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About Aquashot

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  • Birthday 09/25/1962

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  • Gender
  • Location
    New York
  • Interests
    Scuba Diving (of course), landscape and nature photography, kayaking and hiking.

Additional Info

  • Show Country Flag:
    United States
  • Camera Model & Brand
    Nikon D7000
  • Camera Housing
    Nauticam D7000v
  • Strobe/Lighting Model & Brand
    Sea & Sea YS-D1
  • Accessories
    Ultralight Arms
  1. First of all, never never hold your breath. I know there are situations when you think or are sure that you can get away with it, but all it takes is one slip up and you can get hurt or even killed. You can suffer a fatal AEG (arterial gas embolism) after an uncontrolled ascent of just 3-7 feet by holding your breath to get a shot. Especially in shallow water, sudden surge caused by wave action can cause this. IF you get into a habit of holding your breath while shooting, sooner of later you will get so wrapped up in the shot that you will begin pushing the limits of good judgment. It just ain't worth the risk. Instead, practice your buoyancy, experimenting with the amount and placement of ballast, without a camera, until you are able to hover in place comfortably while maintaining steady controlled breathing. The advice to check your weighting at the end of a dive during a safety stop with a about 500psi remaining in your tank is exactly what you need to do to fine tune how much ballast you need. You should have just enough to remain neutrally buoyant at 15 feet with very little air in your BCD. Your buoyancy is radically different in full scuba than when snorkeling, so give yourself time to adapt before adding the challenge of photography. When setting up how you are distributing your weights, be very careful about how much undroppable weight you use. Always have enough of your weight attached to you in a good easy to dump system in case of an emergency that requires you to achieve positive buoyancy to get to or remain on the surface. Your statement about adding lead flashing to your rig via a home made set up makes me nervous. Give yourself time practicing before you go and start modifying your gear. In addition to potential safety hazards, you will also be voiding your warranties!
  2. I'm convinced, So far the juvenile saddle wrasse is the closest match. The way the mouth looks is probably just due to the angle of the shot. Thanks
  3. I am thinking you are right, what is throwing me however is the total lack of a mid-body white or light stripe and the mouth shape does not look quite the same, at least in the resources I have, "Hawaiis Fishes by John P. Hoover, "Reef Fish Identification, Tropical pacific" by Allen, Steene, Humann & Deloach and this website: http://www.marinelifephotography.com/default.htm by Keoki & Yuko Stedner darn, I really want to know, the wrasses are tough to nail down sometimes.
  4. Thanks Tjsnapper, I needed to be about 10 feet to my left and 5 feet closer to the reef to really get the shot I saw in my mind as the turtle swam by, sometimes you just ain't in the right place at the right time. Given the position of the sun, the turtle, reef and me there really was no way to pull off exactly what I wanted from the shot, at least at my level of skill manipulating settings on the fly. Hence the solution to use editing tools to make it what I saw in my minds eye. I suppose the editing question really depends on what the intended use/audience of the image is. If you are going for National Geographic style documentary, then I suppose not much is acceptable. Striving to get things right in the camera is the best way (and less time consuming) especially if your aim is to represent as much as possible what the eye sees. However, no camera really does this, all photographs are an image created by artifice. Even Ansel Adams used burn and dodge and other darkroom techniques to alter images. I suppose this is really straying form the intent of the forum, but it seems to me that how editing is viewed depends on weather you are looking for a photo that is a literal image of the scene or if the photographer is using the camera/computer as a tool to make an artistic representation of the scene.
  5. Sorry, I forgot the all important location: Kona, Hawaii
  6. Is this (the fish in the center) a pencil wrasse, or a juvenile of another wrasse??
  7. This shot was an attempt to get a silhouette of the main subject (the turtle) and use flash to get some color from the reef below. I was a little far from the reef so it did not get lit up as much as I wanted, and I had to selectively darken the exposure on the turtle to get more of a silhouette rather than just an under-exposed subject. I was using an Olympus E-620 with two Olympus UFL-2 strobes set to ttl with the kit 14-42mm lens. I did not have much time to get the shot as the turtle was swimming at a fair clip past me, so all I got to do was aim the strobes to point away from it and towards the reef, frame and shoot: ISO 200 1/60 at f13 at zoom of 14mm
  8. Thanks guys for responding and helping me sort out the best way to take care of my new rig.
  9. I hadn't thought about the pressure problem, silly since it is something all scuba divers are aware of concerning flying and diving. I will certainly set up my pelican case to cradle the housing and port separately. Any one have thoughts about long term storage? It seems to me that in the installed position the o ring would be less exposed to any environmental factors that cause degradation. On the other hand, leaving it installed subjects it to constant compression. Over time would this be enough to reduce its effectiveness?
  10. I just got my first DSLR housing system and will be taking it to Hawaii for its first dive trip. I have only one port for the system at the time, so nless there is a good reason to do so I was planning on leaving it attached to the housing after checking for leaks in a pool prior to my trip. Is it ok to leave the port attached for extended periods and travel in carry on luggage? Or should I unscrew it from the housing between uses? The system is an Olympus PTE-6
  11. I highly recommend the DUI weight harness, it is fully adjustable and will allow you to position the ballast to achieve good horizontal trim. As for how much lead you need, that will vary with the undergarments you wear, but in general the same principles apply as with a wet suit. You want just enough to be able to maintain neutral buoyancy at the end of your dive for a stable 15 foot safety stop with near empty tanks and enough air in the suit to prevent squeeze. I would get at least 10-20 good dives just practicing buoyancy before adding the camera if you are new to dry suit diving. Once acclimated you can experiment with the shoulder dump valve to maintain the proper amount of air in the suit during the dive. Leave it wide open when first starting and then as you get the feel for things you can close it down somewhat while at depth, just don't forger to open it up all the way again before beginning your ascent. I usually dive with it about halfway closed once at depth. Sometimes I even close it down if I need to maintain a position that places the valve high up and I do not want it to vent. Just be very careful that you do not forget to open it back up if you ascend, even just a little or you could start a runaway ascent. Mostly you just need practice, eventually you will get more comfotable with the feeling of you're legs floating. It takes practice but eventually you will be able to float neutrally buoyant in a head down position ( like a trumpet fish) I even sometimes adopt this position when there is not enough room or over a silty bottom when getting my camera as low as possible. The big key is practice practice practice.
  12. After initial confusion, the way the manual is worded it makes it seem like you only get TTL with an electric connection, I found that you can set up the strobes for TTL with complete in camera controls. Initially I was looking for a setting on the flash to tell it to go ttl from the fiber optic, and only found a setting to tell it to look at the fiber optic and what array to set. In the camera menu you then set RC mode of the flash. There you can tell it to do TTL , auto, manual or off. You can also set +- exposure settings for the flash. The camera can control 3 different flashes (A B & C) and each can be set up differently. As I am understanding this I could set one strobe to fire based on TTL and set up the second to be fully manual, say to expose the background differently from the main subject, or perhaps to create shadowing from one side. It looks like this will allow me as much creative control as I can handle and then some.
  13. Thanks, I was forgetting to set the camera's RC mode. Once I did that I got everything working. I just spent a few quality hours with the manual and figured out that I can set each strobe for different settings. Good thing I have a month to play with this thing before I jump into the ocean with it!! I can see this forum is going to be a big help.
  14. I have just put together an Olympus system- E620 with the Olympus housing and UFL2 flashes. Should I use the Olympus TTL cable or the fiber optic. Since the system offers both types I am assuming there are distinct advantages/disadvantages to both. I am leaning towards the TTL cable. Is there any good reason to use the fiber optic instead? My only experience has been with a Sealife DC500, and one of my frustrations has been with a very limited control over the flash. It has been a great tool to begin learning how to take underwater photos, but I am eager to grow into my new system.
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