Jump to content

segal3

Admin
  • Content Count

    1729
  • Joined

  • Last visited

Posts posted by segal3


  1. Selling the very popular Nexus CL-100 Close-up Diopter, also known as "Woody's Diopter." This model fits Ikelite and Nexus flat ports, and adds approximately 25% refractive magnification and decreases camera-to-subject distance for macro work. In good condition - a few light scratches on the outer plastic frame as in the photo, but the lens itself is clean. Built-in lanyard. Retails for for USD$90, asking USD$67 OBO.

     

    20090307_88W6979.jpg


  2. This Inon UWL-100 (type-2) lens has been sitting around in a box ever since I moved away from a point-and-shoot camera a few years back. The glass is in mint condition, and the lens screws in to 67mm threads to provided as much as 100° view and allows extremely close focusing distances. Comes with front/rear lens caps and a Save-a-Lens-Kit leash that slides onto a strobe arm or similar to prevent loss of lens if dropped. The lens retails for USD$330 - asking USD$250 OBO.

     

    20090307_88W6969.jpg

     

    More images of lens:

    20090307_88W6967.jpg 20090307_88W6963.jpg 20090307_88W6974.jpg 20090307_88W6973.jpg


  3. It does have an HDR appearance, and it would be interesting to know if this was just 'normal' PS enhancement / tweaking or an HDR technique was used. If HDR was used, this would be a first I imagine as an underwater photo winner.

    As expected, it's simply standard exposure and fill flash.

     

    Per comment:

    Firstly, thanks to the staff of DivePhotoGuide and Wetpixel for selecting my image as best of show in this years competition. It is a real honour, particularly since there were so many images that could have easily made best of show. Please find some details below on how the image was captured and processed. It was the perfect afternoon for split photography. The water was like a sheet of glass and the sun was low and about to set on the horizon with hazy cloud overhead. I made several images, however this one stood out due to the striking composition. The man-o-war was almost touching the dome port when the shot was made and a single strobe was used at a downward angle to light the little critter and the seafloor (1 metre below). In post processing, I used Adobe Photoshop CS2 RAW plug-in to convert the image to a .tiff file. The .tiff was then rotated by one degree to make the water surface a straight line and slightly cropped to suit. Slight adjustments were also made to colour contrast, saturation and sharpening using Adobe Photoshop CS2.

  4. I'm going to agree with Jim here...if you're not highlighting a specific part of a previous post, please do not indiscriminately quote the entire text! :P


  5. 20070603_MG_9096.jpg

     

    Big Sur is an unspoiled wilderness area of California consisting of the Los Padres National Forest and a number of state parks, forming a coastal region threaded only by Highway 1 and the occasional country road. With Monterey and Morro Bay at its northern and southern borders, respectively, the coast is exposed without shelter to the consistent swell of the Pacific Ocean, and dive opportunities are few and far between.

     

    Each year, the Truth Aquatics Vision liveaboard, normally based out of Santa Barbara, schedules a summer charter departing from Morro Bay to dive the relatively pristine waters of Big Sur for four days. I joined a trip in June of 2007, and finally had the time to put together a summary gallery of images. Visibility ranged from a mediocre 10ft (it is California! ^_^ ) to an exceptional 50-60ft, and there was a refreshing abundance of fish and invertebrate life.

     

    For all the images, visit the Big Sur 2007 gallery - I always appreciate constructive criticism (or just regular criticism :D).


  6. I know lots of you guys consider that "cheating," but if the RAW file actually captures as much data as the camera is capable of "seeing" exactly as it sees it, is there really any quantitative or qualitative benefit to changing WB before vs. after the shot?

    Adjusting white balance adjusts the tonal balance in the image. Especially when exposing to the right, color channels can be prone to clipping and/or introduced noise if significant adjustments are made to white balance after the shot is taken. Setting white balance before the shot is taken helps to alleviate this issue (and obtain proper exposure for those watching highlights), though Auto WB has become fairly accurate, at least with still photography.


  7. Pretty reasonable I think. Ever think of taking it underwater?

    I sold it :).

     

    With the teleconverter, I felt it too slow (f/5-6.3) and lacking the quality I was looking for. The usual benefit of using a fisheye lens underwater is the ability to obtain sharp corners nearly wide-open, or without stopping down as much as a typical rectilinear. Unfortunately, the lens appears to perform more poorly (from center crops) once the teleconverter is added until it is significantly stopped down, defeating that benefit.

     

    Your results may vary! :D


  8. Tokina 10-17 (and w/ 1.4x TC) on 1Ds Mark III (Warning - long post)

     

    Shot some newspaper classifieds - I really hadn't realized the wild amount of image plane curvature with a fisheye lens prior to this.

     

    Distance from the newspaper was approximately 3-4". Tripod was on carpet so I used 2sec timer, but I did bump it forward once or twice - it doesn't really impact the actual image much, just a micro-change in near/far perspective. All files converted from RAW in DPP with no adjustments, sharpness level of 5. (No additional PP)

     

    I've grouped equivalent focal lengths together for relatively quick comparison (i.e., Tokina 10-17 @ 14mm and Tokina 10-17+1.4xTC @ 10mm (14mm equiv.) are grouped)

     

    Tokina 10-17 @ 10mm

    Overall field of view sample:

    10_fov.jpg

     

    100% Center and corner crops:

    f/3.5:

    tokina10_f35_cent_thm.jpg tokina10_f35_corn_thm.jpg

     

    f/4:

    tokina10_f4_cent_thm.jpg tokina10_f4_corn_thm.jpg

     

    f/5.6:

    tokina10_f56_cent_thm.jpg tokina10_f56_corn_thm.jpg

     

    f/8:

    tokina10_f8_cent_thm.jpg tokina10_f8_corn_thm.jpg

     

    f/11:

    tokina10_f11_cent_thm.jpg tokina10_f11_corn_thm.jpg

     

    f/16:

    tokina10_f16_cent_thm.jpg tokina10_f16_corn_thm.jpg

     

    Tokina 10-17 @ 14mm

    Overall field of view sample:

    14_fov.jpg

     

    100% Center and corner crops:

    f/4:

    tokina14_f4_cent_thm.jpg tokina14_f4_corn_thm.jpg

     

    f/5.6:

    tokina14_f56_cent_thm.jpg tokina14_f56_corn_thm.jpg

     

    f/8:

    tokina14_f8_cent_thm.jpg tokina14_f8_corn_thm.jpg

     

    f/11:

    tokina14_f11_cent_thm.jpg tokina14_f11_corn_thm.jpg

     

    f/16:

    tokina14_f16_cent_thm.jpg tokina14_f16_corn_thm.jpg

     

     

    Tokina 10-17+1.4x Kenko TC @ 10mm (14mm equiv.)

    Overall field of view sample:

    10TC_fov.jpg

     

    100% Center and corner crops:

    f/3.5 (f/5 equiv.):

    tokina10tc_f35_cent_thm.jpg tokina10tc_f35_corn_thm.jpg

     

    f/4 (f/5.6 equiv.):

    tokina10tc_f4_cent_thm.jpg tokina10tc_f4_corn_thm.jpg

     

    f/5.6 (f/8 equiv.):

    tokina10tc_f56_cent_thm.jpg tokina10tc_f56_corn_thm.jpg

     

    f/8 (f/11 equiv.):

    tokina10tc_f8_cent_thm.jpg tokina10tc_f8_corn_thm.jpg

     

    f/11 (f/16 equiv.):

    tokina10tc_f11_cent_thm.jpg tokina10tc_f11_corn_thm.jpg

     

    Tokina 10-17 @ 15mm

    Overall field of view sample:

    15_fov.jpg

     

    100% Center and corner crops:

    f/4:

    tokina15_f4_cent_thm.jpg tokina15_f4_corn_thm.jpg

     

    f/5.6:

    tokina15_f56_cent_thm.jpg tokina15_f56_corn_thm.jpg

     

    f/8:

    tokina15_f8_cent_thm.jpg tokina15_f8_corn_thm.jpg

     

    f/11:

    tokina15_f11_cent_thm.jpg tokina15_f11_corn_thm.jpg

     

    f/16:

    tokina15_f16_cent_thm.jpg tokina15_f16_corn_thm.jpg

     

     

    Tokina 10-17+1.4x Kenko TC @ 11mm (15.5mm equiv.)

    Overall field of view sample:

    11TC_fov.jpg

     

    100% Center and corner crops:

    f/3.5 (f/5 equiv.):

    tokina11tc_f35_cent_thm.jpg tokina11tc_f35_corn_thm.jpg

     

    f/4 (f/5.6 equiv.):

    tokina11tc_f4_cent_thm.jpg tokina11tc_f4_corn_thm.jpg

     

    f/5.6 (f/8 equiv.):

    tokina11tc_f56_cent_thm.jpg tokina11tc_f56_corn_thm.jpg

     

    f/8 (f/11 equiv.):

    tokina11tc_f8_cent_thm.jpg tokina11tc_f8_corn_thm.jpg

     

    f/11 (f/16 equiv.):

    tokina11tc_f11_cent_thm.jpg tokina11tc_f11_corn_thm.jpg

     

     

    Tokina 10-17 @ 17mm

    Overall field of view sample:

    17_fov.jpg

     

    100% Center and corner crops:

    f/4.5:

    tokina17_f45_cent_thm.jpg tokina17_f45_corn_thm.jpg

     

    f/5.6:

    tokina17_f56_cent_thm.jpg tokina17_f56_corn_thm.jpg

     

    f/8:

    tokina17_f8_cent_thm.jpg tokina17_f8_corn_thm.jpg

     

    f/11:

    tokina17_f11_cent_thm.jpg tokina17_f11_corn_thm.jpg

     

    f/16:

    tokina17_f16_cent_thm.jpg tokina17_f16_corn_thm.jpg

     

     

    Tokina 10-17+1.4x Kenko TC @ 13mm (18.2mm equiv.)

    Overall field of view sample:

    13TC_fov.jpg

     

    100% Center and corner crops:

    f/4 (f/5.6 equiv.):

    tokina13tc_f56_cent_thm.jpg tokina13tc_f56_corn_thm.jpg

     

    f/5.6 (f/8 equiv.):

    tokina13tc_f56_cent_thm.jpg tokina13tc_f56_corn_thm.jpg

     

    f/8 (f/11 equiv.):

    tokina13tc_f8_cent_thm.jpg tokina13tc_f8_corn_thm.jpg

     

    f/11 (f/16 equiv.):

    tokina13tc_f11_cent_thm.jpg tokina13tc_f11_corn_thm.jpg

     

     

    Tokina 10-17+1.4x Kenko TC @ 15mm (21mm equiv.)

    Overall field of view sample:

    15TC_fov.jpg

     

    100% Center and corner crops:

    f/4 (f/5.6 equiv.):

    tokina15tc_f56_cent_thm.jpg tokina15tc_f56_corn_thm.jpg

     

    f/5.6 (f/8 equiv.):

    tokina15tc_f56_cent_thm.jpg tokina15tc_f56_corn_thm.jpg

     

    f/8 (f/11 equiv.):

    tokina15tc_f8_cent_thm.jpg tokina15tc_f8_corn_thm.jpg

     

    f/11 (f/16 equiv.):

    tokina15tc_f11_cent_thm.jpg tokina15tc_f11_corn_thm.jpg

     

     

    Tokina 10-17+1.4x Kenko TC @ 17mm (24mm equiv.)

    Overall field of view sample:

    17TC_fov.jpg

     

    100% Center and corner crops:

    f/4.5 (f/6.3 equiv.):

    tokina17tc_f45_cent_thm.jpg tokina17tc_f45_corn_thm.jpg

     

    f/5.6 (f/8 equiv.):

    tokina17tc_f56_cent_thm.jpg tokina17tc_f56_corn_thm.jpg

     

    f/8 (f/11 equiv.):

    tokina17tc_f8_cent_thm.jpg tokina17tc_f8_corn_thm.jpg

     

    f/11 (f/16 equiv.):

    tokina17tc_f11_cent_thm.jpg tokina17tc_f11_corn_thm.jpg


  9. Looking at Stephen's samples (the whole frame - as there is no of the area of interest (as we didn't know it would be the area of interest)), I'd say so. At the same angle of coverage they are probably similar in sharpness.

    Stephen - All observations of changing FoV aside (which we should be able to quickly figure out on land with a tripod-mounted camera and swapping diopters), what increases in camera-to-subject distances occurred? I imagine a depth-of-field increase could potentially mask corner sharpness issues...

     

    I think the concern, as with many experiments, is that we haven't adequately limited the possible permutations! :D

×
×
  • Create New...