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Tom_Kline

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Everything posted by Tom_Kline

  1. f/4 to f/5.6 is a full stop not f/5. Closing down by one full stop is halving the amount of light passing through the lens so requires a doubling of the ISO to compensate if you keep the shutter speed the same. BTW I use auto-ISO in combination with aperture priority auto-exposure quite a bit for my non-flash underwater photography. This is because of the need to keep the lens stopped down to work OK with a dome port.
  2. Fisheye lenses seem to tolerate being displaced from the dome's center of curvature. For example I got better corners using the Seacam 9" diameter Superdome, which is a hemisphere segment, than the Seacam full hemisphere but smaller diameter fisheye port with my 10.5mm fisheye lens even with just 12 Mpix (D2x camera). Seacam does not specify curvature radii. This website has some interesting cartoons showing how the position of the entrance pupil center as well its disk diameter (line) shifts with angle. It is forward (inside the front element) with the 10.5mm fisheye (scroll almost halfway down the page to see this) at 90 degrees. The 15mm rectilinear example is very interesting as well (scroll way down). It shows the entrance pupil shifting towards the lens' rear with the line going beyond 90 degrees from the optical axis. The 28mm shift is not as radical (last example on page). http://www.pierretoscani.com/fisheyes-(in-english).html I have used the Canon 8-15 at 12mm (APSH) and 15mm (FF) with the Seacam Wideport quite a bit for close up shots (salmon in streams). The Wideport thus used is better at smaller stops. The Wideport probably has a smaller radius of curvature than your Nauti 180mm.
  3. You can use any strobe with a slave sensor including your Inons as a remote slaved strobe. The main limitation is that the sensor on the slave strobe needs to be able to "see" the flash from the strobe that is connected to the camera. Separate slave sensors have been developed to help do this. One by WP member owfotograaf is called the Triggerfish. Here is a link to his latest gadget for mounting a slaved strobe: http://wetpixel.com/forums/index.php?showtopic=60638 Slaved strobes have been discussed quite a bit here on WP so there is quite a bit of info already here. Here are a couple of "classic" threads: http://wetpixel.com/forums/index.php?showtopic=33133 http://wetpixel.com/forums/index.php?showtopic=39737
  4. I think you need to learn the Nikon F film loading technique - One had to put the back somewhere when reloading film (back was not hinged but came off along with the camera bottom). Holding between the fingers worked well. See pic with one of my Retras which just arrived. That is snow in the pic.
  5. Nice report! Were you using Eneloops? I guess one will have to learn how to hold the battery cover in one hand while swapping out the batteries - maybe wedged between fingers or cupped in palm with one finger allowing use of the other fingers? I have done this while swapping out batteries with rig in very cold (barely above freezing) stream (strobe was above water allowing for battery swap). Backscatter has posted a video:
  6. There is nothing here suggesting that the Ike 161 strobe can even do HSS: https://www.ikelite.com/products/ds161-strobe?variant=29298891718 My understanding is that one would have to use a Canon strobe to get HSS.
  7. I use the Wideport quite a bit with the Canon 8-15mm lens for shooting at very close range (to zero distance from the port) and water too shallow for a larger diameter port. Submerging even the Wideport can be challenging. It is best to use smaller apertures.
  8. I have Backscatter housing suckers installed on my Seacam housings for the Nikon D3X, Canon 1DX and Canon 1D4 so I must be sold to the concept! I draw the vacuum down to -10" to further compress the O-rings since I shoot a lot in shallow water. The internal pressure is thus about 2/3 of 1 atmosphere. See: http://www.backscatter.com/Backscatter-AirLock-Vacuum-Manual-System-Bulkhead
  9. It does look like a ctenophore. The resolution is too low to see refraction along the ctene which would be diagnostic. It looks damaged to me as well. They can be quite delicate so best not touch them.
  10. The f/2.8 lens is a discontinued lens model. http://www.nikonusa.com/en/nikon-products/product-archive/camera-lenses/af-s-zoom-nikkor-28-70mm-f%252f2.8d-if-ed.html As well, Canon has discontinued L type (and others) zoom lenses that started at 28mm. Both companies replaced their f/2.8 28-70s with 24-70mm lenses. As well, both have zooms that range from 24mm (and 28mm) to longer focal lengths. @ Alex and Ryan: I recall the older zooms had a minimum focus distances of 0.5m or greater - the newer ones focus to ~ 0.38m. How close were you able to focus the lens behind the WACP in terms of working distance? Would newer (pro type - gold ring or L) zoom lenses be able to focus closer (with the WACP) as well as primes as they have closer focus limits? If one needs to consider older lenses as well as current ones, both pro grade and not, the list is going to be long as suggested by the table so far. Then there are the third party lenses... How bad is a 24-70 (any one of the various models from N or C) with the WACP? The newer lenses have improved optical technology as well as lens to camera communication. How does changing lens length such as when one zooms (i.e. gets longer in size) affect WACP functionality and performance?
  11. Alex's shot has interesting colored vertical stripes at the top. The only thing arranged in rows or columns is related to the sensor, e.g., microlenses. Maybe worth testing with more camera models (different sensors). Topside as well to see if this is and interaction with the dome port such as reflections, e.g., off sensor through lens then off port back into the lens.
  12. I bought a Seacam PVL20 (20mm port extension) from Wetpixel member ErolE from this ad: http://wetpixel.com/forums/index.php?showtopic=59246 Erol was great to deal with and sent the item promptly. The item was exactly as described. I would do business with him again. Thank you Tom
  13. It depends on the circumstances. You need to quickly analyze the situation and adjust the lighting accordingly. One way to quickly (maybe faster than turning a tiny knob on the flash) reduce a strobe's output is to turn it. Tilting the left strobe up could have done this. Chimping can help with the learning curve.
  14. Using a single strobe on the right side might have helped. Or at least turning down the output of the left strobe by quite a bit. This would have darkened the left side of the pic as well as possibly enabling a shadow to be cast onto the background reef helping to isolate the fish from it.
  15. Canon 8-15. Using LR I was able to apply the identical fix to a large number of images in a couple of seconds by synchronizing the settings after checking off only the needed adjustments in the popup menu. One could maybe tweak the settings I used to try and crop less out of the edge. Agreed that this fix is not needed for blue images other than for getting a white rather than black background. BTW I seem to recall that a square crop was done first - it has been a while since I did the fix! A square may be needed to get a circular vignette. Looks like one cannot "like" an administrator's post. T
  16. The blue fringe is an attribute common to circular fisheye lens images. I provide a possible "fix" with this image. The Lightroom settings to do this are shown in a separate pic. One pic (black background) shows the same image without the fix. This shot was done with the Canon 8-15.
  17. Retra has just announced a bunch of accessories including a clever battery compartment extender. https://www.retra-uwt.com/blogs/news/retra-flash-pre-production-update
  18. Nice job. There was an interesting thread on this topic that was started by Steve Williams a few years ago. It is here: http://wetpixel.com/forums/index.php?showtopic=41757
  19. I have two copies of the Canon version. I have used both at the same time with each housing set up with a different diameter port to accommodate different water depths. This lens is my most used lens. The Nikon 10.5mm is my most used Nikon lens. The the 8mm end is specialized. The lens shade must come off the port which exposes it to potential damage so I have used the 8mm setting sparingly and taken extra precaution to reduce the chance of having the port crash into the bottom when used in streams. I have just one resulting "winner" shot. I got around to using it on an APSC sensor this year (topside shots). I am currently using one on an APSH sensor camera with a 100mm diameter port to use in very shallow water, e.g., 8 cm. However the characteristics more important IMHO are weatherproofing and close-focus ability. These characteristics also apply to this new Nikon lens. The old 16mm D lens was lacking in this department. The only downside for both brands is a smaller maximum aperture compared to the old primes.For underwater use this mainly affects focusing at low light levels. New cameras, however, are improved in their ability to focus in low light negating this issue.
  20. Justification for sticking with FX may be announced shortly: https://nikonrumors.com/2017/05/29/confirmed-nikon-to-announce-a-new-nikkor-af-s-8-15mm-f3-5-4-5e-ed-fisheye-lens.aspx/ Especially if this is anything like the Canon 8-15 qualitywise. No longer a rumor: http://www.nikonusa.com/en/nikon-products/product/camera-lenses/af-s-fisheye-nikkor-8-15mm-f%252f3.5-4.5e-ed.html#tab-ProductDetail-ProductTabs-Overview Note the minimum focusing distance!!!!!
  21. Good to hear. The strobe model 60 development was mentioned back at DEMA 2015! See: http://wetpixel.com/articles/wetpixel-reports-live-from-dema-2015/P3
  22. I will be able to report on the 60D as soon as I get mine which has been on order for > 1 year. The longest "gestation period' yet for a Seacam product. The 60D shares many of the "pro" features of the previous Seacam D series underwater strobes none of which are shared by S&S strobes such as S6 fitting, battery indicator, super wide dome, and metal build. I have a couple of S&S 250 strobes as my basis of comparison. I have not even seen a YSD2.
  23. Glad to hear to worked it out. Very easy to jamb controls on the inside - I know from experience. I have a fair amount of loose remote control cable in mine so have to always be on the lookout for this issue. Taking blank shots is a good idea too especially now that we are not burning film frames. BTW I have had DUI dry gloves leak on me. Put on a brand new glove and still had a leak. So when I bought my fourth (since 1980's) drysuit a few years ago I decided to say no to dry gloves altogether.
  24. I have gone both ways. The shutter release AF-on is quicker so I find it better for getting fish that are on the move - I may use servo AF as well for this scenario. The rear AF-on button works great for non mobile subjects where one may want to focus carefully then leave it there (AF-S mode) without having to resort to the AF lock button. I prefer to use 5-finger neoprene gloves when coldwater diving such as in B.C. for better dexterity. I have been through various dry glove designs and decided it was not worth the struggle, leaks, and accidental removals while under water (The Vikings were especially good at that!).
  25. 60mm was my "go to" focal length back when shooting DX. However I found the 105 useful too. Especially for smaller reef fish, e.g., those < 10cm (4") in length. Here is an example: http://www.salmonography.com/Aloha/Fish-Portraits/i-DB7S5Gd This shot was challenging but I managed with the older tech AF in my D2X. This might be a piece of cake with the D500. In general I think that focal length should be inversely proportional to subject size for UW portrait shots. Looks like you already have the lenses you need.
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