humu9679

Updates, price drops: Nauticam NA-A6000 housing with handle. Good shape, usual water marks, body marks, working moisture detector. Comes with body cap, o-ring. $250 $200 $175 plus shipping/insurance. -- SOLD -- Inon S2000 strobes. Nice strobes with a small footprint. Never flooded, work great. Comes with standard diffusers, and includes magnets for shooting manually. No YS or ball mount. Both $350 $300 plus shipping / insurance. -- SOLD -- Nauticam N120 port 41 #18704. Comes with o-ring, no caps or box. Usual water marks, some rubbing on bottom side of body. $125 $100 plus $15 shipping /insurance. Nauticam 01245-Z zoom gear for Olympus 12-45mm pro. Never used. $110 $100 plus $15 shipping /insurance. Nauticam 37174 SFE2070-z zoom gear for Sony FE 20-70mm f4. $150 plus $15 shipping /insurance #SEL2070 Prefer PayPal, and I will cover fees. I will ship via USPS at your cost. Outside of the USA is extra. I will happily refund your purchase within 21 days if you're not satisfied. You pay return postage/insurance. You cover applicable VAT and taxes. #nauticam #a6000 #Inon #s2000 #oly1245

@vkalia Thanks for the nice piece! One of the more interesting things about shooting film v digital is that its easier to follow the progression of changes a photographer makes in creating what one hopes is the final image. You could actually see what the photographer was thinking - and of missed opportunities - or dumb luck. One of the things mentors would say is the a good photograph is "made" rather than taken.

I've had the Nauticam flash trigger, which in hindsight seems to be fine and easy to use. I've had the Turtle but recall that having a tiny charging port which was a bother. And now I use the UW Technics, which was a pain to install in the A7c housing, but a fairly low maintenance item with a long-lasting, easy-to-change battery with dodgy TTL (which was the reason I wanted to use it). I might go back to the Nauticam trigger, of which I have two.

Pretty chintzy of Nauticam not to include the push in plug mount. And I forget what they charged for theirs, but it pissed me off further.

@aeweems12 Welcome to Waterpixels! I wish all our gear was as small as the Olympus TG series!

@DreiFish Thanks for that. Strong work.

Welcome to Waterpixels!

I'm sad to see Adobe doing this. Their software is second to none. That said, some of these subscriptions are very difficult to escape.

Adding a strobe adds a fourth variable, and I'm not saying reducing flash "in proportion." The other variables being ISO, shutter speed and aperture. You're right about native ISO in today's cameras. I'm happy my A7c does get down to Kodachrome levels, less happy with x-sync of 1/160th. And it would be cool to have HSS.

@DreiFish Good stuff. Thanks!

If the whole point is to control ambient light in flash exposures, a photographer can also adjust ISO.

Thanks for that Phil. A great explanation on native vs HSS flash.

"Another consideration is if a newer flash trigger (such as the UW Techics or others) is used with strobes that are capable of HSS (High Speed Sync), the 1/250 vs 1/400 question becomes moot. More and more strobes are including this as a standard feature. Either body with the right trigger and strobes will go up 1/1000 and beyond. (Some have reported 1/2000 usage) Agreed. A game changer. I remember when 1/250th sync was revolutionary. Side note, speaking as a long-time Canon user, be prepared for the images to have a different color than you’re used to seeing and editing. The “Canon colors” are legendary, especially for their warmth. Sony is still fantastic, but it took me a while to get comfortable with color look of the Sony raws. Long time Canon guy here, too. They still have better ergos, but their auto-focusing wasn't keeping up.

Shutter speed is important in controlling background exposure in flash photography. The flash controls lighting of the subject. Think of them as separate variables. Without a flash, this is different. Shutter speed is clearly important in stopping action, movement, stability. This is why you can shoot flash at slower shutter speeds, say 1/4th of a second, and the subject will be sharp but may exhibit signs of movement depending on how much ambient light there is. If you shot the same subject in complete darkness, that 1/4th of a second won't show movement in a frame because the flash stops all the action. High shutter speed sync is related to the camera's mechanical capabilities. Going beyond the camera's sync speed on the high end will likely create a dark band that didn't get exposed. Hope this helps!

Works fine for me.

It's nice seeing the animal peering from its shell! An excellent example.

Thanks for posting those photos @dhaas Good stuff, and I like the compact footprint. I'm waiting for a 1" sensor that focuses like a Sony, close up like an Olympus TG and has the battery life to dive all day.

Nicely done!

Thanks @DreiFish and @guavakal Well done!

From Phil: "I also use the 20-70 in the 180mm dome even though larger ports up to 250mm are recommended. This is overkill for me and I find the loss of sharpness in corners to be over hyped." I completely agree. If it's a technically perfect shitty photo, it's a shitty photo.

Welcome to Waterpixels. I think you will find that there is a learning curve to shooting underwater - all i good fun though.

Yes, there is a guy in California named Elie. See his Instagram page - Narcosis101. I've had a V serviced by him, and bought o rings and such. He can also pressure test your gear. I don't think he does RS gear though.

That's very frustrating and I feel your pain. I once had a lens get stuck on a flip holder after a dive, and I tried many of the suggestions above. I gave up and decided to make the lens/flip a dedicated unit. Then on the first dive back, I continued trying to loosen the lens - and voila! - it did. Maybe all those attempts with penetrating oil, strap wrenches, etc did the trick.

Nicely done!

My thoughts are said more expertly by @TimG , above. But the bottom line is know your audience and be ruthless in culling down to to the fewest images that tell your story. A portfolio, though, is an expression of what you consider your best work. A project or story is another thing. It's also good sometimes to involve other eyeballs to help shape your portfolio (for all the times your heart loves an image that means nothing to others).