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Isaac Szabo

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Isaac Szabo last won the day on January 24

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About Isaac Szabo

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    https://www.instagram.com/isaacszabo/
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    Male
  • Location
    Arkansas
  • Interests
    Freshwater photography

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    United States
  • Camera Model & Brand
    Sony A6500

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  1. My experience is only partially applicable since I'm almost exclusively in freshwater, but I have printed hoods, ports, and even a monitor housing out of PETG that have held up for a year or two now.
  2. Like Chris said, if the LCD/EVF is too dark, you should try changing the "Live View Display" "Setting Effect" from "On" to "Off". That way the camera will just try to display a viewable image on the LCD/EVF instead of a preview of your exposure settings (which produce a very dark image without the flash). But keep in mind that for ambient light shooting you would want that setting turned back on (so the LCD/EVF displays an accurate exposure preview), so you should probably get comfortable with turning it on or off depending on your shooting situation.
  3. I used the Canon 60mm macro via Metabones adapter on the A6300 for a couple years, and it focused fine for me (though I've never done blackwater shooting). Later on I used it on the A6500, and I didn't notice any difference in performance (I believe the A6300 and A6500 share the same AF system). Now I use the Sony 90mm on an A7R II, and overall I'd say the focus is slower and more prone to hunting than the Canon 60mm (though I also don't think the A7R II focus system is as good as that of the A6300/A6500). Anyway, like lostloki said, I think you'd probably be happy with the performance of the adapted Canon 60mm. For what it's worth, the Canon 35mm macro and Tokina 10-17mm fisheye also worked well on those bodies.
  4. If by chance anyone with this same question happens upon this thread in the future, the screw size is M2.5.
  5. I have used it underwater, and it works fine. It would not be my first choice for most macro subjects due to the short working distance, but there are times in which that is an advantage (such as shooting in poor visibility). But as others have said, you might be better off with the Nikon 60mm.
  6. That's great Angelina! Happy to have been able to help!
  7. Hi Angelina. Which picture profile you select in-camera is basically just a personal preference of how you want your images to look when reviewing them in-camera. If you don’t have a preference, I would recommend sticking with “Standard”. Since your goal here is for your raw images to be a closer match to how your images looked in-camera (and by extension to how the jpg embedded in the raw files looks in Lightroom before the raw file is rendered), yes, you should change the profile in Lightroom from “Adobe Color” to “Camera Standard”. And after you change it you should save the change as part of Lightroom’s default settings for D800 files. I can’t give you exact instructions on how to do that since I use Adobe Camera Raw instead of Lightroom (same tools but different workspace), but it will be easy to look up. And yes, you should turn off “Vignette Control” in-camera as well if you want as close a match as possible. I think you are now on track to fixing this issue and having confidence that what you’re seeing on your LCD screen when you’re shooting will be very similar to what you see when you open up your images in Lightroom.
  8. Having active d-lighting set to high was likely part of the problem. It underexposes the image at the point of capture and then applies some post processing to lighten shadows and midtones in an attempt to increase dynamic range. However, as the lightening part is done post-capture, it is only retained by jpg files. If you are shooting raw, active d-lighting will be underexposing your raw files, but you won’t notice it until you view the images in Lightroom since the in-camera image and histogram are based on the lightened jpg image. So if you’re shooting raw, turning active d-lighting off will make the in-camera images (and Lightroom preview images) a closer match to the raw images. It’s unclear to me if you understood what I meant by matching the camera profile. It sounds to me like you might have done something else? Do you know what your in-camera “Picture Control” is set to? And in Lightroom do you have the “Profile” (within the “Camera Calibration” panel) set to the profile that matches your in-camera “Picture Control”? If those two settings match and all other Lightroom exposure/contrast settings are set to zero, your Lightroom image should be a fairly close match to your in-camera image (assuming active d-lighting was turned off and you haven't altered the in-camera brightness/contrast settings). One other setting that could be at play here is “Vignette Control”. If it’s turned on the camera could be lightening the edges of the frame for the in-camera image but not the raw image (unless you have lens corrections turned on by default in Lightroom).
  9. Hi Angelina, here are a few things you can try: 1. In Lightroom, set the “Profile” (which by default is set to “Adobe Color”) to the same profile you are using in-camera. For example, if you are using the “Standard” picture control in-camera, then go into the profile browser in Lightroom and select the “Camera Standard” profile within the “Camera Matching” section. While you’re at it, make sure any settings in Lightroom that can affect brightness (exposure, contrast, highlights, shadows, curves, etc) are set to zero. Afterwards, save the settings as the default Lightroom settings for your D810 files. 2. In the camera menu, make sure “Active D-Lighting” is turned off. 3. In the camera menu, make sure “Monitor Brightness” is set to the default (0).
  10. Thanks Chris. If I had the monitor housing in hand, I could easily figure it out. But I'm trying to design and 3D print a hood for a friend who doesn't live near me, and I was trying to save him a trip to the hardware store to try out different screws. Getting conformation that it is a metric thread is helpful. With that information, I can probably figure it out by getting him to measure the diameter of the hole.
  11. Does anyone happen to know the thread size of the screws for securing the hood to the monitor housing on Nauticam NA-501/502 housings?
  12. Oh sorry, I misinterpreted your posts as if he didn't respond to either of your PMs and you hadn't been able to get through to him at all.
  13. Have you tried emailing him (info@stephenfrink.com)? He replied to me quickly that way when I had a question for him about another item.
  14. Thanks for the info, Phil! It looks like the 28-60mm + CMC-1 is capable of producing really good results. It's helpful for me to get confirmation that it has such a limited range of focus and thus wouldn't be a full replacement for a macro lens (for me at least). Still, it's an intriguing setup, and I may pick up the 28-60mm and and close-up lens at some point (I already have the WWL-1).
  15. Hi Phil. I've been following your posts and am intrigued by the small size of the A7c as well as the versatility of the 28-60mm with WWL-1 and close-up lenses. I've never used a close-up lens, but my understanding is that you only get a narrow range of focus with them? If that's the case, do you have an estimate for how much range of focus there was with the 28-60mm at 60mm with the CMC-1?
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