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Showing content with the highest reputation since 03/21/21 in Posts

  1. 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.
  2. 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.
  3. 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.
  4. 2 points
  5. 2 points
    Hi everyone I just released a review of the X-Adventurer M15000 underwater video light. Go check it out below!
  6. 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.
  7. 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.
  8. 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.
  9. 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
  10. 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
  11. 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
  12. 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
  13. 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.
  14. 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.
  15. 2 points
    I'd say it comes down to how happy are you with your current setup for shooting wide-angle during trips. If you are happy with it, then get the MF-1 + snoot package; for shooting macro it's basically unrivaled. On the other hand, if better wide-angle capability is important, then get a Z-330 and accept reduced macro performance.
  16. 2 points
    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.
  17. 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.
  18. 1 point
    I am finally (sadly) parting with my trusty RX100V + Nauticam Housing. This is one of the best underwater camera's for the money. The focal length of the lens is perfect for scuba and works great with water optics such as the WWL-1 or WWL-C and CMC-1 or CMC-2. It's compact and takes amazing photos. Check out this instagram (https://www.instagram.com/seariously.travel/) for pictures taken with this camera (Virtually all the underwater photo's have been taken with this camera). It's definitely in used condition but everything works great and there are no scratches on the lens or either the camera or the lens part of the housing (you will notice some scratches on the window for the screen and on the camera's screen, but I've never noticed it when underwater). Below is a list of parts that I am including in the sale: Nauticam NA-RX100V Housing with Leak Detection - Paid $1,086.00 Nauticam Flexitray with Left & Right Handles and Nauticam Flexitray Mounting Balls -Paid $238.00 Nauticam LCD Magnifier + attachment rails - Paid $223.00 Nauticam M67 Port to Bayonet Mount Converter for Wet Lenses - Paid $92.00 Nauticam Bayonet Mount - Single Lens Holder for Arms with Custom 3d printed adapter to zip tie to Nauticam carbon float arm - Paid $78.00 Sony RX100V Camera - Paid $1050.00 (Now you can get for around $400-$500). 3x Sony NP-BX1/M8 Lithium-Ion X Type Battery - Paid $100.00 All this can be yours for only $1,100.00 (obo) will take Paypal, Venmo, etc... Pictures can be viewed here: https://photos.app.goo.gl/sVFwP5ufoQHSDebn9
  19. 1 point
    A bit of news, I just picked up a Sony a1 and all the buttons work in the controls work a7s3 Nauticam Housing. Except for the controls on the left top for Still frame rate and focus, Continuous, Single and DMF and Manual.I got the a1 for surface work not UW but just tried it for fun and was soo surprised. The same experiment with the a7r4 was not as successful in the Nauticam housing. I was on the way to test the a7s3 with 16-35mm in a 180 dome (Nauticam) for balance and buoyancy in this configuration. Bad weather prevented a real field test. But this configuration balances better than the WWL-1 with a flat port and 35mm prime in fresh water IMHO. I'm back in salt water in 2 weeks, was hoping to narrow down my flying travel field kit but maybe I'll take everything! UGH!
  20. 1 point
    I would like to thank everyone for their replies here and perspectives shared, quite helpful. Massive special thanks to bghazzal for his reply that is not only comprehensive, but really answering my exact question, taking into account my specifics. Indeed, since my main pursuit is and will remain still photography, it will take precedence and i won’t want to restrict my photo artistic options by having setup a lens that will allow video. If i see spinner dolphins... guess what i will choose between photo and video I did try the TG6 videos this WE during shallow snorkelling, Great Barrier Reef, and footage seemed of decent quality, but these really were easy/ideal conditions. I straight away noted the battery life issue, and too narrow field of view (no housing, no extra lens). I will review the video examples shared with attention, but see myself most likely go with the GoPro7 option. I do shoot mostly in darker waters though (temperate Australia) so noted the IQ will suffer on a small sensor like the GoPro’s when light is missing. With my modest needs, i think this will be ok. One point bghazzal raised and that interests me is the autofocus performance. I suspect it gets more critical on a DSLR’s shallow DOF, and more forgiving/no brainer on a small sensor, especially if using a wide lens like the GoPro’s. Sent from my iPhone using Tapatalk
  21. 1 point
    I used the Nauticam 70 X 200mm float arms with the WWL-1 and CMC-1 and they seem to be the best fit buoyancy wise. Mermaid with WWL-1 and equipment photo is with the Nauticam 180mm dome port, Inon Z-330 flashes.
  22. 1 point
    I've seen several posts about X-Adenturer, Weefine, Kraken, BigBlue and DivePro lights added over the last few days. As always Keldan is the elephant in the room First of all: pointing out that they are Chinese doesn't mean anything per se. Today 90% of our equipment is made in China. An iPhone is made in China. In our context, Nauticam is a Chinese company (I won't go into Hong Kong's terrible issues with Mainland China). As always the devil is in the details. Our equipment goes in salt water and given the cost, in the long run needs maintenance. So in addition to finding a product with great features, it is important to find a company that will support their products over the years and at a reasonable cost and time. As someone pointed out, sending a lamp to China for service from the U.S. / Europe has costs and times unrealistic. So it would be preferable to find a company with dealers who are also able to provide technical assistance and follow their customers. Nauticam has a worldwide network of dealers who can solve most of the problems. You are forced to send the housing to Hong Kong only for complete service and the dealer always takes care of it. Going back to the underwater lamps mentioned above, just take a tour of their websites to realize that many of their models are eerily similar if not identical. Even USA/Canada based companies, have identical lamp models except for logo customization and a few details. Moreover a quick search on AliExpress will shows dozens more unknown brands with very similar models. Have you noticed that they all have the same type of switch? A button that controls the lamp through a sequence of presses. I agree with @ChrisRoss, IMHO this is the absolute most inconvenient way to use it underwater. In the long run I have had several problems with this type of switch. They state that the lights are guaranteed 100 meters but already around 60 meters the switch does not work well. So the question I have been asking myself for a long time is: who really makes these lamps? It seems to me that Chinese and Western companies re-brand and "remake" OEM lamps with specific names, marketing and features, etc. But in reality most of the underwater lamp lines are the same. TL;DR Anyway, I too have had a couple and still have two small snoot lights that I use for macro. Some models are unbeatable value for money but in my opinion the important thing is to choose a brand with a reliable local dealer who will provide support if there are any problems. My experience on that:
  23. 1 point
    I don't have one myself, but I've seen a few people use this bag on day boats, and it looked like a very good solution.
  24. 1 point
    Thanks - I remember seeing these as well. Looks like they have quite a few models now: http://www.fisheye-jp.com/products/light/light.html Fisheye is also Japan's official Nauticam dealer / service centre, hence the products - but I definitely agree, most small Japanese companies are a little mysterious, even when you speak the language - they just seem to always do things their own way Recently there was some news on the Japanese UW grapevine of a new video RGBlue light aimed at professional productions, the RGBlue BlackBody (sic, ehrm...) VM2, said to give up to 20,000 lumen at either 4200K or 5000K, and all that for roughly 4,900 euros a piece: http://www.rgblue.jp/ja/products/blackbody/
  25. 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....
  26. 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.
  27. 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
  28. 1 point
    Fantastic Video. Thank you for Sharing
  29. 1 point
    I adapted a Backscatter OS-1 optical snoot to my Z330 using a standard 4" PVC pipe coupler (sched 40) and machined ABS snoot connector. Snoot offset 0.5" from center, snoot attachment 2" from Z330 hood threads. Mini lathe required. The nominal 4" PVC coupler, when cut in half, gives a section 2" long with a 3.875" ID raised lip that fits snugly on the Z330 after a bit of scraping with a razor blade. The pipe coupler seats against the raised threads of the flash to keep the axis of the snoot square with the flash. Nylon screws at 3 points around the diameter hold the assembly snugly in place without marring the Z330 surfaces. Testing with a Sony a7Riii and 90 mm macro in a Seafrogs housing range to target 15 cm, OS-1 aperture 5 mm, range to target 7.5 cm.Fiberoptic trigger signal via UWTechnics fibroptic in TTL mode. TTL appears to control illumination over f5-16 although not as precisely as with wide angle. Sorry for the mixed units. PVC pipe adapter with machined ABS snoot connector, indexing nylon screw and nylon retaining screws. Groove at rear of slightly tapered connector accepts lips of snoot for firm attachment, as with the Backscatter Mini Flash. All parts fabricated with a Mini Lathe. Flat circular PVC glued to PVC coupler with standard cement. Black ABS snoot connector bolted with 4-40 from rear. Target location and framing light. Target rings 10, 20, 30, 50 mm diameter. Flash illumination. Target rings 10, 20, 30, 50 mm diameter.
  30. 1 point
    We lived in Fiji for 4 years and, in the Before Times, visited regularly for work for the past 15 years. My family would unanimously agree it was the best time of our lives. We loved the places and people and diving, and easy travel to the rest of the South Pacific islands. We have even looked into buying property there for a second home. It is not an economical place to retire however. Compared to SE Asia, the cost of living (especially housing in good locations) and diving is much higher. But aside from expenses, it is a fabulous place.
  31. 1 point
    Nice work Stephen! I like the combination of top side and underwater footage. You have inspired me. Regards, Peter
  32. 1 point
    I use the Nauticam 140mm dome port with the removable sun shade. Be aware that any port you buy needs a removable shade or the shade will vignette at the 8mm circular fish end of the lens. I also use the Zen 230mm port for split shots again with the shade blades removed.
  33. 1 point
    To be honest: I swore. I used the horizontal float arm as @TimG until I bought an external monitor Whit the external monitor I had to find a different solution (a good trimmed gear is like a sail boat: weight on the bottom!). I used two small floating arms from Flexarm in which you can remove the 1" ball. Now I can move the arms even without cutouts
  34. 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
  35. 1 point
    Yes, ATM I haven't my camera here. As far I remember the green dot appear only when the focus is acquired and you keep pressing the button. This is the way people doing macro use it because this conf. works in manual focus too: - You set the camera in MF. - You get the basic focus via AF - You nail the desired focus via the port focus knob. For WA shots the other method was my preferred one since GH2 before having an ext monitor. Bye and compliments for your videos!
  36. 1 point
    Hello! I am Simon, I am from Toronto, Canada and I (so far) we have only dived the nice warm water in the Caribbean and the Indo/Pacific regions. Last dives were to the Philippines (before the '19) and that was grrreat! ... 'not another frog fish'. I have lately dove with an aging Sony RX100m2 in Meikon Plastic with an Inon Z330 and Archon VL using an Inon UCL165M67 Diopter for Macro and a DIY fiber-optic Snoot for the '330 (as non were available retail before my trip) using 'rino old school cardboard cuttouts and a friends wet 3D printer. Using the strobe (primarily) and the snoot completely changed my underwater photography life. I resisted strobes so long - I was so wrong. My biggest personal challenge (as an older, and once a year diver) is remembering the motor skills and the (paltry) imaging skills that I learnt the previous year. I am looking to an improved housing, improved optics and a back lighting armature for my snoot.
  37. 1 point
    I've seen 160g and 190g dry weight. It is pretty light, especially in the water. I don't even notice it when I have it clipped off on a D ring.
  38. 1 point
    You actually have several compelling choices of 24mm lenses for sony FE full frame. The new Sony FE 24mm F/2.8 has excellent weather sealing, an aperture ring on the barrel and a programable button. These are all useful above water but useless in a housing. The lens is also $598.00 new. I would also suggest Looking at the affordable Rokinon 24mm F/2.8 and the Tamron 24mm F/2.8. Tamron is now on sale for $199.00 and the Rokinon on sale runs around $250.00. I reviewed the Rokinon 24mm for UWPMAG.com issue #116 and I suggest you take a look at that review for some insight into how useful the 24mm is underwater. Sony and Rokinon focus to 24cm, Tamron focuses to 12cm which is 1:2. The Rokinon is quite good and well worth the price. All three lenses should work behind the ZEN 170mm or Nauticam 180mm ports. You may also want to checkout my review of the Rokinon 18mm F/2.8 which will also work with the 170/180mm ports, it is in the current issue #119 at uwpmag.com, the magazine is a free PDF download with all back issues. Bottom line is I would own the more expensive Sony FE 24mm if my main goal was above water use with occasional U/W use, otherwise I would be choosing the less expensive options. Of the four lenses the 18mm is the most useful underwater
  39. 1 point
    @Architeuthis Interesting question: in all the times I've used it I never really concerned myself with this (because the aiming light doesn't show up in the images...). Tomorrow I'll do a check - in a couple of the videos I've seen it looks like the aiming light turns off right as the strobe is firing [the image is not lit by anything the immediate moment following the strobe firing - then the aiming light will come back on).
  40. 1 point
    Davide, You may be in luck https://www.thingiverse.com/search?q=panasonic+14+42&type=things&sort=relevant Disclaimer : I have not tried them and am not familiar with panasonic lens range but some seem to match yours?
  41. 1 point
    Here is the news article from 2018 when we announced support for the Z-330: https://wetpixel.com/articles/retra-announces-support-for-lsd-with-inon-z330-strobe
  42. 1 point
    Just a comment on your disclaimer: most of the internal (hidden) O-rings of Nauticam housings are grey, not black. E.g. the O-rings of all the push button axles and rotary axles are grey. I have no information of whether the oil you suggest, is compatible or not with any of the O-rings. Although O-rings generally speaking are very strong, I have seen cracked, clipped, torn and softened O-rings as a result of extreme weather, misuse, chemical misuse, and wear/tear.
  43. 1 point
    Behind the mask / you tube vlog style. Catchy...nice for a trailer to draw attention... not my favorite though. The other video is much better the game between light and shadow and the lights placement are excellent and for sure took time and effort to plan and execute. Kudos for that. And definitely desaturated in post, caves don't look like that through a camera.
  44. 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.
  45. 1 point
    Hi Chris, I typically shoot in the mornings in clear water, so not nearly night conditions, but there can be issues with early morning contrast between animals and the dark blue horizontal backdrop. Here are two photos I took this weekend one day apart at the same dive site fully zoomed in at f6.3 and 1/160. I lightly white balanced these in LR, otherwise they’re pure in all their rough glory. Day 1: The group of 7 dolphins were taken with the 14-42 at 42mm with the WWL at 8:30AM f6.3 1/160th ISO 640 (auto-iso) Day 2: The tiger was taken with the 12-40 PRO zoomed to 40mm at noon, so more light. f6.3 1/160th ISO 160 (auto-iso) Also on day 2, some playful dolphins made very close runs. I had the 12-40, so can’t compare to the 14-42 close up, but this illustrates how well the 12-40 performs at ISO 640. Fast moving dolphins, and the bulk of my shots were sharp. Zoomed to 22mm. Slight crop in LR. f6.3 1/250 ISO 640
  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
    I had only one trip 2020 Kaş, Turkey
  48. 1 point
    I had video lights, but opted for ambient light and custom white balance. The speed at which the animals appear and disappear make it difficult to be prepared with appropriate settings and turning lights on/off. 10k lumens will probably be the minimum needed if going that route.
  49. 1 point
    Hi I agree about Philippines or Indonesia. We spent time at Dumaguete / Dauin and have talked about your idea. Have a look at the two eBooks we wrote about SEAsia diving. https://photojourney.smiliemail.org/gallery/ Maybe Thailand as well?
  50. 1 point
    Hi there, i thought i'd update this old thread started by myself. My prayers have been heard (i guess i wasn't alone praying ;-)) and i've started using the new nauticam accessory hand strap that is suitable for some DSLR housings, including mine. On my last post here i got myself convinced that good ergonomic housing handles would offset the benefitd of hand strap, and i have moved to a Nauticam D500 housing which included good handles. Although i have used it with pleasure from start, my view is that handle brings a real comfort improvement: first you don't have to hold your housing via the handle, even if you are getting distracted by something, e.g navigation, your housing just stays there tight. Second, it gives me more flexibility to reach the various controls, while the outside of my hand "rests" on the handle. I am so happy, i thought i'd share the update! Envoyé de mon iPhone en utilisant Tapatalk



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