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About chidiver

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  • Show Country Flag:
    United States
  • Camera Model & Brand
    Canon 40D
  • Camera Housing
    Aquatica A40
  • Strobe/Lighting Model & Brand
    2 Sea & Sea YS-110
  • Accessories
    Canon 10-22mm, Tokina 10-17mm Fisheye, Sigma 17-70mm, Canon 60mm Macro, Canon 100mm Macro
  1. You mean ROVs? Lots of exploration and research uses, particularly at deeper depth. I know folks in the Great Lakes who use them when searching for new wrecks. Historically, you had to send a diver down to answer the “rock or wreck” question when you got a hit on the sidescan. Now you send the robot, if you have one. Sent from my iPhone using Tapatalk
  2. Took a look at one of the hands-on videos again and there might be a bit of extension, but it looks to be pretty minimal. Nothing like a zoom lens. We'll see!
  3. I hope not. Hands-on videos or specs I have seen have not mentioned or shown this, though with a flat port, it may not be too problematic.
  4. Per the link above, it is 26cm, which is pretty close to the 30cm for the current 100mm lens at 1.0x. That is fantastic and should allow for some fun with diopters, as well. Heck, with 45MP, I'll also feel less guilty about cropping!
  5. So is this the game changer lens that nearly eliminates the one advantage that crop sensor cameras still had over full frame for underwater photography? Will it create a few new converts to the Canon mirrorless platform? I'm excited and frightened. I've been eyeing the R5 for a few months now, but this announcement might actually get me to pull the trigger and cost me a lot of money.
  6. I've always been mystified by the "purists" who insisted the essence of a photo was limited to what was captured by a mechanical/electronic device at a point in time. Full disclosure: I grew up in the digital era. Also, photographers like Ansel Adams might have a thing or two to say about this, as he used every darkroom technique available to him to execute on his artistic vision and show the world the beauty and majesty of his subject matter in print. Photo capture was just step 1. Post processing in the darkroom was just another piece of his artistic workflow towards an end product. Why should it be any different today through computers. I guess I have a relatively simplistic view on art....an artist is allowed any tool available to present his/her artistic vision. All the fancy tools in the world don't make the artist...but they may make it more possible that he/she will be able to execute on a unique idea. For example...I have spent days trying to put together HDR images! Just because there are new and fancy tools, doesn't mean its any easier! BTW...I'd rather see a cropped photo of a tiny rare subject than see the aftermath of "purists" who thrashed a coral/sea fan/gorgonian in order to get that "perfect" shot!
  7. Tim: I'm not sure why TSA would take the pony, unless you kept the valve attached. In which case, they could have assumed it was pressurized and removed it from the luggage (no pressurized cylinders allowed). I've been travelling with my 6cuft "buddy" for years with the valve spun off and in a ziploc. This pretty much guarantees a manual inspection will be done (giant metal blob on the xray), but that's about it. Bummer for you, regardless. As to the original configuration question, I just use my existing drysuit argon mount on the backplate (left side, upside down) for the 6 (purely a shallow, recreational bailout). Its just behind my hip, easily accessible, self-removeable (unlike most cam band mounts) and doesn't interfere with anything. I just found the cam band mounts too annoying when you're trying to move the rig to a fresh tank on a pitching boat. If I'm diving with a larger 30-40cuft aluminum pony/deco bottle, its slung on the left hand side and is also not a problem for photography. In a horizontal position, the 1st stage is hanging out of the way, just under your left shoulder. A steel pony might be fine on your back (IDK, never done it), but it is so negatively buoyant, it would be a nightmare for trim if slung. Stefan
  8. I also prefer to review, cull and edit in the field. How much I edit depends upon the alternative entertainment available during surface intervals. On liveaboards, I prefer "playing with my pictures" to most of the normal surface interval pursuits like reading, sunning, napping or watching movies. For land-based trips, I try to spend more time touring around and playing with the camera between dives. I find it very relaxing to zone out and focus on the photos I don't do this for a living. Therefore, over the years, I have found that its very difficult to get motivated to sit at the computer at home and edit photos after a long day at work staring at a computer screen. If you do edit in the field, one thing I have definitely learned is that its imperative that you synchronize the color profiles of your home and laptop monitors. Get a Spyder (or equivalent). Color management is critical. Otherwise, that orange fish on your laptop may be brown on your home computer. An exaggeration, but there's nothing more frustrating than re-doing hours of incorrect white balance adjustments done on an uncalibrated laptop. Stefan
  9. New Hands on review just posted at dpreview. http://www.dpreview.com/previews/canoneos50d/ Stefan
  10. Oh please oh please oh please fit in my 40D housing which I JUST BOUGHT! I don't know if the housing makers can keep up with a <12 month product cycle. I guess we have the D300 to blame for this, since it really stepped up the game on the crop sensor cameras. This one seems to have blown my generation skipping strategy away, since it seems to take several leaps forward, unlike the prior upgrades.
  11. We did a 250 foot dive with a guy last summer who had one of these (there were three of us). He took off the clips and stuffed the speakers under his hood. It seemed to work pretty well for him, although he said the controls don't work at that depth. No flood though. We didn't hear a thing (probably because of the hood). I can see the attraction of this on long deco hangs (audio books!). However, I'm a bit leery of getting in the water with someone who wouldn't be able to hear an audible sign or signal of distress and probably would have asked him to leave it on the boat if he were my only buddy. Stefan
  12. It should be interesting to see the collective travel wisdom on this board. Having just done two long dive trips within the last three months, this is pretty fresh in my mind. Some of these require prescriptions in the U.S. I tend to bring most OTC meds I am accustomed to as dosages and reliability vary throughout the world. I am less concerned with bringing the basic first aid items such as alcohol, vinegar, bandages, as these SHOULD be readily available in most dive resort/liveaboard settings. If unsure, ask for specifics before your trip. Malarone (anti-malarial - only if necessary for your destination) Ambien or other sleep aid for jetlag Acetic acid otic solution (or whatever swimear preventative you prefer) Cipro antibiotic ear drops (in case the prior drops don't work) Cipro antibiotic pills (for many things, but usually traveller's diarrhea) 12 hour sudafeds Flonase 2 EpiPens (no allergies, but you never know!) hydrocortisone cream antibiotic cream tylenol and advil (both have advantages) small digital thermometer disposable gloves CPR shields antacid antidiarrheal Pepto Bismol anbesol (oral topical painkiller) small selection of bandaids (although duct tape works better for fin blisters!) As an aside, both of the two liveaboard charters I just completed had AEDs on board. Stefan
  13. Just got back myself and did 95% of the dives with the 60mm on a 20D. Only went to the 100mm and a TC (1.4x) just to play around with it. With your cropped sensor, there isn't really much need for a ton extra magnification (but its so much fun trying to find that pygmy with a microscopic DOF!). The extra working distance of the 100mm is nice for shy subjects (i.e. gobies), but comes with the price of a significant increase in backscatter and AF seeking in the murky waters of Lembeh. I found it mostly annoying. Wide angle kit stayed in the camera room. I think there's something about Heathrow (Australia is terrible too)! I had 49 kilos total checked both ways on Singapore/Silk Air (through L.A.) and not a peep out of the clerks. As for the carry-on weight, enforcement seemed to be very random in L.A., Manado and Singapore (I saw some people hassled in L.A.). All I can recommend is keep the roller out of sight of the clerk and think light thoughts about the 15 kilo backpack you have slung (ever so delicately) over your shoulder.
  14. I long ago transitioned all my stages/deco bottles to aluminum. HUGE difference. Lopsidedness isn't an issue if you don't sling steel anchors under your arm I would also agree with James' point on long hose deployment remaining the priority over clipping anything substantial on the right side (its a big reason the DIR folks have completely eliminated the right side D-ring altogether). Less of an issue on deco, but still a concern. I personally find the scooter ring to be very convenient for clipping the camera off, even momentarily (as long as I'm not scootering). Stefan
  15. I guess if you're going to hook a wreck, or anchor over a spot for one dive and then disconnect prior to ascent, this could be an option. However: - many wrecks have semi-permanent mooring buoys and ascent lines on them that aren't pulled up....so this isn't an option......which leads us to...... - mooring/anchor lines break........often.......and in random spots. Now we're back to a search and recovery dive the next day - mooring/anchor lines bounce, even in relatively calm seas. The camera, tether and clip could be subjected to some serious jarring. Every now and then we leave a contingency bottle of O2 or 50% on the line if the boat doesn't have a hookah line. Twice, it wasn't there when we returned. Back to a search and recovery. With a scooter and a reel you can cover a lot of ground in a search (that's how we found the deco bottles), but its a waste of a dive (and helium) at 200+ feet. I love scootering as much as the next guy, but mud and silt gets monotonous after a while. No thanks. The camera gear costs too much to abandon to the whims of mother nature and rope manufacturers. If there's an emergency and I have to abandon the camera, that's a choice I'm ready and willing to make. I just don't want to have that choice made for me through pure chance. In the end, as with any change in equipment configuration, invest some shallow dive time practicing with the doubles, stages and camera. It should become a very natural part of your routine. I plan to try some ambient light tripod shots on some wrecks between 180ft and 250 ft this summer. You can bet that I'm going to spend several weekends in April/May freezing my butt off at 30 feet in a quarry practicing with this new and unfamiliar piece of gear that I would like to take deeper. I anticipate taking lots of photos of abandoned mining equipment before I'm comfortable Stefan
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