Jump to content


  • Content Count

  • Joined

  • Last visited

  • Days Won


Everything posted by Algwyn

  1. Indeed, just received an email from Retra announcing this. A great commercial gesture. Very much appreciated!
  2. You can check which functions are available from the command manual: https://www.easydive.it/download-allegato-articolo?id=159 I don't have a Sony camera, so difficult for me to confirm, but from a quick look to the manual: you can switch between shooting stills and video, you have separate button for video recording changing photo mode from M to A doesn't seem possible, or at least is not straightforward in any case, you should probably shoot in manual mode. For Nikon camera, the ability to switch camera mode depend on the camera: when the camera has a mecanical mode switch, you cannot change the mode in the housing. For higher end cameras (D850 for example) which have an electronic mode switch, you can change the mode in the housing. This is clearly not a feature that I have missed with my D7500, shooting in manual is clearly the best option.
  3. Never seen such a housing. The best option for this scenario would be to connect an external monitor to the camera, and use this to replace the rear LCD view. This external monitor would enable a full remote control operation too ...
  4. Are you with the latest firmware update? Now the function of the two front buttons are similar accross all camera models (Canon, Nikon, Pansonic, Sony): Button 1: select the Focus/Shutter Release Mode (two modes available) Button 2: button Focus & Shutter Release button I use the default mode: press Button 2 to trigger focusing, release Button 2 to shoot. This is quite similar from the half-press button of the camera.
  5. If you dive to 100m, you'll reach the limit of the Sea & Sea depth rating, which probably increases the risks of flooding. For deep diving, have you considered switching to an Easydive housing? They are designed for deep diving, up to 150m. It's one of the few housing actually designed for deep diving.
  6. I also use a flip, positioned between 11 et 1 o'clock. The diopter rests on top of the macro port when in use, which is typically out of the way enough to position strobes.
  7. I guess that the main benefit of coiled fiber optic cables is that they may be adjusted to different arms setups. I find the coiling more bothersome than convenient when installing arms. With cheap fiber optic cables, there is no need to coil: just cut a cable length for each arm setup combination. Regulary fiber optic cables loose a lot of light when they are bent, so coiling them is not a great idea, unless you are using these multicore fiber cables, which are not so easy to get.
  8. There is an interesting thread in a French underwater photography forum on using large (4 mm) fiber optic cables. These fibers are cheap, do not break easily, and transmit tons of light ... after a few trial and error, the posters managed to get them working very well. It worked so well that in some of the early trials, where they used uncoated fibers, the flashes of neighboring photographers triggered the strobes! They have made 3D printed parts to adapt these fibers to standard connectors. Interesting of the DIY minded ...
  9. I am also using Bridge to manage photos, keywords tagging, preview, sorting, ... I do most of the processing in Camera Raw, and only edit a few "keeper" photos in Photoshop. So far CameraRaw is the best Raw processing software that I have found to correct white balance of underwater pictures, especially ambient light pictures. Using Bridge, the development settings can be easily applied to other pictures, which makes the workflow quite efficient. Similar workflow can be achieved with Lightroom (same Raw processing engine) but it's a bit slower, and less efficient due to the size of the library. Photos edited in Photoshop are saved in PSD, in case I want to edit them again in the short term. I agree also with the previous comment that when I want to edit again a photo that I processed more than 4-5 years ago, it is best to start again from the RAW file. Improvement in processing software (and my editing experience) really make it worthwhile. So I don't see any benefit saving into another lossless format such as TIFF.
  10. Nikon is expected to release later this year Z6s/Z7s, incremental updates which correct the biggest issues from the Z6/Z7 (dual memory card slots, vertical grip) and update to current standards (4k 60fps, USB power, ...) Then there is the Z8/Z9 which is rumored to be the high end mirrorless, with 60MP sensor, and everything which can be expected from a high end pro camera. At this stage, it's not clear whether there will be two cameras, or a single one. Nikon will also probably produce a D850 replacement with this same 60 MP sensor, but it is expected to be release after the Z8. This D850 replacement will probably be the last Nikon DSLR, unless a successor to the D7500 is produced.
  11. For those in Europe or Canada, Decathlon has an inflatable cooler which is quite convenient for traveling or storage: https://www.decathlon.co.uk/p/ice-box-for-camping-and-walking-compact-fresh-35-litres/_/R-p-310516?mc=8572258&c=GREEN_KHAKI It's quite cheaper than the other coolers quoted above.
  12. Which version of Lightroom are you using? Is it a recent one? I'm not using Lightroom, but Adobe Bridge, which enables the selection of the proper color profile (at least in the current version).
  13. Also happy with my Leak Sentinel detector. For a new installation, I would strongly recommend the V5 XB, for which the battery is located in the housing, which makes changing it much easier.
  14. I am not sure what you mean by that. It seems that you mix several topics. One is the color depth supported by the monitor (8 bits, 10 bits, 12 bits ... some details here) with higher color depth, you may get smoother color gradients. You should avoid 8 bits monitors, it seems that most "color accuracy" oriented monitors are now 10 bits (from "entry level" Dell to high end Eizo). If the bit depth of the monitor is not mentioned, look at the "number of colors supported": 1.07 billion means 10 bits, Then there is the topic of internal calibration of the monitor. High end monitors have an integrated calibration sensor, which enables a fully automated calibration. This feature is mostly for convenience, as you may get similar calibration with an external calibration probe. Then there is the topic of the LUT, which is related to how the monitor convert the color signal received from the computer to the screen. Here is an illustration from Eizo on their conversion: This is important for high end monitors, as the management of color is done within the monitor. With lower end monitor, this has to be managed by the computer to which the monitor is attached. In that case, the conversion of the signal to the screen is a black box on which the user has not control. You will then rely on the external color probe calibration to setup a LUT which will be used by the computer. I would say that 99% Adobe RGB is now a must of any "color accuracy" oriented monitor. Even entry level monitors achieve that. Not critical, but useful, and it "futureproof" your monitor purchase. You should also check that your computer is able to manage this resolution without issue (should be the case if your computer is recent) There is one feature that you have not listed but is becoming more common: the compatibility of the monitor with HDR. It may be useful for video. This is also becoming more mainstream and affordable, so added bonus on good monitors. If Eizo monitors are too expensive, you may look at BenQ monitors which are more affordable (4K, 99% Adobe RGB, internal LUT, ...) Review shows the main weakness is color/luminance uniformity, but otherwise color accuracy is very good (other review). Dell also makes some "color accuracy" oriented monitors in their ColorPremier range, some of which have good reviews (but overall you'll find mixed reviews) I've had Dell monitors from that range and been very happy with them.
  15. I own the Leo 3 (the regular one, not the Wi), and I have used it first with my D7200 then D7500. This ability to house different cameras is great, especially if you plan to upgrade your camera in the future. These housings are heavy out of the water, mostly due to the handle being made from the same block of aluminium as the body. But this means that they are very strong and solid. The lack of mechanical parts also contribute to this strength and reliability. There are a very limited number of o-rings, and the only ones that may be mechanically stressed (the back door o-rings) are designed in a way which makes the seal very reliable. Due to this design, they require minimal maintenance and care, much less than what I've seen on other housings. For peace of mind, it's recommended to install the Sentinel leak detector. However Easydive only propose to pre-install the old leak sentinel V4. It's better to buy directly the Leak sentinel V5 XB (smaller, with battery which can be easily changed from within the housing), and install it on the housing, this is quite straightforward. It terms of operation underwater, I am afraid that my experience with the Nikon cameras would not translate to Sony's, as the set of functions available is very different. Check carefully the description of the functions available for your camera. If you like to play with settings underwater, or spend time reviewing your pictures underwater, the functions available may be a constraint. If you shoot in manual mode, the settings (speed, aperture, ISO) are directly are easily available. With the Leo3 and Nikon cameras, there are also a set of buttons to move the focus area, which is very convenient to shoot with a focus point out of the center. I'm not sure whether such a feature would be possible with the Sony cameras. I'm overall very satisfied with my Leo3 housing and the support I've receive from Easydive since I have purchased it.
  16. Very interesting discussion. Thanks Adam and Alex. For APS-C format, I would say that the Sigma 17-70 DC Macro is worth mentioning for its versatility. I find it very useful on dives where I may encounter both wide angle and macro subjects.
  17. I've been using the 105 with DX bodies (D7200 then D7500) and I've been very happy with it. Focusing works very well, even with a macro diopter lens. The only issue that I had shooting super macro with it are user related: at this magnification level, finding the subject and keeping it in sight in rough sea is a bit challenging. But once the subject correctly in sight, focus is fast and accurate. I find few drawback to use the 105 over the 85 mm, and there are some significant benefits: additional magnification, compatibility with full frame if I decide to move to full frame.
  18. I use Adobe Bridge + Camera Raw + Photoshop. I never was a big fan of Lightroom centralised catalogue approach. Bridge is slower as a catalogue, search engine for photos. What I like is that Bridge follows how pictures are organised on disk. All the information is saved on side cart files, and to copy the full library you just need to copy the directory. I find that simpler, and I don't have to worry about what is stored in Lightroom central database which might be lost. I'm testing regularly alternative to Adobe, but so far Adobe Camera Raw (or Lightroom are they are using the same Raw engine) is way better when it comes to adjusting white balance of underwater photos, which is for me a critical feature. Other solutions that I have tested are really far behind Adobe when it comes to retrieving natural colours from ambient light underwater raw files (Nikon).
  19. Hi, I have shot film underwater when I started doing scuba diving, about 25 years ago. It was a totally different experience, and underwater the limitations of film photography are a huge impediment: you're limited to a film roll of 36 exposures. It's obviously impossible to change roll underwater, but also often between two dives (e.g. when you do two dives in a small boat where changing the film roll is not possible). So either you take pictures very parsimoniously or you end up without film at the absolutely worse moment, or both ... it is much more difficult to adjust white balance on film, and the range of adjustment is very limited. I never shot BW film underwater, but there may be other type of challenges with BW that I cannot describe. you cannot change ISO, and the exposure latitude of film is very limited compared to digital. So you will be in many situations where you cannot expose correctly with film, which would have been no issue with digital. you need to wait until the film is developed to see the results. With digital, you can check the result immediately and adjust settings if needed. Shooting underwater often requires a lot of trials and adjustments which is not possible to do with film.
  20. Regarding the cable, this will depend on which flash sockets were installed on the housing that you have purchased. In any case, you may change the sockets to better suit your setup. Most likely it would be 5 pins Nikonos sockets, but to be checked when you receive your housing. (or you may ask your seller) Flash sockets of any type are available for Subal housings http://www.subal.com/c70c20c1/Housings/Accessories/Flash_Sockets.aspx You may also consider using fiber cable connection to trigger the flash. Much easier to use and lighter than the cables. For the arms, this looks like a standard "bayonnet" or "T mount", for which you may get: https://www.carbonarm.com/en/balls-and-terminals/71-starting-bayonet-ball-0806808286574.html https://www.flex-arm.com/en/components/ball-and-adapters/1-inch-ball-with-universal-t-mount-60027bk If your housing hasn't already a leak detector installed, you should get a Leak Sentinel V5 XB.
  21. Do not blind the pygmy seahorse with a burst of flashes! Getting them properly in focus is a challenge, but it is achievable without resorting to such practices which are definitely not good for the creature which is photographed ... Seeking to get a good picture is no excuse for practices which are damaging for the fauna and environment. So instead of bursting 10 fps on macro, learn patience and shooting at the right instant, and accept that you may not always get the picture you dream of.
  22. Well, with the Stix float belt it should work. The float belt covers only 2/3 of the port circumference, so you may orient it to have the velcro on the side of you manual macro focusing knob. And you may end up not needing all the float segments of the belt.
  23. Too expensive, from a manufacturer with too many reliability issues ... Never again will I buy a Sea and Sea strobe. Manufacturing defaults may happens, but in that case, the manufacturer should put in place a repair program. Sea and Sea did not, the cost of repairing one of their strobe was too high to be worth it.
  24. I'm using one, I've had no issue with it so far. It's not "fiddly", quite easy to install. The segments enables you to fine tune the buoyancy if needed. If the velcro strap is too long, you may cut it to the right size. The belt also support the port outside of water: The belt may rotate underwater if the port body is smooth and you do not tighten the velcro strap. But once correctly set, it is holding for a whole trip. As an alternative, you could try the float ring from Flex-arm (other size) If the size does not fit your port, you can buy a rectangle of foam (Flexarm or Carbonarm), and cut it to your port size. But this would be less flexible and versatile than the belt.
  25. For macro? What about using a Stix Float Belt? It would provide the additional buoyancy without changing the arms. It impacts the housing balance, but I find in a positive way, as the macro port tends to be heavier that the body and the belt provide lift just where needed.
  • Create New...