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Showing content with the highest reputation on 10/01/21 in all areas

  1. 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.
  2. 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.
  3. 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
  4. 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.
  5. 1 point
    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)
  6. 1 point
    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 ...
  7. 1 point
    Just wanted to share and discuss with other video shooters using A7SIII. Until this trip I have been shooting always in SLOG3, however for this last weekend I tweaked a HLG profile and shot exclusively with that. I found it fine to use, although colours can be a bit odd to my eye. Always keen to hear from and learn other Sony shooters settings for underwater video. Enjoying the process. All shot in 4K 4:2:2 10 bit, 60fps, PP10, HLG, with A7SIII, 28mm F2 inside WWL-1, using a combination of nitescuba NSV80 lights which I'm currently testing, and my existing Keldan lights.
  8. 1 point
    Just as a sidebar I have not tested the Sony FE 24mm F/2.8 and WWL-C combo so I have no idea of image quality with that configuration.
  9. 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.
  10. 1 point
    I keep being quoted as saying the WWL-1/1B is not as good as WACP-1 as if that is a bad thing. The WACP-1&2 have no port glass between the lens and wet optic so it is a no brainer that it will be better. The WACP-2 is designed larger so that it can be used with stellar Pro lenses like the Sony FE 14mm F/1.8 (add your brand of Pro lens here) which makes it a better choice image quality than WACP-1. By this logic all full frame users should be using WACP-2, which can also be used for splits by the way. I use the WWL-1B all the time with Sony A7R IV and Sony A1 with outstanding results. Because of weight and size it is easier to travel with and a bit easer to handle on location. I would love to be using WACP-2 for model shoots, splits and more but it is not cost effective for me. So again while WACP-1 & 2 have better image quality over WWL-1B all things in photography are a tradeoff and WWL-1 still out performs all of the wide angle lenses both rectilinear and fisheye (including those listed above) I have used behind a dome port. WWL-1B tradeoff v. a port is no splits.
  11. 1 point
    One of the many upsides of mirrorless cameras is that you can find an adapter for almost any lens. Because Nikon chose to use a very large lens mount size on the Z-mirrorless line the TechArt Pro auto focus adapter fits inside the Z lens mount sitting flush with the mount. List allows Sony FE lenses to also fit flush on the adapter because of their smaller diameter. This means that you can not only use the FE 28-60 lens but also lenses like the 12-24 and others with proper port size and extension. Because the WACP-1 fits directly onto the 120 nauticam port mount this lens will work perfectly. The WWL-1 with Sony FE 28-60 on Nikon Z is not the same case because this configuration needs a matching port. With Sony housings this is not a problem because Nauticam has a 45 port with focus wheel in the 100 mount size to match the WWL-1/1B. The 120 Nikon Z system has no such port at this time.
  12. 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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