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  1. 6 points
    (28-60+WWL-1B) With Strobes: And finally, a few shots taken with strobes using the WWL-1B. The frogfish is an adult nearly the size of a dinner plate.
  2. 4 points
    I've done controlled tests before comparing DivePro 18k lights vs. the Gates GT14s and Keldan Luna 8s (13k lumen model). The tests are somewhat complicated by the fact that the DivePros' output is concentrated in a ~90 degree cone, similar to the Gates GT14s, while the Keldans are closer to 110 or 120 degrees. Because of this, the actual amount of light for the Keldan that falls upon the subject ends up being half what you get from the DivePro and the Gates GT14s. The difference between the Gates and DivePros was not measurable in fstops. So.. I wouldn't worry too much about the cheaper 'chinese' lights meaningfully exaggerating their light output. Keldan certainly has nicer controls and better reliability. My dive buddies and I have experienced issues with DivePro cannister lights in cold water (4 degrees) where multiple units just stopped working for no reason. Clearly, the quality control and testing under challenging conditions could use improvement. But in my view Keldan made a serious mistake by using dome ports on the front instead of flat ports. A 90 degree beam is more than enough for video unless you're filming with a fisheye. I note that the X-Lights also use a dome port, which is silly.
  3. 3 points
    1) the WWL-1 does not come with a buoyancy collar. They sell a hard foam one. The 1B has a metal buoyancy collar that comes on it. If you get the 1(A?), I think you really want a buoyancy collar for it. AFAIK, the lens itself is the same. At least, optically speaking and how it mounts to your camera. 2) You don't need a focus gear - unless you want to use Manual focus. I don't have the focus gear for the 28-60 lens and I can't see myself ever needing it. For fine focus, I would be more likely to just let AF get it very close and then rock back and forth a little bit to adjust the fine focus. 3) If you want to use strobes, you need a strobe trigger. It doesn't have to be the Nauticam one. I am using a UWT (Underwater Technic) and would probably buy another one. It supports using TTL mode (which I have not used, but do intend to play with that soon). I tried a Trt S-Turtle trigger and had poor luck with it and Trt's customer service. I don't know if the Nauticam trigger supports TTL. You have to decide if you want that option (to be ABLE to use TTL) and then make sure the trigger you get does support it for your camera AND your strobes (if you want that option to be available to you). 4) You don't HAVE to have a vacuum valve, but it is highly advisable. The Nauticam one is working very well for me. I think BS or BW also has their own branded one, that you could go with. Which one is really up to you. The Nauticam housing should have a built-in moisture and vacuum detector. If you don't have a vacuum valve, then you won't be able to take advantage of the vacuum detector (which detects LOSS of vacuum). You'll only know if you have a leak when water gets in and sets off the moisture detector. A vacuum valve is cheap insurance for an expensive camera. 5) My Inon Z240s have been rock solid. I had a terrible time trying to make a new pair of Sea&Sea YS-D3s work for me and ultimately sold them. If you search around this forum, you'll find many others with the same complaints I had regarding using the S&S. People with offboard LED flash triggers (like you will have with an a7c) struggle to get the S&S strobes to fire reliably. People with cameras that have a built-in flash, generally have good luck. Also on the subject of strobes, my opinion is to buy the biggest/best you can afford. If/when you ever change camera systems, strobes will move right over. Unlike your housing, etc.. Strobes are an even more long-term investment than the camera itself. I'd take Inon Z330s over Inon D200s - unless you want the D200s for size/weight considerations. If necessary, I would even buy 1 Z330 over 2 D200s, to get started, then save up to buy a second Z330 later. 6) You don't HAVE to have a focus light at all. But, they really do help the camera focus more quickly and accurately in low light. I use my focus light all the time (for wide angle) and for small (but not macro-small) stuff. I haven't ventured into actual macro shooting yet. Fortunately, a focus light does not need to be expensive. Low power is better than high power. You don't need it to automatically turn off when the strobes fire. Strobes are so much brighter, a low powered focus light won't affect the picture when it stays on during the exposure. So, pretty much any small, low powered dive light will work just fine. I use a very inexpensive, relatively low-power video light as my focus light. It throws a nice wide beam, so I don't have to worry about aiming it precisely, and I can get focus lock on a subject, with tracking, and then recompose and my subject will still be illuminated to help the AF tracking.
  4. 3 points
    Between the onset of the Covid 19 storm and all the related lockdowns in the US, my travel plans for 2020 went to zip. Fortunately, I live in South Florida with the Palm Beach County coastline as my back yard, with allowed me to still undertake some really good diving in from Goliath groupers, sharks and blackwater. Here’s two from 2020.
  5. 2 points
    Circling back to the thread title… My original plan was to move from the Olympus OM-D E-M1 II + 8mm, 7-14, 12-40 +multiple ports, to an Olympus OM-D E-M1 II + 14-42 + WWL-1B. The WWL-1B replaced the 8mm and 7-14mm for my needs, but I felt it did not quite replace the 12-40 quality for distant ambient shots. Just my personal observations with no science applied :). I then started considering the Sony A7C with 28-60mm kit lens. My hope was that the improvements in image quality which the Sony combination with WWL-1B would bring, would give me the balance of quality and compact kit I was after. I took a gamble and ordered the new kit. The first few dives with the new setup did not go awesomely. My 2nd and 4th dives resulted in the camera locking up half way through the dive, so I just carried it along for the rest of the dive with a black screen (I added the issue and fix earlier in this thread). Once I got the camera running smoothly (no issues for 20 dives after figuring out the fix), each dive photo shoot progressively became more enjoyable as I became familiar with the controls. For me, the dynamic range is much improved with both the ability to brighten shadows, and darken over exposed shots. Cropping leaves more quality. Auto-focus seems slightly faster, and possibly more accurate. Less focus hunting when subjects in the distance do not contrast much with the background. The full zoom range of the 28-60 + WWL-1B has exceeded the quality and performance I was looking for. I really like this lens. I need more time with the CMC-1 before I can say I’m smitten…understanding there is a learning curve. For the shots I’ve taken (in focus), the sharpness of the shots exceeded what I was expecting. The short working distance may not be a full replacement for a dedicated macro lens, but as I said, I need more time with the CMC-1. The WWL-1B stays on for most of my dives so far. I have removed it underwater a few times, and swapped out the CMC-1, but it’s not an exercise I would do repetitively throughout a dive. For me, I’ll carry the CMC-1 in case I find an awesome macro opportunity I don’t want to miss, otherwise it will be WWL-1B and crop. If I go on a dedicated macro dive, I’d probably leave the WWL-1B at home and just take the CMC-1. For me, the A7C+28-60mm+WWL-1B has been a great upgrade, delivering a high level of quality and performance in a compact kit.
  6. 2 points
    (28-60+CMC-1) Macro: Here are a couple of examples I took with the CMC-1. I don't have experience with this type of lens, so there were quite a few throw-aways. Included is a seastar shrimp as-shot and cropped, and a redspotted nudibranch.
  7. 2 points
  8. 2 points
    Hi everyone I just released a review of the X-Adventurer M15000 underwater video light. Go check it out below!
  9. 2 points
    In November I managed to steal an adventure from and otherwise difficult 2020. After getting Covid-19 tested, keeping a temperature log and donning two masks, I ventured to the Socorro Islands for the first time with the GH5 on the Solmar V. I head read all the report of camera housings getting taxed going through customs, but we got the green light when tapping the button and all was good! Spent 8 days aboard the Solmar V with masked crew and divers. The crew was happy to be back at sea again after being shut down for months. I was happy to be back in warm water. Below is the video of the adventure.
  10. 2 points
    This has been posted before, but here's an interesting article on using the gopro for simple underwater video production: http://www.divephotoguide.com/underwater-photography-special-features/article/shooting-underwater-film-gopro-indonesia/ As mentioned, even with a housing mounted cam, you really don't want to be filming the whole dive though, sounds like a logistical nightmare to get something useful out of the footage, especially if not shooting with intent and snapping strobe-lit pictures during the dive... Going for roughly 10 to 30 second clips (+handles), and up to one minute max if you want to capture a specific behaviour in more detail, all shot in between your still shots, sounds more reasonable. Having a point and shoot cam at the ready on your housing means that wouldn't need to change anything on your primary camera setup for stills, wouldn't be using up its the battery (video really shortens battery life), framing should be relatively easy, and the footage is nicely stabilised. Image quality will surely be better on a DSLR, but it also depends on what you're going after in the end. Here's some basic tips on action cams for UW use that might also be of interest (I personally don't subscribe to everything said there, and really not a fan of the word "cinematic", but it's a good introduction to a less "action-focused" use of such cams, for those of us who don't really "want to be heroes") https://youtu.be/bujdeD-DKEs https://youtu.be/9gh2ll8kPvI The original post described wanting to: - shoot occasionally, if a rare encounter/behaviour shows up and DSLR lens aren't a good fit, then maybe capture a video at less than 25m depth - occasionall, record a family video when kids snorkel - occasional (maybe) shoot some vlogging videos In this case, why not play around with a cheap housing-mounted action cam (GoPro, Paralenz, Sony...) for maximum hassle-free flexibility, shooting in ambient light in between still shots, to get a feel of what you would be doing with the clips, and the post work involved for editing and colour correction. Then maybe going for lights which you can keep as you upgrade - and eventually, if you want to dig deeper, going for good video-capable compact or a direclty something like a GH5 or Sony MFT and sharing the still/video workload? Regarding wide angle GoPro-style cams and ambient light, it also depends on conditions, what you're filming and the kind of result you're going after. In many locations, unless you have dedicated video lights powerful enough for wide angle even in the shallows, you can get acceptable results by shooting in a flat profile (limiting the adjustments the camera will try to do in terms of white balance and colour profile on a gopro this is done by turning on ProTune). You can white balance in post, but not UW. Your footage won't pop without lights, but you can definitely avoid colour casts, and if the focus is on the behaviour or the experience, it can work. Beyond the flat colour + WB profile setting on the action cam, on the GoPros you can also manually set the ISO (or leave on auto with a set minimum and maximum ISO) and also shutter speed, but aperture is indeed fixed. Main issue with the GoPro 5 up to 9 is the increased distortion in their not-as-wide "linear mode" fov, compared to the GoPro4's medium fov which was fine. The distortion is probably used to the stabilisation processed introduced - it's quite ugly on the sides at the slightest pan and the change also killed the possibility of using close-up lenses efficiently. On the TG5/6 you lose the shutter setting in video, but can set aperture to some degree and can also manually white balance underwater - sensor size is identical on TG and GoPro, but as previously mentioned, unless going for closeup (macro) video with lights, I wouldn't really bother with the TG for video for its bulk, hunting autofocus, weaker colour science, stabilisation and poor battery life when shooting video... Shooting in identical conditions, I prefer the results I got native wb on a GoPro white-balanced in post gives better results than Olympus' UW manual white balance. This here is shot on recent GoPros, mostly in ambient light, in the shallows https://youtu.be/Ftsv6a_RS3k https://youtu.be/wrUyigQwXjM These are shot in ambient light in tropical locations, 0 to 20m range, UR filter, flat settings https://youtu.be/cBl5Wc0Fscw https://youtu.be/0hwZXf4v0aE https://youtu.be/1DmbOUKrOMo If shooting mainly in Australia's more temperate and darker waters, ambient light might not be so much of an option though... There's some really sound suggestions in this thread. I'd just add that it really depends on what you're going for with the video footage. If it's too complicated to simply use your DSLR setup as-is for such purposes, a (pair of?) housing mounted action cam - that you can get real cheap second-hand since these things are really tough - if set-up and used efficiently, sounds like a good way to get some footage to work on, and then building on from there, according to your needs as they develop.
  11. 2 points
    First some of the information above is wrong. The SMC-1/2 are designed for macro lenses in the 90mm to 105mm range on full frame. The CMC-1/2 are designed for sub-full frame and up to 60mm on full frame. So the above statement that the CMC-1 works with the 90mm macro is wrong. It will soften all around the edges of the frame. Regarding image size using the 28-60mm at the 60mm end of the lens with CMC-1 I offer the following images. All three images are at full frame (NO CROP TO THE IMAGE) the coin and the larger of the two Star fish are with the CMC-1 as close as I could focus. The third more magnified image of the Star fish is shot with two CMC-1's stacked. Nauticam CMC-1 has the 67mm threads on the front so if you use the mounting ring for direct mount to a 67mm port they stack nicely, just be sure no bubbles are trapped between the two. Regarding the question about the Sony FE 20mm F/1.8 it is an outstanding lens but if I were recommending an alternative it would be the Rokinon/Sanyang 18mm F/2.8. No one will be shooting full frame behind a 170/180mm dome at F/1.8 or F/2.8 if they expect to get any corner sharpness. My review of the Rokinon 18mm F/2.8 is in the current issue of uwpmag.com, a free PDF download. I shot the 18mm using the Nauticam 180mm dome and results from the 20mm would be close if used with the proper extension. No extension has been listed for this lens which is not on the Nauticamlens lens charts. As mentioned above the 16-35 F/4 is a better choice with the 180mm port and I have one for sale on this site with the Nauticam zoom gear. I would also NOT argue the point that the WWL-1/B with the Sony FE 28-60mm is the best choice for the A7C for wide angle. It requires the zoom gear and flap port which also allow the use of the CMC-1/2 closeup lenses.
  12. 2 points
    Hey guys! New to the forum. I mostly photograph fishing and the outdoors. Underwater photography is one of my favorite mediums. Hope you enjoy a couple of these examples! BrookieOverUnder by Dave Fason, on Flickr Blueridgemusky (59 of 86) by Dave Fason, on Flickr franky-15 by Dave Fason, on Flickr
  13. 2 points
    Hey guys! I had no idea about this forum until a member on FM told me about it. I am a photographer out of NC. I mostly shoot fishing and underwater work is some of my favorite. BrookieOverUnder by Dave Fason, on Flickr franky-15 by Dave Fason, on Flickr Untitled by Dave Fason, on Flickr -Dave www.davefason.com
  14. 2 points
    I have the Pana 7-14mm and my wife the Zuiko 9-18mm. We both use it behind Zen DP-170. 7mm is already so wide that the corners are not good with the 170mm dome (the DP200 is recommended for 7mm; Zen DP170 and Nauticam180 are too small. ). 9mm is better (Very similar IQ to the 7-14mm @9mm) and you can zoom out to 18mm, instead to 14mm only. Probably the Pana 8-18mm is the optimum in case you want to buy a new lens (for this lens you need the Nauticam 180 domeport), but the Zuiko 9-18mm is already very good (and goes with both Zen DP170 and Nauticam180); I would stay with 9-18mm and use the Zuiko 8mm fisheye for real very wide angle... Wolfgang
  15. 2 points
    I've been an avid diver my whole life. Exotic travel and U/W photography is my hobby. I've traveled to 88 countries - and been in all the SEAS from the Arctic to Anarctica. And just now joing Wetpixel. Mark
  16. 2 points
    I use a 9mm Laowa Cine lens with a 6 inch port in a Fuji APS and it works fine. I had to remove shade. Here is a link to some sailfish photos.
  17. 2 points
    I think it's leftover from the Z-240 days where the pilot light was a true eccentric pilot light that was not ideal for snooting. With the Z-330 they have tilted the pilot light inward which now lights up in the center of the LSD optical tube. Attached is an image from Inon's website explaining the improvement.
  18. 1 point
    Very interesting, thanks for sharing the images and your thoughts... Regarding the title of your tread, how would you personally compare the two rigs? Wolfgang
  19. 1 point
  20. 1 point
    And this shows my complete kit. The 200mm cross-bar mount for the WWL-1B works very well, and keeps your strobe arms clear and light. Might be worth trying a 70x200mm float arm for the cross-bar as the entire kit still needs a bit more buoyancy. As you can see, I only have single 200mm arms for strobe mounts to keep the kit compact. Double arms would give more room for additional stix.
  21. 1 point
    $159 is as much as a large Nauticam float arm; really not that much in the great scheme of things. A single Keldan 8X is over $2000.
  22. 1 point
    Hahaha you need a gun permit for that The maximum power I used was this. When you open it like a cross and you light the scene from above you get a really nice effect
  23. 1 point
    Out of curiosity, what are your opinions on Japanese lights? When I was working in a Japanese environment, and Japanese divers / guides swore by Inon lights, but then again they do tend to be quite chauvinistic and do that for all Japanese equipement brands (Gull, Bism, SAS...). RGBlue lights seem to be gaining in popularity on the Japanese scene as well http://www.rgblue.jp/en/ I'm moving to Japan next month so these will be an option. It's interesting to remember "Made in Japan" used to mean low-quality, from the first transistors of the 1960s up to the 1980s, then the label slid to "Made in Hong Kong", "Made in Taiwan" before it became the ubiquitous "Made in China". That said, quality of Japanese electronics did increase significantly after Japan's MITI refocussed R&D and investments on electronics, moving on from petrochemistry after the oil shocks of the 1970s, which led to rise of the well known electronic branches/brands of Japanese conglomerates. Taiwanese and Korean industries were developped in the wake of Japanese colonisation, based on the "flying geese model" and were initially working as assemblers for Japanese brands for the most part, before they started producing their own branded products (Asus started as a Toshiba assembler for instance), and eventually overtaking Japanese industries, especially following the drastic cuts in Japanese R&D budgets that took place after the economic bubble burst in 1989... The Japanese camera sector seems to be doing kind of ok, but I wonder how they're doing on the light front....
  24. 1 point
    The quality question and readiness to pay for it really depends on how critical the failure is. If I would dive a hundred bio dives per year and I would have one or two failures (and throw the lights into the bin), perhaps I would not mind this and I could even purchase couple of spare ones just to have available when needed. But, a significant amount of my dives are such that there might be just a once per season or even once per lifetime chance to dive and shoot the scenery. In such cases I am very willing to pay whatever sum (within my reach) that gives me good enough confidence that the lights will work when needed, flawlessly and predictably. Example one: once-in-a-lifetime chance to dive the Finnish flagship WWII destroyer at 80m depth, a grave of 300 soldiers. The coordinates of it are a strict state secret and punishable by minimum 6 months of prison even if one only attempts to leak the coordinates. The approximate location is somewhere in the open seas between Finland, Sweden and Estonia. After years of research and working with a number of key navy officers we were granted permission and coordinates to check that the wreck was still in a untouched condition. Nobody had scuba dived this wreck before, and maybe never will again because the coordinates were on a 8" floppy disk. Example two: progressive dives and setup dives to shoot a cave up to 860 meter penetration. I had already studied this cave a year earlier and then called together a team to spend a second week diving just this cave and penetrating each time a bit further. It was the effort of altogether six persons spending a week to get this shot, plus all diving and travel expenses. If the total cost of this expedition is in the range of tens of thousands of euros, why should I risk failure by saving a thousand euros on the lights? Really, why?
  25. 1 point
    Two characteristics most touted by underwater lamp manufacturers are Lumen and CRI. The lumen is a measure of the total quantity of visible light emitted by a source per unit of time (https://en.wikipedia.org/wiki/Lumen_(unit)). Although by now we are all used to lumen to make our comparisons, it would be more correct to use Lux (https://en.wikipedia.org/wiki/Lux). Put simply and with some approximation, the lumen measures the light emitted, the lux the light that actually hits the subject on a specific area. I know it is a difficult subject. Maybe @adamhanlon and Alex talked about it in some WP Live episode. We find out the difference in meaning between lumens and lux, when we realize that a small 1000 lumen macro lamp, concentrating all the light on a nudibranch, is able to get us to work at F16 while, at the same distance & ISO, a 10,000 lumen lamp with a 100 degree reflector can't light it enough. In our LED lights, the amount of lumens emitted depends on the characteristics of the LED module itself, the temperature and basically how much current is supplied to it. Each LED module has a datasheet with these values. Unfortunately 99% of underwater lamp manufacturers declare the lumen value simply by copying the factory data of the led module at the maximum possible current. Nothing could be further from the truth. The electronic circuitry and batteries of a lamp are rarely if ever able to provide those values and no manufacturer declares and measures the actual lumen emitted. Amen. Another important value is the CRI, on the meaning of which I will not dwell (https://en.wikipedia.org/wiki/Color_rendering_index). What I wrote on lumen, applies here as well. At best they quote the data of the manufacturer of the led module used. If you read the last paragraphs of the Wikipedia entry you will realize that the CRI is a much discussed and not very reliable measure for LEDs. Measuring the CRI of an underwater lamp as a finished product is not easy and I don't know how many manufacturers use specific equipment to measure it. My experience is that with the exception of Keldan, the lamps I tried had strong greenish or yellowish tints (Mediterranean waters). As I wrote in a previous post: My Panasonic GH4 and GH5 used in AWB (ok, I confess) with the old 5000 lumen keldan led module had a pixel perfect color rendition. With the new COB Led I have remove a slight yellow cast in post.
  26. 1 point
    I just completed a review of the X-Adventurer M15000, used in the tropics with ambient light filters. You can check it out below
  27. 1 point
    Fantastic Video. Thank you for Sharing
  28. 1 point
    On this dive trip aboard the Wellingreng - we saw it all - from the Blue Ringed Octopus to the Ornate Ghost Pipefish. The video is pretty epic ... https://www.marksadventures.com/raja-ampat
  29. 1 point
    Thanks all. Okinawa is not one we considered. As you get old you start thinking about this. I don't think we would live their full time, we will keep a condo stateside. Another list of countries it is "inexpensive to retire to": Malaysia, Vietnam, Thailand, and even Bali made the list. The trick is find just the right spot in each.... 'https://www.msn.com/en-us/money/retirement/countries-where-you-can-live-comfortably-on-social-security/ss-BB1ftdP6?li=BBnb7Kz
  30. 1 point
    If you have classic alu arms like ULCS or Nauticam you could just buy a kit like this: https://www.easydive.it/en/arms-and-accessories/floating-arms-and-items/floating-rings-kit-500-g.217.html The hole is 25mm which is enough for most commons arms. After the Stix bad experience, I bought a small pane of the same material and I cut it by myself copying the Stix design. While now I use carbon fiber arms I used them for years and they are still very handy for special rigs...
  31. 1 point
    Thanks for that info. I think I will take the foam collar to 70m and not worry about it. I did know my Stix floats are only rated to around 40m. I was planning to get a couple more carbon fiber float arms to use instead of my Stix floats, for the deeper dives. But, it is interesting to hear that the Stix return to "like new" after a dive like that. I will give some thought to using them for that. I'm don't foresee anymore 100m dives for me any time soon. I did that on OC and I have no interest in doing it again on OC. My CCR limit is currently 50m, soon to be 70m. It will be a while before I advance my CCR training to the 100m ticket. And only after that will I get back to any 100m diving. 100m diving on OC is just too risky for my tastes.
  32. 1 point
    I couldn't find the link right now but the foam ring is rated 50m. The Italian Nauticam dealer confirmed it. There is a 10Bar foam collar for the WWL-1 and it's rated 100m but the dealer said me that it couldn't find differences with the Nauticam. I had no problem going > 100 with Nauticam domes. You shouldn't have problems going deeper with the foam collar. Eventually it will shrink and your housing will become heavier. Years ago I didn't notice that my Stix foam was rated 40m. At 70m I felt my camera very heavy and I realized that the stix foam was all squished up like chewing gum. Once on the surface, few hours later it returned like new. Back home I sold it.
  33. 1 point
  34. 1 point
    I am not generally a fan of over/unders or split shots, but I do like the Musky one. These are well done, though
  35. 1 point
    Hopefully this will help. I had a job in Belize in February prior to me having my vaccine. I had spent 45 days down there prior to the pandemic and kept up with the locals weekly. They have taken the virus very seriously and still require a mask anywhere you go. Including going for a walk by yourself. After talking with them I felt that the job could happen. I was tested 4 days before, the day before, three days before I left Belize and 4 days after. At no point did I not feel safe or feel that I was endangering the people. We were smart, outside and masked up in the situations needed. I was in a small village that has only had 11 cases since the start. I know in Belize they are allowing people in without all the red tape IF you have been fully vaccinated. Be safe and be mindful of other people. If you are able to choose an airline that is still keeping middle seats open that is a great peace of mind. We used Delta who was doing this. -Dave
  36. 1 point
    Hi Craig, There was a similar tread recently: The Seaskin suits are made in U.K. and Stuart said shipping to US is no problem. These suits are entirely made ad measure and good quality for relatively low price... Wolfgang
  37. 1 point
    Hi guys, any new ideas or solutions in this case? I have not used AFL in the past. But today i tried it and the same problem here on the GH5 and Dive&See monitor. btw: anyone interested in a D&S monitor? FS: Dive and See monitor DNC5A - Classifieds - Wetpixel :: Underwater Photography Forums Alex
  38. 1 point
    For clarity, I am happy with my setup pending a full scale test in the big salty. FWIW I have found the in-water weight of the Scubalamps to be higher than reported (no surprises- just like overstating lumens!). I have previously tried the ‘calculation method’ and found there is no substitute for actually putting the stuff in the water. The lamp float is a ‘modified’ commercial fishing float. EVA foam good to 1000m or something. Given the stealth look with some hobby paint. I’ll post another pic of the full setup later. Sent from my iPhone using Tapatalk
  39. 1 point
    Canon's colour science is well known of course. Sony didn't really nail it until the A7iii. I don't know how that translates into the RX line though, or how they handle WB. 55mm across the frame is acceptable, and I assume this is without a diopter or macro lens. I read a similar comparison on another website that has the Canon with a closer focusing distance. With the big cost difference between the two lines of cameras, the Canon frees up funds to buy a wet lens too. Thanks once again for your input, Chris, it's very much appreciated.
  40. 1 point
    Hey Davide, Gerald Undone's technical explanations are great. I have watched this particular video a while ago when it first came out. In this case though, it doesn't really answer my question. Let me rephrase it: when it comes to shooting underwater, is the R5's video raw codec a true raw codec that preserves your ability to fully adjust WB in post from, say, 2500K to 50000k just like you can in camera? As Gerald mentions, when it comes to video, not all raw formats are alike, and not all preserve the same flexibility as a raw photo. So I'm actually asking if you don't set a proper white balance at the time of shooting with the R5 but record in Canon Raw, do you have the same latitude to adjust the white balance in post as you would've had had you simply set it correctly in camera? A true raw format would allow you to have that flexibility in post. Some compressed raw formats don't though -- e.g. the current implementation of Prores Raw on the Ninja 5 recorder for the Sony A7S3 doesn't give you this possibility to adjust the colour temperature in post in degrees Kelvin in Final Cut. For the Panasonic S5 and S1H, Prores raw does include kelvin controls in Final Cut I believe (Interceptor21 can jump in here to correct me), but the range of adjustment only goes up to 10000k, not beyond? I would expect the raw format the R5 uses for video to be true raw with full flexibility over white balance, but would like someone with the camera who can confirm. Especially when it comes to underwater ambient light shots where the 'correct' kelvin WB temperature ends up at the extreme end of the scale.
  41. 1 point
    I spent about 20 dives with the Retra Pro so far. They diffuse so well even with an 8mm FE lens on M43 and with such quality that i have passed on the diffusers so far. I am planning on the reflectors especially for skittish fish and focused reefs. However you need macro rings for the reflector (!). For protection I would rather use some self made neoprene (plenty of that at my place) with a cover that can be flipped out and back on the flash body with some velcro. Easier to use and cheaper. Probably the Supercharger is a good investment since after dives strobos are already in the red zone without it. (the flash can use only eneloops). LSD is also worthwhile if you like some special snooting effects. Andrea Inviato dal mio SM-G991B utilizzando Tapatalk
  42. 1 point
    As some of you already suggested I decided to send it for overhaul. If I still have problems after that I will switch extension ring and test with my larger dome port. Thanks for your feedback!
  43. 1 point
    Send it in for service. You'll get all new orings for buttons, and a pressure test to certify it. After frying a camera, I would not dive that housing again with out a full service. At 4-5 years old it clearly is past due.
  44. 1 point
  45. 1 point
    This is a no brainer to me, first I used the Olympus line for years including the EM-1 II and also the WWL-1with EM1 II you can find those reviews in the back issues at uwpmag.com. I am also probably the only one on this site that has used the Sony A7C, FE 28-60mm zoom and WWL-1. The only real question here is do I want to stay with a smaller format sensor or go to full frame with its added issues. Bottom line is that the A7C is faster, smaller and has noticeably better image quality as most FF cameras do when compared to sub-full-frame. I have heard all the arguments for both formats but the bottom line is that if your top priorities are speed and IQ the Sony A7C is just better. While many DSLR users will argue that size should not be a large issue when selecting a U/W camera I believe they are forgetting why many of the older ones left film cameras in large housings and went to the Nikonos RS system. My spell check does not even recognize the word Nikonos but I would venture to say that more than half of the published U/W photo pro's were using the RS system before they went to digital. I would also bet that one of the top reasons for using the Nikonos RS SLR camera body and lenses was reduced the size and weight of the system. I would guess the top reason was the quality of the water contact optics which won out over AF speed because they were more than a bit slow.
  46. 1 point
    I have been ask a bunch of questions about all things A7C and today my 4000 word review has posted in UWPMAG.com issue #119. This is a free PDF download and I suggest you read the review if you have an interest in the Sony A7C. I intensely did my review using only the Sony FE 28-60mm "kit" lens with the WWL-1, WACP and one and two CMC-1 lenses. Some of the macro is in this thread. After reading the review I would be happy to answer any questions. The attached image is with the 28-60 at 28 using the WACP. This is an A/V light shot at ISO-400, F10, 1/125th sec.
  47. 1 point
    Visa issues can be dealt with. Way back, when I lived in Taiwan after some stretch of time we would have to leave the country for 48hrs(?) so we would just fly to Seoul or HK for a couple of days. The better half loves macro. I, of course, enjoy landscape/WA so the perfect spot would have a bit of both. Don't need Raja epic walls, but something beyond a 6'x6' rock in the muck.
  48. 1 point
    Enjoyed Bonaire but Southeast Asia has spoiled us. Actually the Philippines is an area we should investigate more. We went to Dumaguete once and enjoyed it.
  49. 1 point
    You might consider the Philippines, Puerto Galera or Dumaguete or Bohol. These three tick all of your boxes, cost of living can be low, there are stores and restaurants and social life in walking distance if you want it, and English is the lingua franca. There is the added bonus of being a short hop from other places in SE Asia and PNG. I’m biased toward Anilao but you need your own car for even minor shopping, and finding a seasonal rental is almost impossible.
  50. 1 point
    thank you ! pretty much WACP1 is my favorite lens and the only lens I use on all my dives right now, as I don't really shoot macro, one WACP1 does pretty much all I need, the second picture is wacp 28-70 at 28mm, it is actually quite wide, and the last photo is in the 70mm, all the way zoomed in. It gives me incredible range and flexibility to work with during a dive.

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