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bghazzal

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bghazzal last won the day on October 31 2021

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About bghazzal

  • Rank
    Moray Eel

Contact Methods

  • Website URL
    https://tinyurl.com/afieldofblue

Profile Information

  • Gender
    Male
  • Location
    Asia
  • Interests
    Underwater video -
    Ambient light -
    Macro video -
    Filming on breath-hold

Additional Info

  • Show Country Flag:
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  • Camera Model & Brand
    Lumix LX10 - Olympus TG5 - GoPro7
  • Camera Housing
    Nauticam NA-LX10
  • Accessories
    UR-PRO CY Filters, Inon UWL-H100, Inon UCL-165, Keldan SF2

Recent Profile Visitors

814 profile views
  1. Beautiful, and truly amazing colours in ambient light, really love it (it's also an area I'm very familiar with, and do miss!) Do you have a filter on to help white balance or is the Canon 1 DX mark II white balancing like this without one?
  2. I use the (now no longer produced) RGB screen magnifier, really happy with it. http://www.rgblue.jp/en/products/rmgf/
  3. Adorama works, $4 shipping! Thanks a bunch
  4. Thanks - for the higher iso, I'm actually interested as the lens is quite fast and I've found it's easy to overexpose when going for a shallower depth of field, so I was thinking it might come in handy, as a sort of ND filter. Wasn't thinking about spectrum degradation though, good point...
  5. As a side note - any tips on where to buy cyan filter sheets? I'd like to give it a try, and I'm trying to source Roscolux cyan 60 and 90 (4360 / 4390) and keep stumbling on Full Compass on ebay and amazon, who simply refuse to ship to Palau where I am now... I've emailed Rosco but doubt I will get a response. thanks b
  6. Thanks, this sounds good. I'm having a really hard time find gels now. One vendor on ebay and won't ship to "US protectorates", nothing on Amazon. I'm planning to try with Rosco 60 and 90 (4360 and 4390), but the trick is sourcing them now.
  7. Thanks for the input, really appreciated. I did some more tests indoor (Covid finally caught up with me after dodging it in 4 countries since 2020) with the UV filter and it's not good, narrow fov and also decreased corner sharpness, so giving up on that idea. I cut out a piece of cardboard to mimic the filter, see how it would feel as a wet film filter but I'm not really convinced - I guess I'll need to test it out, see if it's really practical or not. But I've been thinking and re-reading the "solving the mixed light problem" thread - since my main issue with the filter is that I can't use it with the lights I have for macro, wouldn't it be an option to add blue ambient filters to the light and keep the darn Spectrum filter on? I understand the mixed lights idea is to be able to light the foreground with lights while keeping a balanced ambient light-lit background, but is there any reason not to use this for macro in this case, and simply compensate for the Spectrum filter by making the light bluer? Any tips on gels I could try to get for the lights? Rosco 60 / 90 ? Color temperature is supposed to be 5000-5500 K on the ones i have, and they tend to have a greenish hue already, and I guess the Spectrum 1.5 filter warms by 3000K or so? I hope i can find something on ebay, as shipping to Palau isn't the easiest at the moment, we're kind of banned from amazon, despite having a US zipcode... Thanks b
  8. Thanks but I was talking about the gel film filters here, not the solid plastic filter - I have this at the moment: https://keldanlights.com/products/filters/filters-for-cameras/1744-spectrum-filter-sf-1.5-flexible-film-80.html Happy with results, but not a fan of having it stuck on my camera lens, and can't remove it for macro with lights. In our email exchanges Daniel suggested : " to use the film filter as a wet filter between the wide angle lens and the flat port", but I've been reluctant to try this as I'm a little afraid that salt water will destroy the film, given how sensitive it is to fingerprints and the like. Do film filters hold up in saltwater like plastic / acrylic filters? Also, since I need to burp the lens uw, the risk of loosing the film filter seems high. So far the gel is stuck with tape on the camera lens inside the port, but I I've started thinking about using this between the housing flat port and the Inon wet lens: https://keldanlights.com/products/filters/filters-for-cameras/spectrum-filter-sf-2-thread.html Would need to look into how the lens behaves with that extra 5mm or so, and if the weight of lens (556g in air, approx.346g uw) means it is a bad idea to use it to connect the lens - but then again it can't be much different from a step up / down filter, right?
  9. Thanks. Unfortunately I'm using an Inon UWL-H100 lens, which is a different beast. I guess the main issue would be increased vignetting (would need further tests, couldn't see any with a UV filter) and maybe the issue of having a rather heavy lens connected to a filter thread, which might be bad? Daniel Keller had actually suggested using the filter gel sheet as wet filter between the lens and the port - haven't tried as I'm afraid salt water will destroy the gel very quickly, and also i'm not too sure how this will work with air bubbles.
  10. Hello all, I use an Inon UWL-H100 type one wide lens with my Lumix LX10 compact camera in a Nauticam NALX10 housing. There is a 36mm crop in 4K so I do not get vignetting and am very happy with this combination. I only shoot video, ambient light with a filter, and went from a generic red filter made for the Inon lens (Howshot...) to Magic Filters and Keldan SF-2 Spectrums stuck on the lens barrel, which give much nicer results for grading. I'm gradually leaning towards the Keldan filter - while the SF2 gel filters stuck with tape on the camera lens inside the housing work, it isn't ideal as I lose the possibility to remove the filter, underwater or on land , and I'm not a fan of sticky tape (albeit Magic Tape) close to optics in the tropics. I was wondering if it would make sense to get a Keldan 67mm filter and place it between the Nauticam housing port and the UWL-H100 wet lens. Would you say this an option, or a big no-no, as would you have to get the wet lens as close as possible to the lens port? Or is it just a matter of testing it to see if it works? Today I tried testing this with a blank 67mm UV filter on land and could not see a major difference in the way the lens behaves - but it would probably be best to test with the actual filter. Would love some feedback on this ideo before I spend another big chunk of money on a filter. cheers! ben
  11. Not the EPL10, but I saw a clip taken this week with the EPL-9, shot by Jun Shimizu, one of the Olympus reps here in Japan (based in Okinawa). https://www.facebook.com/100006043511711/videos/521119276214031/ Setup is an OLYMPUS E-PL9, in a AOI UH-EPL10 with RGBlue SYSTEM 02 lights. Maybe he has some footage on the EPL10 as well.
  12. Probably. Found another one which is a little different indeed: https://www.panoceanphoto.com/en/nauticam-panasonic-lumix-gh6 the suspense is unbearable
  13. Photo Denfert has NAGH6 picture up, not sure if the same pic: https://www.photo-denfert.com/caisson-nauticam-pour-panasonic-gh6/
  14. Yes - as with most of his other works, the colour grading is done by a 3rd party, Lidia Seara https://www.instagram.com/searacolor/ Probably helps a lot when you're also cruise director on a boat!
  15. True, but as a side note if the focus is shooting 4K video, then no zooming is necessary with the LX10 and a wide wet lense like the INON UWL-H100 - there is no vignetting since the image is cropped to a 36mm equivalent. With this combination (LX10 in a Nauticam housing with the UWL-H100) , I do need to zoom in a little if shooting in 1080p (I use the step zoom function and zoom one step in) since it doesn't have the said crop factor, but there is need to zoom in to avoid vignetting in 4K. The cam's 36mm crop factor effectively removes vignetting with the lovely Inon lens, giving you access to the max aperture of its 1.4 lens. Stabilisation is better in 1080p, which also gives you access to 60fps if necessary, but I've mostly used it in 4K with the Inon wide wet lens.
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