ATJ

I've used Ikelite housings for over 8 years and never had a flood. I have had a few very minor leaks (water in the housing but nothing on the camera and lens) which was because I hadn't had the housing serviced. I sit my housing in a collapsible cooler full of freshwater for 20-30 after every dive, however, I always check the port locks and clips before it goes in.

If you're considering the Nikkor 18-70mm, then you should definitely consider the Nikkor 18-55mm as it can do better magnification.

Up until last year, I had only seen them on a bommie at Ribbon Reef #10 on the GBR. I was in Borneo last year and they appear to be very common around Sipidan Island. I would have easily seen 100 on one drift dive. Each large sea fan had 2-3.

Why don't they weigh the passengers, too, if weight is such an issue?

I find my 18-55mm lens to be extremely useful around Sydney where the viz is frequently poor but there is a range of subject sizes. The water is generally not clear enough to go much longer than 55mm except for very small subjects (where the 60mm macro does a better job). Going much wider than 18mm often results is lighting the particulate matter at the edges - at least that's what I've found with the few times I've used my 10-17mm around Sydney. I love using my 60mm but am often frustrated by finding larger subjects - e.g. giant cuttlefish, Port Jackson and wobbegong sharks. With the 18-55mm I can still shoot them and most small subjects. Here are some examples of shots taken with the 18-55mm with a +5 diopter in a 6" dome port.

Nudibranchs, small to medium fish, cuttlefish, octopus, seahorses, corals, sea stars, crabs, shrimp... Basically anything from 15mm to 150mm in length, and even larger in clear water.

Either 60mm (the old or the new) are brilliant underwater.

While I find the Nikon AF-S DX 18-55 f/3.5-5.6G VR as an OK all-purpose lens underwater with the D7000, especially for video (the VR helps), all my best shots have been taken with the 60mm f/2.8D. That said, I'm diving today with the Nikon AF-S DX 18-55 f/3.5-5.6G VR on the D7000 because I'm going to a site where there will be a mix of small and large subjects. I have a +5 diopter on the 18-55mm and while I can't get the same magnification I can out of the 60mm, I can still get around 1:2.5 in a 6" dome port. I should add that the 18-55mm is a really cheap lens so if you already have a suitable dome port for it, it is worth a try. I bought mine new for $139 and I already had the dome port.

I'd be surprised... The D300 is much bigger than the D70.

Are you being sarcastic now?

Sorry. I was making a joke about reading manuals. The D300s shoots Motion-JPEG and so doesn't have a notice - I just downloaded and checked.

The what now?

No such agreement came with my D7000 when I bought it.

The water is beautifully clear. I wish it was that clear on this side of the country.

I guess that's an advantage of the Ikelite housing. I have no trouble at all seeing the mode dial (and it is easy to change, too).

Here's another method for assembling time lapse sequences into a movie: http://www.macprovideo.com/hub/final-cut/a...final-cut-pro-x - at least if you already have FCP X. I found it very easy and with FCP X you can do "Ken Burns" style panning and zooming. I was blown away by the time lapse sequences in Frozen Planet, especially when they included panning. At the time I'd assumed they had the camera on a rig to move it but now I expect they panned within the captured images. Either way, it still looks cool.

http://wetpixel.com/forums/index.php?showtopic=42061

The 4000 has 7 power settings (4000/3000/2000/1000/500/250/125lm) so it is easy to reduce the amount of light output.

With an iron clad will to make sure they get it in a timely manner.

Why was the puffer swimming along the surface already puffed up? That doesn't seem natural behaviour.

I guess the difference is that with the camera doing the crop, I assume you will see the crop in the viewfinder. Doing it in post means you have to allow the right amount of border in the viewfinder. This could be important when trying to reduce soft corners.

The embedded videos don't show for me... http://vimeo.com/36345294 http://vimeo.com/36345629

My philosophy used to be to analyse forever which would be the best and could I save money going with the cheaper option (no matter what we're talking about). After buying something less than "the best" on a few occasions and regretting it, I just now go for the top of the line (within reason) and know that my only regret might be that I paid more than I needed to. In the longer term, the cost means less than the usefulness. That said, I will be buying a 4000 in the next couple of months. While I could get a 2000 and it would probably do the job, if it doesn't then it will end up costing me more.

No longer a rumour: http://imaging.nikon.com/lineup/dslr/d800/

I agree with Gerard. It is unlikely to be the camera settings and more likely to be an electrical contact issue, including a broken cable. If the lighting bolt appears in the viewfinder, the ready signal is making it to the camera but that is a separate line from trigger. It is also possible the strobe itself is playing up. Best test would be to attempt to fire the strobe on its own with a short. If that works, attach the cable and attempt to fire that. Finally, connect the cable to the bulkhead and fire the strobe by shorting the hotshoe adapter.