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Whipauee last won the day on January 8 2021

Whipauee had the most liked content!

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About Whipauee

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    Murfreesboro TN

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    United States
  • Camera Model & Brand
    Sony A7s3
  • Camera Housing
  • Strobe/Lighting Model & Brand

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  1. The a1 and a7s3 are fine UW cameras. IMHO the variances are nuanced and condition dependent. The 12800 ISO in both cameras are fine. the bigger micron sensor of the a7s3 is just a touch more light sensitive. Thats all.
  2. I have and shoot the a1 and a7s3, they both fit in the Nauticam housing for the a7s3. My last trip (November) I used the both bodies typically at a depth of 25 to 60 ft. I would like to stick with a 35mm prime lens but using a 24-70mm G Master with glass dome provided better neutral buoyancy and adaptability to shooting situations. In the past I WB about every 10 feet (Keldan grey card) or when the light changes. This time I decided to go AWB in both bodies and was surprised with the accuracy in both bodies. I suppose the key difference for me is that with the a1 really has a large range of clean ISO’s and with the a7s3 just 640 and 12800 that are clean from most noise. The a7s3 is a stop or 2 more light sensitive which is a real benefit in twilight environments. I still draw on a pair of Keldan 4x lights but try to use as little as possible since I am after fish behavior these days. I did shoot a bunch of 8k 30fps, s-log3 gamma 3, 422 10bit footage on the a1 and it’s worth mentioning that for a long clip say 5 to 10 mins runtime the camera will overheat in the housing. But shutting it down for a couple of minutes it will work just fine. I usually only shoot 30 sec clips so that does not involve any overheating. I love both, love the Sony eco system of lenses. If I had to choose I’d pick the a1, but if shooting natural light the a7s3 in twilight situations is what I would prefer.
  3. Recently posted my latest underwater video shot in the southern Caribbean. My YouTube channel page is: youtube.com/@prayers4theplanet The project name is Routan, Honduras If you enjoy please subscribe.
  4. I did this in Hawaii as well. It was fabulous watch the strangest creature rise to the surface. BUT Kinda felt like bait hanging form the boat at 15 to 30 feet with lights!! So completely black.
  5. I have a personal articles policy with State Farm and they do not cover water damage. After covering everything under the sun with the DAN recommended H2OInsurance and then missed one lens that in fact did get damage but wasn’t covered anywhere. My bad. But I realized that the cost of repair was not so bad on things in my likely scenario that would get wet but not submerged in water. So now State Farm gets everything but the camera bodies themselves that I do cover with H2Oinsurance. I have a Nauticam housing and talked with the folks in West Palm and discussed the likely cost of repair for a housing slightly wet and it wasn’t so bad that I would feel the need to water insure. IT can be all about ones comfort with risk and if you have the means to quasi self insure.
  6. I agree in general, that's why I prefer to just shoot ambient as long as the sun is not near the horizon. I guess if I do try and light things up a bit I don't bother with the blue filters. My stuff is mostly fish portraits and details, not too many wide angles unless I feel the need for an establishment shot. My cameras are pretty good at gathering light so sometimes just a bit may make a difference. Also s-log helps if you can get to slightly overexposed. A sadness for me is the gloaming part of the day is when there is interesting fish activity. More light would help but then that can often just bother the fish/creature and they depart. Really I vary my kit depending on conditions. I do love quickly locking in a clip/action but I also like what ever flexibility I can take down with me. But mostly simpler is better.
  7. I’ve wanted to weigh in on this topic for a while and have just been a bit to busy to organize my thoughts. First, my base line is I shoot a Sony A1 or A7s3 in a Nauticam housing. Lenses ports and domes for 16mm thru a 90mm macro. Keldan 4X lights with Kedlan red camera filters and blue filters for the lights. I am a big believer in the grey card WB and color chip reference at depth, and redone as depth and conditions change. I typically shoot from surface to 15 meters. Much deeper and lights are required. Next dive I might shoot that fixed 500k light solution for grins and giggles. My preferred rig when going down is ambient light video shooting with the A7s3 at 4K with somewhere between 60 and 120 fps at the high ISO that is clean for noise. (128000? I forget exactly) Lens choice is typically 35 prime with flat port or 16-35mm with a dome. I also shoot with the S-Gamut3/S-Log 3 profile. I also shoot 1.7 f-stops over exposed. On the mixed lighting question, again contrary to what other have posted as process I do my WB with ambient and the lights at the same time for a given dive, depth and conditions. I have made my living on the surface shooting pro video and have always done WB with the final lighting solution. So I follow that protocol underwater as well. I now prefer to keep my UW kit as simple as possible, so that I enjoy the diving with out fiddling with gear all the time. I enjoy diving and observing as much as shooting. Now I have noticed that the 4x Keldans with the blue filter do not add a sufficient amount of light to make a difference. Probably a 8X light would be better but I suspect they would add so much weight and volume to my travel kit that that my carefully arraigned carryon and checked bag solutions would be seriously messed up. Yes, it’s that close in specs for international travel with legal carry ons and one checked bag. I color grade in DaVinci Resolve and no longer use LUTs. Prefer to just “work it” and with the ambient light and flat profile and I have remarkable flexibility.
  8. I've done a couple of dives with Sony a7s3 or a1 with a 90mm. Even with darn good buoyancy control and a balanced rig handheld keeper footage is in the in the range of a 1 sec out of a couple minutes and then, sometimes never. I learned to really lighten my grip on the housing to minimize to minimize muscle twitches. If I do macro or even quasi macro shots I try and shoot at 120fps which can have a nice feel when slowed down. Or if I have the a1 and my 24-70mm kit (Which is my go to arraignment) and a macro opportunity shows up I'll go to 8K and work it in post but its only 30fps so still needs to be steady with spot auto focus. I also rely on stabilization in my post environment which starts in FCPX. Someday I'll get on board with Resolve for working color and grain.
  9. Nauticam NA-RX100VII Pro Package (Inc. flexitray, right handle, two mounting balls, M14 vacuum valve, shutter extension) Used for approximately 50 dives. Thoroughly soaked an rinsed after each trip. Never been flooded. Polycarbonate window on housing back has minor scratches that I don’t see in the water. Spare O-rings Allen key Set Padded Travel Case for NA-RX100Vll Asking $1000, includes shipping insurance and transaction fees.
  10. Selling WWL-1 Package above for 900.00!
  11. I have an old airport international and a Tenba Photo/computer bag. I've pulled all the dividers out of the airport and Domke padded wrappers on everything. All components are broken down to smallest unit. I do put one body in the housing. Generally camera, lenses, computer and ipad go in the Tenba. Housing, ports, 4x Keldans go in the Airport. I also pack my reg and dive watch in this arraignment. My checked bags looks like I pulled it behind me on a gravel road but weights only 6lbs empty, I load it up with everything but a parachute to 49.5 lbs. I use a good scale. My international and Tenba packed out weigh 50lbs! But the airport has two wheels so I can look quite nonchalant getting thru the various airport stuff. By smiling and looking effortless will do you no harm avoiding closer scrutiny. I've air traveled all over the world in all sorts of planes, the international almost universally fit in the overhead. OK not the 15 seaters or pontoon planes but the gear was never in a hold on those occasions. The only time I was ever stopped was in Sydney and I had to check the international for weight, but it was packed assuming the worst and nothing happened. I have added a super lightweight photo vest with enormous pockets that is stowed on the outside of the International in case I run into someone having a bad day and no amount of smiles might correct.
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