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ChrisRoss last won the day on November 6 2019

ChrisRoss had the most liked content!

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About ChrisRoss

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    Great Hammerhead

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    Sydney Australia

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  • Camera Model & Brand
    Olympus OM-D E-M1 MkII
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  • Strobe/Lighting Model & Brand
    INON Z-240

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  1. any sort of bicubic re-sampling will give the best results. There are limits of course, you can't make up new information - the resolution doesn't actually go up it just does the enlargement and minimizes any artifacts created in the process. 300 DPI is the ideal resolution - you can often get away with 150 DPI or a little lower depending on the image. A key thing to do is make sure lightroom or photoshop does all the changes to the image and manages color, that way you have a better chance of previewing your results before printing. Even your checking of print resolution may not be the best result as it is just using the default re-sampling far better to have a file resampled to final pixel dimensions which you can preview. If for example you sharpen your image and check print resolution and LR does this in the background it probably does not apply sharpening on the way to the printer. If you resample you should always sharpen after you have done that. Sharpening should always be your last step in the process.
  2. Yes they will work, that is the type of connector used on S&S strobes hence the name. Looks to me like these are in the wrong bag. INON uses a screw fitting at the strobe end which is bigger than the connections on your cables. This is the INON type connector: https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0ahUKEwjq5f72z47nAhUV8XMBHR62DakQMwiHASgQMBA&url=https%3A%2F%2Fwww.housingcamera.com%2Fid4748-inon-l-connector.html&psig=AOvVaw3B28qZu4oB4JX9C41NgsT-&ust=1579487590136915&ictx=3&uact=3 which is not what you have.
  3. I suspect if you used it as an interim lens it would use the same port but different extension as the 8-15. You could work out the the required extension by comparing the extension required for the 10-17 and the 8-15 on your Canon and how much extension is required for the metabones. A zoom ring might be an issue - requiring a custom ring to be fabricated possibly.
  4. The Tokina is not the sharpest knife in the drawer and its an APS-C lens so doesn't have the coverage to cover the sensor in fullframe. The pixel pitch is similar in both so no resolution advantage if for example you shot it in cropped mode, you would get the dynamic range boost though. The Canon 8-15 plus metabones would be an option. This is the Nauticam port chart: https://drive.google.com/file/d/1IUWtZfFMXYF1OElfWzRVOqPKL9p3P4SH/view
  5. F8 is more than adequate, I use f8 on m43 and don't want for depth of field. f8 is equivalent to f22 on full frame and f5.6 ~ f15 on a depth of field basis. I would go with f5.6 or less if you have enough depth of field at the wide end. The MP have little to do with sharpness, that is down to the quality of the lens. If you stop down too much you go into diffraction and sharpness actually suffers. These types of lenses are designed for peak sharpness in the f3.5 - 5.6 range about 2 stops down from wide open, quite unlike SLR lenses which peak at smaller apertures. If you use a dome port this changes of course as you deal with a virtual image. There are a couple of things working against you in the corners at wide angle, a natural tendency to soft corners with the lens and the flat port will add in aberrations at wide angles as well. If you look at tests wide angle sharpness peaks around f3 - 4.5 on the edges, the tele end is sharper towards f5 and has better corners. https://www.photoreview.com.au/reviews/advanced-compact-cameras/fixed-lens/canon-powershot-g7x-mark-ii/ Also the corners suffer from strong distortion correction in JPEG, turning it off in Raw conversions helps and won't cause issues with UW work, read this review: https://www.photoreview.com.au/reviews/advanced-compact-cameras/fixed-lens/canon-powershot-g7x-mark-ii/ under the optics tab. They specifically mention sharper corners with distortion correction turned off. Looking at your example I see it's 1/25 @ f6.3 ISO400. That image looks to be 100% flash lit So I think turning up the shutter speed would have little impact on exposure. That being the case you could increase flash power 1-2 stops to get to ISO200-100 and increase the shutter speed. Where shutter speed is important is when you have blue water as a background of course - in sunlit tropical waters 1/250 @ f5.6 ISO200 is a reasonable starting point for water exposure. If your subject is under exposed turn up the flash power.
  6. o-rings are not "wet" so drying them out is not really a thing. If it is long term storage removing o-rings and storing them in a zip lock is worth considering to avoid putting a set in them from keeping them compressed.
  7. You can submit take down notices to the service provider hosting the site. The steps are available on line. First you request them to remove from the website then if they refuse submit the takedown notice. Do you have Copyright data embedded in the image EXIF? that provides one less excuse for not contacting you.
  8. It sounds like it is getting signals crossed, presumably there is a signal that works to wake up the flash going out through the hotshoe. The only way I could imagine it doing this given your description would be a short between the main trigger cable and this cable. You could try taping all the contacts except the centre contact on the camera hotshoe to see if that causes it to stop. This would restricy the flash to manual only operation I would guess.
  9. You could try Waterproof suits - they are not very stretchy neoprene so have a wide range of sizes - more so than other manufacturers that rely on stretch to get a fit. But they don't fit everyone. They have instructions for measuring on their website. You can enter your data on this page to get an estimate of how well it fits: https://waterproofsizing.com/
  10. It has to fit in the housing and line up with the ports for the fibre optic cables. I believe the Sea Frogs housing has an issue with fibre optic triggering in that one of the ports does not align well with the cable port so there can be issues getting that flash to trigger. Can be solved using one of these to place both cables on the good port: https://www.backscatter.com/Inon-Double-Hole-Rubber-bushing-for-fiber-optic-ca I don't believe sync cords are an option on the Sea Frogs. They require a bulkhead port and have another set of rings to look after, which you don't have to worry about with fibre optic triggering.
  11. The upgrade will work fine most likely, it's a matter of whether you want to subscribe or not. I think for most amatuers the subscription thing is a giant con, they basically hold you to ransom as the upgrades they offer are really not worth it. They are masters of hiding stuff on their website as well. Whether you can keep using it depends in some part of your operating system. On Mac they have made changes making it difficult to install on the newer OS, On Windows, Windows 10 seems to install lightroom 6 and CS6 just fine still There are alternatives out there to consider including Capture one Pro and affinity photo. I bought Capture one pro rather than upgrade to PS CC when I bought my most recent camera - it does a great job of raw conversion. I still finish off in PS, but what comes out of C1 Pro is quite good and I could do more there, but still use PS as the workflow is more familiar.
  12. I would make one correction - the amount of light you need at any given subject distance is set by the aperture. The TG series at the wide end have two apertures - f2 and f2.8 - f8 is only an ND filter you only use that to try to get black backgrounds or maybe for video in shallow water to reduce the shutter speed. f2.8 is very fast meaning the less powerful strobes are adequate, strobes like the YS-01 and INON S-2000. They are fine for compacts shooting at f2.8 - 4 and 1" sensors like a Canon G7X series where you might shoot at f5.6. They are marginally OK for m43 where you would be shooting at f8. Larger sensors need a smaller aperture (bigger f number) to get adequate depth of field and this is the main driver in wide angle work all assuming shooting at the same distance.
  13. I have Z-240s and I was sold the wireless style connector it is shorter than the non wireless, I have since changed over to using the non wireless style as I found the shorter wireless style only engaged by a couple of threads on my Z-240s and that lead to the first couple of threads becoming damaged - they are a rigid type of plastic and the threads have just sort of flaked off. I find the bigger non wireless connector mush easier to thread on. You can just buy the L type connector ends separately and install them yourself if you wanted to change - I would not change yours as both styles work equally well. I find the longer non wireless style easier to thread on - they don't lock the cable tight so the cable is free to rotate and they engage on many more threads and are less prone to damaging the threads.
  14. If you are really on a budget then going with any sort of dome is probably not what you want to do. 16mm on an APS-C is not that wide, the 10mm on the 10-18 is but the 18mm end is not that long and only gets 0.1x at maximum magnification. This means you are only doing wide angle and large animals on the dive. Unless you want to invest in strobes wide angle shots will be record shots, you can colour correct if you are shallow enough but they are really not that vibrant for the most part. If you do want to go wide a wet lens on the 16-50 is possible but as they are mostly designed for 28mm focal length and don't work well at other lengths, you need to zoom to 28mm equivalent - apart from the WWL. The WWL will vignette below 19-20mm focal length on the 16-50 and you can use the rest of the range OK. There's plenty of critters on almost any dive site to photograph, the issue with your 16-50 is max magnification is only .23x. Add a diopter and you can fill the frame with smaller subjects. At min focus you can fill the frame with about a 100mm subject on the 16-50. Put the diopter on a flip frame and you can easily switch between small subjects and larger. The other benefit of this approach is the light needed is much less as you are generally a lot closer to your subject. With the diopter a decent dive torch can provide lighting because you are so close to the subject and the beam angle needed is quite narrow. A small strobe would still be better and hunting around for a second hand model could be a good solution.
  15. Exactly as I expected, there is no free lunch, good to have someone with experience reply.
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