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errbrr last won the day on September 2

errbrr had the most liked content!

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About errbrr

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    Manta Ray

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    Melbourne, Australia

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  • Camera Model & Brand
    Canon 5DIV
  • Camera Housing
    Nauticam with 8" dome
  • Strobe/Lighting Model & Brand
    Inon z240 Mk IV x 5, Retras x 2

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  1. Yes, weight belt for snorkelling in cold water if you want to get off the surface. I'm not sure you need a dive shop to help you though...just some water deep enough to swim in, close to an edge to put the extra weights on. Put the wetsuit on, get in, add weights until you can duck dive a little under the water. Remove weights if you can't stay floating on the surface without swimming.
  2. Without generalising skillsets, find yourself a little old lady in your local area who does seamstressing and adjustments. Go there with the undersuit and let her scold you for buying it in the wrong size, and pin it to exactly where you want it. Come back in a week, hand over a very nominal amount of cash, and try on your perfectly adjusted undersuit. You could consider buying some non-cotton thread...cotton stitching soaks up the water if you do get a leak, as a buddy of mine found out with a secondhand undersuit one time. The key with all this is to pick the right little old lady! Avoid the "jeans hemmed in 10 minutes for $10" places at the mall.
  3. I also believe in the buy it right, buy it once philosophy. In your position I'd go with the Z330 and keep an eye out for good deals in the future. Keep in mind you will need an electrical sync cord and a triggerfish or similar to go with it, so that's an extra $200 or so. You can operate without but it will rapidly become frustrating. Keep in mind that when you upgrade your camera in future you will likely get better low light performance on a new sensor, reducing your need for really bright lights. Regarding comms when everyone is flashing really bright video lights - I have no solution here. I find cave diving with video lights difficult. It's like being muzzled, and impossible to get anyone's attention. Last point - you don't need to light the edges of the frame. If the cave is working against you, pick something nice and light that. It might be the silhouette of a diver in nice trim. Trying to light the walls of a big space all the way round rarely looks great. Below are images taken with two strobes on camera and one off camera, or no strobes at all. Emphasise the dark.
  4. Not sure I'd be keen to use glue to fill in a scratch. I'd get the replacement acrylic and do the changeover yourself. If it all goes wrong then send it off for professional intervention. No idea on the changeover method for the glass domes, sorry. Does it look like it's glued together?
  5. There are now international flights from Brisbane to Munda...the travel options are expanding.
  6. You want lots of strobes, but you can start with one or two. I would recommend starting with one powerful one (like the Z330) and then buying more of the same as you can afford it. There are advantages to having a matched set...I have six Z240s that I use off camera in the caves. More than two strobes per diver/model plus two for the camera is usually overkill, depending on the cave you are in so that gives you an idea of how many you might end up with If your budget restraints are significant then perhaps a set of used Z240s might work for you? I would only recommend them if you are diving in water colder than 25 degrees, as they are more likely to be on repeated full power dumps (and thus overheat and burn out) for cave diving. The Z330 supposedly has an overheating cut out in it. You might find some interesting effects from combining constant and strobe lighting as well. One issue will be that the strobe is much brighter than your video lights, so if you put the strobe on the camera and the video lights on your models then you may wash out the video light. The light drop off in water is why it's better to put more light on your models (as in, light source attached to them, not you). Then a little bit of light on the camera for triggering and foreground fill, and big bright strobes on the divers to light up the tunnel. Lastly, embrace the darkness. Caves are dark. If you light the whole thing up like daylight then it just looks like a pile of rocks. Show off the mystery in your photos by working out what to light and what to leave.
  7. Just to chime in a bit late - get the vacuum! On jumping with cameras, I see more risk of knocked or dropped rigs in trying to get someone on the boat to pass it to you, particularly in tricky conditions. I tend to giant stride and use my fins to slow my entry. I'm holding the camera at chest or chin height, so by the time that bit of me gets wet I'm not descending particularly fast. The main thing to avoid is smacking the dome port into the surface of the ocean or your tanks on the way down.
  8. What brand is it? In some cases the acrylic is glued in place, whereas in others (Nauticam) it is held in by a snaplock o-ring system that is easily user changeable.
  9. Great lines in your schools of fish, love it.
  10. I'd suggest the Nauticam WACP and whatever the recommended lens is. I don't know what the crop factor looks like behind the WACP for video but there are a few in use around the world so maybe someone can chime in.
  11. Link to triggerfish thread - probably explains it better than me. http://wetpixel.com/forums/index.php?showtopic=39737
  12. If you get the triggerfish remote sensor instead, you will need an electrical cable, not a fibreoptic one, for your off camera strobe. Disadvantage: have to buy one. Advantage: the trigger draws from the strobe battery so no separate battery or on/off switch. If the strobe is on, the triggerfish is also working with a little blinking light to tell you so. In relation to some of the other comments above, mixing strobe and video lights is tricky because strobes are a lot brighter than video lights. And the sunlight can be brighter than both, depending on where you are. If you have to balance your shutter speed for bright sunlight and turn up the strobes to compensate, then you won't see anything from your video lights unless they're pointing at the camera. That said, I don't shoot a lot of macro because the bugs in caves tend to need a microscope rather than a camera. Maybe video lights are more useful for macro? I agree with Tim that tripods are a PITA. Take another photographer with you or go solo, cause you'll lose your buddy after the first 30 minutes of re-positioning the tripod in the same location...
  13. The advantage of strong video lights off camera is that you can see what you're doing when you frame the shot. This is harder with off camera strobes as you have to check the outcome in camera, but gets easier with practise. And the video lights need to be very powerful/expensive and sometimes your subject is not so keen on being boiled alive. Video lights also restrict your shutter speed options and therefore limit what you can do with your ambient light background. For the usage you describe I image you could use your less powerful strobe off camera. Are you currently using electrical sync cables or fibre optic? If electrical, literally the only piece of kit you need is a slave trigger. Unplug the electrical cable from the camera, put the trigger on the end instead, make sure the trigger "sees" the flash from your remaining on camera strobe and off you go. Hedwig (oowgraf) sells them on wetpixel and the sensitivity is excellent. Avoid the Heinrich Weikamps ones for ocean use, they pick up too much ambient sunlight to be useful. If you're using fibreoptic on camera at the moment, you need to buy a sync cable to go with your slave trigger. This is still a fair bit cheaper than a new Keldan.
  14. I found one of those in Tufi, PNG and was similarly confused. It wandered through a coral head that made it very hard to get a full body shot. They are weird looking creatures. Great shot!
  15. Regrettably I missed the Tour through being stuck at work. I missed it last year too...hopefully 2020 is gonna be my year! Sheree, have you talked to Luke or someone else? Drop me a note if you need numbers, I'd be happy to join you. liz@lizrogersphotography.com
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