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freediver

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About freediver

  • Rank
    Wolf Eel
  • Birthday 07/25/1962

Contact Methods

  • Website URL
    http://www.liquidlifefreediving.com

Profile Information

  • Gender
    Male
  • Location
    Oregon
  • Interests
    freedive photography of large marine mammals and pelagic's, training to become certified freediving and vinyasa yoga instructors

Additional Info

  • Show Country Flag:
    United States
  • Camera Model & Brand
    Olympus EM5
  • Camera Housing
    PT-EP08

Recent Profile Visitors

7162 profile views
  1. One option I have thought about is the gradual transition to Panasonic since I won't lose my investment in all my glass. Panasonic's video codec is much better (I've seen underwater footage from the GH5 - pretty amazing IMO), yet I have no experience with how their still images look in post. I went all in with Olympus in 2015 as a result of a friend/colleague who is a 2 time Pulitzer winning photographer and an Olympus Visionary. I tested against my APS-C Canon bodies and lenses and didn't see an appreciable difference in IQ at the time. I've experienced some technical issues with m43, basically what appears to be less dynamic range in more difficult lighting situations and a fair amount of sensor noise above 1600 ISO which is where I keep my cameras maximum ISO range at in my land based documentary work. Olympus video specs are lackluster at best and why I mention potentially moving to Panasonic - they seem more stable as a company and given the GH4/5 series (with a potential GH6 based on rumors) shooting 4K and IBIS in the GH5 currently, it seems like a lateral move to keep my investment in what I have in lenses. I hope at some point the manufacturers hit a homeostasis point with cameras like back in the days of shooting film - but given camera bodies are now as important - if not more so than lenses - I doubt that will happen. When it comes to bodies, housings and ports - it's only money right?
  2. Thanks Chris for your response - I do love my Olympus system but wasn't sure if I was missing out or should be concerned with Olympus selling off their camera division to JIP. I still shoot my documentary and street photography and would prefer to keep all my gear the same for ease of use. You're right about Olympus and their video codec - although I hear the EM1mk3 and EM1X seem to do a better job for video - but then there's the added cost of buying one! I also ave an Olympus TG Tracker and a GoPro that I could mount on top of a still housing and just shoot that way for the time being I suppose. Given my depths don't typically exceed 10-15 meters while freediving, ambient light shouldn't' be too big an issue depending on time of day.
  3. After having shot Olympus for several years in my documentary and street photography, and the recent announcement of Olympus selling off its camera division to JIP, I'm debating whether to dump all my Olympus gear or stick it out. I'm heavily invested in Olympus topside (5 bodies, 8 lenses, 3 TTL strobes) and debating whether to add an Olympus housing to my equipment list. I've considered switching out completely to SONY a6xxx for all my work but I truly love the compact form factor of m43. My issue is Olympus is really lagging on the video codec end of things - Panasonic is much better on that front but I want the ability to switch back and forth easily between stills and video while freediving. I'll be shooting ambient light only, primarily concentrating on large pelagic marine life, other freedivers, seascapes, etc. I can use/get either the Olympus 9-18 or either of the 8mm fisheye lenses from Olympus or Panasonic. Typical shooting depths no more than 15-20 meters maximum with 10 meters being the norm depending on water clarity. If I can move to SONY, can their 16mm f/2.8 lens with their clip on fish eye adapter be utilized in a housing with dome port? SONY doesn't have the lens options of other brands on that end of the lens spectrum so any advice/input would be greatly appreciated.
  4. I'm looking to connect/discuss about specific shooting techniques, post production process etc for those working with Olympus or Panasonic equipment - especially those who are freediving. Want to pick your brains on how to get the best image quality out of the format as I"m trying to make a decision if I should ditch the platform and move over to SONY A6xxx series. Challenge is I'm heavily invested in Olympus gear having 3 bodies, 4 fast primes, 3 zooms plus an Olympus housing and Zen WA-100 port for the housing. Trying to not take the hit financially switching to a new system so I'm inquiring to see who has had success in shooting with these cameras while freediving.
  5. Purchased in August of 2013, seen use in the water once. Mint condition with all boxes and registration cards. Would like $450 + $25 shipping USA only
  6. Yeah Joe - my bad - I seem to be doing that all day today. I meant the T1i - do you have any raw footage that I can get my hands on to test out editing?
  7. I'm looking to get my hands on some footage shot with the Canon xTi in 720p in 30p mode. I want to work with it to see how well the footage looks, how well Vegas Pro 9 handles it - if transcoding to Cineform Neo Scene works, etc. Anyone have footage shot with this camera they can share purely for testing? I want the raw footage - ie, not transcoded so that I can get a true idea of whether to go this route or not. Thanks
  8. Darren - it appears that h.264 and FLV's can be embedded using Acrobat 9 Pro - So the technology exists, now it's up to the publishers. This opens up a whole new realm of creative possibilities AFAIC. The problem is going to be delivery of these large digital multimedia publications. I've read discussions around the use of bittorrent as a means of removing the load off of a single server once a file has been seeded enough by others. This would be a legit and efficient way to deliver content of this type - words, stills, audio and pics embedded in a Digital magazine - this is the kind of platform that physical print publications alone do not provide.
  9. Paul, I think you have placed alot of thought on the continued techno-weenie discussions around gear that seem to pervade various discussion forums. Technology has it's place, but when the technology becomes the topic of bragging rights, the essence of visual content creation has been lost. I miss the days of shooting with my film based cameras - you had 36 shots per roll of film, the lenses were the best available (Canon L series and Nikon ED's), and the rest was based upon the technical and artistic skill of the operator behind the camera. Today it's more about pray and spray with the latest and greatest techno gadget than it is about the decisive moment of f/8 and be there. IMO, most technology has devalued the art of the profession of visual content creation and made users into consumers. 35mm slides were a tangible thing to hold, today it's 1's & 0's. Heard from a client today - his so called G-Raid Raid 1 mirrored array lost both drives in less than 24 hours and may have lost 6 years worth of non-replaceable digital content. Shooting in an "analog" medium like film, that kind of thing wouldn't have happened so easily. I miss the days of freediving with a Nikonos III and 15mm lens with a roll of T-max 400 (Think of Ernest Brooks III)...
  10. Although I come from the old school of having shot film for newspaper and magazine, the 21st century is not treating what is now being termed the archaic way of distributing visual content - ie; print with text. This is a massive paradigm shift that whether other photog's are willing to accept or not, is a reality. Newspapers and magazines have seen dramatic reductions in ad revenue, major pubs are filing Chapter 11 protection, and it was just reported the LA Times is actually making a profit from the web site only - this after several rounds of layoffs. The only place print will be seen is in expensive specialty publications The greenest way to distribute content is not to have it printed at all - no one seems willing to factor in the TRUE environmental costs of the amount of green house gases released from chainsaws, trucking raw logs, type of power and chemicals used in the production of said paper. Then shipping that paper requires more trucking at a minimum - with more green house gases released from diesel fumes being released into the air. Internet publishing can be done - and is already being done so, with server farms being run off of green power. Web distribution is an effective and environmentally friendly means of visual content being distributed. I miss the days of picking up a magazine and flipping thru the pages, but if it means I can reduce my carbon footprint by not consuming then so be it. PDF distribution is the future for magazine. UWP Mag is but one example.
  11. Looking to purchase an Inon UFL-165AD Underwater Fisheye Conversion Lens to use with a WP-DC12 Housing and Inon mount adapter. Please PM with condition and price.
  12. Jeff - so if I understand you response - you suggest the Canon housing with the WP-DC12 Inon adapter and the 165 lens - correct? I'm more concerned about size and will rarely dive below 20 meters while freediving so I should have plenty of ambient light when shooting in clearer waters. I plan on beginning my shooting with Manatee's in Florida, freediver images and will work towards shooting larger pelagics as I get comfortable with the setup. Thanks
  13. Anyone have input on the WP-DC12 housing versus the Ikelite housing for the 570??? The Ikelite seems better made and the cost isn't that much more - plus it take the 67mm threaded UWL-100 which I already own, but is it any more durable compared to the Canon made housing?
  14. Drew - Did a search for UFL-165AD but nothing came up with regards to your images - any other suggestions on search term?
  15. Drew - How "Soft" is soft? Just about any super wide angle lens I've seen or worked with seems to lose it at the edges - no matter well corrected it - and that goes for high end DSLR lenses behind dome ports as well. One advantage of the 105 is how small it is compared to the 165, but I guess softness is relative to ones needs. I've worked with the UWL 100 from Inon on an Olympus P/S & housing and full frame images were very sharp from edge to edge - images going to publication and the editor was pretty impressed give the equipment used.
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