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  1. 5 points
    Hi, I would like to share a video from my last trip to the river Traun. The river Traun is the most varied dive spot i know here in Austria. Mainly you dive in a dammed area of the Traun with moderate currents. There you can find a sunken pump room, 500 year old roads from the period of salt shipping, beautiful light under driftwood and under the trees at the shoreline and much more. If the conditions are good, its possible to dive the Canyon at the Traun waterfall. The dive gear has to be roped down, the scuba divers has to jump or climb down the steep rocks to enter the water. The Canyon offers a magic scenery with its washed out rock face, cascades and the crystal clear water of a spring pot Alex globaldivemedia.com
  2. 5 points
    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
    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
  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
    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.
  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
    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!
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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
  14. 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
  15. 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
  16. 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.
  17. 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
  18. 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
  19. 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
  20. 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
  21. 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.
  22. 3 points
    Are your handles on backwards or is this your selfie rig? (Just kidding) -Tinman
  23. 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?
  24. 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
  25. 3 points
    Hi, I wanted to update the topic with some images that show the condition of the color checker after 4 years of use. Honestly, I am impressed with the quality of the chart especially with color blocks that are still retaining the original colors. The main problem is that the pages after a lot of use come out cause the glue deteriorates. This can easily be fixed by using super glue. If you do underwater videography as a profession or you can afford a color checker, it is worth the investment. Remember to chose a video chart that is supported by your editing/color correction program. The color checker needs good lighting to produce good result. It can get you to a good starting point for color correction or can be used as a good reference.
  26. 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/
  27. 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.
  28. 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.
  29. 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
  30. 2 points
    A few small additions: I have a D850 in a Nauticam housing (along with a D500 in a Nauticam housing). I've shot pretty extensively with the D850. I initially bought it as a possible FF replacement for my D500 - with a focus on wide angle, but even though I've found that the D850 is excellent in a number of areas, the D500 is as good in some areas (and in a very small number of cases, better), so I've kept both. The D850 with the 105vr is a really good combination for macro. Given that I've shot both the D850 and the D500 with the 105vr, for almost any set of conditions the D850 will outperform the D500 w/this lens (although the combination of working distance & subject size does take some adjustment coming from the cropped sensor perspective). There have been some folks that have suggested that something like an 85 or 90mm lens as fast as the 105vr might offer a small amount of additional improvement, however I haven't seen anyone suggest a recommended/tested alternative. However, the one area I've found that the D500 clearly outperforms the D850 is in autofocus in low light. This becomes clear on a blackwater dive - the D500+60mm combination outperforms the D850 in any config. Autofocus characteristics between the cameras are different enough that the D500 retains some advantages in this area. This is has been verified (and written about) by others on this forum previously. Having said this - the D850 shooting wide angle outperforms any results I've gotten shooting a D500 (any lens, any port). For dedicated wide angle I invested in the WACP, and the results have been excellent. The WACP is an investment in both $ and travel logistics, but the results have been worth it (so far). Others have achieved great results with the 16-35 (+ Sea & Sea internal correction lens). It might be worth adding that comparing the 230mm dome and the WACP provides some interesting trade-offs to be made in packing weight, volume and maneuverability u/w. The WACP is much heavier to pack (and heavier out of water), but also much easier to maneuver with underwater (not even a close comparison). I've also found that the WACP is pretty resilient when carried in it's (padded) travel pack, I now regularly travel with it in my checked luggage (in a carry-on roller suitcase that I check). I can usually get a few days of clothes packed around it as well. I certainly don't take it everywhere, but if there will a strong focus on wide angle, I bring it along. Other details: I've shot at ISO 64, but tend to "live" at ISO 100 for most conditions. Shoot with either 2 Inon Z330's or 2 Retra Pro's When shooting with the 105vr I also attach a Light & Motion Sola 1200 light Last - one of the (more subtle) advantages of shooting with the D850 (specifically in raw mode) is the huge amount of flexibility you have in the post processing phase of working with images. For D850 generated images, it feels like you have more flexibility than with previous (Nikon-generated) files. This goes beyond just image size - after playing with D500 raw images and D850 raw images it becomes fairly apparent that you have more ability to adjust images in post that are shot with the D850. This will be a subtle difference for most photographers, but for those who are willing to invest time in post, there is a large amount of flexibility to be taken advantage of.
  31. 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.
  32. 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/
  33. 2 points
    Sometimes you really have to look closely especially when dealing with nudis in the nordic waters. Like this Goniodoris nodosa. Taken in Smögen (more exactly Pesa, a small island in the archipelago outside Smögen), Sweden. 25/4 2020. Encountered at 10 m depth. Camera: Olympus TG-5, 1/100@f/4.9, ISO 400. No strobes as of yet. Red cushion star (Porania pulvilus) taken in Smögen the same day (More exactly Stora Håskär, another island in the archipelago) at 21 m depth. Camera: Olympus TG-5, 1/60@f/3.6, ISO 400. No strobes as of yet.
  34. 2 points
    Here is a dome with a filter on/off function. please note I haven’t any of those domes before. If you only shoot in shallows or where ambient light is strong, then a setup with ought artificial lights is going to work. But if you dive deeper, a pair of affordable lights should do the trick even without a red filter. Remember, that videography/photography is the art of capturing light https://www.amazon.com/Underwater-Switchable-Magnifier-Photography-Compatible/dp/B0882XB2Q7/ref=pd_rhf_eeolp_p_img_3?_encoding=UTF8&psc=1&refRID=H5T54SMCBQBZAP89H3N6
  35. 2 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.
  36. 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
  37. 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
  38. 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.
  39. 2 points
    It is not an issue, it is by design. Wetpixel is meant to be a community for people tot discuss underwater photography and videography, not ebay. So if you just want to flog stuff, the 3 post limit might discourage you from using Wetpixel only as a sales tool. To keep out spam bots, you must first react to an existing post (preferably the introduction thread). People that are willing to contribute are more than welcome.
  40. 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.
  41. 2 points
    I have recently been up to no good in my wife's soaker tub. (I live a long way from the ocean) I tested the Nikon 8-15 Fisheye and Nikon 20mm f/1.8. My goal was to assess the Seacam Superdome vs 8 inch glass Subal FE port with differing extensions. The Subal port chart calls for a 20 mm extension, as does Seacam. Adam Hanlon reported using a 30mm extension with the Superdome when testing the 20mm f/1.8. (Not sure where he got his secret sauce.) I used the D850 in Nauticam with the appropriate port adapters. My results showed no clear difference between the two ports with the 8-15mm (no big surprise) but images with both lenses were sharper with a longer extension (33mm) with the Subal dome. There was minimal vignetting with the 8-15, and none with the 20mm lens. I purchased a 28mm ring for Subal/3 and got similar results to the 33mm ring, but without vignetting. The 20mm rectilinear performed quite poorly below f/11 and was marginal (by Nikonos standards) at f/16. That is the smallest aperture on that lens. It performs well centrally, and would be OK with blue water at the edges. No diopter was used. The 20mm lens did perform much better with the Superdome, and 20mm extension, although not great. Same conclusion as above. The 8-15 was good in both ports, with some improvement with the 28mm extension over the 20mm with the Subal port. I did not test the Superdome at longer extensions. Circular images where good with both ports, and also showed vignetting at 33mm extension, but not 28mm on Subal Conclusion: The 8-15 performed well in all setups, somewhat improved with the 28mm extension. The 20mm lens was marginal in performance with the Subal dome and acceptable with Superdome. Probably not worth the extra effort. The point of all this was to decide whether the Superdome was worth humping around the world with it's size and weight. I concluded that apart from over/unders there was not much advantage to me. I think in future I will leave my Superdome at home.
  42. 2 points
    The Sony's are AWSOME! I've been using the A9, A9II, A7IV and RX100 VII with Ikelite housings. The AF just doesn't miss. Fantastic in lowlight too.I switched from the Canon G7II and couldn't be happier.
  43. 2 points
    I can see both sides of the coin as im a photographer (or claim to be) and also a guide. Personally when ive got my full camera setup in photographer mode i would NOT want to guide me. No matter how much i try to be a good buddy and good group person i simply cant pull it off. As advice above, going when its quiet OR getting a private guide is often the only sensible option. Speaking as a guide its a nightmare when you have a group of "normal" divers who want a tour and 1 proper photographer with a camera. Its impossible to please both.
  44. 2 points
    Hey guys! My name is Tom Park and i'm a Dive Master and Pro Underwater Photographer from Australia. I get asked this all the time so I made a video with my top 5 tips and tricks to improve your UW photos. I hope you all enjoy and learn something from this Happy shooting! Tom
  45. 2 points
    1. The color chart isn't necessary. It's there to confirm the accuracy of the technique. 2. The technique as I understand it requires multiple pictures of the same object from different distances in order to reverse-engineer the water filtration factor by comparing the colors of that object (or pixel) from different distances. 3. The advantage over a simple white balance as far as I understand is that it depth-maps all the elements in the picture in 3d space and appropriately color-corrects for all of them depending on the amount of water between that object and the camera. So you'd see warm colors extending far into the background, not just for the foreground subject as you would get with a normal white balance off a grey card at foreground distance. 4. For photos this process is rather cumbersome as it forces you to take multiple pictures of the same subject from different distances. So it will not provide a 1-click adjustment for photos in its current form. 5. For video however, this could be brilliant if your video clip involves movement anyway, as you can get a lot of distance information from subsequent frames of the video (the same way you can get 3d mapping from a moving video clip when doing photogametry). So potentially this could be implemented as a 1-click solution for a video file. Though it would obviously work better raw video.
  46. 2 points
    Hi to all, The Sea&Sea M77 (or M82) correction lens is a great tool for rectilinear wide angle lens. The M77 is a meniscus lens which offers a compensation of the dome port. That compensation increasings the perifpheral sharpness more than closing the aperture over f/16 , where the diffraction became a waste. I use Sea&Sea MDX-D800 with Nikon 17-35/2.8 +Sea&Sea M77 behind the 240 dome + ER40+ER20 (extension ring). Also the Nikon 18-35/3.5-4.5 AFs + Sea&Sea M77 offers good results using the same 240 dome + ER40+ER20. Very good result for me is from the old Tokina AT-X 17/3.5 AF Aspherical (thanks to Adam indications) + Sea&Sea M77 and extension ring 40mm (dome 240+ER40) for more compact asset. Tokina 17 has an MFD shorter than the two Nikon wide zoom and it's better in any case. I'd like to try newest 230 glass dome in the future..... but the future is mirrorless! For nikon user (like me) is a difficult time, today we have few choices for Z system (native) and too old lens for F.
  47. 2 points
    Allow me to suggest that you don’t always want “flat and even” lighting, for macro unless you want to produce straightforward ID images. Light and shadow need to be balanced. Backscatter needs to be managed. Backgrounds often need to be minimized. These objectives are not usually compatible with “flat and even” light. I had been pursuing the same goal. Most images were OK, some better than that, but few were outstanding. My biggest revelation came on a weekend when I (inexplicably) left my strobe arms at home, and had to jury rig one strobe to the cold shoe on top of the housing, literally strapped to the focus light mount with duct tape with no ability to swivel downward. I figured what the heck, it was worth a try. Somehow, I stumbled on a lighting setup that used the very edge of the light and produced better images than I had been making. Two examples below. Now I actively try to use just the edge of light when possible, aiming the strobes slightly outward or upward. Remember that strobes produce a cone of light at about 90-100 degrees. You also want the front of the strobe just behind the front of the port. I like them at 10 and 2 o’clock because it seems more natural to my eye to have the light coming from above the subject. I also frequently turn one strobe off, or turn one down to several stops if the shadows are too harsh. There are other ways to set up that might seem counterintuitive. Martin Edge’s book The Underwater Photographer and Ales Mustard’s book Underwater Photography Master Class both have lots of good material on strobe positioning. There are many good tutorials on this and other topics available on line: Backscatter tutorials UW Photo Guide tutorials Dive Photo Guide tutorials Good luck, and have fun!
  48. 2 points
    I use this project suggested in one the several threads on the topic It's perfect for my needs and very cheap
  49. 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
  50. 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).

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