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About adamhanlon

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    Harbor Seal
  • Birthday 02/02/1967

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    Lancaster, UK

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    United Kingdom
  • Camera Model & Brand
    Nikon D500/D850
  • Camera Housing
  • Strobe/Lighting Model & Brand
    2 x Inon Z330, 2 x Seacam S150, 2 X Seacam 60D

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  1. Our next episode on Wetpixel Live shares some ideas on how you can improve your photography when you can't dive. Please like and subscribe to the Wetpixel Live channel. If you have any ideas for topics you would like covered, please let me know.
  2. Please head on over to the Wetpixel Live Channel on YouTube to check out our first video: "Top 5 tips for staring out as an underwater photographer."
  3. If you are reading this I am sure that you know that Wetpixel is powered by a huge community of enthusiasts that generously share their experiences and knowledge, Wetpixel is the world's premium source for information about everything to do with underwater imaging. To help make this information more available to all, we are proud to announce Wetpixel Live. Hosted by Wetpixel editor Adam Hanlon, with regular contributions from Associate Editor and renown photographer, Alex Mustard, Wetpixel Live is a regularly refreshed series of video conversations with leading underwater image makers about topics that are of interest to all those that venture beneath the surface with a camera. It is crammed full of hard-edged technical information and practical advice with the goal of helping people create memorable images. Adam says: "Wetpixel is the most comprehensive for information about underwater imaging. Wetpixel Live aims to answer some of the questions that are frequently asked on the forum and to make this amazing resource more accessible to image makers." The first episode is now live on the Wetpixel YouTube channel (https://www.youtube.com/channel/UC3Rf_mU-wBuBXas7fBRJrMQ). It lists and explains 5 important tips for those staring out as underwater photographers. Please head on over and check the episode out. If you enjoy it, subscribe to the channel to receive notifications as we add more video content in future.
  4. @Davide DB I am very glad that people are discussing this camera. It is a sad day when people in our community are suggesting that people shouldn't "bother" to discuss on these forum. Wetpixel has always been a venue where people of all abilities and interests meet and share their thoughts. Discuss the topic, but leave the personal comments out of it....
  5. Why? Have there been problems with the S1H sensor? I've not heard of any, but may well have missed the reports? The folks that I know that have shot the S1H underwater thought very highly of it, and didn't report any problems.
  6. This discussion seems to be headed in another direction, which is a shame. The camera market and its "stagnation" is not related directly to underwater photography. We will only experience the effects of any "stagnation." These possible effects are (in my opinion) what this discussion started off about. However, I will bite a bit! "Top end" underwater photography has always been a pastime for "older" people because they have the disposable income to afford the gear and associated travel. SLR or mirrorless camera users that take their cameras underwater are at the top of a pyramid, (in terms of numbers) and so will always be relatively few compared to those at the base of the pyramid. PADI's median age for certification (since 2011) is between 30-39 years. So the majority of those entering the activity are not "young." Again this reflects the economic factors above. The simple fact is that there are now far more people shooting underwater now than there ever have been. When I first took pictures underwater in South Africa in the 80's, there were only 5 or 6 people in the whole country that were taking pictures underwater. Now there are thousands. I am not at all concerned how people create their imagery, or what devices they use to do so. In terms of the pyramid model above, there is every likelihood that a proportion of these people will continue to capture underwater images and to seek to create iconic, artistic imagery and hence find that their entry level devices are limiting. These individuals will invest in more upscale technology in order to do so. If there are more people on the base of the pyramid, this will be reflected at its apex too. Lastly, this is an interesting discussion in which people have expressed agreement and disagreement with a variety of points of view. There is nothing personal in it. If you wish to add a valid point, feel free to do so, but don't personalize any disagreements.
  7. Hi all, I am reducing the asking price to $3000. PayPal OK, and shipping worldwide at buyer's expense. Adam
  8. Hi all, Behind the scenes, we have been hard at work creating a new YouTube Channel and a series of hard edged and focused short discussions called Wetpixel Live. We are still working hard on generating content for it, but one of our episodes refers to and provides thoughts about this thread: The Wetpixel YouTube Channel is a place for sourcing inspiration, technical details and ideas. It will remain tightly focused on underwater image making (just like here on the forums!) We will formally announce it shortly (when we have bit more content), so you are all getting a "sneak" preview!
  9. Glen's review doesn't mention which camera he was using before! As I would expect, his images show that an 8" dome with the 24-70 is soft in the corners. Live view in itself of course is not new, and the iteration on the Z6/7 is no better or worse than that of the D5/D850/D500 series. Perhaps his exclusive use of it emphasizes that the EVF is not as good as the optical VF on the SLR cameras that he is used to? These things are all personal, but I have yet to hear of anyone going from D850/D500 to Z6/7 being happy with the change. As Alex has mentioned, looking down the road aways, it may not be a choice that we will have for much longer.
  10. I think the issue with AF on the Z6/7 is not a function of the adaptor, it is that it is simply not as good as the AF on cameras with a dedicated AF sensor. It hunts terribly with the 105mm f/2.8 VR. To further confuse things, I think the single best camera out there for underwater use right now is the D500. The good news is that these are relatively cheap (although their housings are not...), their lenses are also relatively inexpensive and those that you used with the D810 will mostly work. Sorry
  11. I don't think the Z series cameras offer a mature option for underwater photographers (yet). There is no doubt that Nikon's engineers have done clever stuff by redesigning the flange so that the lens:sensor distance is reduced. This has the potential to improve image quality and make the most of the camera's potential autofocus. But we cannot take advantage of this due to the lack of native lens support. Nikon has announced that they do have 60 and 105 mm macro lenses Z mount planned, but there are no release dates yet. There are no native fisheyes announced. Cn you use the FTZ with F mount macro or fisheye lenses? Yes, although this removes the potential advantages of the Z mount. My experiment with the AF suggests that it is considerable inferior to the excellent AF on the D5/D850/D500 series. I would suggest that in use, these cameras will give a similar overall performance to the D800 or perhaps D810 (underwater). The D850/D500 series are currently better cameras for underwater photographers. With rumors of a D860 (?), I would bide my time await before jumping over on to the Z system. Adam
  12. Hi, You are in good company regarding the Inon manual! For TTL: Advanced Cancel Circuit button in its "Off" position (i.e. Up). Main switch set to STTL or STTL low Ev Control switch in position "B". If this is not exposing correctly, you can use position "A" or "C" to lighten or darken the image respectively. For Manual: Advanced Cancel Circuit button in its "On" position (i.e. In). Main switch set to "M" or Full. Exposure control from -0.5 to 16 via EV Control Switch. If in Full mode, the EV control switch does not affect the output. This should get you going. Cameras can be a little quirky too Adam
  13. The "official" depth that the Keldan filters work to is 18m in blue water. Beyond that depth, there is practically no red left in the spectrum. Keldan's classification of their Spectrum filters is that they offer an effective correction shallower than the actual depth that they are used at. For example, the Spectrum Filter SF -4 B offers a 4m reduction. So the spectrum at 12 m is corrected by the filter to be the equivalent of shooting at 8m. At 18 m, it is the equivalent of 12m and so forth. The "B" designation refers to it being a version optimized for blue water. The problem is that all filters are by their definition reductive. Small sensor cameras, like the TGs and GoPros have a limited practical ISO range and so at some point you just run out of light! You need to manually white balance your camera at the depth you are shooting at, with the filter attached and I would suggest, lights off. The problem now is that one white balanced for a depth, if you add a "white" light source, this will appear very orange and unnatural. You can add your blue filter to your light, which may help correct this. However, the Keldan filter solution is very carefully graded specific to depth, and I have no experience of Weefine's blue filter. Suffice to say, typically, it is not quite as simple as using a "blue" filter. If the water you are shooting in is green, the blue filter will not work too well either. Despite a lot of marketing to the contrary, lights are not great for still images. The energy produced by a strobe is measured in Watt/seconds as opposed to lumen. Effectively what this does is reduce the differential between the light source and the ambient light. This limits your exposure option.
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