Design Notes
"'Clearly Superior" an opinion by Ikelite
The handle assemblies make the housings appear larger, but provide comfort and greater stability when actually using underwater, especially with the addition of an optional external strobe or video light system. The base removes instantly by simply flipping a toggle. The base provides a stable platform when housing is not used, but it is not necessary and removal creates a smaller housing if preferred. The handles and bar are attached to the housing by two nuts for easy removal to pack.
Thick wall clear polycarbonate case provides a 'comfort factor' by allowing visual assurance the system is safe with its unobstructed view of the camera information and control functions. This material provides corrosion-free properties and a product that is less likely to the condensation and finish problems that can occur with aluminum."
Design Notes
Showing posts with label digital. Show all posts
Showing posts with label digital. Show all posts
Thursday, 11 September 2008
Sunday, 7 September 2008
First Dives with the Sea & Sea DX100
First Dives with the Sea & Sea DX100
By Berkley White
Testing Grounds: The Digital Shootout - Bonaire
I had already boarded the plane to Bonaire and it wasn't in my case. Ron Pavelka, the new GM at Sea & Sea, was trying with all his might to get the first DX100 housing to me in time for my departure for the Digital Shootout, but the housing was still snuggly packed in a cargo plane somewhere above the Pacific. Sure I had plenty of gear to shoot, but I had my heart set on putting the DX100 through its paces in the crystal blue of Bonaire.
I knew it would have no problem with macro, but I really wanted to see how it performed in the digitally challenged areas of highlight detail and smooth bluewater backgrounds."
Whole article on Backscatter: First Dives with the Sea & Sea DX100
By Berkley White
Testing Grounds: The Digital Shootout - Bonaire
I had already boarded the plane to Bonaire and it wasn't in my case. Ron Pavelka, the new GM at Sea & Sea, was trying with all his might to get the first DX100 housing to me in time for my departure for the Digital Shootout, but the housing was still snuggly packed in a cargo plane somewhere above the Pacific. Sure I had plenty of gear to shoot, but I had my heart set on putting the DX100 through its paces in the crystal blue of Bonaire.
I knew it would have no problem with macro, but I really wanted to see how it performed in the digitally challenged areas of highlight detail and smooth bluewater backgrounds."
Whole article on Backscatter: First Dives with the Sea & Sea DX100
Friday, 29 August 2008
Jump Settings For Blue Water Video
Jump Settings For Blue Water Video
By Sy Harris
It is important to always think about your camera and what settings it’s in before jumping into the water. Below is a setting checklist you should follow before and at the beginning of every dive. It should be the mantra you chant each time you enter the water. If your camera is set to these specifications you will be ready to capture great footage in almost every situation."
Jump Settings For Blue Water Video
By Sy Harris
It is important to always think about your camera and what settings it’s in before jumping into the water. Below is a setting checklist you should follow before and at the beginning of every dive. It should be the mantra you chant each time you enter the water. If your camera is set to these specifications you will be ready to capture great footage in almost every situation."
Jump Settings For Blue Water Video
Thursday, 28 August 2008
Strobes for digital cameras
Strobes for digital cameras
by Ikelite
Strobes for many of the new digital cameras must fulfill requirements that are different than what has been required for film cameras.
Some of the digital cameras require a small initial preflash before the standard flash, allowing the camera to gain exposure information. The camera may not provide the best results without this preflash. The two flashes happen almost instantaneously. Most strobes for film cameras can not produce this rapid flash sequence."
Strobes for digital cameras
by Ikelite
Strobes for many of the new digital cameras must fulfill requirements that are different than what has been required for film cameras.
Some of the digital cameras require a small initial preflash before the standard flash, allowing the camera to gain exposure information. The camera may not provide the best results without this preflash. The two flashes happen almost instantaneously. Most strobes for film cameras can not produce this rapid flash sequence."
Strobes for digital cameras
Thursday, 21 August 2008
Making the Jump: Going Digital Photo
Backscatter
Making the Jump: Going Digital Photo
By Brad Brown
Since the day I reviewed the first slides produced using my Nikonos V seven years ago I have asked myself 'Why are so many of my images rubbish?' I can't blame the camera. The Nikonos V is capable of producing magnificent images. I've concluded rather that the problem lies with my inability to use the camera to its fullest potential.
The learning curve is steep. I made my greatest jump up this curve during a week of diving in on the island of Sipadan. The resort photo pro processed E6 several times a day. I was able to apply what I learned reviewing my slides within hours of exposure. Consequently my rubbish heap shrank as my relative quantity of keepers grew. When the digital SLR became an option I saw the potential right away. The prospects of
1) instant image review
2) never running out of film
3) autofocus
made the switch from the Nikonos alluring.
I made the decision to buy a Canon 20D and a Subal C20 housing. Since my purchase I have been able to build upon my Nikonos experience while benefiting from those advantages a digital SLR affords. The principles are the same. Only the medium and the methods are different.
My rubbish heap is now a virtual trashcan on my Mac's desktop."
Read the whole article: Making the Jump: Going Digital Photo
Making the Jump: Going Digital Photo
By Brad Brown
Since the day I reviewed the first slides produced using my Nikonos V seven years ago I have asked myself 'Why are so many of my images rubbish?' I can't blame the camera. The Nikonos V is capable of producing magnificent images. I've concluded rather that the problem lies with my inability to use the camera to its fullest potential.
The learning curve is steep. I made my greatest jump up this curve during a week of diving in on the island of Sipadan. The resort photo pro processed E6 several times a day. I was able to apply what I learned reviewing my slides within hours of exposure. Consequently my rubbish heap shrank as my relative quantity of keepers grew. When the digital SLR became an option I saw the potential right away. The prospects of
1) instant image review
2) never running out of film
3) autofocus
made the switch from the Nikonos alluring.
I made the decision to buy a Canon 20D and a Subal C20 housing. Since my purchase I have been able to build upon my Nikonos experience while benefiting from those advantages a digital SLR affords. The principles are the same. Only the medium and the methods are different.
My rubbish heap is now a virtual trashcan on my Mac's desktop."
Read the whole article: Making the Jump: Going Digital Photo
Thursday, 12 June 2008
Which Pelican Case is Best for You?
Backscatter
Which Pelican Case is Best for You?
By Sy Harris
Protecting your gear with a solid carrying case is tantamount to keeping your gear in perfect condition. When buying a case size, weight and flexibility must come into consideration. Remember, your case will not only protect your system, it will be luggage as well. You want to select a case that will expand with your system, but not be so large that it goes over the airline’s weight restrictions. Other considerations would be whether it rolls or can be considered carry-on luggage, or if the case has Velcro cushioning or pick and pluck foam. Velcro is flexible and all of our generic cases come standard with it, but when buying a video system, companies such as Light and Motion offer their packages in Pelican cases with customized foam. Below are the Pelican cases we recommend."
Read the article here: Which Pelican Case is Best for You?
Which Pelican Case is Best for You?
By Sy Harris
 From L to R, Top to Bottom; Pelican 1520, 1560, 1510, 1610, 1620 |
Protecting your gear with a solid carrying case is tantamount to keeping your gear in perfect condition. When buying a case size, weight and flexibility must come into consideration. Remember, your case will not only protect your system, it will be luggage as well. You want to select a case that will expand with your system, but not be so large that it goes over the airline’s weight restrictions. Other considerations would be whether it rolls or can be considered carry-on luggage, or if the case has Velcro cushioning or pick and pluck foam. Velcro is flexible and all of our generic cases come standard with it, but when buying a video system, companies such as Light and Motion offer their packages in Pelican cases with customized foam. Below are the Pelican cases we recommend."
Read the article here: Which Pelican Case is Best for You?
Tuesday, 6 May 2008
Selecting an Underwater Video Housing
Selecting an Underwater Video Housing
By Sy Harris
Top Dawg
Universal Design
The most basic yet flexible housing we sell is the Top Dawg. It has a flat acrylic front port and adjustable camera tray that will fit over 100 cameras. To work in the Top Dawg your camera must be 9”L x 5”W x 5”H and have a LANC remote port. The remote port allows the housing to control zoom, focus, on/off, record, and still shot mode."
Read the entire article here: Selecting an Underwater Video Housing
By Sy Harris
Basic: $899, Most Sony Cameras and Some Canon Cameras
Top Dawg
Universal Design
The most basic yet flexible housing we sell is the Top Dawg. It has a flat acrylic front port and adjustable camera tray that will fit over 100 cameras. To work in the Top Dawg your camera must be 9”L x 5”W x 5”H and have a LANC remote port. The remote port allows the housing to control zoom, focus, on/off, record, and still shot mode."
Read the entire article here: Selecting an Underwater Video Housing
Thursday, 3 April 2008
Why I love my Focus Light!
Underwater Photography - Why I love my Focus Light!
By Brad Brown
"I first fell in love with my focus light on a clear star(fish) filled night in Indonesia. Earlier that day, with the assistance of my light, I’d managed to photograph orange pygmy seahorses, ornamental ghost pipefish and a myriad other macro critters I'd anticipated seeing on this first trip to Lembeh Strait. It wasn’t until that night though that I came to the realization that my focus light and I were going to become inseparable. Several minutes into the dive I spotted my subject: a flamboyant cuttlefish. I subdued my excitement and focused (literally) on the task.
After getting down low, made a few camera adjustments and fired away. The brilliant flash of the strobe, normally especially apparent at night, was absent. All thoughts of the perfect cuttlefish shot were thrown out as I began to consider the possibilities. Did I flood my housing? The moisture sensor was not blinking. On a hunch I decided to raise the ISO setting on my digital SLR from 100 to 400 and shoot again. A very dim review image appeared on the LCD. It became apparent that the camera was functioning fine. The strobes were simply not firing. That night my focus light was doing double duty as my primary dive light. I subsequently found that if I adjusted my ISO to 800 and moved very close the subject I could capture marginally passable images by focus light illumination alone.
Imagine the frustration I would have had to endure had I not been able to photograph the second Flamboyant Cuttlefish I encountered later that evening. Post-dive I discovered I had not properly seated the strobe connector to the camera hot shoe. The strobes had not been receiving the signal to fire."
Backscatter Underwater Photography - Why I love my Focus Light!:
By Brad Brown
"I first fell in love with my focus light on a clear star(fish) filled night in Indonesia. Earlier that day, with the assistance of my light, I’d managed to photograph orange pygmy seahorses, ornamental ghost pipefish and a myriad other macro critters I'd anticipated seeing on this first trip to Lembeh Strait. It wasn’t until that night though that I came to the realization that my focus light and I were going to become inseparable. Several minutes into the dive I spotted my subject: a flamboyant cuttlefish. I subdued my excitement and focused (literally) on the task.
After getting down low, made a few camera adjustments and fired away. The brilliant flash of the strobe, normally especially apparent at night, was absent. All thoughts of the perfect cuttlefish shot were thrown out as I began to consider the possibilities. Did I flood my housing? The moisture sensor was not blinking. On a hunch I decided to raise the ISO setting on my digital SLR from 100 to 400 and shoot again. A very dim review image appeared on the LCD. It became apparent that the camera was functioning fine. The strobes were simply not firing. That night my focus light was doing double duty as my primary dive light. I subsequently found that if I adjusted my ISO to 800 and moved very close the subject I could capture marginally passable images by focus light illumination alone.
Imagine the frustration I would have had to endure had I not been able to photograph the second Flamboyant Cuttlefish I encountered later that evening. Post-dive I discovered I had not properly seated the strobe connector to the camera hot shoe. The strobes had not been receiving the signal to fire."
Backscatter Underwater Photography - Why I love my Focus Light!:
Wednesday, 19 March 2008
Underwater Video: Auto Focus vs. Manual Focus
Underwater Video: Auto Focus vs. Manual Focus
By Sy Harris
"I’m at 100 feet with the reef at my back, shooting into the blue. All the action is in the deeper parts of the ocean where Grey Reef Reef sharks and barracuda jockey for position in the current. It’s a wide-angle fiesta and I had everything dialed: exposure, lighting, filtration…focus? Unfortunately I was in auto focus, and as the silver/grey fish procession swam by in the deep blue water I may have been stoked, but my camera’s auto focus was lost.
While I thought I was shooting clear, well-focused footage, my camera was making a series of focus adjustments, which I was unable to see through my viewfinder and monitor. The adjustments were definitely noticeable when I viewed the footage at home. The camera was “seeking” or constantly searching for proper focus, resulting in footage that was fuzzy one second and sharp the next. My shot was ruined!"
Underwater Video: Auto Focus vs. Manual Focus
By Sy Harris
"I’m at 100 feet with the reef at my back, shooting into the blue. All the action is in the deeper parts of the ocean where Grey Reef Reef sharks and barracuda jockey for position in the current. It’s a wide-angle fiesta and I had everything dialed: exposure, lighting, filtration…focus? Unfortunately I was in auto focus, and as the silver/grey fish procession swam by in the deep blue water I may have been stoked, but my camera’s auto focus was lost.
While I thought I was shooting clear, well-focused footage, my camera was making a series of focus adjustments, which I was unable to see through my viewfinder and monitor. The adjustments were definitely noticeable when I viewed the footage at home. The camera was “seeking” or constantly searching for proper focus, resulting in footage that was fuzzy one second and sharp the next. My shot was ruined!"
Underwater Video: Auto Focus vs. Manual Focus
Thursday, 24 January 2008
Sea and Sea Unveils Impressive New DSLR Housings
SEA&SEA Announces Next Generation MDX Series DSLR Housings
Aptly named MDX for Machined Digital, these housings are precisely crafted from solid block aluminum and designed for ultimate performance and ergonomics. Purpose built for the latest Nikon D300, D3 and Canon’s EOS 40D and 1D/1Ds Mark III cameras, these housings are fast-becoming a necessity in every underwater photographer’s stable.
MDX Housing Features Include:
● Every detail of the housing is precision CNC machined. Ergonomically designed for ease of use. Manufactured from solid block aluminum alloy with all edges carefully polished.
● The housing is protected by a highly corrosion resistant anodized (black) coating. The coating provides the housing from environmental corrosion and abrasions.
● TTL strobe photography is possible when used with product 50112 TTL Converter lll for Nikon or 50114 TTL Converter III for Canon or product 50115 TTL Converter 250 for Nikon or 50116 TTL Converter 250 for Canon (optional).
● Large A/R (anti-reflective) coated LCD rear display window for full viewing of camera display.
● Equipped with a 0.66x pick-up viewfinder standard. An interchangeable .8x viewfinder (optional) is also available.
● Both the main command dial and sub command dial are operable while holding the hand grips due to advanced ergonomic design.
● Most camera functions are accessible and can be operated underwater with ease.
● Comes complete with camera quick shoe which makes camera installation and removal easy.
● SEA&SEA
● Two Nikonos type (5-pin for Nikon, 6-pin for Canon) connectors come standard with the housing. (2-pin wired for dedicated TTL and 5 or 6-pin wired for manual)
● Dual locking latches to prevent accidental release of housing back.
● Built-in Leak sensor alerts user if moisture or water-intrusion is detected.
● Construction: Body: Corrosion-resistant aluminum alloy (machined)/anodized body, grip: corrosion-resistant aluminum alloy (die-cast)
● Depth rating: 200ft/60m
● MDX-D300 for Nikon D300: Part #SS-06134, MSRP: $2,995.00
● MDX-40D for Canon EOS 40D: part #SS-06133, MSRP: $2,995.00
● MDX-PRO MARK III for Canon EOS 1D/1Ds MK III, MSRP: $4,650.00
● MDX-D3 for Nikon D3, MSRP: $4,650.00
For more information on the MDX housing products and new releases from SEA&SEA, please visit the seaandsea.com News/Events page or contact your local authorized SEA&SEA retailer.
ABOUT SEA&SEA: Founded in 1972, Sea&Sea is the leader in underwater imaging technology. The company offers a complete line of digital imaging products ranging from compact point and shoot cameras to professional housings, strobes, and accessories. Sea&Sea products are distributed in the
Saturday, 13 October 2007
The Digital Power Struggle
The Digital Power Struggle
Article from: The Underwater Photographer (loads of other great tips here!)
Whether you are shooting film or digital, you're probably very familiar with the need for POWER! With more and more shooters on every dive trip, even the best dive boats may fall short of space and plugs to fill the demand.
This is an actual unretouched photo of the makeshift charging station being utilized over its capacity on a recent dive trip.
If you're just getting into digital photography, you might want to consider some of these details.
Always bring along your own power strip and/or extension cord and write your name on it.
If you are traveling internationally, check with the boat or resort ahead of time to see what power requirements are. Most battery chargers today are 110 and 220 compatible, but might need a special cord. In the worst case, you might need to carry a transformer with you, but they are very, very heavy and not much fun to lug around and will likely be unnecessary unless you are going someplace really remote.
If you find that you need to carry many power cords for all these chargers, think about cutting down the cords so they are only 12" long. You can purchase new plugs at most hardware stores and they install in a snap. Make sure you pay attention to whether or not your plug is grounded or not and purchase the appropriate plug. This also cuts down on the space they take to pack.
Don't be a power hog. In most cases everyone ends up tapping into each other's power strips, but if everyone is courteous there will be plenty to go around for everyone.Article from: The Underwater Photographer (loads of other great tips here!)
Monday, 10 September 2007
Lightening Up for International Dive Trips
The Underwater Photographer - Lightening Up for International Dive Trips
"Hey, Lighten-up!
STORY BY BONNIE PELNAR
Getting penalized for overweight baggage is an all-too-often occurrence for most underwater photographers, but when the airlines lowered the baggage weight allowance to 50 pounds per bag for domestic flights things got even worse. Many of us resigned ourselves to the idea that we would pay dearly, expected the worst and hoped for the best. Now the international carriers have followed suit. This means even higher overweight fees and added expenses when traveling to those nice warm dive destinations. By the time you get all your dive gear, topside cameras and lenses and underwater camera gear packed, you've got little room for clothes, or anything else. Its time to lighten up!"
Lightening Up for International Dive Trips
"Hey, Lighten-up!
STORY BY BONNIE PELNAR
Getting penalized for overweight baggage is an all-too-often occurrence for most underwater photographers, but when the airlines lowered the baggage weight allowance to 50 pounds per bag for domestic flights things got even worse. Many of us resigned ourselves to the idea that we would pay dearly, expected the worst and hoped for the best. Now the international carriers have followed suit. This means even higher overweight fees and added expenses when traveling to those nice warm dive destinations. By the time you get all your dive gear, topside cameras and lenses and underwater camera gear packed, you've got little room for clothes, or anything else. Its time to lighten up!"
Lightening Up for International Dive Trips
Monday, 3 September 2007
SeaLife Introduces NEW Mini Wide Angle Lens
Impressive new accessory for popular SeaLife product to be available in dive stores shortly. July 3, 2007 - SeaLife will begin shipping its new Mini Wide Angle lens (item SL973) this week. The Mini Wide Angle Lens is specially designed to fit the hot-selling line of mini series cameras - the ReefMaster Mini (SL320) and ECOshot (SL321)
Advanced photographers know how important it is to get close to your subject “The closer the better”, says Joe Wysocki, Owner of Optiquatics which runs underwater photography trips out of
The new Mini Wide Angle lens increases the camera’s viewing angle by 43%. It also allows close-up picture from 12” to infinity. This is a must-have lens for taking great underwater pictures with the SeaLife mini series of cameras.
The lens also completes the expandable system for the mini series of cameras. With a retail of only $79.95, the lens will make the ReefMaster and ECOshot the most affordable 6mp Dive camera system that can be expanded.
For under $600, consumers can get the ReefMaster Mini ProSet (SL325) and the Mini Wide Angle Lens (SL973) and have a fantastic underwater system which includes SeaLife’s Land & Sea Exposure modes with True Color correction in both Sea mode and Video for more vivid, realistic colors.
In anticipation of the arrival of the new lens, we are running a special promotion that allows the dealer to receive a FREE Mini Wide Angle Lens whenever they purchase two of the mini series of cameras.
For more information on the Mini Wide Angle Lens and the SeaLife 2 for 1 Promotion, contact your territory sales rep or SeaLife customer service @ 856 866-9191.
Mini Wide Angle Lens Specifications
· 0.45X conversion lens increases shooting angle by 43% (from 35º to 50º)
· Easily snaps on and off underwater
· Sharp focus from 12” (30cm) to infinity
· Fully-multi coated optical glass
· Waterproof to 200’ (60m)
· Includes neoprene lens covers, storage case and safety lanyard
· Super compact lens for SeaLife ReefMaster Mini (SL320) and ECOshot (SL321) digital cameras
Monday, 23 July 2007
Digital SLR Cameras Underwater
Digital SLR Cameras Underwater
By Berkley White, Backscatter
Film vs. Digital Overview
For background information on the advantages and disadvantages of shooting digital over film, please see our previous article . While digital might not be the solution for 100% of underwater shooters, my personal experience with underwater digital stills leads me to the following conclusion.
Digital is the best solution for all new shooters that are remotely comfortable with computers. The value of instant feedback is priceless. Experienced shooters that have a working knowledge and a high success ratio with film techniques will need to evaluate their options more closely. For myself, the new digital SLRís offer me the user interface and exposure control that I have been looking for and are only inhibited with their inability to capture extreme highlight detail at the same quality as film. Based on my experiences detailed below, digital, specifically the Nikon D100 is about to become my choice for 90% of my underwater work."
Read the whole article here: Digital SLR Cameras Underwater
By Berkley White, Backscatter
Film vs. Digital Overview
For background information on the advantages and disadvantages of shooting digital over film, please see our previous article . While digital might not be the solution for 100% of underwater shooters, my personal experience with underwater digital stills leads me to the following conclusion.
Digital is the best solution for all new shooters that are remotely comfortable with computers. The value of instant feedback is priceless. Experienced shooters that have a working knowledge and a high success ratio with film techniques will need to evaluate their options more closely. For myself, the new digital SLRís offer me the user interface and exposure control that I have been looking for and are only inhibited with their inability to capture extreme highlight detail at the same quality as film. Based on my experiences detailed below, digital, specifically the Nikon D100 is about to become my choice for 90% of my underwater work."
Read the whole article here: Digital SLR Cameras Underwater
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