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Graggs

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Graggs last won the day on January 7 2014

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About Graggs

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    Clownfish

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    http://www.graggs.co.uk

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    Male

Additional Info

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    United Kingdom
  • Camera Model & Brand
    Canon 5D MkII
  • Camera Housing
    Ikelite and Sea & Sea
  • Strobe/Lighting Model & Brand
    Inon z240
  • Accessories
    Inon 700 Spotting torch

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  1. She actually says somewhere in the video that the colour chart isn't necessary (might be now the algorithm is sufficiently advanced?)
  2. Very nice @TaxiDiver14 how many G18's and on what setting please? Why are you selling them? Not happy yet? I like your editing / grading, not too punchy. Have you used the ambient filters?
  3. @TaxiDiver14 to buy what? I am in just this dilemma and sick of the misinformation by some suppliers.. namely quoting light output based on the LED chip they are using, not what the actual torch is capable of, making it very difficult to make an informed decision. At the moment, I am looking for two torches for casual video use and off camera stills photography (wrecks etc). I use a 15mm FE mostly, but also a 16~35mm rectilinear. FF camera. My short list SUPE V6K Pro BigBlue VL15000P-Pro-MINI-TC DivePro G15 Pro (Jaunt) X-Adventure M15000 My Summary to date SUPE V6K Pro Probably a more honest 12,000 lm over a wide area, realistic burn time for size of battery and output. More negative in the water than I would like @ -560g A fair asking price Has ambient filters available Innovative mount allows light to rotate to access control BUT has to be de-rigged to change battery? https://www.scubalamp.com/products/photo-video-lights/v6k-pro-12000-lumens-100.html BigBlue VL15000P-Pro-MINI-TC I really want to believe the hype but can't. Stated burn time (2 hours) for that light output hard to believe and BB won't provide any evidence. I suspect it's maybe not a true 15,000 lumens and doesn't have consistent output through burn time? -310g underwater is best in class Smallest physical dimensions of all Could turn out to be an expensive mistake. https://bigbluedivelights.com/products/15000-lumen-video-light-warm-white-feature/ DivePro G15 Plus (Jaunt) I already have 2 D90F, nice build quality, but I doubt their quoted light output figures. Good pedigree LED chip, but apart from a good CRI no further info Creditable 2 year warranty Getting more expensive Has ambient filters available https://www.divepro.com/product/divepro-g15-plus-15000-lumens-super-bright-led-underwater-video-light-wide-beam-scuba-diving-torch-photo-flashlight/ X-Adventurer M15000 An interesting proposition, possibly wider beam (130°) than I want or need? Nice control method if it lasts (10 step rotary control) Quoted Constant Current circuitry to maintain light output throughout burn time (50" @ 15,000 lm) Colour rendering as good as the SUPE V6K: CRI Ra96 TCLI 97 - R9:94 -480g negative, slightly better than SUPE V6K, but heaviest on land (important for that weight allowance), slightly shorter than the V6K The remote looks very cool Has ambient filters available http://www.xadventurer.com/index.php?route=product/product&path=65&product_id=131
  4. Sea & Sea MDX 5D help please. I recently bought a second hand MKIII Series 2 housing and successfully got the Canon 5D Mark IV camera to work in it. The help I need is getting Inon z240 Strobes to work. I haven't got proper fibre cables yet, but I have played around with a piece of polymer fibre, enough to know the strobes are firing from the Optical YS Converter / C1 - sync appears okay on land. Doing a bit of research, it appears the Canon 5D MkIV is supposed to use the C2 version of the Optical YS Convertor (I have the C1 version originally made for the MKIII) Does anyone know the difference? Is there any reason the C1 won't work? On the convertor, there are a number of choices of Sea&Sea strobes. Does anyone know what the differences are or which setting would most suit the Inon z240? I have been shooting for years on a MkII using manual settings for strobes and I'm quite comfortable doing so. Worst case, if I can get this reliable in manual mode I'd be more than happy. I am of course curious to know what the sTTL functions are like. If anyone has more info on this configuration, I would be really grateful. The housing seems to access the majority of the camera controls. I have a slight alignment issue which means the cursor keys aren't working yet. I need to find a MkIV tray as the MKIII has a pin which doesn't align with the MkIV (for now, I have removed the pin and manually aligned the camera) I need to find some fibre optic cables.
  5. I can't comment on the individual products above or their suitability, but for the benefit of people reading this, here is a quick explanation of CRI / Colour Temperature and other interesting LED light output stuff. The CRI shouldn't be confused with the colour temperature (expressed in °K .... degrees Kelvin) CRI stands for Colour Rendering Index and is an expression to determine how faithful colours 'look' under a given light source. °K .... degrees Kelvin is an expression of colour temperature, the lower the figure, the nearer to the warm end of the spectrum (fire / candle) the higher the figure, the nearer to the Blue end of the spectrum. Daylight being about 5,000°K ~ 6,500°K As an illustration, a Tungsten Halogen light source of around 3,000°K can have a CRI >95 and by comparison a fluorescent light source with a colour temperature of 5,000°K might have a CRI of <75. Part of this is due to the spectrum of light that the light source is emitting. The 'Spectrum' being all the various colours (think rainbow or prism), In the image below, you can see the Halogen lamp (middle) emits a continuous range of colours whereas the fluorescent (bottom) has whole sections missing (or too dim to be any use). LED's have much the same problem as the fluorescent above, they not only have major deficiencies in certain colours (technically wavelength) BUT also have 'spikes' in some colours - the right hand image below shows our Tungsten light source. LED's are notoriously bad in the CRI department. But they are getting better. You also have to treat the manufacturers CRI readings with caution, as they can be fudged. A result of this can be seen below, the image on the left is lit with Tungsten and the right with White Phosphor LED source. Look at the skin tone of the right hand image, the lack of correctly coloured light (or light deficient in certain wavelengths) has rendered the skin wrong. In contrast the blue spike in the LED light source on the right has made the dress look too blue (in fact it's changed the colour of the dress altogether). And this is before you shine the light through water with particles in it or take into account the degradation of the LED over time. Another consideration... but way outside the scope of this thread is the sensors ability to record this information, i.e how sensitive it is to various colours or wavelengths. It's all relative of course and most dive sites are NOT offering perfect filming opportunities. But I felt the above distinction might help? A couple of the above images come from this old thread, which is worth a read if you want to expand on the above. It is old but still relevant to some of the points above. http://www.cinematography.com/index.php?showtopic=52551
  6. Did this thread ever get anywhere.. it seems to have died a death? I am having some dome port dilemmas which a Sea & Sea MDX 5II and a 16~35mm USM L lens and I was hoping to find a conclusion here. There are lots of good ideas here, Is anyone interested in trying to resurrect this? I can knock up a test chart and share it, if we can agree on some content... I propose a combination of the mesh idea of Pete Atkinson and smaller charts positioned at key places.
  7. I was very close to buying this, but found a setup that suited me closer to home (in England). Josha is an excellent communicator and I wish him luck in selling the above housing, I have no doubt it will suit someone very well indeed. Personally, I would go 'the extra mile' and have it serviced. For anyone that doesn't know, a service tech would look at all the seals - the big 'o' ring at the back is the easy one to check, but all the fiddly little seals around the control knobs are just as likely to let you down. Good luck Josha g
  8. Hi Do you still have the Macro Port bits? I have the newer lens, but I wonder if any of the parts are compatible? This is the list of bits I need (as I understand it) Canon EF100mmF2.8L Macro IS USM DX Macro Port Base ..... Product No.30105 DX Macro Port 50Ⅱ ..... Product No.30110 Focus Gear ..................... Product No.31155 Are there any part numbers on the pieces you have? Cheers Graggs
  9. Thanks Josha for your quick answer. It's good to know it hasn't seen much action, but I fear the age / lack of service and second generation port will make this an expensive proposition for someone? All the best Graggs
  10. Hi Josha Currently I use an Ikelite housing with two Inon z240's Strobes. I am most definitely looking for a new housing for my Canon 5D Mk II But I have a couple of questions; What age is the housing When was it last serviced Am I right in thinking it has 2nd Generation port what strobe ports does it have Can you ship to the UK and do you have an idea of cost? Cheers Graggs
  11. Hi Greg Do you still have the housing (and if so why?) I'm tentatively looking, but based in the UK so not sure if this will work out - but worth touching base I guess? I have a Canon 16~35mm so first up I would need to know if the 8" port you have will work with that lens? What extension do you have on it? Do you know the weights of the kit - I presently have all Ikelite stuff and one of the main reasons for changing is to try to shed some weight - if the 8" port is glass, that may work out heavier (I'm not sure)
  12. Hi, Do you still have the housing for sale? Do you have any ports for it? Can you ship to the UK? How old / how many dives? etc Cheers Graham
  13. Hi Sharon, I'm not sure I can help, but I guess it would be useful to know if you are shooting in Manual Mode or eTTL G
  14. No problem Simon, it was a great talk...inspiring amusing and emotional at times. I did want to discuss the approach of the Royal Oak photography with you, but that's for another time maybe? Thanks for the link to your Flickr page BTW. I'll try and stay in touch...if I'm not too busy around then I might be up for that!
  15. The DSLR versus Compact will rage on and it's not simple....whey up the pro's and con's yourself and how they work for you. I used to use a Canon G9 setup then migrated to a Canon 5D in an Ikkie housing. BUT, I already owned the 5D and a suitable lens, so my only outlay was the housing which I managed to get second hand. BUT, I now have to lug around a lot of kit ....that has a cost.... most of which is the wife nagging me. Also consider how this will change the way you dive / who you dive with etc! Your experience? I did a dive in Majorca two weeks ago on a wreck, I didn't take the camera kit because I was travelling alone and I didn't have the weight allowance. When we got on the wreck, the subject matter was clearly macro...I was quite smug, because if I HAD have taken the camera, I would have almost certainly setup for wide angle! My point; one of the key benefits to compact is payload of kit and the ability to swap in wet lenses - BUT do your homework, some combinations DO NOT work....and some combinations work better than others. If you want to do anything, make sure you get the latest sensor technology, since your article started with the point of view. Buying older kit may not be a benefit in the long run. I suffered similar problems with some deeper diving in Tenerife and that's what led me to migrate. There's no doubt the 5D is awesome compared to the G9 ....but since then, I've also added a decent Inon Strobe and changed my technique. BTW Since Canon has just launched the 5D MkIII so there will be an abundance of MkII stuff floating about, you could do worse than mopping some of that up! Also consider video....that may be a factor now or in the future. Whatever you decide to do, you will not solve the problem with just the camera, you may get a few extra stops with a little less grain, but to make a real difference you need some education and maybe a different approach? I sat in a talk on Saturday by a guy called Simon Brown, check out his work, some of this is taken in water with 3~5m viz. http://www.flickr.com/photos/simonbrownimages/ Think about some off camera strobe? Also, looking at your shots, have you read about green filters? Obviously these only work in natural light...again, the benefit of compact is these could be wet filters! G
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