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ChrisRoss

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ChrisRoss last won the day on March 28

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About ChrisRoss

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    Great Hammerhead

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    http://www.aus-natural.com

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    Male
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    Sydney Australia

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

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  1. I would get this cable instead: https://www.backscatter.com/Inon-Optical-D-Cable-L-Type-17-in-With-Rubber-Fix The S&S plugs are easy to pull out and the one you linked uses an adapter to allow a S&S to plug into INON Screw fitting so can pull out. The one I linked has an INON screw fitting end so only the housing end uses a S&S plug fitting. Alternately you can order the cable bare and buy a right angle plug fitting for the cable. I prefer to use the old style large screw plug which is provided on this cable as well, you take apart the fitting to change the fitting. The L cable adapter is here: https://www.backscatter.com/Inon-Rubber-Bush-Typle-L You can use one for two cables if you like. I think it is also more secure than the straight double hole bushing. The advantage of these cable types is if the cable breaks at the plug you can trim the cable and re-assemble it. The moulded plugs on the cable you linked can't do this. You don't mention what housing you have - you might need an attachment to allow you to plug in fibre optics if the housing doesn't have it as standard. This is the one for a TG-6: https://www.backscatter.com/Olympus-PFCA-03-Optical-Fiber-Cable-Adapter You also need 6 clamps not 5 and do you have something to clip your carry lanyard to? this is one option: https://www.backscatter.com/Nauticam-Multi-Purpose-MP-Clamp-with-Shackle Ultrlight may have something similar.
  2. So it's like this one: https://www.nauticam.com/products/nauticam-to-sea-sea-dual-optical-fiber-cable But with INON connector plugs. First I would suggest shining a bright torch into the housing end connector and comparing brightness that way - this will eliminate housing end alignment issues. Do you have an LED trigger - confirming that is flashing as required is another step. If you are triggering by onboard flash, normally alignment would not be an issue. It looks like you can disassemble the end plugs at both ends, this would give you the opportunity to add a replacement cable if one of yours is defective. You can also purchase the connector plugs separately and possibly convert to twin cables. If the break is near the connector you should be able to disassemble, trim off the bad bit of cable and reconnect. Here is one source for connectors: http://www.reefwreckandcritter.com/fiber-optic-connectors--cables.html Googling should find others near your location.
  3. This is a classic problem of balancing flash and ambient exposure. First rule is maximum shutter speed up to your camera's flash sync limit, plus minimum ISO to allow you to pull back the exposure and avoid blowing out the sunburst. Stop down probably f11- 22 on a full frame to pull back exposure further , get your ambient exposure right within these guidelines first. This means you need plenty of flash power to light up your foreground subject. Shoot RAW - it gives you much more flexibility in handling highlights. Time of day matters too, it's easier to frame your foreground subject with the sunburst when the sun is lower in the sky. You can also look at placing the sun just outside the frame so you get the rays without the blown out sun itself. If you are shooting ambient with fish schools or something similar in silhouette, it's easier - just meter on the water away from the sunburst.
  4. There's going to be a improvement in sharpness between the 17-40 and 16-35 f4 but whether it's enough to lay down some cash compared to going diving only you can answer. I would think you would see some improvement, probably mainly in the corners. If you are into that sort of thing you can find lens sharpness tests online like here: https://www.the-digital-picture.com/Reviews/ISO-12233-Sample-Crops.aspx?Lens=949&Camera=979&Sample=0&FLI=0&API=3&LensComp=100&CameraComp=979&SampleComp=0&FLIComp=0&APIComp=3 On this site you mouse over to swap between the two lenses, or here: https://www.opticallimits.com/canon_eos_ff On this site you need to compare tests done on the same camera - numerical results are quite different on different cameras. You can that at f5.6 - 8 the new lens is much better , but both are quite close by f11 where you would probably shoot on full frame. The other but is what dome do you have - to get the best in the corners of a 16/17mm lens (assuming full frame) you need a big dome, probably a 230mm dome. In the centre the lenses seem to be quite close.
  5. When I was training to dive a few years back I was struck by the issues my instructors had with air transmitters constantly beeping and other issues which lead me to rely on an SPG. I don't find it a big deal to look at the gauge regularly. I find I know pretty much where it's going to be based on dive time from my wrist computer. I have an oceanic basic model and it's good enough for the diving I do.
  6. I agree, glass especially will remain intact and inert for many many years - about the same life span as any small rocks you might find and it does break it will convert to the equivalent of a pebble. Metal will corrode away eventually much like a shipwreck - plastic is unique in that it breaks down to pieces that will float and absorb toxins and have potential for ingestion. I would be inclined to leave items such as glass and metal containers in place.
  7. Lots of people shoot 16-35mm zooms which include those focal lengths. At the 16-18mm range an 8" dome might be a little small for good corners but beyond that no issue. As long as you can work out the right extension to use there should be no issues.
  8. Or go with the 16-35mm f4 it's sharper than the II and just short of the III and cheaper than both. When you put it behind a dome port and stop down to f11-16 a lot of that extra sharpness disappears. Compared to the f4 lens unless you need f2.8 on land it provides no advantage underwater.
  9. I would remove it. I don't believe they have any function above or below water except in specific circumstances like protection from salt spray or shooting in close to waterfalls etc. I have seen specific cases where it has been shown that UV filters are the cause of cause immediately noticeable image degradation. Due to poor coatings or the filter glass not being flat and parallel to the required degree. If you are going to add a filter it should be manufactured to the same standards of grinding/polishing/coating as your lens elements. Not all of them are.
  10. In addition to cost, my objection to Lightroom is being tied in with proprietary formats. The catalogue and your edits are stored in a way that only Lightroom can access them and if you stop paying you can't get to them. You don't lose your images - the Raw images remain but you lose your edits unless you have exported it as a tiff file or similar format. There are many alternatives to PS emerging these days - affinity photo is one that gets good reviews and is reasonably priced. I use PS CS6 have not gone to CC and Capture One Pro. Capture One pro has many of the capabilities of lightroom in catalogueing images though the learning curve is a little steeper and these days it has many but not all the functions of PS. Whatever you choose be sure it allows 16 bit editing of at the very minimum the raw file. 8 Bit editing is quite prone to banding and posterisation - most common in UW images in similar tone blue water that gradually brightens towards the surface like a gradient. All the options discussed so far allow 16 bit except maybe PS elements which among other things will not allow layers in 16 bit - you can work around it by setting your levels as the first step then converting but it's not ideal. Elements does RAW conversions in 16 bit so you are OK there.
  11. Hi Duncan, I keep my backup strategy fairly simple - made easier as I work off a desktop which has a large storage drive installed. I have an external drive which is only powered up when I'm backing up the Hard drive. To do the backup I use Free File Sync which basically looks at the two folders and just updates them with changes. It may get a little finicky setting up to backup a new folder each time, but I think it should work fine for what you want.
  12. The trigger is setup to work with the flexitray and bracket - housing is not relevant apart from whether or not the extension will reach the shutter release on your housing and the fact that you don't have brackets if you don't have a Nauticam housing. However, Nauticam offer a universal RH bracket to allow mounting of the trigger: https://www.nauticam.com/products/universal-right-handle-bracket-for-use-with-25200 if you don't have a set of housing brackets . For a Nauticam item it is surprisingly cheap. Note this is for the Mirroless/compact housing shutter release extension which looks a little different to the one in your pic.
  13. It does seem odd the Lumix lens is about 10mm shorter than the Leica, but in the 5516.15 port the front element will be 20mm further into the dome than the Leica lens is in the 5516.15 plus 1.2" extension, so should not vignette at all. Even in the 5516.16 it will be 10mm further into the dome. Seems like a typo or error in the port chart.
  14. Don't have direct experience. you'll probably be at f5.6 +/- with a G7X. You need quite a lot of lumens to get reasonable exposures. The following link is a test of a 14,000 lumen light vs a strobe and shows the exposure with the video light to be 1/250 @ f2.8 ISO200 at 1m distance. It might not be apples and apples with the video lights you mention as the light on the subject will vary with the beam angle of the light., but assuming they are close and doing some rough calculations a 3500 lumen light (2 stops less) would need 1/60 @ f4 ISO400, but on a bright sunny day in clear water, ambient light exposure might be 1/250 @ f5.6 ISO200. You need to match or nearly so the ambient light so it brings up the colours in comparison to the ambient light. That's a long-winded way of saying you need a lot of light to match the ambient sunlight exposure. You probably could shoot raw and pull the colours up as you are adding some red - yellow light and get some significant improvement, but still won't be as good as if you put enough light in to balance with ambient as you push colour into the water as well. It also shows why strobes are still so much better than video lights for this type of work.
  15. A lot depends on what camera you want to use. A TG-6 wide angle at f2.8 needs a lot less light than a DSLR with a rectilinear wide angle lens in a dome which might be at f11-16. Each additional stop is 1/2 the light so going from f2.8 to f11 is 1/16 of the light getting to the sensor.
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