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Everything posted by Alex_Mustard

  1. Another use of corrected optics is the ease of shooting panoramas. Although this is still a work in progress and I intend to reshoot this scene with a tripod. This is a panorama of 20 images, compiled as a new RAW file in Lightroom, taken with Nikon D4 and Subal housing, Seacam strobes. Nikon 20mm and Optical Corrector Port, (f7.1 @ 1/20th. ISO 640) x 20!.
  2. Andy S. had the correction diopter for the Sea & Sea dome on our trip to the Channel Islands in September (and in Guadalupe too). Seems a good, cost effective solution. And I suspect it will improve other domes, even if it is not perfectly matched to them. We also had the WWL-1 on that trip, which seems good too (the video of me on the previous page was shot with it). Peter R. immediately switched to using it over the other wet lens he was using it, after trying it. Alex
  3. I saw from Adam’s extensive coverage that Seacam showed a version of my megadome for splits. Maybe they will work on a corrector port next.
  4. I don't think anyone presented what they are working on at DEMA. I was not there. To make a general point, the main advantage of any water corrected optics (either a corrector port or old Nikonos lenses) is that they improve image quality in the corners of the frame. They don't really make any big difference to centre-frame subject sharpness - despite what people who have spent lots of money on converting their old RS lenses will tell you! At small apertures you can be hard pressed to spot a difference with a good dome port setup. That said, at wider apertures the improved image quality can be staggering. In bright conditions I find that I regularly have to shoot with the aperture closed anyway, so the advantages of the Corrector Port (and my RS 13mm) is really small in practice. However, find yourself somewhere darker or with more distance subjects and it is a great advantage. The best trip I have done with the Corrector Port (and RS 13mm) was to Southern California and Guadalupe - where being able to shoot more open paid me back on dive after dive. It was quite funning shooting at Guadalupe without ever using a dome port. However, for my subsequent trip, both stayed at home and I preferred 10-17mm DX camera and dome. I can't share photos from these trips - as they were for my new book. But I can share a video of the corrector port in action beneath the rigs off LA> Alex
  5. Mine always travels in the hold in the box it came in. Wrapped in bubble wrap and in a hard-shelled Samsonite suitcase. It has made many, many flights and never had a problem. If it comes to it, that is an option. Alex
  6. I use AF-C 3D for macro and AF-C AUTO Area for wide angle. Very occasionally use AF-C with single point. http://wetpixel.com/articles/field-review-nikon-d750-and-nauticam-na-d750/P3 ALex
  7. Mine has done this for years. If zoomed to just past 10mm, the aperture sticks open, causing over exposure. Solution is to not quite zoom to 10mm. Or get it repaired! Alex
  8. Yes. The solution is to make a profile with a higher Tint starting point. This one was called 40T - as it adds an extra 40 units of Tint before you start using the Lightroom controls. String’s problem is that Canon cameras in particular can add more tint in camera (more than +150) than you can in Lightroom (limited to +150). DPP supports this in the Canon RAW file. Lightroom does not. It is why I always tell Canon shooters to use RAW + JPG when shooting filters. Or use this work around. You can also achieve a similar affect with the sliders in the Camera Calibration module - but I find them fiddly to use. The Custom profile solution is one click simple and it s stored in Lightroom for future use. The profiles are Camera specific. Alex
  9. These are the Lightroom adjustments I made. It was only a quick process - so these were all I bothered with (the answer is in there - although not easy to spot): Alex
  10. I would be careful doing big WB colour adjustments on Graduated Filter/Brush Tool in Lightroom. To my eyes these work much more destructively to image quality than global adjustments of WB.
  11. Here is a version of the turtle unprocessed and processed in Lightroom and only in Lightroom with a few clicks - (this is just a virtual copy of the original file):
  12. What a cool piece of kit. The dome port/shades need to be rotated 90˚.
  13. It must be a challenge to get rid of the CA and pincushion distortion from the flat port, before the lens can look through the wide lens. It looks very impressive at low resolution above. Alex
  14. The corner performance of your wet wide lens looks great in that second photo. Alex
  15. The other side of this situation is that new photographers think everything is Lightroomed these days and that great results are impossible in camera. On workshop trips I always make a point of showing my pictures as shot on the back of my camera or on my computer from the dives we’ve all just done. Alex
  16. Here is an example of current macro nature photography above water. Subject small in the frame, negative space used powerfully. The majority of underwater photographers are striving for much more simplistic macro: http://www.gdtfoto.de/seiten/gdt-nature-photographer-of-the-year-2015.html Hopefully link works this time. Alex
  17. I think the main issue that comes from Social Media is that images are overcropped. The macro image that looks best (and gets the most likes) on a tiny phone screen is a very simple subject, big in the frame, on a black background. Photographers crop and crop and try and frame tighter and tighter in the quest for phone screen likes. The art of using negative space in an artist way is being lost by underwater macro photographers. Subjects are stuffed in the frame, so no negative space exists. This is in stark contrast to the far more artistically interesting use of negative space by macro photographers on land, where subjects are small in the frame and the negative space elevates the image to another level than just subject on clean background. Getting likes on social media, particularly within groups, is about conformism. Which is not a particularly artistic attitude. Alex [EDIT - Link Removed - Not Working]
  18. Another use I have been exploring is informal panoramas. Taken without planning or tripod etc. Simply when faced with a scene to big to shoot, just taking a series of 4+ images and throwing them at the new Pana tool in LR. The latest LR is much improved in making panoramas, and outputs a new RAW file (DNG), which is very nice. It even works very well with Fisheye shots - but only with large overlaps between the frames - as most of the fisheye frame is actually discarded by the program. Using a rectilinear is much more forgiving as much more of the frame can be used (with no corner issues to cause problems). So even when you are a bit sloppy with overlaps, it tends to work really well. I think this is a particularly valuable use of the corrector port. This one was 7 verticals - this is just cropped and straight from LR. It needs a few tweaks to Photoshop to be honest (there are some repeated fish!) - but as a 8 click solution (7 underwater and then one click in the software in LR). I think this is a really nice and super easy: The original images here were shot with 20mm at f/10. I did some really extensive ones with up to 58 frames shot - but I have not had time to build them up, yet. Alex
  19. Hi Elmer, As soon as news is public I will post it here. They are not my secrets to share. Although I have been communicating my test results freely - as this is not a commercial project for me - and I am keen to share what I have been learning. Alex
  20. Definitely interest in the concept from major UW manufacturers. Whether they will become a production reality will be confirmed before/at DEMA for sure. Alex
  21. I am continuing to use this port on all my shoots and these give the opportunity to use it in more varied conditions and exploit its advantages. Here is a shot from the Red Sea. The dolphin encounter was very late in the evening - and shooting without strobes it was a big advantage to be able to shoot at f/4.5 with a rectilinear lens on a full frame camera and still achieve good corner sharpness. This was taken at ISO 2000, f/4.5, 1/320th. A fast shutter speed is essential to keep fast moving dolphins sharp. Although I would have preferred to be shooting at about 1/500th, the very low light levels meant compromising a bit. It was therefore beneficial to be able to shoot with an open aperture to maintain corners. Alex
  22. I have been asked to shoot some Photogammetry sections of vehicles in the Thistlegorm next week, that no longer exist on land - for model builders to make more accurate models. I am going to use the 20mm Nikon behind my optical corrector port. I realise that is not a big help for the original post - but I think it is the best solution - money/availability no limitation. Alex
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