andrea31419
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What's a good ISO for u/w shots?
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depends on what you're shootingandrea31419:
in the caves, I use 1600, for reef, 50
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andrea31419
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I have the Olym C4000, I think my lowest is 100. Will that do? We'll be diving a wreck.
The Kraken
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Andrea, 100 is about the slowest speed you can shoot.
The greater the ISO number the faster the speed.
Just as an example, if you took an exposure for 1 second shutter speed with a 100 ISO film, the same shot with a 1600 film speed would take a 1/16 shutter speed.
What is the highest ISO setting to which you can set your film speed?
The greater the ISO number the faster the speed.
Just as an example, if you took an exposure for 1 second shutter speed with a 100 ISO film, the same shot with a 1600 film speed would take a 1/16 shutter speed.
What is the highest ISO setting to which you can set your film speed?
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andrea31419
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The Kraken:
This exposure mess is so confusing. I'm still learning it. I need to buy a good book on exposure.
We're diving this weekend, and I want to come home with halfway decent images.
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andrea31419:
Andrea,
Normally, you want to use the lowest ISO you can. The higher the ISO, the more grainy the image. Sometimes, in very low light situations, you are forced to go higher in order to get an exposure.
On my Oly c5050, the lowest ISO is 64 and that's where I leave it.
Lower ISO = less grain, allows for higher f-stop & greater depth of field.
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andrea31419
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Thanks Kracken and JLyle
The Kraken
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J is right.
There are basically 2 "teeter-totters" in photography, if you would.
Fast shutter, lots of grain, shallow depth of field, wide aperature
Slow shutter, little grain, deep depth of field, small aperature
Everything is in a balance, what you gain in one, you give up in another.
The optimum is the film speed/shutter speed/flash synch and minimum power usage that can give you the best pics with the best detail and depth of field without your subject being a blurry image.
As J said, in areas where you have plenty of available light, you can go with a slower film. If you're doing deep open water where it's dark, you'll need a faster film.
Wrecks are kinda neat because you don't lose as much light from your strobe due to the darkness of the water sucking it all up. You can go with a slower speed in wrecks because your strobe is more efficient due to light bouncing off other surfaces and not just disappearing into the infinite space of the ocean.
There are basically 2 "teeter-totters" in photography, if you would.
Fast shutter, lots of grain, shallow depth of field, wide aperature
Slow shutter, little grain, deep depth of field, small aperature
Everything is in a balance, what you gain in one, you give up in another.
The optimum is the film speed/shutter speed/flash synch and minimum power usage that can give you the best pics with the best detail and depth of field without your subject being a blurry image.
As J said, in areas where you have plenty of available light, you can go with a slower film. If you're doing deep open water where it's dark, you'll need a faster film.
Wrecks are kinda neat because you don't lose as much light from your strobe due to the darkness of the water sucking it all up. You can go with a slower speed in wrecks because your strobe is more efficient due to light bouncing off other surfaces and not just disappearing into the infinite space of the ocean.
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[Fast shutter, lots of grain, shallow depth of field, wide aperature]
[Slow shutter, little grain, deep depth of field, small aperature]
A small caveat here, the coarse grain comes from using higher ISO film or digital settings. Most of the grainyness issues arise with film speeds greater than ISO 400 and with digital ISO settings above 200, at least for all-in-one digital cameras (like those beloved Oly's).
A slightly higher ISO permits you to stop down your aperture for greater depth of field and/or use a higher shutter speed which minimizes burriness from camera shake or movements by the subject. Movement is not usually a problem with wrecks, but always with the photographer.
Try black and white images with ship wrecks. This can work better for fresh water wrecks where there's usually less growth covering the wreck and what there is won't be very colorful or interesting. Sometimes a small tripod can be used to take long exposures with low light. Especially with interior shots (assuming one is wreck certified).
Websites: www.digitaldiver.net
www.wetpixel.com
Books: The New Guide to Sea & Sea
Excellent overview of U/W photography practice, but it's dated in that it is
about S&S's film cameras. www.seaandsea.com
Digital Imaging for the Underwater Photographer, Jack & Sue Drafahl
This will take you through the topside computer processing end of things.
They are coming out with a new book in August '05, the Master Guide for
Underwater Photography. www.jackandsuedrafahl.com
Disclaimer, I have no personal or commercial interest in the books or websites.
[Slow shutter, little grain, deep depth of field, small aperature]
A small caveat here, the coarse grain comes from using higher ISO film or digital settings. Most of the grainyness issues arise with film speeds greater than ISO 400 and with digital ISO settings above 200, at least for all-in-one digital cameras (like those beloved Oly's).
A slightly higher ISO permits you to stop down your aperture for greater depth of field and/or use a higher shutter speed which minimizes burriness from camera shake or movements by the subject. Movement is not usually a problem with wrecks, but always with the photographer.
Try black and white images with ship wrecks. This can work better for fresh water wrecks where there's usually less growth covering the wreck and what there is won't be very colorful or interesting. Sometimes a small tripod can be used to take long exposures with low light. Especially with interior shots (assuming one is wreck certified).
Websites: www.digitaldiver.net
www.wetpixel.com
Books: The New Guide to Sea & Sea
Excellent overview of U/W photography practice, but it's dated in that it is
about S&S's film cameras. www.seaandsea.com
Digital Imaging for the Underwater Photographer, Jack & Sue Drafahl
This will take you through the topside computer processing end of things.
They are coming out with a new book in August '05, the Master Guide for
Underwater Photography. www.jackandsuedrafahl.com
Disclaimer, I have no personal or commercial interest in the books or websites.
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