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Showing content with the highest reputation since 09/22/21 in all areas

  1. 3 points
    Hi, I went to dive Marsa Shagra in May this year. I felt like i was diving into a subaquatic poem. I use 1 DX Mark II with Nauticam Housing, (no additionnal lights, no filters)
  2. 3 points
    In this review of the Keldan Spectrum SF-2 filter I am giving you my reasons as to why you need an underwater red filter for your underwater camera system!
  3. 3 points
    The saying goes; Spend 10.000 hours doing anything in life and you'll get good at it. With roughly 2500 underwater videography dives under my belt, I'm actually not quite there yet! But I've picked up a few tricks along the way, now entering my 11th year of underwater filmmaking. In this article I'm gonna cover my top 5 tips that I wish I knew as soon as I picked up a camera. https://www.aquatic-images.com/post/5-underwater-videography-tips Sent from my Redmi Note 5 using Tapatalk
  4. 2 points
    Got my EMWL late yesterday!! (I am pronouncing it em-will, FYI). I bought it a la carte, just four items (totaling 3 grand), for now. These items are focusing unit #1 to use with the Nikon 105VR, the 100 degree objective, the lens shade for the objective, and a 67mm mounting ring (to replace the Nauticam bayonet mount on the focusing unit). I have a Saga port for the 105VR similar to what Adam has (Alex may be using the Saga port for the 60mm Nikkor). Nauticam cautions to not tighten the six screws holding the ring in place too tightly. In less than 24 hours three fell out onto my carpet that I was able to locate so a word of caution here - I went back and tightened them well using a long 2.5mm sized Allen wrench (my Swiss Army Knife style hex wrench kit (I have two, one for metric and once for inch that are light enough for travel but not up to this task) does not have long enough wrenches!). I took some shots in the tub since the weather today prohibits going outside. I shot at f/16 then pulled the housing out of the tub to shoot at f/4 but I inadvertently moved the aperture setting to f/3.8 during the shoot. Large aperture clearly not as good as stopping down. I started at about 12"/30cm working distance but did not quite put the housing in the same spot after changing the aperture. I then went closer still at f/3.8 then went back to f/16 still closer. The closer shots were about and inch (3cm) from the lens give or take. Full frame shots all have my logo in the corner. It took a while to figure out a target - I found an empty isopropanol bottle in my darkroom supplies and put in several 3/8" ss bolts to make it negative. Now to get them back out!!! I was kneeling on the floor next to the tub on the left so you see a slight bias due to the awkwardness. I was shooting using AF with one hand while the other was holding a Seacam monitor that gave me a view through the viewfinder (and observing the AF points doing their thing).
  5. 2 points
    Hey there, last one was on the Red Sea, the new one is on French Polynesia I had the chance to go there a couple of times between 2019 and 2020 (Fakarava, Rangiroa, Tikehau, Moorea & Tahiti) Probably the most incredible shark diving i have done. Same equipment as for the Red Sea : 1 DX Mark II with Nauticam Housing, (no additionnal lights, no filters) Hope you will like it ...
  6. 2 points
    Also, while I'm at it, dome vs. flat. This is a 10mm lens (15mm-equivalent) shot in a pool through a flat port: Same camera, same lens, same housing, roughly the same spot, six-inch acrylic dome, f/4 aperture: Same setup, f/11 aperture: Same, but eight-inch acrylic dome, f/4 aperture: And the same, but f/11 aperture: You can observe the extreme distortion and reduced FoV introduced by the flat port, as well as soft corners in domes at wide-open apertures that improve - but don't go away completely - as the lens gets stopped down.
  7. 2 points
    The ones that I had (ST-100 Pro; I have since then sold them onwards) were TTL-only when triggered by fiber optics, no ability to adjust. If you look closely at the second image, you'll see blown highlights on the upper part of the batfish, that's despite me pulling them all the way down in post. I believe that the ones that they're selling now, the SF-01 model, are the opposite - manual only, but I haven't tried them myself, so I only have second hand info. Between TTL-only and manual-only, my preference is definitely for manual, having tried both (TTL with SeaFrogs and manual with Retras). As far as quality of light goes... I can't really evaluate it, but the power and reach were limited. For example, a large (~2 meters across) sea fan with SeaFrogs strobes: Pulling the white balance towards red to compensate for insufficient lighting causes the water to go purple. You can even see the gradient here: Try to cast a wider shot, and they're not reaching anything at all: Retra Pro strobes, on the other hand - no problem at all. As far as bursts go, Retra Pro with superchargers can do 3fps (continuous low setting on my A6300) at 50% power continuously.
  8. 2 points
    Quality of light Power of light Consistency of light itensityregardless of battery power Cycle speed (how fast you can trigger them) High Speed Sync for the newer models Sales support
  9. 2 points
    Hi.I'm not an expert, but a lot of content in the forum shows that housing is not an accessory to underwater photography. The camera is an accessory to the housing.If you want to use Sony A1's current highest quality expensive camera as an accessory for underwater photography, I think a good quality housing and proper setting will produce good photography results.Before I knew this forum, I used a 14-24 lens and an 8-inch dome port for the first full-frame camera Nikon d800 dslr, but the quality was not good. Compared to the existing small compact camera underwater photographs, it was difficult to find good points in the photographic results and I was disappointed.Later, I read and studied the forum, used Sigma 15 fish eyes, and improved the quality of the picture. If I had known Wet Pixel Forum before purchasing equipment, I wouldn't have made a double investment.Currently, it is used underwater as a full-frame Nikon mirrorless.If you use an expensive high-end beast-like camera like Sony a1, I think the camera will perform only when you use a dome port suitable for housing and setting for good image quality.
  10. 2 points
    I have been traveling to Mexico for years. I actually looked at buying a property there once, many years back. Mostly I try to shrug off the seemingly never-ending corruption and scams, but sometimes I find myself feeling really tired of it and like I just won't go back. Recently I was booking a trip to Mexico and I just couldn't do it and booked a trip elsewhere. It actually felt kind of satisfying to give the finger to Mexico, figuratively speaking. Not saying I won't go back, but there is this bit of irritation every time I start looking at it. I mean, come on, you don't pay duty anywhere in the world on personally owned items you take on a vacation and bring back home with you. What's next? "Duty" on my watch or shoes or cell phone whatever? I actually have Mexico-specific packing practices, and that just feels wrong. Okay, rant over. I feel better now.
  11. 2 points
    The Nikon Z 24-70 F/4 suffers from the same issues as the Tamron 28-75 F/2.8 on Sony. The zoom range is only 28 to 32 before the lens bumps the rear of WACP-1. This gives you a total AOV of 130 to 121 not really taking advantage of the full zoom range. If you want to take advantage of the full zoom range from an AOV 130 to 59 degrees the only current choice for Nikon Z is the Sony FE 28 to 70mm with the Techart Pro auto focus adapter. The Z 35mm also works but at 110 degrees only.
  12. 1 point
    Power, for wide angle you need lots of photons. Think about GN. The published specs for both this strobe and the Inon S2000 is 20 (above water). This means that for UW use a real GN is around 10 (less in murky water). SO with a GN of 10 you can use the GN formula (guide number = distance * F-stop) to see that with a GN of 10 and an f-stop of 5.6) you can light something 1.8 meters away. Not very far or very wide. That is why wide angle guys use much bigger strobes. Bill
  13. 1 point
    I think the issue should be less about camera bodies and more about lenses. If there was a FF equivalent of the Tokina 10-17 for Z cameras, then switching would be a no-brainer. The 8-15 circular fisheye is hardly more useful than the Sigma 15mm on full frame but much more expensive. On a crop sensor Z50 it has a useful field of view akin to the Tokina 10-17 but has to be used with an FTZ adapter. I think we are more likely to get an adapter for screw focus lenses like the Tokina than a full-frame 10-17 equivalent, sadly. The brief lag between looking through the viewfinder and it turning on is my biggest irritation with mirrorless.
  14. 1 point
    I bought the kit beginning of 2020..I took it with me for one week trip and then the pandemic hit. It hasn't been used ever since and since I have no clue when I will be able to travel to the ocean again I'll try to sell al this gear to some one that can actually put it to use. This is what it is included: Nauticam NA Sony A7Riv and A9ll with M14 Vacuum Valve ll. NA N100 to N120 35.5 mm Port adaptor with zoom/focus nob NA Mounting ball set for tripod N100 Macro Port 110 for Sony FE 90 mm NAExtension ring 30 with lock NA N120 140 mm Optical Glass Fish Eye Dome port with removable shade for Canon 8-15 mm fisheye lens (the dome was bought used but in mint shape) Turtle Smart TTL trigger for Sony Noodilab Moby Back Magic Close-up Diopter All these retails in the store for around $6800 USD plus applicable taxes but I'm willing to let it all go for only $5100 USD plus shipping from Canada. This represents around $1700 savings for this in like brand new condition kit and for now I will prefer to sell it as a package. I do have the Camera body with around 4000 shutter count bought beginning of 2020, a Canon 8-15 mm in awesome condition, Metabones Mark 4 adapter from Sony to Canon, a Sony 90 mm F/2.8 macro lens that I can sell if interested . I will try to post some pics but sometimes it doesn't work very well for me and I can always send you more pics upon request.
  15. 1 point
    Off-camera strobes are very common in UW shooting, especially in cave and wreck photography. Some strobes have built in slave sensors, while others require an add-on sensor. This is preferred as the slave strobe doesn't need to be "looking" at the camera. Many folks are using video lights over strobes for these kinds of shots since it's simpler to preview the shot. As for gear recommendations, I am most familiar with the Ikelite offerings and they have a remote sensor for slave activation. If you're looking to trigger land strobes remotely, you can use a Pocket Wizard to do that. Aquatica makes a housing for it as well. https://aquatica.ca/technical-lighting-control/water-wizard/ Good luck!
  16. 1 point
    Awesome video. I really enjoyed the music.
  17. 1 point
    @elmelodico I loved the Sola Pro 15K so much I ended up pulling the trigger and getting a second one. The ergonomics of the on/off switch and brightness lever, paired with the oled screen make it super easy to know how bright each light is and how much runtime I have left. I usually don’t run them both at full 15K brightness and run them between 7500-10K each so that I can get a full two dives in, with some spare time. I don’t think there’s a better bang for buck when you compare dollar - lumen vs other lights like Keldan. One note, I have scratched up the plastic cover on the fronts, but those are removable so I would imagine I could purchase replacements from L&M, but it honestly doesn’t affect the light output so I haven’t felt the need.
  18. 1 point
  19. 1 point
    You can do it on dry land, it shouldn't overheat if you do one test. Use minimum power
  20. 1 point
    Cool shot Tom! I'm looking forward to seeing what else you get from this setup.
  21. 1 point
    I haven't used Nauticam housing so can't comment on the comparison, however my Fantasea housing for RX100VI is miles ahead of Seafrogs A7III housing in-terms of overall quality. The camera doesn't fit flash to align all the button and dials and therefore a lot of turning and twisting to change the settings. As an example the mode dial, I had to keep turning it a dozen times to engage it and once it did, it would skip several dials and get me to a mode I didn't want. I contacted Seafrogs support who sent me spare dials to replace it and it didn't help, since the issue is the actual camera not seating all the way in and flash where the dials are properly aligned.
  22. 1 point
    Thanks Phil. Keep us posted. An aside, the Seafrogs flash trigger for fiber optic cables ($29.95) triggers my Inon Z240s just fine on slow sync. And they fit in the housing. I taped a white card to bounce the flash up towards the fiber optic ports
  23. 1 point
    Hello, I have decided to sell my Nauticam NA-A7RIII housing. I bought the system in 2019 as a backup camera and only used it on 10 dives. Everything works great and the housing includes the vacuum port and pump. 2.000,00 € plus shipping. Shipping will be insured with tracking number and delivery signature required. Please PM or email me at asenent@icloud.com if you are interested or have any questions.
  24. 1 point
    The Isotta Housing viewfinder mounting hole is compatible with Inon viewfinders. I used a "Nauticam Viewfinder Mounting Ring for Inon Housing" from Backscatter to mount my 45 degree Nauticam viewfinder: part NA-33107 Fotografit sells this ring: https://fotografit.eu/products/42-viewfinder-adapters/440-na-viewfinder-mounting-ring-for-inon-/
  25. 1 point
    I suspect that this is marketing strategy: in practice we all have to acquire the stuff and test it out by ourselves. Afterwards we know whether we are happy with it or not. If not, we acquire an alternative and the old items are little used and rest on a cupboard attracting dust - this strategy brings the most sales. When everybody could find out easily what is the optimum for her/him personally, sales would be clearly lower and also focused on a smaller number of items, while others would be difficult to sell... I started this tread here to get the maximum information from first hand experience which WACP1/lens combinations give best results. Already we have a lot of good information... Wolfgang
  26. 1 point
    RX100 VII works best with flat ports and wet lenses, but its long lens introduces an additional challenge. Wet lenses need to be very close to the actual lens front element in order to work properly, but the RX100 VII lens extends and retracts a lot as it zooms, and nobody has figured out how to make a telescoping water-tight port so far. Therefore, the housings for RX100 VI and VII usually feature interchangeable ports - you have a short flat port that limits your zoom range but allows the use of wet wide lenses, and you have a long flat port that lets the lens extend to its full extent, but vignettes at wider FoVs - this port is meant to be used with close-up lenses for shooting macro. You can also have a long port with a wide opening that will let you use the entire zoom range without vignetting, but that front opening is too large for the typical 67mm threading. In case of Nauticam, they have a special flip holder that attaches to the port, so that you can shoot the lens at full range without wet lenses, and flip down a close-up lens when you want to shoot macro. The SeaFrogs port does not have that. It all has to do with refraction. Light travels at different speeds in water, glass and air, and when light rays strike a boundary between different propagation mediums, they get bent (refracted). The sharper the angle, the more they get refracted. Therefore, when you have a wide-angle lens that's 'looking' at something like 55 degrees off-nominal (110 degree FoV) the refraction encountered is quite significant. This is what domes solve - when you place the entrance pupil of your lens at the exact geometric center of the dome's curvature, then anywhere that the lens is 'looking', the light passes through the dome glass at exactly right angle, so no refraction occurs. Of course, in the real world, such precise placement is impossible, not least because the entrance pupil is not a discrete point, but we try to get close enough. This is why proper extension lengths on dome ports are so important. A wet wide lens has multiple lens elements inside that correct for various aberrations introduced by shooting through a simple dome. A dome, in effect, is also a lens element, as the water/glass/air boundary refracts light just like any other lens (this is, in fact, how all lenses work). Both domes and wet lenses project a sort of 'virtual image' into the lens, but whereas domes are a single element that fails to correct for things like field curvature (the virtual image is curved, and has trouble fitting into the camera lenses depth of field, this is what causes soft corners), the WWLs (and their cousins, the Nauticam WACPs and EMWL system) are designed to present a camera lens with the best image that it can relay to the sensor. Because the window where the image is relayed between the wet lens and the actual lens is limited in size (usually 67mm, or 52mm for the smaller compact housings), as are the actual lens elements in the wet lens (they are, in fact, already huge, rivaling the elements in long telephotos), the wet lens designers have to operate with certain assumptions about the lens that's going to be behind their device. Most wet lenses are designed for 28mm focal length lenses, some (Nauticam WWL-C, Weefine/Kraken WFL-01/KRL-01) target the more modern 24mm. A special case is Nauticam MWL-1, and Weefine/Kraken WFL-09S/KRL-09S - these project a ~150 degree field of view into a 50-60mm macro lens. At any rate, what's important with all these wet lenses is that the entrance pupil of the camera lens be as close as possible to the wet lens rear element. This is typically signified by small front elements - if you see a large front element on a lens, this is usually indicative of the entrance pupil sitting deep inside, thus requiring this large element to avoid vignetting. Another important criteria is internal zooming - if the lens extends and retracts a lot, then it will either withdraw into the port and vignette, or bump into the port glass, or both. Sony 16-50mm f/3.5-5.6 PZ for APS-C and 28-60mm f/4-5.6 for full frame are notable examples of lenses that work very well with WWLs, as they tick both of the above criteria. Read @Phil Rudin's articles in UWPMag; he has tested just about everything under the sun. In short, for overall image quality shooting wide-angle underwater, the best solution appears to be Nauticam WACP-2 ($8442), followed by WACP-1 ($5159), followed by WWL-1/WWL-C, with traditional 230mm domes (which aren't cheap either - the Nauticam #18812 dome recommended for for Sony 12-24mm and 16-35mm lenses retails for $2439) trailing far behind. Remember, however, that your system overall performs only as well as its weakest link. Put together the best housing, best port, best glass, best everything, but omit strobes, and your results will be disappointing. Use a port that doesn't fit your lens well, and the images will be ruined no matter how good your glass and lighting are. Use a housing that doesn't let you access important camera functions, and you will simply miss short opportunities as you struggle to set up.
  27. 1 point
    Small scratches that don't show up in photos - don't bother, water smoothes them out while you're submerged. Larger scratches - yes, they may warrant polishing, or you could just get a replacement sphere from SeaFrogs for $80, which is not that much more than a micro-mesh kit.
  28. 1 point
    Forget the conventional wisdom about lenses and IQ, it really does not apply underwater. Most traditional highly regarded lenses plain don't work for underwater photography, and some that are considered rubbish in air start to shine once you splash down - Tokina 10-17mm fisheye is a prime example of that. Terrible lens in general, one of the most popular underwater. Recent developments in water contact optics have shifted the paradigm yet again, with cheap kit lenses handily outperforming top-end glass in huge domes. The bright aperture is mostly useless when shooting through a dome, as you'll be stopping down to f/11 or smaller for depth of field. Using it at 35mm... eeehhhh... in most cases, whatever it is that you'll recover at the dome edges, you'll lose right back to water clarity due to extra distance involved. Most of the time, you really need that wide end. It will work on any housing with a 67mm threaded flat port, but it's imperative that the lens inside the housing has its front element as close as possible to the port, and that the front element is small, otherwise you get vignetting. Sony 16-50mm PZ on APS-C, and the new 28-60mm on full-frame are notable for working very well with wet lenses. @Phil Rudin has tested 28-60mm with WWL-1 and according to him, it outperforms any wide-angle lens in any dome - the only thing that is better is the ridiculously expensive Nauticam WACP-1/WACP-2. I use the 8-inch dome with A6300 and Sony 10-18mm. I'd say it's marginal with that setup; wouldn't use it with full-frame - you really need a 230mm dome with that, and SeaFrogs doesn't make one. No. Or, let me rephrase that... definitely no. 35mm is a really 'neither fish nor fowl' focal distance underwater. Not nearly wide enough for reefscapes, not really tight enough for fish portraits, and a definite no-go for macro. Absolutely. Not even a question. There are no good lighting conditions past about 5-10 meters of depth, not compared to what a strobe gives you. Many people maintain a separate camera for diving from their land camera. The way I had it explained to me is, don't ever splash down with anything that you're not prepared to lose, and losing an A1 body is a major blow for all but the most well-funded of us.
  29. 1 point
    https://interceptor121.com/2019/11/25/matching-filters-techniques/ For Egypt you need blue water and I prefer the 6 meters to the 12 meters as it takes away less light but this depends also on your camera
  30. 1 point
    For supermacro with the CMC-1 as in this example I use manual focus Set the camera to the minimum working distance and then using peaking shoot when the subject is in focus This ensures maximum magnification but requires you to be stable. CAF helps but does not ensure you are totally maxed out on magnification which is the reason you use the CMC in the first place
  31. 1 point
    Seafrogs.hk has now posted a video for the A7C housing operation which gives a better look at the housing. Among other things in the last few seconds you can see that the lens at 28mm seems to come pretty close in the inside of the port glass for use with WWL-1/1B. It looks about the same as the lens at 28mm inside the Nauticam port.
  32. 1 point
    If it uses the same mount for the reflector, then you can use the UW-Technics converter, all you need is to get the A6xxx LED board, which is a very simple part with two LEDs. The new port that's been released with A7C housing is made specifically for the 28-60mm lens. The A7(R)III housing uses the same camera positioning in the housing. I see no reason why the 28-60mm port would have any fitting issues on the other A7 series housings with the same port mount.
  33. 1 point
    Hello what do people think of This shot with a snoot and a Nikon 100mm macro. would love to hear some feedback.
  34. 1 point
    I've had the housing for the A6xxx and id say the quality isn't something that will last as long as nauticams aluminium housings. it is though a very similar size to the a7c housing so is slightly bigger than a compact housing but it depends on your budget as sea frogs is great if your only doing a few dives but make sure to get the vacuumed pump but if you have the budget either go second hand or push up to something like ikelite for the better protection of your camera.
  35. 1 point
    While I think the Sigma Art 105 is on the same image quality level the auto focus is not. Even the Sigma CEO said the lens is slow to AF when the lens was released and was targeted more at macro shooters using a tripod and manual focus along with focus stacking. Currently the Sony 90mm macro is the highest rated macro lens buy a good bit reviewed by DXO marks. The Sigma 105 art for Sony has not been reviewed by DXO at this time.
  36. 1 point
    As Interceptor121 has already said, the EM1X has a completely different target audience compared to the A7C. The A7C has as far as I know only one control dial and that pretty much says it all. Also, it really is not a camera that anyone sane would take underwater and I was surprised when Nauticam announced a housing for it. They must have sold in the low single digits... In the end, both mu43 and FF have their raison d'être. Alex already pointed it out, but our job as experienced and knowledgable underwater photographers is to guide people to a sensible decision. Both Formats have their strengths and weaknesses. Personally, I believe that unless you know the exact reason for why you need a FF camera (more specific than "I need better Image quality) you should probably not buy one. There are plenty of cases where a smaller rig would probably lead to better results because the photographer behind the camera is out of his depth with the gear he has. On the other Hand @Tom_Kline has provided plenty of reasons for why a FF DSLR is the superior option for his kind of shooting style. People just need to understand that everyone has their own perspective based on what, where and how they shoot and take that into consideration when making their own choices about gear. I would say that this thread already showed that a simple FF is better or Mu43 is better just does not cut it.
  37. 1 point
    Cratena Pregrina, Ifach Rock, Spain @wetdreamsphoto Fujifilm X-T3 + Fujinon 80mm macro into Nauticamhousing + 2x Backscatter MF1
  38. 1 point
    What maters is that it does the job. The tripod looking pretty is not your main goal. That said, the end result looks good. At first glace it looks PRO equipment. Now it is time to put it underwater. Do not forget that if you want to use a tripod, you do not want to have a neutral buoyancy rig. You need to have it heavy to grant that the tripod stays put. Otherwise, if you have waves motion or some current, you might have difficulties to have it steady.
  39. 1 point
    I am not suggesting it would work for you. I think you know exactly what you need. Some cameras like the Olympus EM1X take two batteries and have the same form factor of a professional DSLR. I am not aware of cameras that can house a battery grip or spare battery sorry if this created confusion. What I can say though is that even with my mirrorless camera using a trigger I can take over 600 shots and do a whole day of diving without opening the housing and the battery is 50%. Yet in general terms a DSLR will always outdo a mirrorless on that and if it has a grip shape with effectively two batteries the gap will be larger For what concerns white balance your freshwater is not blue and perhaps more green so the white balance is less of an issue with an RGGB bayer sensor unless the water is red. Surely you make adjustments you don't do but that is because the are not required not because the are not possible. I am amused when people make comparison to land shooting but do not actually do land photography. I am not suggesting you don't but I happen to do a lot of various things as you know at the edges of what a camera can do so I do have an idea based on practical experience. I.e. to talk about milky way photography and what is like it does help to actually do it and the same with night photography or other low light disciplines. Surely there are differences shooting underwater compared to land. I need to shoot 100m to get haze while in water just a few meters, there are issue of light transmission and scattering of blue. However all those issues do not care about your sensor size more than anything else. so unless there is a more clear articulation of which gap is increased i remain of the opinion that underwater or on land the benefits of sensor size and even rig size are very similar
  40. 1 point
    In regard to the original question of Sony FE 14mm F/1.4 v. FE 26-60 plus WWL-1/1B the 28-60 would be the winner with WWL-1 and even better with WACP-1. The FE 14mm can also be used with WACP-2 which would provide the ultimate in image quality for underwater and for splits. Like most things photographic the final selection will factor-in cost, weight, system size and more. Like Waterpixel has noted and disregarding FF fisheyes I have used the 230mm dome port with a verity of FF lenses including several 24mm's, 20mm's, Batis 18 and Rokinon 18, FE 12-24 F/4 & F/2.8, FE 16-35 F/4 & F/2.8, Tamron 17-28mm F/2.8 with Sea & Sea correction filter, Rokinon 14mm F/2.8 and a few more. Of the fixed lenses I like the FE 14mm F/1.8 the best and of the zooms I like the Tamron 17-28 F/2.8. I have also used the Sony FE 28-60, with WWL-1 and 1B, WACP-1 and several closeup lenses. I have also tested these lenses on cameras from A7C 24MP to A7R IV 61MP, I have also tested the A7R IV in APS-C mode, 26MP and A1 APS-C 21MP. The switch to APS-C is a single button push and extends the focal length of the lens by 1.5X's, so longer than the 16-35 at the 35mm end but with less resolution. Like many on this site I use my equipment above water as well as underwater so the 14mm F/1.4 was an investment I made with above water use in mind. The 28-60 is a lens that would never be my first, second or third choice above water. Also since I can't afford the WAPC-2 the 14mm is now my go to lens for splits with the 230mm dome port. I also would not spend the $2000.00 plus for the Sony FE 16-35mm F/2.8 because it is not a lens I would have a lot of use for above water. The Tamron 17-28mm F/2.8 is far better than the Sony FE 16-35mm F/4 and has the advantage of a 67mm filter thread size also used on the 28-75 and 70-180 zooms as well as several fixed tamron lenses. I find the WWL-1B which I own very easy to travel with along with the 90mm macro. I own fisheye lenses including the Sony A 16mm F/2.8, Canon 8-16mm and have tested others but use them sparingly for my personal work. Thanks for reading my review and I hope you continue to follow uwpmag.com.
  41. 1 point
    If it was recovered from the sea then in theory it should be reported to the Receiver of Wreck and this involves a fair bit of paperwork and waiting to see if the owner can be found or claims it.
  42. 1 point
    It seems perfect to me. Now you have to test it underwater
  43. 1 point
    I am home from a week on a liveaboard in Turks & Caicos Islands. I feel like these are the best of what I shot down there. I was shooting a Sony a7rIV in a Nauticam housing, with the Sony 28-60 lens. Using a WWL-1 for wide angle and a CMC-1 for macro, 2 x Inon Z240 Type III strobes with f/o cables and a UWT trigger in Manual mode, and a Archon 1000 lumen wide angle (video) light as a focus light. I've had the camera and housing for about 18 months now and this was my first trip with photos where all of it seemed to actually work correctly the whole time. 2 bad/failed triggers and a magnet switch on a strobe that needed to be replaced have foiled me for far too long. It was SO nice to dive and not have camera hiccups! I had a 2 lens holder with bayonet mounts on one of my strobe arms. Being able to switch between WWL-1 and CMC-1 while in the water proved very handy several times. I liked being able to shoot sharks and sea slugs in the same dive! Any comments or constructive criticism on these would be truly welcome.
  44. 1 point
    Amazing video can tell me Which tool do you use for exposure?and did you use a red filter with which lens you use for macro thank
  45. 1 point
    I suspect you’re right about corner performance. The 9-18 isn’t very good in that port either but i was seeking a compact solution. The solution will likely be a large dome port 170mm or larger.
  46. 1 point
    The Asahi multi-core are the most bend resistant especially compared to single core fibers. Elias and I will argue politely about this until we are both dead. A lot depends on your use. For using with a camera's built in flash and for manual mode (non-TTL) then any old fiber will mostly do especially for Inon strobes that are simple to trigger. For LED triggers then multi-core fibers do indeed work more reliably as many people have demonstrated here on Wetpixel by buying a new fiber when the old ones didn't work. For LED with TTL then multi-core gets even a bit better and if you are trying to run TTL on a S&S strobe you need all the oomph you can get. The length of the fiber connector that I use (like in the photo) is just under 24 mm (23.8 or so) if that helps. In my hands at least I see no difference between the hand made 1 mm 613 fibers and the commercial 1.5 mm coils in terms of triggering S&S YS D1,2,3, or Inon S2000, Z200, Z240 and Z330, Backscatter mini) from the Nauticam LED trigger for the OLY Em1-II. Bill
  47. 1 point
    I'm using the R5 - almost exclusive macro so far although I have a dome & 8-15. Since I have not used it WA yet I might tweak my setup but below are my settings. It was inspired by Bluewater Photo article on settings (https://www.bluewaterphotostore.com/canon-eos-r5-r6-underwater-settings) and other sources. If I were to setup for sharks I would probabaly create a new custom mode (C2) and increase drive speed. Canon EOS R5 settings for Nauticam NA-R5 house Manual mode (M) / Aperture Priority mode (Av) Set camera to manual mode Set the following in menu (only deviations from default documented) SHOOT1 Set SET-UP1/Record func+card/folder sel. Before this one Store CRAW on card 1 Store JPEG (fine/L) on card 2 SHOOT2 ISO Speed settings Auto range: 100-12800 Min. shutter speed: Auto Highlight tone priority: D+ External speedlite control Flash firing: enable Slow synchro: 1/200-1/60sec. auto SHOOT3 Picture style: standard Standard: strength: 5 Lens aberration correction Distortion correction: on Digital lens correction: standard SHOOT4 Long exp. Noise reduction: Auto SHOOT6 Shutter mode: mechanical Release shutter without card: off SHOOT7 Image review Review duration: 4 sec Metering time: 8 sec Shooting info disp. Screen info settings Disable all but 1 and 3 1: enable top/bottom, histogram 3: enable all VF info/toggle settings Disable 1 2: enable detailed shooting info (left/right), histogram 3: enable all Grid display: 3x3 AF1 AF operation: servo AF method: AF square (1-point AF) Subject to detect: People AF2 MF peaking setting Peaking: on Level: high Focus guide: on AF4 Lens electronic MF: One-shot -> enable (magnify) Limit AF methods: face tracking, Spot AF – optionally: expand AF area (around), Zone AF AF method selection control: M-Fn AF5 Initial servo AF pt for face: Initial AF pt set for face PLAY5 Playback information display: 1 – 7, 9 – 10 Highlight alert: enable AF point disp.: enable Playback grid: 3x3 NETWORK1 Wi-Fi/Bluetooth connection: Mobile (Oneplus A6003), Computer (STEFAN-ASUS) Airplane mode: off (set last) Wi-Fi settings: enable Bluetooth settings: enable Nickname: EOSR5_Ekman GPS device settings Select GPS device: smartphone SET-UP1 Record func+card/folder sel. Rec options: Rec. separately – note: this enables SHOOT1/Image quality/separate cards SET-UP2 Video system: PAL Beep: disable Power savings: display off: 1 min auto power off: 3 min viewfinder off: 1 min SET-UP3 Viewfinder brightness: auto SET-UP4 Multi function lock: only touch and control ring SET-UP5 Custom shooting mode (C1-C3) Auto update set.: Enable Battery info: register all batteries Copyright information Author: email address Copyright details: email address C.Fn2 AE lock meter. Mode after focus: evaluative, spot Restrict shooting modes: On Press Q to set modes: P, Av, M, Bulb, C1, C2 C.Fn3 Customize buttons – stills/movies Shutter: * - AE lock (while button pressed) AF-ON: Metering and AF start AE lock button (*): Eye Detection AF AF point button: Direct AF method selection LCD panel illumination button: Maximize screen brightness (temp) (stills/movie) Multi-controller: Direct AF point selection (stills/movie) Customize dials Main dial: Av Quick Control Dial 1: Tv Control ring: exposure comp. (hold meter. Btn) MY MENU 3 x Add My Menu tab Menu display: From MY MENU tab *Shoot (MY MENU1) Configure – rename tab to: *Shoot Configure – select items to register Subject to detect External Speedlite control White balance Custom White Balance *Prepare (MY MENU2) Configure – rename tab: *Prepare Configure – select items to register Record func+card/folder sel. Format card *Postpare (MY MENU3) Configure – rename tab: *Postpare Configure – select items to register Wi-Fi settings Wi-Fi/Bluetooth connection Airplane mode Q Drive mode: slow speed continous Custom mode 1 (C1 manual) Set camera to manual mode (M) Save to C1 Enter C1 and set the values below Save to C1 (if not auto save is enabled) SHOOT2 Auto Lightning Optimizer: Off Highlight tone priority: off SHOOT4 Long exp. Noise reduction: off SHOOT7 Expo. Simulation: Disable AF1 Subject to detect: Animal AF2 AF-assist beam firing: off AF3 Servo AF case: 2 SET-UP5 Custom shooting mode (c1-C3): Auto update set.: Enable C.Fn3 Customize buttons – stills/movies AE lock button: Flash function settings DOF preview button: Eye Detection AF M-Fn: still <-> movie switching Customize dials Control ring: Select AF method or Flash exp comp (hold meter btn) C.Fn4 Retract lens on power off: Off Shooting mode Shutter: 1/250 F-stop: F9.0 ISO: 100
  48. 1 point
    I went to Cabo at the end of May for a dive trip to Socorro. Several people from our boat got hit by the tax, some up to $400 for high end Nauticam housings and Ports. I managed to get through with out getting caught. I tried to be a bit sneaky and it worked. I was carrying two rebreathers and my DSLR gear. I put the rebreathers in pelican cases, and packed my camera gear in a standard suitcase. I went through the customs gate first with the two pelican cases with just dive gear. Of course the agents zeroed in on the Pelicans and had my open them. Meanwhile my wife slipped through unbothered with the suitcases full of camera gear.
  49. 1 point
    Hi Elmelodico, Thanks, glad you like the video! Lot of turtles on those dive sites, makes life easier for filming them. I do try to white balance every time with depth changes, maybe sometimes I'm a little lazy, especially if something happens quickly, rather record than do that process, so I'm sure that's the issue that its not spot on with the depths sometimes, very aware of that problem, need to be more disciplined. I've tried different WB techniques, such as the auto where you set the lock button, so you just need something neutral and toggle the button on/off, which works fine, but takes 5-7 seconds to effect, I usually prefer to WB directly off a tank of another diver or a white slate, both work the same (grey or white), same as topside photography. I have preprogrammed top right button to WB, and on there I just have two clicks, wb on, then custom, and press. I notice can also save custom WB, maybe 3 of them, 5-10-15m just for quick changes, but its still not as accurate as manually for every shot of course. With regards tracking, I always just leave the camera on wide focus AF-C for 99% of my shots, that works perfect for me. If im shooting Macro, I use the little adjustable square and just move it to the face of the subject, and same AF-C. Not tried the normal 'tracking' if that's activated only by touch screen as you say, would be interested to know if anyone has figured out how to use that without touchscreen? I don't see hardly any shots out of focus with the method im using, even for super macro on night dives I have use that same method and most is super sharp, if you want to have a look at that video of A7S3 shooting macro at 120fps in night 'bonfire' diving, the link is here for my YouTube of that:
  50. 1 point
    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.

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