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Algwyn last won the day on October 24 2019

Algwyn had the most liked content!

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About Algwyn

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  • Camera Model & Brand
    Nikon D7500
  • Camera Housing
    Easydive Leo 3
  • Strobe/Lighting Model & Brand
    Subal SN800, Sea&Sea YS-D2, Retra Strobe

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  1. Also, shoot RAW pictures, and import RAW files into LR. LR can process them easily, and you will get much more room to adjust/correct pictures
  2. @jcfig, given what you describe, an other option which could be good for you is an Easydive housing. When I bought mine, I was using a D7200, then moved to the D7500 keeping the same housing, and with the D7200 as a back-up. To switch camera, you just need to use a different tray to hold the camera inside the housing. I have the Easydive Leo3 Plus, which is a bit heavy on land, but has great ergonomics underwater. It is very robust, and the limited number of O-rings means that there are much less risk of flooding. The o-ring system is very reliable, easy to maintain. Not all camera features are available, but all the usefull ones are there. You could still use your D70 as a back-up, with the D7200 as your primary camera. The housing may be a bit more expensive, but you wouldn't have to buy two D7200 in the short term. It provides a smoother upgrade options for your cameras. I may provide a more detailed feedback on my experience with this housing if some people are interested.
  3. Indeed, as we have different camera set-up, we probably different options in post-processing. You probably suffer from the lower dynamic range of the EOS 5D Mark IV vs. the Nikon D7500, which impact the ability to push the details in dark areas. DPReview test is quite useful to see the difference: If you compare with the D850, which would be the Nikon equivalent range, the difference is even more significant. You can almost push the D850 to +6EV with an acceptable level of noise. Dehaze darken the image, which means that you need to push the exposure to compensate. The dynamic range of the camera will impact how much you can do that. It is a camera feature which is often overlooked, but which is quite important for underwater photography, as we have many situations where we need to do post-processing to compensate the issues create by shooting underwater. During my last trip, we dived with whale sharks water rich in particules, and I would of push Dehaze to +20-40 when processing these images.
  4. APS-C is a good choice, there are very good cameras in this segment. Choosing a Fuji seems to limit the choice of useful lenses. My preferred lens (due to its versatility) is the Sigma 17-70mm F2.8-4 DC MACRO OS HSM, which do not exist in Fuji mount. In the same price range, you would find a much better camera with the Nikon D7500. Frankly, for underwater strobe, image stabilization doesn't bring much value. Most of the time you will shoot with strobes, in which case image stabilization (whether in lens or in body) is useless. The Nikon D7500 has a much better dynamic range and is less noisy, which in my opinion is much more important to get good pictures in low light situation where you cannot use a strobe. If you look at the comparison of dynamic ranges (https://www.dpreview.com/reviews/fujifilm-x-h1/9), you'll see that there is a huge gap between the X H1 and Nikon APS C, including cheaper models such as the D5600. As you can see, the difference is quite significant. The D7500 has a huge capability to recover underexposed pictures without adding too much noise. Between image stabilization and dynamic range, I much prefer a better dynamic range, which will benefit all pictures, even those where shutter speed is not an issue. You also get a huge range of lenses, including fisheyes and macro, from Nikon but also third party lens makers such as Sigma, Tamron, Tokina.
  5. I was quite surprised when you said in your tutorial that you don't like to use Adobe dehaze filter. I find it very useful, as long as you don't overdo it. My understanding is that you cannot get the same results with a combination of the other filters, as Dehaze use local adjustments to optimize the image. While it's interesting to explain how to use the other filters, you should definitely recommend the use of dehaze. This filter is design to counter the effect of light dispersion in the atmosphere (due to haze). Underwater light dispersion due to particules is much more of an issue than in air, and the usefulness of this filter is even greater.
  6. I also flooded my first DLSR housing when I started shooting underwater. Fortunately the housing had a flood insurance when I purchased it, and my camera and lenses were reimbursed no questions asked. It was due to an error from my part (o-ring pinched when closing the housing). Once I had reopened the housing, it was next to impossible to tell where the leak occurred. Most flooding are due to user errors such as pinched o-ring, or dirt in o-ring. Testing before diving is a very good practice, the ideal is to have a vacuum system on the housing. Strongly recommend to install one if you don't have one. A lot of flooding occur in shallow water or in rinse tank, when the o-ring are not under pressure.
  7. Not sure where the OP took the video, but one place for sea snakes is Manuk island (Manuk, Pulau Manuk, Maluku) in the Banda sea.
  8. What do you mean it is a bit short? You are too close from your subjects? or the magnification is not strong enough?
  9. Indeed, the Retra team has been very clear when I ordered that they could not guarantee delivery on time for my trip. But they also indicated that in that case I could cancel my order and get a full refund. They informed me as soon as the delay was confirmed. Overall I find that they managed that quite well, despite my disappointment at not being able to test these new strobes during this trip. It'll be a "one strobe challenge" trip, as one of my current strobes is dead (a YS-D2 ... )
  10. Two weeks from initial ship date of end of October / beginning of November. We should now expect first shipments mid-November
  11. I received this morning an email from Retra: they are postponing by 2 weeks the start of shipping of the new Retra stobes. I won't be able to get them for my diving trip in November
  12. Adjusting the WB in the camera is only useful if you shoot JPG. The camera WB will not affect the RAW file. The distance of the card doesn't matter, I usually just hold it at arm length while I shoot it. It needs to be at the same depth as your subject. To detail more the workflow: Shoot a picture of the WB card holding it at arm length (or put it on the floor next to your subject if it is a static subject) Shoot a set of pictures in the same area Move a bit too much or ambient light condition changes, reshoot the WB card etc. Typically, I take 5-6 WB shots during a dive. Post processing goes as follows (in Adobe Bridge as I find it best for my workflow): Open a WB card picture in camera raw, set the WB on the card, close the picture Copy the development settings fo the WB picture, paste the settings to all pictures taken with the same lighting conditions Review the pictures with the WB corrected this way, select the pictures worth advanced processing Open a selected picture in Photoshop, and make 3 copies of the background. Apply to each copy one of the following adjustments: Auto-tone, Auto-color, Adjustments>Match Color>neutralize option Depending on the image, one of the three adjustment will give a better result, select it for the final picture You may fine tune the result by mixing the output of the original image, and of one or several of the adjustments: make some layer partially transparent and hide others ... The picture in my previous post used the result of the Auto Tone adjustment, no further WB improvement needed. This also works if you have not a WB card shot to initiate the WB correction. Just do the first step manually, the better the initial WB correction in Camera Raw, the better the output of the following adjustments. This workflow is quite efficient, and you can automate most of the steps or apply them in bulk. You don't need to fiiddle with color tone sliders, ...
  13. Well shooting ambient light is a challenge, but you may get nice results if you follow a good protocol: take RAW pictures: you need all the latitude of the raw files for post-processing use a white balance card, and take regularly shots of the card to calibrate your post-processing workflow (at each significant change of depth during a dive at least) use Camera Raw + Photoshop for post-processing your files, Ligthroom comes close second You will be limited in depth, but you should be able to shoot up to 15 m depending on light conditions. Here is a sample picture taken at about 10 m, which shows the post-processing steps: raw file, camera raw white balance, and final color correction in Photoshop. So it's more post-processing work, but it's an opportunity to learn shooting in ambient light. It's like shooting with one strobe: it's usually not optimal, but it's good to learn to do it ("one strobe challenge"). This way when you are in a situation where shooting in ambient light actually is best, or when your strobes run out of battery, you can still shoot and make the best of the situation. But in the end, you have to choose based on where you want to dive. The best option will be the one which enables you to maximise the photo opportunities.
  14. Sorry, my mistake! Didn't notice that the Retra Pro/Prime are "HSS" ready. We will have to chech how this work when they are released, or when this feature is enabled (maybe through the app).
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