are gathering here prior to final maturation to beach spawn in the lake around the mouth of the creek. I planned on staying here several hours to do the shoot..... The creek as you can see is very shallow - Pink Salmon spawn here. Even the FMP is too big to fully submerge at some some spawning locations in the creek. I have used this creek to do a number of tests over the years (because it is so close and fairly clear). Another type of small dome port about the same diameter as the port mount so looks like cylinder with a dome on the end made by Seacam was simply called dome port DP. They came in various lengths for different lenses. Alex Mustard mentioned a similar Subal port here a number of years ago. I have used my DP with macro focusing wide angles (the now long-discontinued 20-28mm f/1.8 Sigmas and the more recent Tamron 28/1.8 lens) and the Nikkor 60mm macro lens. The 20 in Nikon mount was used quite a bit with the D2X (i.e. APS-C or DX). I also have this in Canon mount but have only used it with the superdome (and 1D series full frame cameras). There is a curved field so smaller apertures should be used. In my experience the 60 macro with a DP is much better than using a flat port other than for night photography. I shot quite a few pix with this dome and the 60 near Kauai in 2019.
  16. 3 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
  17. 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
  18. 3 points
    It's been 29 years since the great tragedy in Red Sea.
  19. 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.
  20. 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?
  21. 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
  22. 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
  23. 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.
  24. 3 points
    Start working on your upper body strength. Fellow D850/Nauticam user... My rig is about 25lbs out of water.
  25. 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
  26. 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.
  27. 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
  28. 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
  29. 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
  30. 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
  31. 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.
  32. 3 points
    Are your handles on backwards or is this your selfie rig? (Just kidding) -Tinman
  33. 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?
  34. 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
  35. 3 points
    Honestly, it isn't that complicated... Looking through my A6300 menus, I have, among those that are relevant: Quality: RAW - there is no real reason to shoot JPEG underwater Drive mode: single - can't really shoot bursts with strobes and pop-up flash, maybe with a LED trigger and low power Flash mode: rear curtain sync Focus mode: DMF for macro, AF-C for wide-angle Focus area: Center AF illuminator: Off AF drive speed: Fast AF track sens: High ISO: 100 for macro, auto 100-800 for wide-angle Metering mode: Center White balance: Auto SteadyShot: On Zebra: Off - it's useful for video, kind of useless for stills with strobes Grid line: Rule of 3rds Auto review: 2sec - wish there was a 1sec option Peaking level: low for macro, off for wide-angle Peaking color: yellow Live view display: Setting Effect OFF - this is important, as if you turn it on, camera will focus with aperture at your set setting rather than wide open. With it off, it will let it maximum light for focusing, and close the aperture as you take the shot. Priority set in AF-S: AF Priority set in AF-C: Balanced emphasis AF w/shutter: On, but I use a trigger extension. If you want to use back-button focus, this goes to off. Exp.comp.set: Ambient & Flash Monitor brightness: Sunny weather Power save start time: 1 min As far as shooting goes, I keep it in manual mode, f/8-f/13 for wide-angle with 10-18mm or 16-50mm, f/11-f/16 for macro with 90mm, f/22 for supermacro with 90mm and +13 close-up lens, 1/160 shutter most of the time, a bit slower if I want a brighter blue background. Sometimes I play with flash compensation a bit if I feel that TTL isn't doing the best job. Display mode is almost always the electronic level; it makes a very handy reference. I shoot with both hands on tray handles, triggering via an extension on the right side. Don't really push buttons much while diving; right hand only really leaves the tray handle to adjust aperture via top knob or shutter speed via rear knob.
  36. 2 points
    I see that other users have flooded you with great links and tips. I'll try to have my say. There is practically nothing in underwater video that is not true for film or documentary in general. So any tutorial, course, book on these aspects also applies underwater. Surely underwater cinematography has its formats like other types of visual stories. That's why your request for sources of inspiration is a bit vague. The question is, what are your interests? Are you interested in advertising for tour operators, resorts, liveaboard? Are you an environmentalist committed to raising people's awareness about environmental issues? Do you "simply" want to tell your diving adventures or your diving vacations? Each of these sectors now has its own format (*) but we could say the same for terrestrial cinematography. However, previous members have given you many examples for each of these formats. Being Italian, I find myself much more in European storytelling. Years ago, starting from a very famous TV series that continues to bewilder us every year, I wrote a post in which I also talk about this dichotomy between US and European documentary storytelling: Among the many links that have reported to you I recommend Laurent Ballesta. Given his young age, I think that in the not too distant future he could be considered as a communicator in the marine environment on a par with Cousteau or Attenborough. He only has to close the linguistic gap. Apart from his films, that can be found on the web, copyright permitting, take a look at his various blog style short videos. They are perfect examples of how to combine nowadays beautiful images, scientific journalism and exploration. Last but not least: from your profile I can see that you are in the Canaries. There you have Rafa Herrero, a long-time WP member. When I started filming underwater with his spectacular videos, he was the person who influenced me the most. The rest is just a matter of skills in terms of mastery of the equipment. But even here I personally would give it a 20% importance. Just look at the categories of the various film competitions dedicated to smartphones or action cameras. If you have something to say original it will certainly not be your equipment to prevent it. Now I don't want to belittle the commitment of the many people here (including me) who try to have "pixel perfect" images but the importance of the equipment depends on the purpose of your work, in other words your target. The Internet is full of people with frighteningly expensive equipment changed every year who have never filmed anything but their cat or test gears in the backyard. They too have their place in today's ecosystem. (*) nothing prevents you from inventing your own format: BTM have practically invented a new format for the advertising of tour operators, resorts, liveaboard. Advertising somehow masked by environmental and wildlife themes. They are gifted with great skill and resources but lately IMHO they are victims of what I call "Harrison Ford syndrome" or prisoners of their role. I hope soon to see their long format not directly related to commercial actors. Byeeee
  37. 2 points
    Since photography/videography is the art of capturing light. Deciding the correct exposure is the most critical element in helping us produce beautiful sequence of images. This topic is about exposure and should apply to most cameras. Nevertheless, we can still reference our cameras. We would like to share our experiences to learn from each other. The three elements that affect exposure: 1) Aperture, decides the amount of light (affects depth of field & the sharpness of the image across the frame) The widest the aperture the shorter the depth of filed and the less the sharpness at the edges of the frame), 2) ISO (Sensitivity to light), each camera has a native ISO value where it performers the best. when shooting Log file most cameras have preset values. 3) Shutter speed (the duration the light takes for a given aperture for each frame/shot) For videography usually it is set at 180 degree or double the frame rate. It is important to mention, that some cameras prefer overexposure than under - especially when shooting RAW - to maximize the dynamic range. Exposing to the right (ETTR) is the technique of adjusting the exposure of an image as high as possible at base ISO (without causing unwanted saturation) to collect the maximum amount of light and thus get the optimum performance out of the digital image sensor (google definition) My experience: a) when shooting with artificial light: I used to shoot with a Sony camera in total manual mode. And since I shoot using Slog the ISO preset at 2000 native value which I could not change. I used to set aperture at the best value to maximize exposure but avoid clipping highlights and I relied on the camera waveform. This way I can easily recover for lost details in the shadows. b) when shooting with ambient light: Currently I use the GH5s using stander profile (I tried vlog but could not get best colors) and I set the camera in Aperture priority mode so I can control which aperture to use. And mostly I use the largest/widest iris to maximize light cause I am shooting in ambient light. I set the ISO to Auto with max at 6400. Cause I am always shooting at widest aperture, the camera will always choose the minimum possible ISO. ( I give vlog another try, with max iso technique) next time we dive after the Corona curfew is lifted. I find ISO 6400 is quite usable with the GH5s. In general and whenever I change camera or technique, I use a color chart as a reference to make sure I get the right colors and exposure. How about you guys? What technique do you use? Stay safe, stay home and I pray to God that the Coronavirus disappears from planet earth for ever in the very near future Here is an article about metering: https://digital-photography-school.com/metering-modes-and-how-your-camera-meter-works/
  38. 2 points
    I wrote this piece is pretty long but is getting some good feedback worth a read probably https://interceptor121.com/2020/07/05/what-happens-after-the-olympus-has-fallen/
  39. 2 points
    I recently got into 3d printing and cad design. I printed some dome port protectors and gears out of flexible nylon. Also printed some rings to cover the lens info that can reflect off a port.
  40. 2 points
    Having endured here in the Philippines the longest and strictest lockdown in the world, this has been my mood for longer than I thought I could endure: So when the restrictions on travel between provinces was lifted, my wife and I drove out of Manila to Anilao for a long weekend with a feeling of being able to breathe again, although we did feel sort of uncertain and tentative and cautious, a little like this porcelain crab: We only got in a couple of dives thanks to unfavorable weather, but just being back in the water at familiar sites felt like visiting some old friends. My technique was certainly rusty so none of the pictures I took over the weekend will make it into my top 100, but they will remain among my most favorite for what they represented for us, a lifting of a very long gloomy period. We're a long way from an exit, but are so grateful to be so fortunate to be able to drive to such a special place until the new normal becomes clear. Even the heavens seemed to agree with us on Saturday night. I hope things start to get better for all of us sooner rather than later!
  41. 2 points
    instagram http://instagram.com/interceptor121 Covid-19 meant all my foreign trips have been cancelled so I went diving in Italy on the coast Baia di Napoli Archeology site Baia 2020 by Interceptor121, on Flickr Baia 2020 by Interceptor121, on Flickr Baia 2020 by Interceptor121, on Flickr Baia 2020 by Interceptor121, on Flickr Baia 2020 by Interceptor121, on Flickr
  42. 2 points
    Welcome to the party! I did the same thing (RX100 II) to D850, except I had 3 years of D810 in between. Nauticam housing here, 230mm dome, 16-35vr and 105vr. Dual YS-D1 strobes and a Kraken focus light. I don't have a ton of experience with the D850 rig (only about 50 dives, 150 or so on the D810 rig). But I can tell you a few things that have worked or didn't work. Let me start with stuff that didn't work, or was problematical. 1. 60mm macro - tried it with the idea of being able to shoot more normal subjects than the 105, but the problem here is that 60mm is way way too short for FX. 2. 1.4TC on 105vr - tried this with mixed results. I only tried it on the D850, but my feeling was that it slowed the autofocus down to about what the bare 105 felt like on a D810. I loved the 150mm focal length, which was just what I was going for. I typically do a lot of cropping because I can't get close enough, and the 1.4 + 105 was near-perfect. What stopped me was the loss of sharpness, which was minimal, but I could see it and it bothered me. 3. Bare 16-35. (Or with a +2 diopter). Performance for all those years on the D810 was lamentable. I always always had to crop corners and edges due to loss of sharpness. And then I discovered the Sea and Sea Internal Correction Lens. (More on that in the what works section). 4. Carrying the rig. Tell us what you've got so far, or planned. For me, everything revolves around that 230mm dome. It takes about half my carryon, and I can't just stuff things inside it or put it in a suitcase. I travel with a roller bag, and a waist bag, and I still have to put a 90mm extension tube (filled with arm clamps) and the 105 macro port in the suitcase. With the dome port mounted, the rig is over 30lbs above water. 5. Video autofocus. OK, I do next to nothing with video above water, so I'm not the guy to ask about this. But in my few attempts at trying to video something underwater, autofocus just seemed hopelessly slow. What works: 1. 77mm Sea and Sea Internal Correction Lens for the 16-35vr. What a HUGE improvement that $400 item made!! I don't even feel the need to stop down the lens for the corners on a lot of shots now. Don't shoot without this. 2. ISO 64. At least when shooting with flash, you want to live at this ISO once you see how much room there is to post-process here. It's amazing how quickly that latitude disappears, even by ISO 200 you can easily feel the difference. 3. Kraken 3500 focus light. Nice and bright, and the battery lasts the whole dive, unlike my old V24 Fishlite. 4. I use a Nauticam 180 degree viewfinder. It's an expensive accessory, but it makes it possible to see the entire viewfinder display with a mask on. It also helps to stabilize the camera when I press it up against my mask. 5. Minimum shutter speed of 1/160th. Depending on the strobe, going past 1/200th may result in shading. I found 1/160th when using the RX100. I generally shoot in manual now, including strobe settings. I used to use TTL on the D810, but I don't have TTL available on the D850, and frankly it's not been much of a hindrance or a learning curve on the strobe. I've been shooting manual on the camera for some time now, so no difference there. I'm usually starting at 1/160th-1/200th (with flash), F8 with 16-35 and F16 on the 105vr. F16 is often not enough depth of field, so I'm not afraid to go up to F32 there in cases. The wide angle is used more with ambient, and shutter speeds and ISO vary with conditions. Compared to the RX100 underwater, you are going to LOVE the D850. Except perhaps for the complete lack of lens options in the midrange. I sometimes find myself wishing I had the RX100 under one arm so I could grab the shots I'm missing between 16-36 and 105mm. Then one time in Jamaica I did switch back to the RX100. Boy, that IQ is disappointing once you've gotten used to a D810/D850 underwater. You'll love the focus performance of the D850, except for video.
  43. 2 points
    Check out this Melibe viridis FEASTING on krill in Dumaguete!
  44. 2 points
    Thanks to Covid-19 I have had the time to resurrect my old project and just developed a set of 18 LUTs suitable to all cameras and profiles They require you to white balance and expose correctly then they can be dropped on any type of footage to improve it I re-edited some of my Tiger Beach shots in a profile that I would consider fair i.e. not over the top in terms of colours or contrast. I think the result is pretty impressive and I could not achieve this quickly using just final cut pro Am putting the LUTs on sale at £25 if anyone has any clips they want to try before buy please get in touch Note: the LUTs are camera neutral and do not replace the camera colour science or alter the RGB channels for this reason they will hold with ANY camera make and model Just realised this would have been better in the workflow and edit if @adamhanlon or other MOD could move it sorry!
  45. 2 points
    Testing how to embed an image in a post to get around the small size limit. I've had issues in the past for some reason, and there are a number of shots I'd like to show. I like diving in Roatan, an island of Honduras in the Caribbean. It's easy for me to get to, cheap, and very laid back above water where I stay. Underwater it is as good as I've sen in the Caribbean.
  46. 2 points
    I have hot played with most of those cams, but if AF is important to you, forget about the Blackmagic 4k/6k and the Z Cam. All I hear is their AF is bad overland, so it certainly wont get better underwater. The concept of the Z2 as a kind of „Mini-Red“ is certainly quite interesting nonetheless. Housings for Camcorders are scarse. For Z90 you get a housing from Gates. Depending on the cam, have a look at Seacam housings. They are superb. Whatever you take, get a decent set of UW lights. Keldan is the gold standard. I use the Keldan 4X. Compact and powerful. Particulary for macro, you cant do without.
  47. 2 points
    Just posting an update. I got the replacement cables today (It took a while because I live on an island, Nimar was very quick at sending them with DHL and they did not charge me anything for the replacements nor shipping). Visually I could not tell a difference to the other cables but as soon as I plugged them in, both strobes fired every single time I triggered. I pulled a bit, twisted the adapter and rotated to various orientations, no matter what I did, consistent firing of both strobes. Against what I feared, their design of trigger and single optical bulkhead with double optical adapter works. Pavel (here in the forum) was right about the quality of the cables and Nimar was also right about identifying the issue and sending me replacement ones. Can't wait to jump in the water with two firing strobes tomorrow.
  48. 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:)
  49. 2 points
    If you can, try to go to the Reef House resoort for lunch in Oak Ridge. It's a very personable place. If there around 1:30 when the dive boat is in for lunch, talk with divemaster David and get local suggestions. Nobody knows that section of Roatan like him. You might also talk to the resident dive instructor Robert about taking a trip over to Cayos Cochinos for some different diving. If you have never been to the Mangrove swamps in Roatan (above water), I highly recommend it. Also drop into Hole in the Wall, past the Czech Village.
  50. 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.

Sponsors

Advertisements



  • Newsletter

    Want to keep up to date with all our latest news and information?
    Sign Up
×
×
  • Create New...