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Pedro Carrillo

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Everything posted by Pedro Carrillo

  1. Hi, guys I post here becouse, after all, my issue is related to a flash connector Question is: I am leaving this friday to Bahamas with Wetpixel expedition and Seacam wanted 1500 USD for a remote control to shut my camera remotely (from the polecam) Since I have a remote Nikon cable (MC-30) and noted that the right bulkhead of my housing had 4 cables loose, i thought I might be able to set up the rig myself. As you can see, I have already connected the remote plug that goes into the camera inside the housing with the wiring (the MC30 uses 3 cables to fire the camera). Connecting the MC-30 shutter release to an S6 cable that goes into the bulkhead as normally, actually fires the camera (only issue is that I can not override the AF mode, but I will pre focus to the hyperfocal on land and set the camera in manual, so no problem here) The point is that I would like to have a "clean" connection. That is, a cable that simply has the MC30 shutter in one side and the S6 socket in the other one, so I do no have to worry about connections getting loose while shooting (I have tried to connect 2 S6 cables one to the other so I have lengh enough for the pole cam, but does not seems to be failure proof) Here are the 2 connectors involved: Does somebody know how to open the S6 socket and whether I could mount it again on another cable while being yet waterproof? thank you!!!
  2. I am selling my FIX Light HG20DX with several accesories, as follows: 1 original set (USD 419): body, battery, bulb, Charger, hand grip and, spare O-ring set, o-ring grease 1 Spare Li-Ion Battery (USD 120) 1 blue filter (USD 50) 3 original replacement bulbs (USD 105) 3 long life replacement bulbs (USD 36) Total price if new: USD 720 Everything in excellent condition, I am selling for USD 500, shipping included. Please e-mail me at pedro.carrillo-montero@db.com Items based in Spain, but I am travelling to Florida this 19th so I could ship from within US. Thank you!
  3. Hi, guys I do use the Inons in manual, controlling the left´s one in manual (the knob sits in the outer part of the flash so it is easily accesible) while the right´s one is slave, as you can see in the photo. No problem with this configuration in shots with the subjet as close as 2 inches to the port (i.e. using a wet diopter) I do shot regularly over f32 without problems with the output of the inons Can not use them in TTL since my housing has the Seacam converter installed from factory for my Seaflash 250 Rgds
  4. Hi, guys, I know this should be in the DIY section, but I will have to find time to explain how to do it. With some PVC pipe, you can have it done: If your port does not fit the PVC sizes, you can take it to a machine shop, as I did: Since Seacam does not have a security lock in the port, I opted for having the whole thing fixed on top of the housing for added peace of mind. The knob on the left allows for fixing the position you choose (rotates 360 degrees) Also note that with three balls you can mount also the focusing light, that will be always on top rotating with the flashes Hope you like the idea.
  5. Hi, Belowwater, PM sent regarding S45 viewfinder and Wideport
  6. Hi, I just have flown with Silk Air a roundtrip Singapore-Manado 2 weeks ago. Not Singapore Airlines but a group´s company, thought. Carry on: 2 pieces (Think Tank Photo Airport Int´l and Urban Disguise 50) that weighted 40 Kg. Not weighted in any flight Checked: I had one bag of 24 kg and one diving equipment bag of 10Kg. I stated it was scuba diving equipment and no problem with it, they seemed to be well aware of the 10kg extra for diving including an extra piece (I was flying economy, with a 20kg allowance). Gotta admit the person told me I had a 4 kg. excess but that it was OK for that time. Can´t complain!
  7. Would like to buy the following SEACAM items: -Fisheye dome -Macro Port w/ manual focus (System macro port) Both with new type thread (they are to be used in a D200) Also: -Manual focus gear for Nikkor 105 VR -Manual focus gear for Nikkor 70-180 macro zoom -AF/MF conmuter ring for Nikkor 70-180 Macro Thank you for reading this!
  8. Hi guys, I have the chance to buy second-hand a System Macro Port and a Fisheye dome for my Seacam D200. The problem is that the owner is not able to tell me what type of threads do the ports have. He has been using them with a Seacam housing for the Canon A2 film camera. I do think that Seacam´s finer threads were prior to 1997, with the new bayonet system thereafter. Could anybody confirm to me whether this ports would fit my newer Seacam housing? (he gives me references like 210 xxx and 230 xxx for each port, but I do not have a clue of what do they mean) Please help me out. Price is really atractive for this usually expensive pieces of equipment
  9. Hi, guys I am using the Superdome (SD) in my Seacam D200 with the following lenses/port extensions: Tokina 10-17/ PVL 20 Nikon 10,5/ no ring Nikon 12-24/ PVL 35 Nikon 17-55/ PVL 70 Thought the SD is amazing, is not very travelling-friendly, so I am thinking of going smaller when I do not plan to shot splits. I do think that the Fisheye dome (FP) is rather big and the Dome Port (DP) is not flexible enough, so I guess my only option would be the Wide Port (WP). This would be around half the diameter of the SD, so it makes sense. The problem is that Seacam´s table is not very comprehensive, so it is difficult to see what the options are for my lenses: I only have been able to found that the WP will work with the 12-24 and the 17-55 (basically with the same extension rings that I have for the SD, that is a big plus). My question is: how good would be the DP with the Tokina 10-17 and the Nikon 10,5? Any experience out there?. I see many colleagues out there using fisheye lenses with small domes, so I guess it should work... I also wonder whether I should begin to use diopters with the 12-24 and the DP. Many thanks for your input!!!
  10. Hi, I´m a big fan of zooms and having already into my weaponry the Tokina 10-17 and nikkors 12-24 and 17-55 it was only a matter of time going for the 70-180 to cover the whole range Although I´ve gone thru old post regarding this lens, I had doubts that my dealer in Spain has been unable to clear, so I wonder whether you guys might have some experience with this: 1. Can I override the MF/AF control on the lens by using the M/S/C in the camera? This way I will be able to stick with my flat port without going the expense of the Systemport (I am unable to test this since the lens is travelling from the house of a kind ebayer to mine ) 2. If not, how good the AF is? Will I finally need to go the MF way? 3. If having to go the MF way without being possible overriding (worst scenary), it is possible to machine the P90 flat port so I get the extra gear I need not having to buy the Systemport? -This question seems to be aimed at Stephen Frink, I know - 4. Connecting to this, I´ve red that long manual focus gears might bent. My question is: do I need the Systemport for manual focusing my Nikkor 105 VR + Kenko Teleplus 300 Pro (either 1,4X or 2X)? If not and it can be done from the knob at the housing, would the same gear cover both lenghts? 5. They also say that do not recommend extending the P90 2-3 times by using extension rings I do already own (20, 25, 35 & 70) in order to house the longer lenses/combos. Not happy about this for both expense and ease of travel. Any comments in this? Should be extendible to all housing brands, I understand... Sorry about such specific questions to other Seacam users...
  11. I have been using the Tokina for a couple of dives now, including competitions (not that much thought since I have moved from the Canary Islands, where extensive testing was possible, to Madrid ) With this limited experience, I must say I am rather dissapointed at the lens becouse of the depth of field. If shooting pelagics agains blue water (i.e. turtles) then the lens is perfect and the zooming ability grants you access to otherwise impossible images with the 10,5, as pointed out in previos post. But when shooting lets say "traditional" WA images (with i.e. gorgonians or groupers in the foreground and models in the background, as usual in competition) it is easy to have the model out of focus. I understand that the depth of field is inverse to the focal lenght of the lens, but in this case I think it is rather pronounced, problem that I do not have with my Nikon 12-24. I have change to focus priority mode but I do not think this is going to be of a big help since even focusing on the foreground my problem is with the subjects in the far distance. Just my five cents here... BTW, using it with the Seacam Superdome and PVL20, recommended configuration for this lens. Rgds.
  12. Hi, guys Since my Inons Z220 are 5.500K, maybe warming them a little bit might pose some benefit when shooting WA (basically ability to cool my WB so I get nicer blues). So my question is: which type of filter do I have to attach to my strobes? It is OK just a piece of orange acetate or do I need something more elaborate? I also do understand that once I use the filters I can get rid of the diffusors, isn´t it? I would say I´ve read about this in prior posts as a by-side topic, but I´ve been unable to find it again. Thank you very much for your comments.
  13. Hi, guys first post here, but quite a long time I have been benefiting from reading you. So many thanks!!! I have red quite a lot about filters in the forum, but always in the context of dedicated photography (one subject-one dive) and assuming some fiddling later in photoshop. My question is regarding use of filters on competition, where there is no chance of post-processing and time and changing lenses is severely restricted. I do have a real example: in my next competition we do have to shot this in a 2 hour lapse (that would include a tank dive and snorkeling): - 1 ambient photo (with model) - 1 black and white photo (with or w/o model) - 1 split shot with model - 1 ambient photo with model snorkeling (and we are "invited" to the model using and 2*2 meter silk textil) Not easy, indeed, and even more difficult when having to chose lenses (I own Nikon 10,5, 12-24, 17-55 and Tokina 10-17) I might go with the 10-17 for ambient, snorkeling and B/W and 12-24 plus split shot filter (half +3 diopter half -2 stops) for the split, so I only change lenses once. I might even try the split with the 10-17 and not changing at all (here you have why I have said bye to my trusty 10,5 ). The think I am concerned about is that my D200 seems not to handle B/W well and there is no way I can upload a custom curve for it. In past contest I have seen that while Canon records pure black, pure white and the shades of grey, Nikon seem to grab only greys and photos look awfully muddy (I first thought it was related with how I do meter and read about Ansel´s theories, but now I do not think is a metering problem). Apparently, Canon users can load a "digital" yellow filter to enhance their photos, so I wonder whether to use one in my lenses (not common in digital with the B&W conversion capabilities of Photoshop, but necessary in this case). I guess so, but then we have the versatility problem, I would have to stick with it the rest of the dive. I have thought of the following solutions and I would like to know some ideas from you: 1. -Yellow filter in the flashes (2 Seacam digiflash 250 or 2 Inons Z220): This would allow me to take the filters off and continue making color photos. I am not sure: maybe would give black and white in the nearest focused areas but what would happen to the blue?. OTOH, blue should be gray, so maybe this is OK. 2. -I red of someone using kind of gel filter outside the dome to limit light input in split shots. I doubt I can do something similar with any yellow material . BTW, Dr. Mustard, do you carry magic filters for the Seacam Superdome surface? 3. -Using the yellow filter in the lense for the B/W and later white-balancing so I can keep shooting in color. The camera should handle this, I guess. This would be the case also If I finally made the snorkeling photo with a magic filter, as I am thinking of (people is not using them in competition here, so it might push me to the edge -hope they do not read this- ). I might white balancing and then making the split shot. Or not? This would be ideal since I will shoot both of them by the shore. 4.- Would the magic filter boost the contrast in B/W so I can take all the photos only with this and no changing at all? This would be of course the best solution. In this scenario I might even think of one more change to use the split filter, but that would depend on how sunny the day is and composition regarding the submerged scene. Hope not to have extended myself too way long with the post. Thank you!
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