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  1. 4 points
    Hergen here. Phil let me know about this thread. The article I wrote is still up: https://www.nauticam.com/blogs/news/halmahera-with-the-na-a7iv With every system there is an optimum configuration based on what's available and what you want to do with it (video/stills/reefs/blue water). My observation was that with the Sony A7IV (and other A7 models such as A1, A7SIII), the current combination of WWL-1B and the 28-60mm is extremely compact and is able to deliver real wold results that are difficult to differentiate from WACP-1 with the added benefit of being a wet-lens, meaning you also have 28-60mm behind a flat port or throw on CMC-1/2 for macro. It's also smaller and lighter weight than WACP-1, great for travel and situations where a smaller rig is beneficial. If you are moving between systems that may not have an ideal option (or any option) for WWL-1B, the WACP-1 may be a better option. I have not yet used WACP-C so cannot comment on that.
  2. 3 points
    Hergan and I have known each other for several years and I respect his opinion regarding how well WWL-1/1B works with the Sony FE 28-60mm. It is a very compelling kit because it can also be used with closeup lenses like the CMC-1/2. With cameras like A7s 12MP and A7 IV 24MP I agree that you would be hard pressed to see a large difference V. WACP-1. With higher res cameras like A7R IV 61MP and A-1 50MP the gap begins to widen especially at the 28mm 130 degree end of the lens. I also think 121 missed the part of the Edward Lai interview where he described the Sony 28-60 "kit" lens performance as being I believe the word he used as astounding and explained that mass production reduces cost but not always quality. Just to assume that a "kit" lens is always going to be low quality is wrong.
  3. 3 points
    I can vouch for the WWL-1B + 28-60mm setup. It takes fantastic photos, and for pelagics (particularly when Freediving), the zoom through is really useful. Here are two galleries from recent trips using this setup: - https://www.shanesmith.photos/Recent-Adventures/Underwater-2022/Fiji-Highlights-2022/ (almost all of the wide angle shots here are with the WWL-1B, with the exception of the split shot and a few of the coral wide-angle landscapes, which were taken with the Canon 8-15mm). I used the zoom through extensively with the bull sharks on this trip. - https://www.shanesmith.photos/Recent-Adventures/Underwater-2022/Lady-Elliot-Island-August-2022/ (All shot with the 28-60 + WWL-1B, as it was the only lens I took on this trip)
  4. 3 points
    Continuing with the impending end of the (Great Lakes) dive season, here are a couple of shots from 2 Tobermory favourites: the Arabia, a three-masted barque that sank in 1884 and the Forest City which was a schooner later converted to steam. It sank in 1904 after ramming into Bears Rump Island in heavy fog. https://imgur.com/a/4fGjhBu
  5. 3 points
    Guys like you make guys like me look bad. Seriously though, good for you! Saves some $$ and keeps another hunk of garbage out of the landfill. I hope it works as you expect!
  6. 3 points
    I use two inon z-330 and while it certainly feels "crowded", the working distance of the sony 90 certainly allows my strobes in the right position. I guess I usually shoot against a mucky background so the flips dont get in the way of the inward lighting I default to.
  7. 3 points
    Books on Underwater Photography. As some WetPixel members have asked about books on how to take underwater photographs, here are some classic oldies and several newer books, listed by year of publication, each with one or two reader’s comments. The books written before 2005 deal with film photography, while those about digital uw photography first appeared around 2010, a lag of ten or so years after digital cameras first appeared. Prices are not listed as they vary greatly depending on whether the book is printed or electronic, new or used. Amazon and the Book Authority provide book excerpts, reviews, reader’s comments, and used books at bargain prices. Most of these books are rated 4 or 4 1/2 out of 5 gold stars. Reader's comments accompany each book title, rather than the publisher's blurb, as they give a better idea of its usefulness to the modern underwater photographer. Please feel free to add the books I may have missed. 1. Greenberg, Jerry: Underwater Photography Simplified. 1971. 48 pages, 5th edition. This may be the first book on how to take underwater photos, and was quite popular in its day. It deals mostly with film cameras and film technique, but as digital photography has taken over, this book has no useful information for beginners or advanced. 2. Howard Hall: Guide to Successful Underwater Photography. 1982. A true classic, well worth buying when available on the used book market. Still a bible to learn from and for one’s book collection. a) “An oldie but goodie — my bible getting started,” says contributor Brandon Cole of this 1982 landmark guide. "My own impression is that this 200 page book has 180 pages of excellent advice and technical points, all useful, clearly stated. Hall teaches one how to take underwater photos in a logical and perfectly organized way. I just read this book some 40 years after it was written, and enjoyed and learned from every page." b) “I have read this book several times, and review it before any major photo expedition. Howard concentrates on the essential art of underwater photography in a concise, readable, meaningful way. He avoids extraneous technical information that so many other manuals use as filler, and focuses clearly on the essence of underwater photography. I gave my original copy away as a gift, and was overjoyed when I was able to pick up a used copy of this out of print paperback. I recommend this superb book to all underwater photographers, new and old.” c) This is the best book I have ever read on underwater photography. Also, this book improved my skills and taught me how to see the underwater world. Fantastic. Jeffrey Hammerhead , Aug 10, 2015 “ 3. Norbert Wu: How to Photograph Underwater. 1994. a) The author writes clearly, concisely and his book easy to read and retain. Even though most of the hardware discussions relate to film cameras, his narrations on how to take underwater photos are excellent, making, thirty years later, two/thirds of the book still relevant, useful and enjoyable. His photographs are admirable and one learns from his narration on how he took them. Most of the photos are wide angle, with some macro shots. The section on organizing and marketing one’s underwater photos is excellent. One wishes Norbert Wu would re-write his book for modern digital cameras and strobes. b) "Mr.Wu primarily covers the difference in the photographic requirements underwater as compared to land photography including the effects of using a specific manufacturer's film. If your knowledge of photography basics is minimal you will be best served to grasp these elsewhere before reading this concisely written book. He all but eliminates the clutter of the basics. I felt he may have been too brief. It is definitely not exhaustive. I think that more examples of the various lenses available and their effects, camera manufacturers who make special cameras for this purpose, and lighting requirements that exist underwater could have been expanded without going beyond the scope of the writer's intent. If you need or want more detail, then this book is not for you. Overall, I think it's a good refresher book." 4. Jim Church: Essential Guide to Composition. A Simplified Approach to Taking Better Underwater Pictures. 1998. "This book was written before the digital age, but the principles of good composition have not changed. My only hesitation in recommending this book is that his work is so important that it has become incorporated into all modern texts, and there is little need to go back to the original source. The book is concise, well written, and beautifully illustrated. So, for historical interest and as a concise treatment of the subject, you will enjoy it, but there is unlikely to be anything unfamiliar to you. Far more useful to me was Martin Edge's "The Underwater Photographer." 5. Mark Webster: The Art & Technique of Underwater Photography. 1998. a) "This book is aimed at anyone who is considering or beginning underwater photography, but also has the scope to help the more experienced photographer develop specific techniques, perfect particular subjects, and give advice on entering competitions and selling your work. The subjects covered by each chapter are designed to allow you to pick your entry level and then aid both the beginner or more experienced photographer to expand and hone their skills within each technique before moving on." b) "As an amateur surface photographer, I truly enjoyed reading this book. It provides me comprehensive basic knowledge on the subject as well as more in-depth knowledge to build on down the road. The photos throughout the book greatly help convey the author's ideas and the readers to quickly grasp the concept. I recommend this book to anyone considering taking up underwater photography." 6. Paul Kay: Underwater Photography. 2004 a) “An award-winning photographer and his breathtaking pictures provide beautiful inspiration for anyone longing to dive into the deep blue sea and record the wonders of marine life. Everything is broken down into manageable, thematic sections, which cover the photographic basics before progressing to more advanced procedures. Capture the ocean’s infinite splendor with an array of underwater shooting techniques, advice on choosing a camera, suggestions for maintaining the equipment, and instructions for lighting in this watery world. You’ll find out how to deal with low visibility, learn essential photographic equations for calculating shutter speeds and exposures; understand the differences between various film stocks and what digital can do; and see how to use the flash effectively. So take the plunge—the results will be fabulous.” b) “This beautifully illustrated title by an award-winning underwater photographer combines stunning photography and informative. The author breaks the subject down into manageable thematic chapters which deal with the basics of underwater photography before progressing to advanced techniques. The result is a comprehensive range of information suitable for readers or all ability levels, regardless of previous experience. - Basic underwater techniques - Underwater cameras - Maintaining your equipment - Using a camera underwater - Flash and available light - * Top author was first person to be awarded a fellowship by the Royal Photographic Society for temperate underwater photography. He runs photo-education courses in the UK and leads field expeditions abroad.” 7. Jack & Sue Drafahl: Master Guide for Underwater Digital Photography. 2004. a) "From camera selection to enhanced exposure, everything necessary to capture underwater digital images is available in this handy reference. Photographers will learn how to select, test, and use digital cameras for technically perfect images, adapt traditional photo techniques to underwater conditions, confidently shoot and light underwater images for great exposure, and remedy common problems that plague underwater photographers. Helpful hints on maintaining, cleaning, transporting, and insuring a digital camera are included. With full-color images that both instruct and inspire, this handbook provides information on every conceivable aspect of creating the right conditions for beautiful underwater photographs." b) “The first 60 pages deal with film cameras and technique, the rest of the book is on how to find and photo underwater subjects, illustrated with excellent large photos and many good instructions and suggestions. It is worthwhile if it can be bought for a good used book price”. 8. Andrea and Antonella Ferrari: The Art of Underwater Photography: Creative Techniques and Camera Systems for Digital and Film. 2007 Some reviewers of this book run hot, others cold, as some consider it inspiring, others to be so vague as to be useless. a) “ Be aware this really isn't a technical, dry, boring guide in the strictest sense of the word like most of the others available on the market. It's rather more of a highly inspirational book which begs to be read and re-read again to find creative inspiration, to bring out the inner hidden artist. I loved the photos and highly enjoyed the clever suggestions in the text - and I can already see how my own underwater photography has incredibly been enriched by this volume. It's like having your own personal tutor! This is a book I'll treasure for many years to come.” But now this: b) “As a guide to being an underwater photographer it is pitched at the diver who has already bought the camera and knows about the basics but is looking to improve composition and their artistic style. There are some good points and some nice ideas. For example the author links ideas from classic cinematography to framing, composition and developing character in subjects, he discuses trim and interesting debates such as Canon Vs Nikon but sadly this were the teaching falls down. As it is a little beyond the beginner and slightly patronising for the more experienced. I am also surprised that the editors allowed so much personal subjectivity into the text as it seems that the book is ego driven. At times the authors distain for inexperienced divers comes through to strongly. This makes you want to put the book down and begs the question 'who is this guy' sure he is a good photographer but is really that great, I have not heard of him and he is not Doublet. I think there is danger that some photographers journey a little to far up there own rectums and this book seems to show that. Sadly the attempts of linking eastern mysticism and pseudo intellectualisation just add to the feeling of 'arse' that you get from reading it. For example the title which I assume attempts to link to Robert Pirsig's classic book on values and technology - Zen and the Art of Motorcycle Maintenance is pretentious. After all this is diving with cameras not a discussion of 20th century values and 'quality'. The misplaced narrative is a 'narrative' that is disjointed and mixed up with the pictures. It is written in a chatty style with no demarked chapters and is more the like the warbling, moans and nit picks of man who has won a few photography prizes than a guide on how to take good pictures.” 9. Larry Gates: The Beginner's Guide to Underwater Digital Photography. 2010 “Simplifying the seemingly difficult and expensive art of underwater photography, this accessible investigation outlines the four elements of success: focus, exposure, composition, and subject. Beginning with an overview of necessary diving skills, this survey reviews these four categories in detail, depicting how to obtain superior results even without the latest and greatest equipment. Maintenance and first-aid tactics are presented as well, reducing the chance of disappointing malfunctions during a dive. Also covered is the importance of developing a photography plan beforehand—both for the safety of the divers and the protection of the underwater environment. Concluding with post-shoot techniques for choosing the best frames, cropping photos for printing, and the top methods of presentation, this examination demonstrates how underwater images can be used to share the world of diving while promoting important conservation efforts. “ 10. Larry Gates: Advanced Underwater Photography. 2011 “Ignore ‘Advanced’ in the title. If you know what ISO, F-stop, and aperture are, you know enough to start with this book without any other prerequisite. The first few chapters are so chock full of useless fluff, I nearly chucked this book in the trash. For example, on P18, the author explains in painful detail why its better to have in-focus shots than blurry ones. But soldiering on, eventually the book does get into real-deal info on equipment and technique and provides enough useful information that a beginning underwater photographer will learn a thing or two. There are plenty of photos illustrating technique, always with F-stop, shutter speed, and ISO, but only sometimes with focal length. If you are an intermediate or advanced underwater photographer, skip this book as it will be too basic for you. If you have no experience with UWP, this is a decent place to start, though far better technical resources are avail on the web for free. Just search for "underwater photography guide". 11. Richard Carey: The Underwater Photographer's Guide. 2012 “...this book/ebook by Red Sea diving instructor Richard Carey is a new primer for underwater photographers. There is no shortage of such texts, but this one stands out as being very clearly and simply written, avoiding unnecessary jargon and concentrating on the essentials everyone needs to understand when venturing beyond automatic settings. The images used as examples are good-quality, too, which, isn’t always the case with such guides. The captions make it clear that Richard uses only Canon Eos SLR cameras with either 60mm or 100m macro, Tokina 12-24mm zoom or Tokina 10-17mm fisheye lens. However, this doesn’t seem to make the guide any less useful for non-Canon owners or users of compact cameras, because his approach is all about stripping the task down to universal principles and covering the basics. For beginners the lack of flab will be a bonus. Load up the ebook version as a handy reference for your next trip. Steve Weinman “ (In other words, this book does not discuss Macro, only Wide Angle) 12. Pat Colley and Alex Mustard: Winning Images with Any Underwater Camera. 2014 a) “The best underwater images don't just capture the subject well, they also capture mood, emotion and atmosphere. Unlike most other underwater photography books, Winning Images with Any Underwater Camera focuses on composition and techniques rather than the all-­consuming camera technology that people tend to chase first. This makes it a supremely cost-effective tool for improving images; and there is no discrimination between users of different camera systems - this truly is a book for all.“ b) “A very useful book for someone who has underwater photo experience. For the beginner it may be little daunting. To get the most out of the book you should be knowledgeable and have mastered the basics including actual in-water experience with UW cameras. My best advice would be to get the UW photography instruction book by Martin Edge and be reasonably familiar with that information and techniques contained in that book ( even though is is a little dated) and then progress to the Masterclass book. For me I learned some new techniques I haven't used or tried before and I have been shooting nearly 20 years beginning in the film era.” 13. Nick Robertson-Brown: Underwater Photography. Art and Techniques. 2014. a) “This practical book explains and offers advice to the reader on both the art and the science involved in capturing stunning underwater shots. Contents include: Advice on the equipment you will need to get the most from your underwater photography; Descriptions of underwater habitats and animal behaviour; Guidance on how to be a responsible photographer; Direction and assistance on topics including composition, natural and artificial lighting, exposure and underwater conditions. Superbly illustrated with 206 stunning colour photographs.” b) “What I like about this book is the explanation, the way it unpacks everything so clearly, so I could really understand the principles - not just the 'how', but the 'why'. And then it told me in clear steps how to produce great underwater photos. Highly recommended!” c) “There are much better underwater photography books available. The photos in the book are not very good at all. Any book by Martin Edge or Alex Mustard is much better.” 14. Tobias Frederich: Underwater Photography. 2014. “Underwater photography is a fascinating pursuit for those who aspire to capture the magical world found within our oceans and bring it to the surface. In this book, award-winning photographer Tobias Friedrich teaches us how to create stunning underwater images, covering everything from the equipment needed, to creating powerful compositions, to processing the final image. He uses case studies to show how his own images were created, and provides detailed explanations for specific techniques that can be applied to your very next dive. The text is supported by images from some of the most beautiful diving areas on Earth. Also included are countless tips and tricks for the beginner and intermediate photographer.“ 15. Alex Mustard : Underwater Photography Master Class. 2016. a) “When Scuba Diving surveyed our go-to shooters for their recommendations, this text — by another frequent contributor — was mentioned most often, hands down. For more-advanced/-creative techniques, this new volume “simply can’t be beat,” says Allison Vitsky Sallmon, “a common refrain.” b)“The first 30 pages of the book are what one might call “introductory,” teaching the reader the holistic approach to underwater photography—from differentiating the mindset from “just a diver” to environmental considerations. There’s also a useful introduction to the required gear, with up-to-date (as of 2016) information on cameras, ports, housings, strobes, and building your ideal rig. If you already have a setup for underwater photography, this section might not provide too much more insight, but it’s definitely key for building from the ground up. From here, Alex’s genius for providing a unique, practical way to present a topic is really evident. Instead of initially branching out into wide angle, macro, super-macro, or any other classifications of underwater imagery, he presents underwater photography in terms of lighting—a theme that drives the whole book. “ 16. Larry Gates. Underwater Photography: A Pictorial Guide to Shooting Great Pictures. 2016 a) “Beginning underwater photographers may be surprised to find that there are numerous tools—from fully automated cameras, to smart phone cameras, to sophisticated DSLRs—that can be used to create incredible underwater photographs. In this book, author Larry Gates (of Aberdeen, South Dakota) “dives in” to the topic of underwater photography and teaches the skills beginning photographers need to explore saltwater and freshwater environments. Beginning with a look at the equipment used, Gates explains how to keep your camera water-tight, choose lenses and accessories, and assemble your system. You’ll learn which lenses are best for photographing large versus small creatures, reef scenes, wrecks, divers, and more. You’ll also learn how to work with a strobe, ensure sharp focus, and increase the odds of getting images with vibrant color. Finally, Gates provides strategies for managing your workflow and doing basic image editing after the dive.” b) “With clear step-by-step tutorials and inspirational examples of the photographers’ craft, the author shares with you the fine art of composition and other secrets for making successful underwater pictures.” ―Mike Ellis, Photo Pro Dolphin Dream Team Charters 17. Martin Edge with Stuart Gibson: The Underwater Photographer. 5th ed. 2020. “In this long-awaited fifth edition of the best-selling book, Martin Edge continues to provide the definitive guide to underwater photography. The book covers everything from the basic principles, the equipment and approaches to composition and lighting through to creating an individual style." "The book features over 400 updated color images - taken on numerous dives around the world - with an accompanying narrative that provides detailed information on how the shots were taken, their strengths and weaknesses and how to fix mistakes. Practical examples take you step-by-step through the basic techniques: photographing shipwrecks, divers, marine life, macro images and taking photographs at night. New chapters cover the latest equipment, processes and techniques including SLR Cameras, water contact lenses, mirrorless interchangeable lens cameras, micro four third systems, super macro techniques, motion blur, LED lighting and more.” 18. Maria Munn: Underwater Photography: A Step-by-Step Guide to Taking Professional Quality Underwater Photos with a Point-and-Shoot Camera. 2021. a) “Modern compact cameras are capable of capturing fantastic underwater images – and this book shows you how. Easy-to-follow techniques are accompanied by hundreds of photographs that show you how it is done and the results you can achieve. There is advice for both beginners and more advanced compact camera users, covering topics such as what camera to buy and how to look after it, how to master settings for different cameras and how to compose great underwater photographs. The author goes over several compact cameras in each section, and goes over the useful steps and details.” b) “This is a very good book! the book is very easy to follow with detail explanation and good examples. I finished this book before my last diving trip, and brought home beautiful photos form the trip. just bought another one for my diver friend.” 20. Alexey Zaytsev: Underwater Pictures With the Olympus TG-6. 2021. a) "This book is something every underwater TG user needs! It clearly describes the best settings and options for underwater photography, helping to set the TG camera to its ideal underwater capabilities. It’s simply written do you can easily follow the steps and get to shooting faster. The author gives tips on the camera, and all the accessories you can benefit from using on the TG. How to shoot in common underwater situations and “life hacks” make up a great section and there is even a section on strobe and light positioning. Whether you just bought your TG-6 or you’ve had it for years…. YOU WILL LEARN SOMETHING NEW IN THIS BOOK!!! Get it!" b)"I found this camera very versatile on land and under water. The pictures under water were as expected from Olympus Camera. I will being buying the complete underwater package for our next trip." c) "...but that is a lot to pay for an instruction manual." d) "This book is grossly overpriced for the fairly skimpy advice given. It would have been reasonable, if it was less than half the cost. As good, or better, information can be had for free on the Backscatter website." e) "Tell us how to navigate the menus! Give us the sequences to set things as you suggest them to set!" References: 1. History of Underwater Photography. https://www.asprs.org/wp- content/uploads/pers/1967journal/aug/1967_aug_897-904.pdf 2 .bookauthority.org/books/underwater photography books. 3. https://wetpixel.com/forums/index.php?/topic/69507-books-on-uw- photgraphy/&tab=comments#comment-439998 4. 10 of the Best Underwater Photography Books for Learning » ItsJustLight.com 5. Chitown SBP and Tim Gurney: https://wetpixel.com/forums/index.php?/topic/69507-books-on-uw-photgraphy/&tab=comments#comment-439975. With this note, Tim Gurney stimulated me to prepare the above annotated listing, which Tim then kindly reviewed and contributed useful suggestions. Tim, thank you. - End -
  8. 2 points
    As others have pointed out, the optics of your equipment are extremely limiting once you move away from the center. I'll point out that should you actually go to the logical extreme of getting a big dome port and suitable lens/camera to put behind it, you will still have corner issues. I addressed that with yet more gear, adding a Sea & Sea Internal Correction Lens. Finally I had something that gave 'decent' corners. But the cost! Not just $$ cost, but the cost in portability, and ease of diving. I have a 230mm dome port that is a real pain to travel with, and it's a pain to carry (rig weighs 26 pounds out of the water), and it's big with lots of drag while diving. So - big dome ports are the answer to one problem, and the cause of 3 or 4 more. Here is a bit of advice to have better corners with what you currently have. You need to work around the weaknesses of your equipment. So... 1. stop down, a lot. Go shoot a scene, perhaps with a lot of lettuce coral from side-to-side, the underwater equivalent of a brick wall. Just take some test shots wide open, stopped down a stop, then 2 stops, then 3, etc. Find out if there is any appreciable improvement with some minimum f-stop, and start shooting stopped down at least that far. 2. Be careful with focus points. You may want to focus slightly closer than your subject to move the plane of best focus forward a bit to include more foreground. 3. Try to avoid foregrounds that are significantly closer than the plane of focus on the subject. This is where you corners probably look the absolute worse - focused 6 feet away, but with corner elements coming in several feet closer. 4. Shamelessly crop out the edges and corners. Plan ahead with your framing for this. 5. Wet lenses (small dome) might help. I'm not sure how much though. Don't ever expect much from the corners of a flat port with anything wide angle.
  9. 2 points
    I think you are not understanding what I said First the 28-60mm is a cheap lens made of plastic in China and is slow that does not mean it lacks sharpness. On land lenses are praised not just for sharpness (almost any lens is sharp enough) but because they operate at wide aperture and perform better in certain conditions those are made of metal and in most cases made in Japan or in other authorised factory with higher quality standards. When you look at how this lens does at 28mm and compare even with the 16-35mm 2.8 the resolution figures at f/5.6 are very similar there is no gap to be closed However there are other cases like the canon or nikon where the cheaper lens falls way behind the most expensive 16-35mm lens with sharpness falling around 20-30 in the centre and a bit less but still enough in the sides Which means that when you look at the curve that Alex Mustard has put there your starting point for the better lens is 30% upper in terms of resolution and the curves meet at more than 30-40 degrees away from the centre So it is not possible to generalise that in all conditions even in the centre a water contact optics beat a superior wide angle optic and moreover the water contact optics does not make a lens sharper it just corrects certain chromatic aberrations better than a dome which is in effect a lens made with a single element as you move towards the edges. Finally I do not buy the idea that Adam seems to suggest in the video but actually Edwards does not mention that a dry solution is much better than a wet solution because in most cases the wet lens is extremely close to the port and that thin layer of water is thin enough not to make a major difference anyway. So I am not surprised that perceptually someone may try the WACP and WWL-1 with the same lens and conclude that the difference is not that much. The fact is that for certain format there is no wet lens option therefore generalised comparisons are not possible.
  10. 2 points
    Glad to be of help. The biggest and most expensive is not always the best for every situation. Sometimes a certain combination just works extremely well together and deliver results.
  11. 2 points
    having owned and shot the wacp-1 and shot the wwl-1 for several months, if a lens could use both options, I'd not even consider the wacp-1 considering both size and price. I personally haven't seen anything compelling about the wacp over the wwl in terms of image quality, looking at images of mine side by side from both, good luck finding a difference. Perhaps wide open there is an advantage for the WACP but realistically, how often are the majority of us shooting wide angle at apertures that wide? This is not to dump on the WACP, it is a phenomenal optic, but is it worth 4 times the price of the wwl...well...
  12. 2 points
    Stunning pics Shane! Great to see your recent pictures in Fiji ! Alex (from Maldives)
  13. 2 points
    There are of course other options as well. Second hand metal housings from S&S, Aquatica, Subal, et al also show up from time to time. Also you need to figure out all the costs. Let's say you want a micro 4/3 system Used Olympus EM1 Mark II $500 60 macro lens $400 8 mm fisheye $800 Housing (used) Nauticam $800, AOI New($900), Nauticam new ($2800), Isotta new (2100) Ports macro and dome ($400/$800) AOI, others higher Strobes (2 x Inon 330/S&S D3) $1400-$1700 Arms and clamps ($400) Total $5K at the low end (used or AOI) and the housing is only 10% or so of the total. Of course you could go lower end everything but still you will be out some serious $. Call dmanfish here in the classifieds, he has a very nice EM1 system for sale. As others have said, Ike is fine, but if I were going to get a plastic housing it would most likely be from AOI
  14. 2 points
    Best I could do (maybe, it's getting cooler now) would be a quickie pool test. My next scheduled dive trip is to Truk lagoon where I may get in as many as 20 dives. I'm unlikely to use that time for testing without the IRC. I'm also thinking about a short dive trip, perhaps to Cayman Brac, in January where I could get a test in. I do suspect it is making a big difference. When I put the 77mm version on my 16-35 behind the same dome port it was like night and day difference. Before the IRC I simply had to crop all the images at the edges. After the IRC I didn't really work about the edges anymore. Which is why I paid the $700+ price tag for the 82mm. I suspect the pandemic and subsequent massive reduction in diving had Sea & Sea pull back the IRC to special order status. I'm a little surprised Nauticam hasn't come up with something like this.
  15. 2 points
    I've been shooting the Z9 for 25 dives now, and I'm starting to get used to it. I'm coming from a D850, and a D810 before that, all housed by Nauticam. My experience with the DSLR's was with the 16-35vr and the 105vr. Plus two dives with the 60mm macro. And a few with a TC on the 105. Compared to the D850, I find the experience mostly similar, comfortably so. The viewfinder is annoying, but other than that it seems to get out of my way. Might be different on a night dive, but I don't do night dives. It's annoying because it constantly goes off when I'm not shooting for a while (a good thing to save battery), but then I have to remember to thumb the AFON lever to wake up the viewfinder before I get it to my eye. Obviously never had to do that with the DSLRs, so it's added a lever press to my in-water workflow every time I raise the camera. I guess the in-viewfinder review is nice, but I do have to press a lever to do the review, whereas my old workflow was just to glance at the monitor on the back. Autofocus: I used 3d Tracking on the D850, and it was wonderful. I use 3d Tracking on the Z9 and it is wonderful. I think the D850 might have a slight edge on tiny, close, dimly-lit stuff like Wire Shrimp, but giving a bit of focus light help, the Z9 does as well. Subject tracking - [I'm smiling as I think what to say] - sometimes gives interesting results. I was amused when it focused on the nostrils of a Green Moray Eel instead of the eyes. It does OK at picking things out of the water like a barracuda swimming by, but it clearly isn't recognizing any kind of animal subjects. So, stick with 3d tracking, and do some trickery with the viewfinder to help autofocus in dim lighting. (Turn up sharpening, AF on Z9 uses viewfinder feed...) I do focus-and-recompose for the most part, and the edge-to-edge ability for the Z9 is welcome and useful. The Z9 files seem just better on two fronts - white balance and higher ISO colors. Perhaps two sides of the same coin. First, I got a lot of underwater shots that were credible out of camera, using Auto white balance down to maybe 50 feet. Not correct white balance, but a lot better than the murky green I used to see. I shoot RAW and color balance stills in post, but I was pleasantly surprised to see a lot of images start out close. And colors seemed hold up better at high ISOs also. (Than either D810 or D850 files). Lenses - clear win for mirrorless here, compared to what I was shooting, The 105s is sharper than the 105vr, and the vr was no slouch. As for how they feel in the water, pretty much exactly the same. The 14-30 also seems clearly sharper than the 16-35. I'm shooting both of them with Sea and Sea Internal Correction Lenses behind the same 230mm dome. 90mm extension on the DSLRs, 50mm on the Z9. I did have an issue with the 14-30 on one dive refusing to work, showing a F___ error. After the dive I removed the camera from the housing, removed the lens and wiped the lens contacts with th.e bit of towel to rub off oxidation. That worked and the lens resumed working. (The contacts did look dirty.) The 14-30 is very sharp in the center, and acceptable on the edges. I shot it mostly around F8-F14. I haven't even gotten to video yet. Had a lot to get used to get comfortable with new gear. Plus had a fiber cable break today - used the spare. The extremely brief bit of video I have done with the Z9 is easily superior to the DSLRs. Autofocus actually works during video. I can shoot at 4k120p for cropping and slow motion. Or 8k raw. Night and day difference, most of which I don't understand. Handling-wise, the Z9/Nauticam is pretty pleasant to work with. All the buttons and knobs you need are conveniently at finger, except changing ISO values. That is a pain that has me reaching left hand off the left grip to turn a knob over on the right side. (Same with D850). The Z9 does have 4 Function buttons that are all conveniently accessible. That opens up a lot of possibilities.
  16. 2 points
    I can barely justify the micro4/3 kit I have as a hobbyist. I couldn't imagine trying to justify anything larger.
  17. 2 points
    Sending the strobe back to Sea&Sea may be the best approach, as they have the parts and knowledge, and if they are feeling generous they might replace it with a working strobe. Here is the Sea&Sea info from the web: 4-8-11 Nagasaki, Toshima-ku, Tokyo 171-0051, JAPAN Tel: +81-3-5926-9320 Fax: +81-3-5926-9321 Customer Service: +81-3-5926-9322
  18. 2 points
    full image list here https://interceptor121.com/2022/08/30/diving-sorrento-peninsula-2022/ Experimented with inward lighting quite a lot Few examples There was low visibility but the usual great wide angle material All shots Panasonic GH5M2 in Nauticam housing canon 8-15mm in 140mm dome and 2 Sea and Sea YS-D2 strobes
  19. 2 points
    After very careful consideration I abandoned the idea of a WACP-1, primarily due to air travel considerations. I often travel on airlines where that bag would stand little chance of getting past the carry-on guards. Looking at your photo, that appears to be a Thinktank or similar bag. Knowing those are not really intended to be checked luggage, do you have a contingency plan if they won't let you take it in the cabin? Just curious...dealing with airline luggage restrictions is one of my constant sources of aggravation in life and I am always looking for ideas. My basement looks like a luggage store.
  20. 1 point
    It should be noted, however, that a WWL-1B will not fit the SeaFrogs threaded port, as it uses Nauticam's proprietary bayonet mount, and the wide front flange on SeaFrogs port interferes with Nauticam's M67 to bayonet converter. The same goes for WWL-C. The original WWL-1 in M67 mount can be used.
  21. 1 point
    The sample photo was a close in diver. When using a very wide lens like a 15mm FE you don't take many photos that are far away. Here is a photo I took last week using the technique i described.
  22. 1 point
    https://wetpixel.com/articles/wetpixel-live-intro-to-nauticam-optics At about 17:15 and again around 18:30...WACP has greater detail and contrast throughout the picture, according to Mr. Lai. Suggests a major difference compared to a dome port. Edit to add You may want to actually watch the whole thing.
  23. 1 point
    What you're seeing are some of the effects of refraction. Basically, because the speed of light in water, glass and air are different, when light rays pass the boundary between different materials at an angle, they bend and scatter, resulting in optical distortions and loss of sharpness. You can't easily see the distortion when shooting natural life, but if you take a photo of something like pool tiles underwater, it will be quite plain. When shooting through a flat port, the further away from the center frame you go, the greater the angle at which the light passes through the port glass becomes, the greater is this effect going to be. Dome ports counteract this to a degree, although they introduce their own issues. They fix the distortion, but corner sharpness remains an issue, although it can be countered to a degree by closing down the aperture. I've done some testing in a pool with SeaFrogs 4-inch, 6-inch and 8-inch domes and 16-50mm and 10-18mm lenses on my A6300 camera; you can see the results here: https://1drv.ms/u/s!AupWSggdlFYKjtRFXM2KS9gqFcyRpQ?e=0mJLGM Another option would be to replace the basic flat port (which, I presume, you're using) with the threaded short macro and use a wet lens such as Fantasea/AOI UWL-09 or a Nauticam WWL-1 (not WWL-1B or WWL-C; those will not fit the SeaFrogs port). This generally provides better corner sharpness than a dome port, although I don't have any sample images to post.
  24. 1 point
    I had a ikelite housing in 1983-knobs bound up at depth-it was to buoyant -I;m sure they are better now but after 3-5 aquaticas and a the same with Subals I would never go back to plastic. Just get a used aluminum housing and you will find it does it all very well and the cost is less in the used market. I consider ikelite entry level on the way to a better housing ,save yourself this step
  25. 1 point
    Frankly, I think you should stick with the D7200 and Tokina. If you must upgrade, a D500 would be a better camera and you could keep using the 10-17. That lens gives you useful flexibility on crop-sensor that the 8-15 does not, on full frame. You could use the 8-15 on an APS-C camera like yours but the increase in quality is marginal and not worth the money, in my view. I switched from a D800 to an APS-C mirrorless; its more complicated (I have to remove the port and lens to remove the camera usually). It's slightly less heavy and I was keen to try water contact optics, the WWL-C, which is less than $1000. It's great, and 130 degrees sounds wide, but my Sigma 8-16 is wider and gets more use. You can't use the Tokina 10-17 with mirrorless as the AF doesn't work, so I bought an 8-15 zoom fisheye which does the same job, largely, as the Tokina on a crop sensor. Really, save your money. If you want better quality, go somewhere with clearer water. Check out Greg Lacoeur's work with the Tokina and D500...
  26. 1 point
    Everything I have read and heard on the battery nerd forums and test sites suggests that using a top-off or trickle charge method is not ideal for charging LSD batteries. I am not a battery geek, so I may have the terminology wrong, but with LSD batteries, chargers cannot easily determine when a full charge has occurred if the charge rate is too low (Below 500 - 1000 mA). When chargers rely on a top-off or trickle charge for the last 20%, there is a likelihood of overcharging, so many of these chargers have to rely on a timing mechanism instead of assessing a 100% charge. I believe the BQ-CC55 shuts off after 1 hour. LSD batteries are sensitive to overcharging and doing so will shorten their lifespan and can cause other problems. So the ideal way to charge LSD batteries is to supply a sufficient charge until the battery is at 100% and then terminate the charging. This assures a full, but not overcharged battery. That is not how all the Panasonic chargers work. The BQ-CC55 "uses a -dv/dt termination and has a 1 hour top-off charge at around 140mA.... as can be seen on the temperature the cell is full and get stuffed a bit extra with the top-off charge. " The BQ-CC17, in contrast to the B-CC55, charges to 100% and then stops. But is a much slower charger: Again, I am relying on what others have told me, including testing and opinions (and the attached graphics) found at https://lygte-info.dk/ On this page (https://lygte-info.dk/info/batteryChargingNiMH UK.html ) is one of the clearer explanations of what I am saying: "AA/AAA NiMH batteries are usual rated for charging up to 1C, i.e. same current as their capacity. This means that a charge current of 2000mA (or 2A) for a 2000mAh battery, most chargers will charge with a lower current, but there is also some chargers that uses higher current. A high charge current will usual reduce the number of charge cycles a battery can last, i.e. using a lower charge current will mean longer battery life. But using a low charge current has its own problems, detecting when a NiMH battery is full can be problematic and overcharging will also reduce the life of the battery, especially LSD (Low Self Discharge) types. One way around this problem is using the battery voltage for termination, it works, but has a few problems because it varies with temperature and actual chemical composition of the battery, i.e. not all brands needs exactly the same termination voltage. If the termination voltage in the charger is a too high the charger may never terminate and will overcharge the battery in a serious way. If the termination voltage is too low, the charger will stop premature and you will get a battery with a bit less than full capacity. This can be fixed with a top-off charge, i.e. a lower current charge for a fixed time (like 1-2 hours), this will probably overcharge the battery, but with a low current and for a limited time, i.e. damage will be minor." His concluding statement includes "To get a good charger look for one with individual cell termination, i.e. it must be able to charger one cell at a time. It must terminate when the battery is full and preferable not use trickle charge. For chargers with voltage termination a top-off charge is acceptable and secures that the cell is full, for chargers with -dv/dt termination it is not needed." So, I prefer a charger that charges to 100% at a reasonable rate of charge, and then terminates, but a charger like the BQ-CC55 is a good alternative due to its speed, and for most of us, a possible slight reduction in battery life is an acceptable trade-off. I would not hesitate to use them on a dive trip. However, the thread topic is lifespan of eneloops, so the point of increased lifespan is germane. Note: I also obtained some information from a very close family member who, as it happens, is an engineer for Panasonic Energy. Oh, and one last point. NIMH LSD batteries should not be "left in the charger." This may explain some of your lifespan issues. Take them out when they are done and store them out of the charger.
  27. 1 point
    Very nice, thanks for sharing.
  28. 1 point
    Hi, i would like to share another Greenland video with you. This time i visited the Ice Camp at Sermilik fjord in East Greenland, a very remote spot. The scenery is mezmerizing and tremendous. The air is filled by sounds of thunder from the cracking icebergs or whale blows. At the beginning of the video you can see the mood at 1:30 in the morning. Enjoy watching these nature impressions! Alex.
  29. 1 point
    Please read the other thread on eneloop pro to get some details on that discussion In general I believe that failure of DS strobes is related to heat lock ups My manual says If the product emits 20 continuous flashes an internal protective circuit will be activated to prevent the reflector in the strobe from overheating and the strobe will be placed in standby mode(with the ready ttl light out) for at least 20 seconds. If this occurs allow the product to cool naturally for 10 minutes. I see the same in the YS-D3 suggesting that cooling the product down will sort out the issue. Obviously if you continue to fire the strobe may be damaged permanently which I believe was the issue on the first release of the strobe that had a burned light bulb Unfortunately the design of the Sea and Sea strobes with a flat front does not help the heat dissipation that other strobes with a curver or dome front have. Retra and seacam that are made of metal will also conduct heat into the water better compared to the plastic construction of Japanese strobes I have never experienced this issue but I am curious if this happened to others
  30. 1 point
    Final post for a bit. Here are a couple of shots from last weekend on the wreck of the Manasoo in Georgian Bay. I've included a link to the Wikipedia Page about the wreck which is mostly correct. In any case, hope you enjoy. https://en.wikipedia.org/wiki/SS_Manasoo https://imgur.com/a/hB7Sqzw
  31. 1 point
    Interesting point. On the eneloop pro there is printed the batch production date. What I have noticed is that sometimes you buy batteries and the production date is much earlier. For example I bought some eneloop pro from amazon in february 2020 and they were made on July 2019 so in effect taking already 6 months off the life of the battery I would be interested to know what date was on your batteries. I have used batteries as old as 2017 this year on a trip with my YS-D2J and had not issue however at the end of the trip I dumped them all
  32. 1 point
    I'll echo some of these points too. I shot a series of Canon point-n-shoots in matching Canon plastic housings - never had a housing issue with any of them. Eventually I wanted to 'move up' as I felt I already had all the decent shots I'd get from a point-n-shoot without strobes. So I moved onto a Sony RX100 ii in a Nauticam housing. I'll echo the point about housings being a system, though in my particular example not so much. I outgrew the Sony in a year (slow focus) and then moved on to (finally!) putting a good camera underwater, meaning a D810 in a Nauticam housing. I simply moved the two strobes and strobe arms and focus light from the Sony to the Nikon rig, needing only to get new fiber cables. Since then though, I've moved to a Nauticam D850 housing and now a Nauticam Z9 housing. The 180 degree viewfinder I bought with the D810 rig is still used on the Z9 rig, along with the strobes, and the 230mm dome port. Different lenses meant changing macro port and dome extension, but all the ports and bits I bought for the D810 rig moved on to the D850 rig. On the egonomics question - you don't know it yet, but there are ok and better ways to push buttons underwater. You need to not overload your right hand in particular, and they may well mean NOT putting a housing button directly over a camera button. A great example of this is the Nauticam Z9 housing. I have three function buttons on the front of the housing, each set to a different autofocus type. On my housing, the Fn1 button is turned into a conveniently-placed lever for the right hand. But the Fn2 and Fn3 buttons are both assigned to a rocker lever on the LEFT hand. The playback button, which is actually located on the right lower back of the camera gets moved to a lever on the top left of the camera. There are a series of levers and rods inside the housing making all this stuff happen. Buoyancy - potential issue with any housings. Some (Canon compacts) had an accessory weight kit for them. My big Nauticam rigs are quite negative in the water, but last June I learned how to balance them out. Simply hook a luggage scale to them (carry handle is good) while the rig is sitting in the (salt) water. I had four old Stix floats on my strobe arms and needed to add four more. Now the rig is almost perfectly weightless in the water. I can balance it on the end of a pinkie finger or just let it go and watch it stay in front of me. You want any underwater rig to be in that state or close to it. Unfortunately, the big dome port pitches the camera straight up, so I really need to add some tire weights or some such to trim the rotation out too. The macro rig with the much smaller macro port needs additional floats as that small port doesn't hold much air to float the rig. Finally, resale. Like any big purchase, the key to doing well in resale is to buy cheap, not to try to sell high. So if you can get a good used price on a popular Ikelite housing, you should be able to resell it at reasonable cost. But some of this stuff is also hard to resell. And you might not get the price you wanted either. I thought $1700 was a good price for my used NA-D810 housing, but it turned out to be too high for my only bidder. Finally, there is one option that really isn't optional, and that is a vacuum leak detector. Any housing you get should have one. That might contribute to a higher price on one housing compared to another.
  33. 1 point
    Aperture Test Shots, 14-30. Here is a quick set of test shots where I tried to hold in one place and get the same shot at different apertures. No particular processing done on these beyond white balance, a bit of exposure control and default Lightroom settings for sharpening. In case these don't get displayed in sequence by Wetpixel, look at the file name which is date/time based. These shots were taken in sequence with the earliest shot wide open and the last shot stopped down the most. ALL shots taken at 1/160th with the 82mm S&S IRC mounted on the 14-30 in a 230mm Nauticam dome port with 50mm extension and shot with a Z9, firmware 2.1. Exported from Lightroom with no exposure changes, Camera Standard profile, custom white balance, default Lightroom sharpening, with Lens Corrections enabled. They go: F5.6 F6.3 F7.1 F8.0 F9.0 F10 F11 Sorry, should have gone on to F14 and F16, but hopefully this is enough for people to decide where a decent minimum might be.
  34. 1 point
    That place looks familiar. ;-) Nice shots Sid!
  35. 1 point
    I have had SS strobes in the past They didn’t break however during a trip to raia ampat my wife banged the strobe on the camera room door that resulted in a crack of the retainer ring that holds the battery cap I repaired it with loctite and did other 100+ dives but when I contacted sea and sea to get a spare part they told me they needed to replace the entire back of the strobe cost 80% of a new unit I sold the strobe on ebay (it continued to work with super glue) and switched to Inon One of my new z240 was defective and was replaced in warranty Few years later i replaced two z240 with two ys-d2 i have had them for 3 years though due to covid they have done perhaps less than normal use but I have not had a single issue I know that it I had a problem they are likely to be unreliable unless they have locked in self protection mode and I accept this risk because I have other reasons no to buy other products right now The short version is that although sea and sea has made many great products the after sale service is disappointing to non existent Sent from my iPhone using Tapatalk
  36. 1 point
    Actually the Sony A1 would be the better choice because of its speed. The A7 IV uses the A1 AF system but because it does not have the stacked sensor system it is a bit slower. The A7r IV lags behind both in AF speed. I always seem to catch hell over talking about future products but it is pretty common knowledge that Sony will announce the A7R V in the next few months. I expect this camera will be high resolution with the faster AF speeds. Any of these cameras will AF well for wide lenses but for macro AF the A1 and A7 IV are quicker.
  37. 1 point
    What batteries were you using? I have read of multiple cases of protection circuit being triggered when alkaline or lithium batteries were being used
  38. 1 point
    I have the 180 degree 40 degree 0.8:1 version which I have been using with the large Sony A-1 EVF. Unlike my older 45 version I am now able to read all of the information along the edges of the viewfinder along with an amazingly sharp corner to corner view of the image in the screen. Excellent upgrade for those with larger EVF's.
  39. 1 point
    Chris Ross: Thank you! I appreciate your valuable insights... You are correct: the particulate matter in the water, fast currents, and quick animals were ultimately really disappointing. I never mean to complain! I just want to enjoy my dives, feel gratitude to be in these special places, and come home with some great memories in terms of images. I think practicing on slow moving reefs is a great idea and there are some amazing bucket list places like Papua New Guinea or Palau. Thank you sir for some wonderful advice and listing to my rookie frustrations. Sean
  40. 1 point
    Based on past Sony models the A7 IV should sync at 1/250th with the Marelux manual flash trigger or any other manual flash trigger. So far it has not. Two firmware updates have been released for Sony A7 IV this week. I would try downloading and Installing these updates and see if they correct the sync problem. Zow, My personal equipment is from Sony and I was building my kit before Canon and Nikon ever launched full frame mirrorless cameras so I have a bias towards what I already own and would not want to replace my excellent Sony lens collection for a new brand when I already have the best camera for underwater photography on the market. I have used the D850 and the Z-cameras and I would say that the Z6 II is more in line with the A7 IV and the A7R IV is more in line with A7 II both being higher res cameras. The D850 is an excellent camera if you are investing in used equipment, however the DSLR is all but dead so you will be investing in a system with little future. As far as new lenses and likely no new bodies. The Z-system would be my last pick because I think Canon offers better options. If you go with the Z-system the Z-105 macro and Z 14-30 F/4 are both excellent choices. If you intend to use the WACP-1 or WACP-C wet optics for Z-cameras the only lens that allows full zoom through is still the Sony lens with adapter. Also you need to judge price not just by the camera body price but more as a complete system. Example the the Nauticam A7 IV housing is $4127.00 US while the Nikon Z7-II/6 II is $5056.00 US. For Marelux it is Sony $2998.00 while the Z-6/7 II housing is $3468.00 both in black, add $200.00 for the other five colors. I am sure others will have a completely different view, discourage full frame and so on.
  41. 1 point
    I can post shots from my 14-30 but I have to upload them here instead of hosting on a web site. (When I get home I have access to my web site again.) This is with the S&S IRC behind a 230mm dome with 50mm of extension.
  42. 1 point
    Thank you very much @bghazzal . Nope, no filter, i do the white balance manually by filming a white board down there
  43. 1 point
    This is exactly what I do. My camera, lenses, and Lithium batteries go in my carry on and my housing, WWL-1B (with hard cap), ports, flash, video lights, etc. all go into a Pelican case with "custom cut" dividers to hold everything in place. The Pelican can be carried on (size is okay, weight is not) or checked and I have options. I've done some pretty serious travel in the past year and never had a problem. Regards, - brett
  44. 1 point
    As the battery ages internal resistance increases. So as explained here straight off the packet a set of Pro will beat standard on all fronts However after 500 cycles or 3 years the pro will be dead beat while the standard will be still going As underwater strobe users fast recycling time is more important than saving £ per year so there is no much point getting standard batteries I use standard for wireless keyboard and mouse
  45. 1 point
    I was out diving the Yukon in San Diego yesterday playing with my Retra ProX and had the wide angle diffuser. The water was very green (normal for the area) and had a TON of particulate matter in the water. Quite frankly, I'm a bit surprised at how the photos turned out given the conditions. Visibility was probably 6m / 20 feet. The photos below have had a few adjustments in LR but nothing major and I haven't cleaned up any backscatter. I'm not planning to use them for anything other than I was just testing the strobes in those conditions. Regards, - brett
  46. 1 point
    Yes, with Haddad. Good organization but not very impressed by the location site
  47. 1 point
    Purchased one of the ThinkTank bags. If anyone needs a 10% discount code (purchasing directly from ThinkTank), let me know.
  48. 1 point
    More good news on the topic. With the help of @Moodog we managed to compare the distance from the Nikon camera flange to the top of the Nauticam housing on: Nikon Z6 and my Nikon Z6 II with the new slider modification from above. Though our measurements are not that scientific - the difference is only 0.5mm (e.g. 0.8% difference) between the 2 setups and it could be purely because of they way we measured on each end and/or measurement tools we used. Which tells me that the new adaptor should work great.
  49. 1 point
    We live in exciting times. I am also eager to read serious reviews about WACP-C. Below a table, where I have added WWL-1 and the regular 230mm domeport to the Nauticam table, for better comparison: #1.: I guess that the sharpness in the center is the same for all 5 options and depends on the lens (but is not much of relevance for UW)? #2.: Does somebody know, how much f-stops improvment in the corners the WWL-1 will bring (as mentioned above, the numbers provided by Nauticam may. however, not withstand rigorous physical testing on an optical bench)? #3.: According to Nauticam, the corner sharpness improvement is the same for WACP-1 and WACP-2. The optical advantage of WACP-2 over WACP-1 is then that WACP-2 provides less fisheye distortion than WACP-1 (and maybe WACP-C (and WWL-1) provide more?)? #4.: I could not find info for ability to focus in air for the WWL-1. Since several UW-photographers report that they are using (at a pinch) the WWL-1 for split shots, I guess that WWL-1 is able to focus in air? Wolfgang P.S.: Table corrected according to Phil Rudin...
  50. 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.



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