Lovely shots, Paul. I absolutely agree that the 12-24 DX is a fantastic tool for wide-angle. Basically, it gives restricted-sensor-frame digital cameras the same range of acceptance angles (and first rate optics excellence) that the 17-35 provided to full-frame film SLR cameras. Some wide-angles I've taken with this lens have been sharper and better than anything I was ever able to do with a prime 20 mm lens on a film camera, though some of that difference may be attributable to use of a different dome.
But the technical discussion on the other thread is relevant for anyone considering acquiring this lens. I've been knocked out by the 12-24 DX, but it's becoming clear that results can be disappointing if the lens is used with an inappropriate dome, and/or incorrect extension ring or diopter. There's no universal answer to the question of what is the "right" extension ring or diopter - this depends on the dome. Until more housing manufacturers' have come out with authoritative recommendations on the optimum configuration for their equipment, prospective purchasers of the 12-24 DX will have to rely on other users in the community of u/w photographers for information to help them decide whether this lens will work for them. (So Paul, please tell us, what dome, what extension ring, what diopter were you using.)
Let me also endorse James and Scorpio_Fish's advice to John. Shooting wide-angle with a film camera has usually meant (at least for me) using ISO 100 film (Provia), and that often meant working at the edge of usable exposure values except when shooting very shallow near mid-day in bright sunlight. In essence, that meant shooting manual, often with the aperture wide open or close to it, with all the negative implications (for depth-of-field, edge-to-edge sharpness, vignetting, etc.).
Digital cameras which perform well at ISO 200 or 400 (and which can be switched to even higher ISO values mid-"roll") are a very different situation, there's so much more EV room to work in. Aperture priority mode never worked for me when I was shooting film wide angle, but it seems to work very well with a digital SLR. Just remember to keep an eye on the shutter speeds the camera is giving you. If the ambient light level changes, or your subject moves to a different position relative to you and direction of sun, you may need to adjust aperture.
Since you're using the Fuji S2 Pro, you have the option of TTL as well as manual strobe. Provided you're close enough to the subject and it fills a substantial portion of the frame, TTL can work well for wide-angle. I've found that you need to set the flash compensation to -0.5 or -1.0. Aperture priority can be convenient in fast-moving situations shooting pelagics etc., where it can be difficult or time-consuming to adjust manual settings on both strobes between shots. Once you have the right aperture-shutter speed combination (in manual) for the ambient background dialled in correctly - of if aperture priority is doing its job - you can bracket the power of both strobes up and down with the flash compensation controls while taking a near-continuous series of shots. It's worth practising a bit with the controls so that you're comfortable adjusting flash compensation while looking through the viewfinder.
Robert Delfs
