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nyaquaman

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Everything posted by nyaquaman

  1. Free Stuff! Reviving this topic because I happen to have a pair of the older version lights with halogen lamp heads, and I'm happy to give them away if anyone can use them. The battery packs are dead, but you can rebuild them or use the kit for parts. The lamps and chargers still work, and the battery cases, switches and cables are also good. Cheers, - Adam
  2. Update: for $30 I bought a new set of 5,000 MAh cells and rebuilt my battery pack. I'm now getting almost 400 full power pops - more than enough for an entire shoot session. So, I'm no longer looking for additional dead packs at this time. If anyone is interested in rebuild details, let me know and I'll be happy to post something in a more relevant forum on the subject. Thanks everyone! - Adam
  3. I recently bought several YS-250 strobes from jasonhartup and I couldn't be happier. Jason was a pleasure to work with and everything went as we discussed. I would definitely do business with him again. Cheers, - Adam
  4. Hi Marko, Thanks for the link! I've made several offers to them over the past few weeks which all expired. They did finally get back to me and said try a higher bid, but never responded since. I was hoping for someone local with dead modules for cheap so I can re-power them with higher mAh cells. The last "good" one I bought on ebay had an almost dead battery pack, so I was a bit skeptical. Cheers, - Adam
  5. Bumpity bump! Still looking for battery packs.
  6. Still looking for some YS-250 strobes. - Bump.
  7. Hi onokai, I had a long chat with them and based on that I decided to strike out on my own. They used to charge $300 to rebuild battery modules if you supply them with the old one. Too rich for my blood. Cheers - Adam
  8. I'm still looking for these battery packs. Bump!
  9. Beuller? ... Beuller? ... Beuller? Bump!
  10. Hi Folks, I'm hoping to pick up some used YS-250 strobes for an upcoming pool shoot in Boston, so I'm shaking the strobe tree here to see what falls out. I'd love to have 4 or 5, but that's probably magical thinking.
  11. Also set electrical safety is paramount, so on that note: 1) Electrical safety: Any AC electrics MUST have a People-Safe GFCI attached AT THE SOURCE. This means The GFCI gets plugged into the power source (wall outlet/generator) before any extension cords. DO NOT plug extension cords into the power source, then the GFCE into the studio strobe or continuous light source! You may still have power to the extension cord this way even if the GFCI trips, and it could kill someone. Set rule: Nobody plugs or unplugs ANY electrical device without your direct approval. This ensures that you personally ( or an electrician) have inspected the proposed electrical connection for compliance with the above #1 GFCI rule. All light fixtures on light stands are sandbagged, and if in traffic lanes near the pool edge have safety lines tying the fixture back to prevent it from accidentally tipping into the pool. Feel free to contact me directly if you are planning a pool shoot with electrics and I'll be happy to talk with you about your setup. Best, - Adam
  12. Somebody must be using DS200 battery modules as door stops or paperweights and is itching to divest themselves of these nuisances. A guy can hope...
  13. Hi Roy, All my strobes underwater are industry standard - Ikelite, Sea&Sea, etc. Which ones specifically depend on the job, but I like the old big Ikelite DS200 or Sea&Sea YS-250 on a long sync cable as my key light. Shooting indoors, even down to 13 ft deep I almost never have a problem with optical slaves failing underwater. The bigger issue are the strobes recycle time keeping up with my shooting fps. Above water, I usually use Profoto B1 strobes in optical slave mode because though they have built in radio triggers the optical sensors seem to work just fine. Outdoor pool shoots in bright sunlight can sometimes be a bit trickier in optical slave mode, and I need to be more careful in positioning the slave sensors and pointing the triggering strobe. Though as I often shoot with 5 or 6 strobes, there usually is adequate coverage to keep all strobes triggering - and when occasionally one or more fail to trigger, I sometimes get interesting lighting effects that work nicely. Best, - Adam
  14. Sigh, story of my life: A day late, and a dollar short. Well, I'm still optimistic that hiding in somebody's closet is a battery pack with my name on it.
  15. Hi, L&S, Sure, happy to share some of what I know. Regarding safety: I always have at least one dedicated, trained safety diver on all my shoots, but have had as many as eight on an open water shoot with larger crews. Each job is unique from a cast, crew, location, and liability standpoint, and I always conduct a risk assessment for each new gig. It makes the talent, client and crew feel safer, and surprise surprise, more productive. That said, a simple pool shoot with a small crew tends to be more informal, and I'll sometimes use the facilities lifeguards instead of my own safety crew. Makeup and hair/skin prep: I instruct the talent to do a gentle exfoliation the night before (I don't want them showing up on set with angry red, blotchy skin), followed by a light, non greasy moisturizer as a base for a good quality waterproof, creme makeup. I highly recommend that you find a makeup artist that has done wet work before and will bring their own kit. in addition to doing a dedicated job, freeing you and the talent up to focus on your jobs, the HMU person is another pair of eyes on set ensuring less continuity problems. Discuss your lighting plan with the HMU because covering blemishes or other skin issues can get complicated if you're not lighting head on. Rim lighting can make skin look like the surface of the moon if you're not careful. And on that note; goosebumps look terrible underwater and are a nightmare to remove in post - if even possible. So, keep the pool and the talent toasty warm. Lighting: I might use many different types of lights on any one shoot; daylight, strobes, continuous lighting, both above and below water. Be aware of differences in color temperature between light sources. They do not need to match, but they do need to be intentional. If I'm using an underwater strobe as my key light, I have it off-camera with a long synch cable, and all my other strobes are fired remotely in optical slave mode. That keeps cables underwater to a minimum, which is really nice. (A simple underwater blue screen scene I was lighting this summer with Hydroflo florescent banks had 24 power cables coming off it. Ugh!) Hope this helps. It's a lot, I know. best, - Adam
  16. Sorry folks, apparently my listing got caught in the new classified posting policy and was locked until I posted several times elsewhere. Anyway, hopefully it didn't kill my chances of finding somebody that wants to recycle their old DS200 batteries, as detailed above.
  17. I should post to instagram regularly, but I always seem to have something more interesting to do. Also, I've had several images hijacked and reposted with my copyright info removed. That said, instagram was very responsive in shutting down the offending accounts. This is my little instagram feed: @AdamBrownWasTaken https://www.instagram.com/adambrownwastaken/
  18. Hey folks, Adam here. I'm a film and television industry guy and a fine art photographer. I grew up in the arts in NYC and was a hardhat diver for years. Go figure.
  19. I'm looking to buy at least 1used or dead Ikelite DS200 NiMH Battery Modules with the screw visible on the bottom end (see blue circle on attached pic). I prefer dead (or close to it) batteries as I'm going to rebuild them. I refuse to let my DS200 go gently into the night. Thanks everybody!
  20. Hello folks! Adam Brown here ( and in the NYC area). My business, SilverScreen Marine works in film and television providing comprehensive marine production services. Formerly a hardhat diver, I now produce, direct, shoot (sometimes all at the same time). Our motto: On, in, or underwater; we always get "the shot". Here for the gear (and the folks who know it) Cheers! - Adam
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