Ambient light photography with a 1" sensor is a bit of a challenge and in any case you can shoot raw so white balance is done in post. Canon compacts except G series have extremely limited battery life and the G7 X port system is not a cheap entry
I find that 12mm is a good focal length for video but too narrow for still images. Also the 12-35mm lens does not work through the whole range behind a dome as the focus distance of the lens changes and soon the camera cannot focus behind the dome. It is a fabulous lens on land though
Both lenses will work well with your camera. I have the Panasonic 7-14mm and I like it for wreck interiors and shots in bluewater.
The Olympus 9-18 is cheaper and a bit narrower but still works pretty well if you are happy with a maximum of 100 degrees field of view, in my view this works well with sharks but is a tad too narrow for wreck interiors and larger fish whale sharks etc
Both lenses suffer soft corners at the wide end and need stopping to f/5.6 minimum f/8 better for wrecks. Not so important for blue water shots
You can see a 4K video I shot in Puerto Galera. The mark II gives you better options for still images the video you can see by yourself. 4K is more a consideration if you have a 4K set and if you are keen on video. For Lembeh macro you really want the Mark II longer lens and that will be fine for stills. In both places it is pretty dark and 4K is not that good at high ISO
Thank you all for your help on this. I may need a bit more help from you to explain some terms. I am just beginning and do not fully understand all the technical terms (focal length, focus distance, etc). I will get there but just need a little bit more help :-)
Here is what I understood:
- The reflection was caused by the position of the strobe.
- The vignette is seen because I did not have enough zoom in to get a tiny detail of the large nudibranch or the nudibranch was too large to have it in full using the CMC
I understand this and I am very grateful for the explanations you sent, thank you.
Here is where I need more help from you:
- What does the minimum focus distance mean vs. the use of the zoom? It is 10mm without CMC and 59 mm with CMC. Does it mean I can get the same level of details with the CMC being a bit further away from the subject, at 59mm? Does this distance imply using the zoom or not? I just tried and I can be closer that 59 mm with the CMC with a zoom in.
- 19mm frame width using CMC: does it mean that any subject larger than 19mm will not fit entirely in the frame? Is this distance using the zoom or not? Without the CMC, it can get to 30mm which I also do not get since I can easily fit a shark in the frame. I assume this is therefore implying using the maximum zoom in?
Here are the details of the pictures I posted above:
- xeno crab: focal length = 9.89 mm
- shrimp: focal length = 9.89 mm
- nudibranch: = 7.59 mm
Apologies for my ignorance and all my questions! I am very keen to understand all this as this is the only way I will understand how to best use my equipment.
Once again, many many thanks for your patience and time!
Your lens is zoomed out. The G16 range is 6.1-30.5 you are at the wide end close to the vignetting point. Closer to the black vignette the lens has another glass area not clear it is likely this is your reflection.
Because you are not zoomed out the camera working distance is around 1cm so to go further away you need to zoom fully.
Frame width 19mm means anything bigger will not fit the frame
In short I do not know who advised you to get the CMC for the majority of subjects you will achieve less than the traditional macro frame width of 35mm with a single Inon UCL-165 so unless you live in pygmy seahorse land the CMC will be too much for you and a weaker lens could have been sufficient.
Sony and Panasonic are taking the risk of offering 4K under the requirements of REC709 HDTV whilst 4K will go further beyond very soon
The H264 codec used by both Panasonic and Sony is not great for 4K and actually a 4K stream at 100 mbps does not really capture much more information after all of a good 1080p recording codec.
Resolution is only one of the aspects of what the human eye can see and comes after contrast and colour.
It is expected that HDR provided by premium 4K will bring the most difference to the perceived image quality, far more than colour and resolution
To prove the point I have stressed my Sony RX100 Mark IV for a number of months now on land and recently underwater. I prepared the 4K clip and I showed it to my family on the 55" 4K Tv and they said wow great. However I was only displaying it at 1080p, I then put the display at 4K and nobody could see any difference. This is largely due to the fact that the display size required to see the extra resolution is incredible at 3 meter around 70+ inches.
On my land after much deliberation I am now shooting 1080p as the RX100 with full sensor read out and 50 mbps codec performs well enough and I can't see pretty much no difference at all with 4K even at close distance. This is of course not true for many cameras that do not resolve the full 1080p anyway.
It is likely that it will take a couple of years to define the disputes around 4K and get into real benefits. Furthermore most of the displays do not support HDR anyway
So if you like me have a normal 55/60" TV and watch it at 10 feet 3 meters and the TV does not have HDR you will not be able to see any benefits of any sort.
Only watching on a computer monitor will show the extra pixels
Sync speed is limited by the mechanical shutter an external bulk head will not change things.
All those cameras with 16Mp sensor have the same sensor of the GX7 including: LX100, G7, GX85 etc. The only camera with a different one is the GX8 and it does not look like the extra megapixels improve the resolution