SFLDiver3445
Contributor
For the past several years, I've been shooting my reliable G9 in a Patima housing with an Inon wet mount len and a semi-fisheye dome attachment. My setup was lit by two Inon Z-240 strobes on ULCS arms. I've been extremely happy with my system, and I feel as though I've been able to generate some respectable results. I've even managed to get some decent macro results using some Inon close-up lenses. Here's a link to my site so you can see examples of some of my shots:
Adrian Soler Photography | Slide Show Photos
However, I happen to regularly enjoy diving on the deeper wrecks (i.e., up to 270+ feet) here in south Florida, and anyone who knows me, knows I don't like diving without my camera in hand, regardless of the depth! At those depths, when conditions are ideal, even with my G9 setup, I can get some shots I'm happy with. For example, here's a shot I took a few weeks ago in approximately 240 feet of water on the deck of the Wreck of the RBJ:
But as most south Florida technical diving photographers can most certainly tell you, conditions aren't always that nice. At that depth, when the sun's rays cannot make it down below, usually because of too many particles in the upper layers of water column, it gets dark enough down below to cause problems for small sensor G9 shooters like myself!
The solution is usually to just dial up the ISO and lighten things up, but not with the G9, because even at an ISO of only 200 the noise gremlins decide to come out and party! And nothing will ruin your post dive excitement faster than a good dose of graininess!!
So after living with this frustration for years, I decided it was time to bite the bullet and do something about it. I did a bit of homework, and of course sought advice from the very knowledgeable folks down at my hometown uw photography store, Reef Photo (Reef Photo & Video!, The Underwater Photo Pros). Tony, who happens to be a regular recreational and technical diving buddy of mine, really was helpfull in steering me in a direction that would meet my needs, yet wouldn't empty out my bank account.
Since I've been shooting Canon for some time now, and I'm used to spinning that little wheel on the back of their cameras with my thumb, and because I'm familiar with the basic layout of their menus, I decided to rule out Nikon. I also considered upgrading to another digital compact camera, as I know the sensors have improved drastically since the G9, but even those fell short when compared to a middle of the road SLR. So I figured if I was going to make my move, I'd go straight to SLR.
After looking at the features of Canon's SLR, and comparing them to my needs, I ultimately decided on the Canon EOS 60D. I also decided to go with the Nauticam NA-60D housing and the Tokina 10-17 fisheye lens with the DP-100 100mm Dome Port, which fits the Tokina lens perfectly. The 60D seemed like it had a large enough sensor for those deeper darker waters I often dive in, yet had a price point significantlly lower than making the jump to the d7, the next model up. The Nauticam housing seemed awfully ergonomically well designed, which was important to me, as was the 100m depth rating.
Fortunately, as I indicated above, I already have the two Inon Z-240 strobes (which I LOVE!) and plenty of ULCS arm segments from my previous setup. The setup came together nicely and looks sharp; well, at least in my living room! Of course the real test will be underwater - I'm scheduled to dive this weekend, so if I can figure out how to turn the camera on, then I'll report back with more specific results and feedback on the ease of its use.
Adrian Soler Photography | Slide Show Photos
However, I happen to regularly enjoy diving on the deeper wrecks (i.e., up to 270+ feet) here in south Florida, and anyone who knows me, knows I don't like diving without my camera in hand, regardless of the depth! At those depths, when conditions are ideal, even with my G9 setup, I can get some shots I'm happy with. For example, here's a shot I took a few weeks ago in approximately 240 feet of water on the deck of the Wreck of the RBJ:
But as most south Florida technical diving photographers can most certainly tell you, conditions aren't always that nice. At that depth, when the sun's rays cannot make it down below, usually because of too many particles in the upper layers of water column, it gets dark enough down below to cause problems for small sensor G9 shooters like myself!
The solution is usually to just dial up the ISO and lighten things up, but not with the G9, because even at an ISO of only 200 the noise gremlins decide to come out and party! And nothing will ruin your post dive excitement faster than a good dose of graininess!!
So after living with this frustration for years, I decided it was time to bite the bullet and do something about it. I did a bit of homework, and of course sought advice from the very knowledgeable folks down at my hometown uw photography store, Reef Photo (Reef Photo & Video!, The Underwater Photo Pros). Tony, who happens to be a regular recreational and technical diving buddy of mine, really was helpfull in steering me in a direction that would meet my needs, yet wouldn't empty out my bank account.
Since I've been shooting Canon for some time now, and I'm used to spinning that little wheel on the back of their cameras with my thumb, and because I'm familiar with the basic layout of their menus, I decided to rule out Nikon. I also considered upgrading to another digital compact camera, as I know the sensors have improved drastically since the G9, but even those fell short when compared to a middle of the road SLR. So I figured if I was going to make my move, I'd go straight to SLR.
After looking at the features of Canon's SLR, and comparing them to my needs, I ultimately decided on the Canon EOS 60D. I also decided to go with the Nauticam NA-60D housing and the Tokina 10-17 fisheye lens with the DP-100 100mm Dome Port, which fits the Tokina lens perfectly. The 60D seemed like it had a large enough sensor for those deeper darker waters I often dive in, yet had a price point significantlly lower than making the jump to the d7, the next model up. The Nauticam housing seemed awfully ergonomically well designed, which was important to me, as was the 100m depth rating.
Fortunately, as I indicated above, I already have the two Inon Z-240 strobes (which I LOVE!) and plenty of ULCS arm segments from my previous setup. The setup came together nicely and looks sharp; well, at least in my living room! Of course the real test will be underwater - I'm scheduled to dive this weekend, so if I can figure out how to turn the camera on, then I'll report back with more specific results and feedback on the ease of its use.
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