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Tom_Kline

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Tom_Kline last won the day on October 7

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About Tom_Kline

  • Rank
    Great White
  • Birthday 04/24/1954

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  • Website URL
    http://www.salmonography.com/
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Profile Information

  • Gender
    Male
  • Location
    Alaska
  • Interests
    fishes, other vertebrates, and invertebrates

Additional Info

  • Show Country Flag:
    United States
  • Camera Model & Brand
    Canon EOS-1DIV, EOS-1DsII & III, and 1DX; Nikon D1X, D2X, D3X, D4S, and D2H
  • Camera Housing
    Seacam
  • Strobe/Lighting Model & Brand
    Retra Original & Pro, Seacam Seaflash 60D, 150D and 250D, Inon Z22 and Z220, Sea&Sea YS-250
  • Accessories
    Seacam remote control, Seacam, ULCS, & TLC trays and arms
  • Industry Affiliation
    salmonography.com

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  1. The clouds parted yesterday so I finally got to shoot my EMWL in the nearby lake. I used a somewhat hybrid approach - remote polecam - bonfire backwater - muck - freshwater UWP! Water was maybe a foot deep. I used a single Retra pro at 1/4 power. Because of the 100 degrees of the lens I used just the protection ring as a light modifier. I may try something narrower the next time, maybe this evening but rain is predicted to re-start at 2200 which is when I was shooting last night. As well gale force winds are forecast... I did not want to deal with mounting the lens shade in the twilight (I set up during civil twilight (ended about 20:45) but was wearing a headlamp). There is a lens flare in all the shots - slightly off-center likely due to my strobe placement which was not perfectly centered but pointing more or less straight down (modeling light used for the "bonfire" technique). The pic shows a Threespine Stickleback (Gasterosteus aculeatus), which is a widely distributed species. I tried a different approach at showing a 100% crop. I made a virtual duplicate in LR that I cropped to ~800 pixels on the long dimension. The white things look to me like leeches - an African Queen moment!
  2. PS The contrast was a bit low and I only guessed at the exposure. I used 1/4 power on one Retra Pro for the distance shot then went to the lowest setting for the f/4 shots and forgot to reset it back for the last shot (f/16) so I equalized the exposures in LR by centering the histograms. The contrast was low evidenced by the histograms all fitting in the middle block in the LR display when centered so I set contrast to 100%. LR imported with camera neutral profile was left unchanged - which is also a bit flat. Camera used was a Nikon D800 (rez in corner of screen grab).
  3. Next is a jpeg converted from a screenshot of the last pic while working in LR zoomed into 100%. I had to compress the jpeg quite a bit to make it fit. Looks like the number of pixels is quite a bit less as well. So much for 100%! I may be wrong here as my monitor is 6K so hard to tell but the window in LR was quite a bit larger.
  4. Got my EMWL late yesterday!! (I am pronouncing it em-will, FYI). I bought it a la carte, just four items (totaling 3 grand), for now. These items are focusing unit #1 to use with the Nikon 105VR, the 100 degree objective, the lens shade for the objective, and a 67mm mounting ring (to replace the Nauticam bayonet mount on the focusing unit). I have a Saga port for the 105VR similar to what Adam has (Alex may be using the Saga port for the 60mm Nikkor). Nauticam cautions to not tighten the six screws holding the ring in place too tightly. In less than 24 hours three fell out onto my carpet that I was able to locate so a word of caution here - I went back and tightened them well using a long 2.5mm sized Allen wrench (my Swiss Army Knife style hex wrench kit (I have two, one for metric and once for inch that are light enough for travel but not up to this task) does not have long enough wrenches!). I took some shots in the tub since the weather today prohibits going outside. I shot at f/16 then pulled the housing out of the tub to shoot at f/4 but I inadvertently moved the aperture setting to f/3.8 during the shoot. Large aperture clearly not as good as stopping down. I started at about 12"/30cm working distance but did not quite put the housing in the same spot after changing the aperture. I then went closer still at f/3.8 then went back to f/16 still closer. The closer shots were about and inch (3cm) from the lens give or take. Full frame shots all have my logo in the corner. It took a while to figure out a target - I found an empty isopropanol bottle in my darkroom supplies and put in several 3/8" ss bolts to make it negative. Now to get them back out!!! I was kneeling on the floor next to the tub on the left so you see a slight bias due to the awkwardness. I was shooting using AF with one hand while the other was holding a Seacam monitor that gave me a view through the viewfinder (and observing the AF points doing their thing).
  5. When I started digital underwater photography I had already over two decades of shooting film under water. I mainly had to learn about the digital part (which alone was quite substantial) and had to gain some practical knowledge of dome ports as I had been using the Nikonos RS for preceding ~decade and thus did not have to worry about it. A new underwater photographer on the other hand is in a Catch-22 position. It is hard to know what to buy without having any experience. A new underwater photographer needs to set forth goals. What are the photographs going to be used for? What are the conditions (locations, seasons, depths, visibility, etc.) in which the photographs will be taken? What are the specific subjects that will be taken? Will any specialized underwater techniques be required to accomplish ones goals (a Catch-22 question so I a have left it to last)?
  6. Useful list; I was not aware that the Z 24-70/4 kit lens even works with the WACP-1! My understanding from having watched Adam's Wetpixel Live interview with Edward Lai is that it is the physical size of the front element of the lens being adapted that is critical and that the quality of the lens is not important. My recollection of that video is that this critical dimension is about 60mm which brings up the Nikon kit lens as it uses 72mm filters. I just now removed the polarizing filter on my copy of this lens and note that the front element is quite a bit less in diameter than the filter thread. It is recessed so not possible to measure with what I have but could be as small as 60mm. The lens extends when zoomed to focal lengths longer than 24mm so I surmise that the position of the front element may be less critical than its diameter.
  7. @i121, Ya, this is kind of an apples vs oranges thread. I am curious if anyone has taken the gigantic Oly under water. The housings must be as large as those for the gripped FF cameras.
  8. As you mention above this thread is not about format but topside vs underwater. My local freshwaters are stained to varying degree - it looks like the fish are swimming in CocaCola! Thus WB adjustment is extreme compared to topside. I do this in LR so it is only metadata within LR. Keep in mind I do most of my shooting by remote control so I am generally not looking through the viewfinder (without the special Seacam accessory) and do have not access to menus without withdrawing the housing from the water which would defeat the purpose of remote control - disturbing my subject. List the housings you refer to above - I am a Seacam user and not familiar with any. Nauticam has some housings for an auxillary battery but have no idea of the benefit and how well it would work for me. Besides the cold and long duration I have managed to take thousands of shots during one shoot - record is over 10K with the D4s the day shot in continuous mode.
  9. I do considerably more color adjustment compared to topside for many if not most of my freshwater shots so no they are not the same. As well I tend to use ISO up to 12,800 (1Dx) and 16,000 (D4s) with autoISO and these cameras far more underwater. I have only used super high ISO for shooting with very slow vintage lenses such as a 500mm mirror lens for topside shooting. A not sensor size per se but camera advantage is that currently only certain FF cameras use large batteries (gripped models; see models already mentioned). (I did used gripped APS-C cameras (no longer made) a few years ago for the same advantage. Not sure if the D500 accessory grip uses them or not but I known of no housings for this combo.) These big batteries are an advantage for the cold water (a local stream has a mean temp of 4C - reported in an MS thesis - it is always numbing cold) I typically shoot in for long duration - camera is powered up for hours. Even so I have manged to run these batteries down to 0. Swapping batteries is a bit more challenging underwater compared to topside - in my case the o-rings need to be cleaned every time the housing is opened do to sand and silt in the water.
  10. The Cambridge site was the first hit when I web searched the topic and was good enough for my purposes. Gamma or slope of the curve is but one of the parameters I was referring to - the term gamma is also used in analog (film). In the case of digital we can move the endpoints (0 and 255 in 8-bit) to "fix" at least some of the clipping. Folks that simply use LR or any other program to simply convert their raw files are missing the boat so far as a major advantage of digital over film. Clipping is mostly a non-issue for those willing to do even a wee bit of work. You seem to be making a mountain out of a molehill IMHO. PP IMHO opinion requires some slider shifting etc. Failure to do so is not the fault of Adobe et al.
  11. @ i121: A better choice of wording might help. For example, raw processors do not actually think! As well, you may not understand the problem. It is not clear that you do from the above. The underlying problem is largely due to the 8-bit nature of jpegs. The raw image needs to be converted into something that can go on one's camera or computer screen that also has tonal range limits. This is not too different from what one had to deal with back in the film days. Ansel Adams et al. wrote about this extensively, re. zone system etc. The tonal range in the scene had to be made to fit within the tonal range of film which was much less than the luminosity range of a bright sunny day with deep shadows. This was controlled by selection of film as well as developer type and method (in the case of black and white). Once one had a film negative one had to go through the same process with making a print on paper. The analogous controls in digital are the profiles one applies when converting from raw to screen and then to print. The profiles incorporate the mathematical parameters needed to do the conversion, think Y-intercept and slope from way back in school. There is no thinking involved except by the photographer. This page (especially towards the bottom; note the table) may help you understand things better than I can write: https://www.cambridgeincolour.com/tutorials/dynamic-range.htm
  12. If you want the image to be different after import select a different develop setting in the import menu. See attached pic. I had the camera on neutral and this is what the imports looked like before I worked on the images. There are a bunch of "canned" develop settings and one can even buy some that are UWP-centric from https://below-surface.com/en/ Note as well the metadata import settings - I named mine "Use This", ROTFL Also I selected minimal previews which means it took just a few seconds to import each folder of images. BTW one can control how long 1:1 previews are kept - various ways in the menus from automatic to fully manual.
  13. I have used normal focal length macro lenses for many years. First case was using the classic 55mm f/3.5 Micro Nikkor back in the late 80s when I was a Ph.D. student! This was a lens that extended quite a bit when focused close. More recently I have used the 60mm AFS lens with both flat and done ports (each has pros and cons). I have yet to take a 1:1 or even 1:2 shot using one so this argument has not much value to me. Instead these lenses provide much better close focusing ability than the run of the mill standard lenses that may only focus to 0.4 meters. The normal focal length is useful for larger or more skittish marine creatures that are smaller than a whale. A 105 or 100mm is just too long a lens for other than close-up portraits, which I have done when confronted with the wrong lens syndrome on a dive and wanted to shoot anyway!
  14. See my yes and no replies above. One solution is to use an optical slave which is what I did here using the much older Inon Z220. https://stephenfrink.blogspot.com/2008/11/solutions-tom-kline-on-photographing.html The triggering strobe is the one pointing up. Your Godox may have a slave setting - check for this. One can buy slave sensors as well. Another solution is to use a radio slave. One can house a Pocket Wizard: https://www.backscatter.com/Aquatica-Water-Wizard-Pocket-Wizard-Plus-III-Underwater-Housing Be very careful when using topside strobes near water!!!!!! It is best if you an assistant attend them! Good luck Tom
  15. PPS. The housings where I used a PC cord were from the 1950s to the 1970s! Hydro 35, Rollei and Hasselblad housings for use with cameras without hotshoes. The Nikon F and F2 (Hydro 35 vintage) had accessory flash shoes that fit over the rewind crank - none on the prism!
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