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chrisg

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About chrisg

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    Moray Eel
  1. Thanks to all for all the offers of support and sympathy, both here and in emails. I've managed to locate in-stock housings for my trip and all is good. In a way, I'm lucky - the loss of the housings has "forced" me into a significant upgrade.
  2. HELP!! So, my wife and I, both avid UW photographers, are heading to PNG for a month, visiting multiple locations to dive. We're leaving July 12th. In preparation for this trip, We sent our two housings for our canon d60s to be serviced, after making sure that they would be ready in time w/o risk. We sent them overnight fedex, well-packed, at great expense. They never arrived. fed-ex appears to have "lost" the large package. They've been doing a search, but it doesn't look good. Fortunately, I declared their value and paid the premium associated with the high declared value (though I wonder if I hadn't if they wouldn't have been stolen). So, I'm desperately hoping that I will be able to come up with some sort of replacement solution before I leave. The problem is typically long lead times on housings. I'm looking for any help from vendors (who would stand to make good money by helping) or others. What I had was two sea+sea dx30-60 housings for two canon D60 cameras. Only the housings were sent (plus one port). I still have the other ports + accessories, plus my cameras+lenses. Possible solutions - I need to do one of these reaally quickly: buy or rent 2 3060 housings. buy or rent other sea+sea housings for other canon cameras, and buy or rent those cameras. advantage is I should be able to use the ports+accessories from my other housings. buy or rent other housings for canon cameras, either the cameras I have, or newer canon models. other. beggars can't be choosers and I want to be able to take pictures. The important thing to me is to have both macro (I use the canon 100mm macro lens, the older one), preferably with manual-focus and WA capability (I use the sigma 14mm lens or the canon 20mm). I'm willing to upgrade as part of this - I'd even be willing to go all the way up to a 1ds mk 2 setup IF the time constraint could be satisfied, so there's a good $ amount possible to a vendor who can deliver. HELP!!!! I can be reached at cgreen@valvesoftware.com, or here. Thanks to anyone who can sell/rent me stuff, or provide a creative solution.
  3. 4-5. You most likely want the canon 100mm with a flat port and a manual focus port/gear setup. If you buy the 50mm, you're going to eventually end up buying the 100mm. I am totally setup for either the 50mm and 100mm underwater. The 100mm sees about 10x as much usage as the 50. There's a good chance you will find the 100mm frustrating UW at first. Stick with it.
  4. I've just done a couple of test prints with my new r800 printer. This printer is a pigment-based ink jet. pigment-based printers are supposed to produce prints with high longevity and fade resistance compared to the more ordinary dye-based printers. However, until recently, pigment-based printers have had smaller color gamuts than their dye-based cousins, resulting in less vibrant colors. While the introduction of new ink sets with recent epson offerings had helped this greatly, some prints especially on glossy paper would still show quality deficits compared to dye-based. The r800 is supposed to overcome all of this. It uses a new ink set which includes 2 black inks (matte and photo black), CMYK inks, plus red and blue,and a new "gloss optimizer" cartiridge which contains some sort of laminate-type ink for optimizing output on glossy paper. It also features a new resolution of 5760x1440 dpi, and a 1.5 picoliter drop size. I was particularly interested in trying out this printer vs my trusty 1280 for 2 reasons: * The addition of the blue cartridge should produce truer water colors without the slight purple tint seen sometimes. * It is supposed to be able to print extremely neutral black and white prints. My first test prints show it performing nicely on both counts. I have gotten it to produce the nicest blues I have seen from an inkjet. A black and white wreck photo prints with a very neutral tone. And the colors are extremely vibrant. The supplied icc profiles work very well. With no fiddling, the prints show a very good match to my (profiled) monitor. Other features include printing on cds, borderless printing, and the ability to use roll paper. It is also extremely quiet and very fast. Unfortunately, it doesn't print any wider than letter sized. Judging from the quality of these prints, I don't think my 1280 will be used except when doing large prints.
  5. "There are three interesting aspects to this inkset as it implemented in the R800: First, light cyan and light magenta have disappeared and are replaced by two new colors: __BLUE___ and red."
  6. I believe that is the species known as the "American Crocodile". I've got a picture of myself in PNG standing next to a large female "salty" at a farm with no barrier between me and it. My wife was freaking out as I got closer and closer. Most of the underwater pics of them that you see are taken with small captive crocs. At Walindi, they will rent one from the local crocodile farm and take it out on a reef for photographing.
  7. I can strionlgy recommend raja empat. The coral growth, diversit of diving, topside scenery, and huge numbers of fish are amazing. I have been to raja empat, lembeh, and wakatobi. If you go for 6 weeks, you coudl probably do all 3.
  8. Here's my take on the barracuda: 1. Color corrected to reduce blue cast. Did it by using "auto color", and then adding a red photo filter (photoshop cs). 2. Blurred and slightly darkened the background to separate the subject from the background more (thats why its usually better to shoot a pic like this from below so that the fish portrait is surrounded by water). The blurring of the background can also be achieved by using a narrower f-stop if that option is available to you. 3. increased contrast slightly by using "unsharp mask" with a radius of 40. 4. sharpened barracuda using focalblade.
  9. I don't know on your particular camera, but with mine, "on" is the correct setting. You can tell if its right just by taking some shots at short exposure times and seeing if the flash shows up.
  10. The "slave" setting is for using the strobe without connecting it to the housing. A sensor on the front of the strobe detects the light from the strobe that _is_ attached, and fires at the same time. This is useful if you can't or don't want to cable the 2nd strobe, or if you wish to place the second strobe remotely from the camera. When you see pictures that show a diver holding a camera and have a bright flash light coming from their strobe, it was taken by setting the model's strobe to slave.
  11. The 200k:1 image I made was processed in .HDR format, which stores each color component as 32-bit floating point. I think it takes clolse to at least that much to accurately capture the light in a shallow reef wide angle. Neither film nor digital can do it without help. Generally, the approximation of the truth that film delivers seems more pleasing than that on the current digital slrs. Perhaps the extra 2 bits in this new camera will close the gap. When I started looking at the "blue" problem, I searched far and wide for some reference images to use as training for my algorithm but couldn't find any that actually didn't have over-exposure problems. Even "perfect" looking slide scans when i examined their digitized color values had hue innaccuracies around the sunburst.
  12. I think 200,000:1 is about 18 stops.
  13. A tonemapping program takes as input an image whose contrast is far beyond what your monitor can display, and through a model of the human visual system, creates an image which can be displayed on your monitor's limited contrast, which tries to perceptually match the "real" image. It can be thought of as a sort of computerized version of the zonal system, combined with automated dodging and burning. But it can produce realistic looking images which can't be produced with any conventional darkroom technique. heres an example, a quick snapshot: This was created by taking a series of exposures at different time values. The ratio of the brightest portion to the darkest is over 200,000 to 1 (Velvia film can capture about 6000:1). In any of the single exposures, if you can see details in the highlights, then the bookshelf and furniture are completely black, and if you can see detail in the room, then the highlights are completely white and featureless and blooming. I loaded these exposures into HDRShop, which used a calibration curve to combine these images into one high dynamic range image. Once you have that image, you can edit it, manually change exposure over many ranges of stops, or feed it to the tonemapping plugin. Note that the image has detail both in the shadows and the highlights, but still conveys the impression of very bright light sources in a dark room. Underwater it would be tough to use this multi-image technique, since you need the images to line up perfectly. I have heard of people modifiying one of those muti-image prism filters to have some of the images darker than the others so that an HDR image could be taken in one shot. If you had a digital camera that could capture an HDR image in one shot, it wouldn't even need exposure controls. Any exposure level can be synthesized at high quality from the one HDR image in software.
  14. Does anyone know what the attenuation factor is between the high and low sensitivity sensors? If its pretty wide, and _if_ the software for dealing with it is good, this camera will probably be unbeatable for high dynamic range scenes, escpec sunbursts. You'll be able to take something approaching and HDR photo in one shot, and feed it to a tonemapping program.
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