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kotheimer

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About kotheimer

  • Rank
    Clownfish

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  • Website URL
    http://

Additional Info

  • Camera Model & Brand
    Canon Powershot S300, Sony HC3
  • Camera Housing
    WP-DC100, Seatool HC3
  1. Shot on my GH-3, Lumix 7-14 lens, Nauticam housing
  2. Referring to music licensed under one of the Creative Commons licenses, there's some good CC material out there on Jamendo, FMA, etc. that requires attribution only, as long as it is not used for commercial purposes. Does anyone consider a contest, if one wins a prize of any kind, to be commercial in nature? Should contest entries be prepared using music of one of the other license types? You know, just in case?
  3. I would really like to get my hands on the discontinued itorch pro 4 light. I have a working one, and my other light - a Fisheye - has finally died. I'm tired of leapfrogging lights and would like a matching pair for a change. Please PM if you have one for sale. Thanks!
  4. I just got a wide-angle lens for shooting on deck with my backup camera (also an HC3 like the one in the housing) and so came across the CONVERSION LENS setting. If I understand it correctly, if set to WIDE ANGLE it makes the OIS less sensitive so that the edge of the picture doesn't vignette as the image is moved around on the sensor (and if set to TELEPHOTO makes the OIS more sensitive, I guess). This led me to wonder if I should have this on underwater. However, if I shoot with STEADYSHOT off, even when in MF (and I SHOULD do this, right?), then the setting is not relevant. Right? Having OIS off negates any effect of the CONVERSION setting, doesn't it? Any input appreciated, including whether Steadyshot should indeed be off.
  5. It's actually going to be Blackbeard's. Unlike Abernathy or Stuart Cove's, they apparently do not prohibit white gear. That said, I guess it sounds like a good precaution to avoid white/yellow regardless. At least on the feeding dive where the sharks are amped up on chum -- maybe not so much of a deal on the "random shark may cruise by" dives. Does that sound about right?
  6. I love my white APS Mantarays and really enjoy being able to use them as a white reference at depth. However, I'm worried about taking them on a Bahamas trip - which will include not only random sharks on every dive but a dedicated shark dive as well - because I'm told that the high contrast will be too, um, interesting to the toothy fellas. I posted this on Scubaboard a while back and was told that, yes, colors like yellow and white will attract sharks and should be avoided. I wanted to know what Wetpixel users, who are even more likely to have white fins, think of this. bk
  7. I am thinking about diving with my dive computer (wrist mount, non-AI) attached to my camera rather than on my arm. Some considerations: I'm not going to ditch or get separated from my camera, no way, no how. Anything happens to the camera, the dive is over. Any emergency ascent, it's going with me. The camera will be in front of me and in my line of sight all the time. I do not clip off the camera to do other things -- I am an active shooter at all times while diving (it's my reason for going in the water). My camera is on a tether and neutral to a couple oz. buoyant. Even if I should let go of it for some reason, it will never float more than a foot or two above me, so the computer will still register my profile very accurately. I like to watch my computer closely yet continue shooting during safety stops. Right now that's inconvenient. It might seem that I can see it on my wrist while I continue to hold the right handle, but that hasn't really been the case. I think I'll look at it more often if it's mounted on my camera. Anyway, rather than get beat up Scubaboard (the "you're going to die" forum), I thought I'd see if anyone here on Wetpixel does this and what their experience has been. bk
  8. Great to hear that the Outdoor/Daylight/5600K setting is working for others. I'm going to start using it more, instead of AUTO. Tomorrow, I'll see how it performs for somewhat greenish CA kelp diving.
  9. ....I'm interested in who is using the "Outdoor" setting vs. "Auto". I recently dove 2 days in Jamaica and used Outdoor the first day and AUTO the second. In both cases, I had to do some correction in post, but honestly the Outdoor setting seemed pretty good -- AND it's more reliable (consistent) than Auto. For shots using my light, I have a blue filter on the light to keep the redness down, so no worries there. So who uses Outdoor and why? Or why not? On a similar note, for those shooting in Auto, have you tried powering down and back up with a white card in the frame? Does this trick work for you? Thanks for any input -- bk (Sony HC3, Seatool HC3 DX housing)
  10. We did the standard overnight junk trip on Halong Bay and it was great. The food on those boats is amazing, and they make it a fun trip with kayaking, swimming and a visit to caverns on some of the islets around the bay. I dove further down the coast, at Hoi An (with the Hoi An Beach Resort), and it was okay... nothing to write home about. Overfishing, you know. The weather was cool to warm -- and a bit humid -- a little dryer and warmer down around Hoi An. This was in March.
  11. Yes, I'm definitely trying the bungee approach on my next dive. Thanks for all the great tips!
  12. If your primary light source is the artificial light, then you'd want to do a MWB under that light without the red filter on the lens. The filter at that point is just making your life difficult, as the artificial light contains as much red at depth as it would on the surface. If you are shooting in a mixed-light situation where natural light and artificial light are both contributing to the shot (and you're deeper than, say, 20 ft.), then you may want to use the red filter and do a MWB under natural light. However, you may find that the artificial light creates somewhat of a red "spot" in the center of the shot, especially for closer objects that get their primary light from the artificial source. In a situation like that, I try to use a BLUE filter on the artificial light to remove some red (which then gets added back by the filter on the lens). Now an interesting question is, what will result from manually white-balancing using the artifical light with the red filter on and then shooting wide with mixed lighting as described above? I honestly don't know. You may find that the natural light in the shot comes out as blue as shooting without the filter at all, given your shift in white balance toward the extreme red end (filter + artificial light). So then you're properly balanced in the center (and closeups) but too blue in the wider/distant parts of the shot. Hope that helps! bk
  13. While looking around for solutions to stability problems (fighting shakiness), I came across lots of posts related specifically to buoyancy. It is definitely the general consensus that a slightly negative rig is better than a slightly positive one (with a few who disagree, of course). And it's relatively easy to add weight or buoyancy, so that's not an issue. My problem is that my rig (a Seatool HC3) is small in area/volume and too easy to push through the water, resulting in too much camera movement. I don't know technically if you'd say it has less MASS, but yeah I think that's the problem. I have a couple solutions in mind and have found a little advice here on Wetpixel but am always looking for more... DEPLOYABLE WING OR CHUTE I was thinking of building some kind of wing system for it, and I was wondering whether anyone had done this. Something that can be inflated (without adding too much buoyancy) or extended underwater like an umbrella or underwater "parachute" would be ideal. Has anyone done anything like this? Could a small sea anchor (the kind that hangs in mid-water) help somehow? How about plastic sheets that can be folded under the rig while on the boat and then fanned out once in the water? UNDERWATER "BODYPOD" I had also read of attaching the rig to one's BCD using either rope/line or bungee cord that you pull against to make taut when extending your arms, rig in hand. That seems like a good simple approach, and I'm thinking of trying a 3-point system. Any thoughts as to whether bungee vs. stiff cord would be a better option? Is the "give" of bungee a plus or a negative? Thanks for any and all advice! -bk
  14. I tested this with my HC3 some time ago, as my Seatool housing does not provide access to MWB. With the camera in AUTO, I turned it on inside -- looked good -- and then took it outside. Bluish, as you'd expect. Turned the camera off and back on -- WB was immediately correct -- and then took it inside. Looked reddish, again as you'd expect. Based on that, I've been turning it off and back on as I change depth, with a slate in frame when I power up. This is in addition to using the red filter below about 25 ft. I can't say definitively if it makes a huge difference, but I believe in it anyway. Additionally, and more significantly, I use the WB eyedropper tool in FCP when I edit, and it makes all the difference in the world. It really helps if you actually record your slate at various depths to provide a white reference for the eyedropper. Adjusting white balance when color correcting in post shifts the spectrum for everything in the shot, so it IN THEORY will give you colors nearly as accurate as having done a manual WB on site. Some will argue, though, that you really can't recover colors that you didn't shoot and that there's no substitute for actually white balancing. I'm just recommending alternatives if your housing doesn't allow it. Brett Kotheimer Vimeo.com/bkotheimer/videos
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