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  1. 6 points
    I replied to someone heading to Socorro in another thread, but I decided this topic was worth its own thread, since so many people struggle with this issue. Since I started shooting video underwater, I've been bedeviled by the mixed light problem. Years ago, few cameras apart from Canon DSLRs could dream of being able to white balance at depth. Then, along came the Panasonic GH5, and slowly camera makers followed suit. But what about supplemental light? The problem is that when you're white balanced at depth, the output of 5600K video lights look red. If you white balance to 5600K to match your lights, then the ambient color looks terrible. And unlike strobes, almost video lights almost never have the sheer power to overwhelm daylight enough to get good color unless you're very close to the subject. What you really want is nice ambient white balance, and supplemental light that looks "normal", i.e., like natural light at depth. The secret is to white balance for the ambient light at depth, then adjust your video lights so their output matches the ambient light color temperature. That way, you get a nice, colorful ambient light exposure, with a little more light on things close by to bring out detail and color, but without any weird color casts. For example, consider filming sharks. Ambient light only with a good white balance may look good when filming them from the side, but when the animal swims over you, it becomes a silhouette. It's alot nicer to throw some light onto the shark's belly so you can see some detail. But if you add light from normal 5600K video lights, it looks all red or pink. You want it to be white. And even though you can get a nice shot of sharks from the side with ambient light only, without extra light, you miss out on the beautiful iridescent colors in their skin. With good light, you will see flecks of gold and other colors in their skin as they swim by. Around 8 years ago, Keldan released cyan heads for their original Luna 8 lights, and few people took notice. I remember then Nauticam rep Chris Parsons lamenting that he was having a hard time getting people to understand the idea of using cyan video lights to get better color underwater. After all, isn't a lack of red in underwater daylight the problem in the first place? I was an early adopter of the Keldan cyan idea, but I never could get it to work very well with my GH4 (w/red filter) or the GH5 (without red filter, as it could white balance at depth on its own) Even with the GH5 white balanced at depth, I could never get really clean whites. I was in the Revillagigedos a few weeks ago, and finally had some success getting decent ambient color with a mix of ambient and supplemental lighting. The rig was: Sony α1 Nauticam NA-α1 housing Sony FE 28-60mm F4-5.6 Nauticam WWL1-B wet lens Keldan Spectrum SF -2 red filter (a frameless filter placed between the flat port and the WWL-1B) Keldan 4X lights with SF-12 Ambient filters. I shot mostly Slog-3, but I also tried HLG. My experience was that, with Slog-3, I was at 6400-12,800 alot of the time in order to punch through the red filter and at the same time overexpose by about 2 stops required by this profile. This means quite a lot of noise, but Neat Video does a good job of cleaning it up. I shot one dive at the boiler with HLG3, and I think going forward that will be my go-to profile. You don't have to overexpose it, so noise is less of an issue. If you nail the white balance, you get very nice color and good dynamic range. But remember that you have a little less room to work with it than slog-3. Still, HLG3 grades very easily, once you drop a corrective LUT onto the clip (I use the Leeming LUTs). Once that's done, I found that only minor corrections to contrast and exposure and saturation were required. Simple corrections and easy to do. Another benefit of HLG3 is that you can use the footage later to deliver for HDR displays, if you like. Here is the workflow for HLG in Final Cut Pro. My advice is to try HLG3.BT2020 in XAVC 4K S-I at 60P, 10 bit 4.2.2 For Slog-3, I am using the Phantom LUTs, and have found that the "Ice Blue" LUT works beautifully for underwater footage. After applying the LUT, only minor corrections to contrast, saturation and exposure were needed. Just a few clicks... The Keldan system is brilliant. I was able to get nice color with ambient light at the Canyon cleaning station, where you will be at 80-90 feet. It's nice to have good ambient color and be able to put some light on the animals without the red cast. With the Keldan red filter (on your lens) and cyan filter on your lights, you get a nice clean look. I credit a deceptively simple little tool for making my life underwater alot easier. If you're serious about video, YOU MUST have a good gray card at a minimum. And a color checker is also very useful as a color reference when finishing your footage. The Keldan color checker/white balance card was INDISPENSABLE. I had it on a small retract, so I could just grab it for white balance, and I'd also sometimes flip it over to show the Xrite color checker side at the beginning of a shot. I hold it at arm's length for white balance. Really, I cannot emphasize how valuable this thing is. Don't think, just buy it and thank me later. The attached video shows my wife, Karin, photographing a silver tip at the Canyon. It was shot in slog-3, probably at about ISO 3200 or 6400, XAVC 4K S-I (600 mbps), 10bbit 4.2.2 at 60-FPS. Noise reduction with Neat Video. Keldan SF-2 red filter, and Keldan SF-12 cyan light filters on Keldan 4X compact lights. Depth was 85-90 feet, proving that the SF-2 (rated for 2-15 meters) and SF12 (rated for 10-18 meters) work well together, even beyond their respective depth ratings. Notice that the lights don't have an overly warm cast, even though at 30,000k, the light temperature is a little lower than ambient. I found the SF-2/SF-12 filter system to work well from safety stop depths all the way down to 100ft. Karin with Silvertip Graded.mp4
  2. 5 points
    This photograph: may not be world beating, but read on. It was taken on a Seacam housed Sony A7II at 200ISO. The lens is a manual focus which because I could not fit a gear, was fixed at one focus setting. Its focal length is 3.75" (~95mmish) at infinity and it was originally designed for stereo photography and intended to cover 3" x 3" format (75mm square) although it is not a macro lens. But what is quite extraordinary is that the lens was made my Grubb of Dublin (world renowned telescope maker) in 1865, so it is an over 150 years old photographic lens. We have come a long way but not, perhaps, quite as far as we might think. It won't stand up to absolute comparison with any modern macro lens of course, but it is quite extraordinarily good considering its age (and condition!).
  3. 5 points
    Hi, in November I have been on a liveaboard in the south of the Red Sea, afterwards i went diving from land for a week. With the necessary patience, I was able to film a lot of natural behavior. Enjoy watching! Alex,
  4. 5 points
    Some shots from where i live Place called Fethiye which is at Aegean coast of Turkey
  5. 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.
  6. 4 points
    Since March 2020 when a certain virus cancelled my holiday plans I have been holding some “credit” with both NAD in Lembeh and Gangga Island Resort. When Indonesia re-opened the Visa on Arrival in April 2022, I started the booking process to use my credit in June/July 2022. In between booking and the holiday Indonesia also removed the PCR test requirement for Vaccinated travellers (That’s me). Entry on the day of writing is also possible for non-vaccinated but it still needs a PCR test and an additional 5-day quarantine. There are some differences in the air travel, Scoot has replaced Silkair for the Singapore to Manado route and currently flies only twice per week. This is the route I took as my dive equipment is stored in Thailand and I was transiting there before onwards to Indonesia. Travel via Jakarta is available every day of the week. Scoot is a low-cost regional airline owned by Singapore Airlines and does have some tight restrictions on checked and hand baggage, but if you arrive in Singapore on a Star alliance flight, they will check your baggage through. Upgrading the checked baggage is also very easy on the Scoot website if you need to re-check in Singapore. Arrival in Manado was easy once the pilot managed to get on the ground (3 attempts in stormy weather), off the flight, buy VOA, temperature and vaccine check, immigration, baggage and then into the transfer car to NAD Lembeh. The airport has been expanded since my last visit, so the layout is slightly different with more walking and higher ceilings. The new toll road also speeds up transfers to Bitung. NAD Lembeh Like all the resorts in the area this has only recently re-opened so is still scaling up to meet the coming demand, so I saw fewer staff than my last visit but more than enough to supply the services needed in the resort. It was also a very pleasant surprise to see many of the same staff from two years before were again working at the resort, chatting to them it seems to be because of the management style of the owners that they were happy to return. For the first week of a 9 day stay I was the only guest, like being a king, anything I requested/asked for was delivered super quick e.g. some cold medicine for a little congestion, laundry dropped in the morning was back at lunchtime. The onsite manager also had lunch/dinner with me on most days even when he had already eaten. There was some building renovation going on in the beachfront rooms, expanding the smaller ones, but this caused no disturbance at all as all the noisy tasks were done while I was out diving. It seemed like the re-opening was going well with additional staff returning in line with the numbers of guests which I was told would be returning in greater numbers from July to September when the resort was going to be close to capacity again. The diving was same as before with all the usual Lembeh critters, but I saw far fewer dive boats as everywhere was still in the start-up stage. I’ll attach some pics at the end. Transfer was by car from the NAD dock on mainland to Gangga mainland dock. Gangga Island (Resort) The resort is on an island next to Bangka, and the diving is a little different to Lembeh in that it is mostly white sand and much more “reefy”. They do have interesting critters but also opportunities for wide angle. They also attract more non-divers and more non-photographer divers. The resort is part of a small chain (Lotus) and is also scaling up to meet the returning demand. While many of the dive guides/boat crew are the same but the staff in the hotel have seen a much bigger turnover from my last visit. Plenty to cater to guests, just new faces. On arrival I was only the third guest in the resort and over the next 10 days some people came and went as numbers gradually increased to 5 divers and a few non-divers. Just before arrival I received an email telling me their Nitrox system was not working, and during my stay the many parts they received did not fix this – However after a couple of days they did manage to obtain some Nitrox filled tanks from a nearby resort (thanks Murex, reception ladies and dive centre) Talking to the staff the resort is hosting more and more customers until returning to near capacity in October. The diving was again the same as I remember, with the exception that their wooden boats are now gone, and the diving is now done from fibre glass cruisers. Finally as a bonus, in the afternoon of my last diving day the turtle nest on the beach produced 50+ little monsters. Scoot and Singapore transit home was uneventful, but flight MDC-SIN was full and quickly ran out of overhead locker space. Last people on the flight had their hand baggage checked at airplane door. Pictures, not all just some of my favourites.
  7. 4 points
    FWIW. After 40+ years of professional photography, above and below water, I no longer own a dSLR. Virtually ALL current digital ('system') cameras are so good that the differences are nuances. Some do do certain things better than others but ALL are extraordinarily capable. Just to think, I spent 25 years shooting film .....
  8. 4 points
    Hi, We are 'fortunate' to be stuck in Malaysia where international borders are still closed. At the end of last year state borders were just starting to open and the tourism industry was trying to attract business, so we snapped at a 30% discount on a five day stay at Sipidan Kapalai Dive Resort. It accomodates over 100 guests... and we were the only people there! This meant we had all the dive spots to ourselves, including two days at Sipidan. Scores of green humphead parrotfish swam past undisturbed and there was no one else to kick up backscatter in Turtle Tomb. I managed to slip in 20 dives and this is our vlog episode of our time there, published today. It ends with a two minute montage of my favourite stills, mainly macro. UW video shot on Olympus TG6 and GoPro Hero 10. All other vlogging done on the Hero 9 (I normally use a GH5 but I was travelling light). Hero 10 shot in flat profile Protune (sometimes with red filter). Olympus shot in 4K standard with stabilisation off. 2x Nitecore video lights and Inon macro strobe. https://www.youtube.com/watch?v=RkCTXaAfJY8 (Can't work out how to embed video, sorry)
  9. 4 points
    First let me say that I am well aware that filing a patent does not guarantee a product will make it to the market but it is nice to dream. Today Fstoppers.com has a post about a Canon US patent for an RF 8-24mm F/4L full frame fisheye and an RF 11-24mm F/4L. The fisheye would be like an 8-15mm with a built-in 1.6X teleconverter to get you all the way to 24mm. An RF 8-24mm f/4 design, which includes examples for an 8-28.
  10. 4 points
    Laurent Ballesta is a marine scientist and underwater photographer whose groundbreaking techniques have revealed a hidden underwater world deep within the Mediterranean Sea.
  11. 4 points
    Just a sea snail from the maldives. Still don't know if I should do more adjustments to the picture but I think this might be my first picture I want to print and hang up at home. But I like process of editing the raw picture, to make it just right to be printed. And feedback is welcome!
  12. 4 points
    Mostly just frustration on my part that I suddenly need to increase my budget by 25% or more if I still want to do a full frame update than bashing Nauticam specifically. Like any manufacturer, they can ask for whatever price they want, and I'm sure they're taking a gamble of sorts here to see if the features of their housings are sufficiently differentiated to support such a price premium. Given the replies on this post though, they may have tried to push the price premium a bit too far. It's certainly caused a number new purchasers and even existing owners to at least consider alternatives. As said, I've spent a lot of money in the nauticam ecosystem on housings, gears, ports and optics in the last decade. Truth is, if the Nauticam offering was 10% or even 15% more expensive than the competition, I probably wouldn't even bat an eye. I mean, they've always been slightly more expensive than some other aluminium housing manufacturers, but the delta was small enough to overlook or justify based on better ergonomics, being first to market, etc. Charging 65% more than your competitors though -- you'd better have a pretty damn compelling value proposition. The underwater housing market is obviously tiny, and people willing to spend this kind of money on discretionary hobby items are no doubt richer than most. But still -- I don't think the market is entirely price incensitive. If other manufacturers maintain their current price points, and develop solutions for using Nauticam ports/gears/optics with their systems, I don't see how this doesn't lead to Nauticam losing significant market share. But who knows. Maybe I'm just bitter
  13. 4 points
    I wanted to thank everyone for all the help with gear selection and share some of my shots from my first trip with the new gear aboard the Belize Aggressor III Apparently, due to weather we didn't get to do all of the "best" sites, but I still found the trip to be great and probably wouldn't have known this without talking to the captain more about the typical route. The diving was much better than what I had seen before in Belize. Overall, I am happy with the choice to go with the canon 8-15mm setup, but could see in the future trying out the 28-60mm. Surprisingly underwater the setup doesn't seem much different to handle to me than my old Olympus set up. Yes, it's incrementally larger, but to me the benefit in IQ and dynamic range makes up for this. I guess going from a ~6 year old MFT format to a brand new FF should be better so not too surprised there. I still have a ton of images to process, but these are some of my favorites so far.
  14. 4 points
    Hi Adam, im the Winner in the Wide Angle Traditional Category. When you talk about my picture how its the Reflections done Alex says he don't know really. So let me explain. I used a Panasonic LX100ii in a Nauticam Housing and adapted a Raynox Circular Fisheye Lens(is out of production since 10years) on a Flatport with a 4 inch Domeport (dry). The Reflection Effect is created inside the Raynox Circular Fisheye, its a Reflection Tube with a diameter of 3,5cm and a length of 2cm fixed between the first and second glass element. So i can get a very wide angle of view with the reflections. If you adapt a big Reflection Tube outside on a Dome with a Fisheye Lens then you lost a lot angle of view. And the Reflections looks like a mirror. By mine Solution the Effect is more soft. I was really surprised to get the first place. Because like you and Alex says , without the Reflections is like a nothing special Wide Angle Shot. I agree with you completely. But with the colorful reflections is stand out from the crowd. Im a not so really good photographer. Thats why i try mostly some creative ways to get a picture in the camera which looks different. Enrico Somogyi
  15. 4 points
    The O-Ring Store sells these two O rings, for $0.79 and $0.57 each. You can order them on line, piece of cake, that is what I do for all my O rings. To measure their cross section and inner diameter accurately, I use a cheap eBay micrometer, buy a few more O rings than I need and store them in a jar. I keep a list of O rings and their measurements in my Scuba file. Also, it is essential to always vacuum test the housing after changing O rings or similar. Nauticam VF to housing O rings: Two 1.3 x 25 mm $0.79 ea One 2.4 x 24.6 mm $0.57 ea https://www.theoringstore.com/store/index.php?main_page=index&cPath=368_12_37
  16. 4 points
    Hi, i would like to share my recent video from Norway. It features land- and underwater timelapses. Only the scallops are slowed down to half speed, the stripped ratfish are at original speed. It was shot at the coast in the area of Utvorda and in Trondheimfjord. Several scenes in the video are shot on the Nauticam EMWL lenses Trondheimfjord is a great spot to see deepsea creatures and deep water corals in moderate dive depths, even when its dark during a day dive Enjoy!
  17. 4 points
    Insanely lucky to share the water with a blue whale on this year's marlin run in Mexico! We were very far offshore searching for marlins and baitballs when we spotted a spray of water. Assuming it was a humpback (they often frequent the area), we were surprised with the below... Photos below attached, and more at www.instagram.com/PiersGreatPerhaps ☺️
  18. 4 points
    I had my best luck by choosing the eels that seemed the least skittish to start with, then habituating them slowly and holding my breath as long as possible.
  19. 4 points
    In this review of the Keldan Spectrum SF-2 filter I am giving you my reasons as to why you need an underwater red filter for your underwater camera system!
  20. 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.
  21. 3 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...
  22. 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)
  23. 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
  24. 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!
  25. 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.
  26. 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 -
  27. 3 points
    Most people here are aware of SeaFrogs/Meikon, a budget housing manufacturer. Most housings that they have released in the past four years or so have included a vacuum system port. In at of itself this is a very good thing, but unfortunately, instead of a standard M14 or M16 port, they're using a proprietary one, fitting only their own VPS-100 system. SeaFrogs' instructions for the use of VPS-100 are quite clear: "WARNING - THIS ACCESSORY IS NOT MEANT TO BE USED UNDERWATER AS PER MANUFACTURER INSTRUCTIONS! ANY ATTEMPT TO DO SO CAN CAUSE EQUIPMENT LOSS AND IS NOT COVERED BY THE WARRANTY!" And indeed there is a reason for this warning - the protective cap that covers the top of VPS-100 is not 100% waterproof. Over the course of 250 or so dives on which I used my SeaFrogs housing with the VPS-100 attached, I have had two instances where this cap leaked, filling the valve with water (which destroyed the valve electronics) and admitting small amounts (several drops) of water into the housing - not enough to kill the camera, but not a good experience nonetheless. On the other hand, following SeaFrogs' instructions to 'Remove the valve from the backplate and place the vacuum opening lid in its original place, make sure the O-ring is still there (Illustration 1). - safe to dive!' does not strike me as an optimal solution either - for one thing, there is nothing that tests the integrity of the vacuum port cap seal itself, which makes it a potential water ingress point; for another, having the housing under vacuum pre-loads the o-rings, reducing the chance of leakage on the surface or if the housing is bumped in the rinse tank, and releasing the vacuum removes this advantage. However, as it turns out, there is an alternative - Vivid Housings makes a version of their Leak Sentinel V5 XB that is compatible with SeaFrogs housings. It is not listed for sale anywhere that I could find, but if you contact Miso Milivojevic directly at info@vividhousings.com, he will sell one directly for €230 including free worldwide shipping by registered mail, although this does not include a pump - manual pump is an extra €25 while an electric pump is another €50. I have just taken delivery of mine and can confirm that it fits and it works. I'm not affiliated with either SeaFrogs or Vivid Housings in any way, but as an avid user, I can wholeheartedly recommend this solution. I hope this doesn't violate any forum rules; these housings are getting more popular, and I felt it's important enough for this to be more widely known.
  28. 3 points
    It's been my experience that only photographers notice 99% of the 'flaws' in an image. Composition is king.
  29. 3 points
    This was 3 years ago Phllipines which seems so far away now
  30. 3 points
    Hi, i would like to share two of my recent Greenland videos. One is a topside -behind the scenes like- video The other is from a dive in an icefield. It was an amazing dive, with a decent swell due the narrow channel, so the icebergs were moving quite a lot Nothing special or artistic shots etc., i took it relaxed and didnt want to stress myself too much on this trip. Kindly a friend made his preparation shots available, so at least a bit of story telling was possible for this video. It was filmed on the Pana GH5 in HLG mode, with Keldan Spectrum and Ambient Light Filters. Cheery and Enjoy, Alex.
  31. 3 points
    Just to close out this thread. I returned to the pool again with my strobe. With the optical sensor covered with tape, I was unable to make the strobe fire by pointing sensor toward the sun. Removed the tape and with practice I was able to fire the strobe at will by pointing the sensor toward the sun. Thanks for everyone’s suggestions. What I experienced was a feature, not a failure.
  32. 3 points
    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.
  33. 3 points
    I think you're overstating the supply chain disruption, Adam. And the tarrifs. I work in an industry with complex supply chains for a manufacturer of safety-critical mechanical equipment that regularly imports items into the U.S. from abroad, including from China. I'm painfully familiar with the supply chain challenges and increasing made-in-America rhetoric. But it doesn't take much analysis to cast doubt on the theory that that's what accounts for Nauticam's price hikes: 1. Underwater housings aren't all that complicated. There's very few electronic components, none requiring advanced semiconductors. Mostly they're just machined out of a hunk of aluminium. What component shortages are we talking about? 2. Yes, aluminium prices have gone up, but they went from $2843 a ton in December to an absolute high of $3857 a ton on March 4th and are now back down to.. drumroll... $2828 a ton. https://tradingeconomics.com/commodity/aluminum 3. Let's be generous and assume you need 10 KG of aluminium to machine a housing. Even at the height of the aluminium price spike in March 2022, 10KG of aluminium cost... $37.57. In December it would've cost $28.28. Are you really suggesting a $10 increase in raw material price is what led to Nauticam hiking it's housing prices from $3300 to $5150? 4. No other housing supplier has hiked their prices. Do they have such different supply chains? 1. Again, not true. The U.S. has not instituted any new tariffs or restrictions on foreign imports (apart form Russian and Belarus) in the last 6 months. 2. Are you suggesting that the tariffs only impacted Nauticam, not other suppliers that manufacture outside the U.S.? (Aquatica - Canada; Isotta - Italy; Sea & Sea - Japan/China?; Subal, Seacam - E.U.? Let's be honest here -- Nauticam hiked its prices because it believed the market could bear the higher prices. Maybe the pandemic has lead to a spike in demand for Nauticam products, and they feel that even with the price hikes they'll still max out their production capacity. But it sure as hell wasn't because of supply chain disruptions.
  34. 3 points
    Yeah, sadly I just can't afford to carry spares of everything. Anyway as you say, a good chance to try different techniques. Also, in trying to be positive I realised the truth... better to be diving in the maldives with no strobes than not to be diving in the maldives at all!
  35. 3 points
    Rolleimarin IV Underwater Housing for use with a Rolleiflex 3.5f Camera (not included). I don't think this housing was used - has some storage marks that you can see in photo. Comes with a complete set of gaskets (these are custom-made laser-cut, high-quality) and the original green canvas carry bag (has name of previous owner). Also includes the camera mounting pieces for focusing, aperture, speed, and filters. $1,250 plus shipping CONUS
  36. 3 points
    Hmm.. perhaps we can reverse engineer our way to the optical formula Keldan uses in their blue filters . I just did a quick an dirty test shining with a DivePro g18 light at 50% power onto a white wall (painted in Benjimin Moore Chantilly Lace, if you're really curious). I did it first with the bare light, and then with the Divepro Blue Filter to measure the effect. I took photos to gauge exposure and white balance. I've exported both photos here with white balance set to daylight so you can see the difference, but then did a custom white balance off the wall to measure light temperature: Without Blue Filter: ISO 200, 1/200, F4.0 @ 14mm, WB: 4800k +15 magenta With Blue Filter ISO 200 1/160, F4.0 @ 14mm, WB 7350 +84 magenta This leads me to conclude that the DivePro blue filter is just not strong enough. On the positive side, it only reduces light output by ~1/3 of a stop. But it also only cools the color temperature down by ~2500k. Could someone with access to the Keldan blue filters or the Light & Motion ones perform the same test for comparison?
  37. 3 points
    Hello Traveldave, There are certainly a few options that are great for the Olympus E-PL10 and most of them have been mentioned below. The two main reasons we chose the AOI-UWL-09PRO were overall image sharpness and versatility. The sharpest option would be the Olympus 8mm or Panasonic 8mm fisheye lenses and the AOI dome. This will give you a 180° field of view, but you are stuck at that FOV. I like how close you can get with a fisheye and how forgiving the focus can be. But you have to be on top of your subject. So sharks, eagle rays, etc. can be hard to shoot with this lens. Due to the nature of a fisheye lens, you can shoot at lower apertures than a rectilinear wide lens and still get sharper images. Thus you can shoot at higher shutter speeds and lower ISOs for better overall images. With fisheye, it is ƒ8 and be there. Another thing that you really can only do with a fisheye lens is split-shots or over/unders. Can't pull them off with a wet-mate lens, nor can you focus both above and below water at the same time with the Olympus 9-18mm lens. The Olympus 9-18mm lens is a good alternative to the AOI UWL-09PRO, but you do not get the same coverage. The Olympus 9-18mm lens will get you 100° to 63°. Also, due to how dome optics work underwater, you have to shoot a high aperture to maintain corner sharpness. You want to shoot ƒ16 (ƒ11 if there is no reef/details in the corners) to get any semblance of a sharp image. This means that you will need to boost ISO or slower shutter speed for some shots. But this is a better option for skittish large subjects, like sharks. The AOI UWL-09PRO lens will give you 130° to ~108°. So the narrowest this lens gets is where the Olympus 9-18mm lens starts. Also, since this lens has been optimized for underwater, you can shoot lower apertures and still maintain a sharper image than the 9-18mm lens. You can also take it off mid-dive and shoot tighter shots, or throw on a macro lens and get some macro in. The only downsides to this lens are cost, size, size, and weight. You have to get the float collar for it, and that just makes it bigger. The AOI-UWL-09PRO has the best non-fisheye image sharpness and versatility, but it is costly and heavy. There are other versions of this lens, like the UWL-09 (not pro), but the image sharpness suffered significantly. We never recommend this one because of how poorly the images came out. The AOU UWL-04A or Backscatter M52 Wide Angle Lens are another option. Certainly cheaper than the UWL-09PRO, but the overall image quality is also not as good. Since these lenses were designed for smaller sensor cameras, you do not get the same angle of coverage. You will go down to 100° at the widest and it is not as sharp as the AOI UWL-09PRO. That being said, it is sharper than the Olympus 9-18mm lens at the same apertures. With either the AOI UWL-09PRO, AOI UWL-04A, or Backscatter M52 Wide Angle Lens, you can add the AOI QRS bayonet system to them for easy removal underwater. The Fantasea UWL-04F has been discontinued from Fantasea, so we have not tested it with the Olympus E-PL10. Knowing how they are made, it is optically identical to the AOI UWL-04A but does not have a QRS bayonet option. The current version from Fantasea is the Fantasea UWL-400F or UWL400Q. The Q includes the QRS mount, while the F includes the 52mm threaded mount. A more inexpensive option is the Inon UWL-95 lens. This is a non-dome option and can get you 95° on the wide side. We have tested this and it does work, but there is no bayonet option for it. We have tried all the different versions of the lens and all the bayonet options vignette at full wide. A low-cost solution, sharper than most at that price, but not the sharpest and can only be threaded on. You can add a dome unit to the Inon lens, increasing the FOV to 140°. This would be the second sharpest option after the AOI UWL-09PRO lens. The downside to the Inon UWL-95 is that it is also a heavy lens by itself. A lot of glass with no air. This makes it a sharper option, but heavier in water. When it comes to picking a lens, a lot of it comes down to what type of subjects are you looking to shoot, how close are you willing/can get to your subject and how sharp are you needing in your image? If you would like to talk directly, please feel free to give us a call. +1-831-645-1082 I hope this clarifies some of the options for you. -Sean
  38. 3 points
    Thanks to everyone who participated in this thread. We ordered the ONEUW strobes and will spend a couple weeks getting to know them at the shootout in June.
  39. 3 points
    I wanted to share some initial impressions of shooting the 14-35. This was a pool dive (open water coming) shot largely ambient or with some video lights so I bumped up the ISO to keep shutter speed reasonable. 230mm dome and Canon R5 in Marelux housing and dome port system with the correct (specified) extension. Overall from a shooting perspective, this was very easy to use. Focusing was too fast to notice and in all regards there was no annoying hunting or anything like that. I was largely using ISO to modify shutter speed and with IBIS plus lens IS most of the shutter speeds were pretty easy to work with. It focuses close and without thinking about it. So from a “ease of use” it had zero issues. Not surprisingly, this is a rectilinear lens in a dome. It was very soft in the corners when pretty wide open (I shot it from F4 to F22). This was much more apparent at 14mm than 35 (which is a shock to no one). Here is a lovely photo of the pool wall at f14 at 14mm Looking at corner sharpness, for me it seemed pretty acceptable (Remembering that this is a 14mm lens on a 45 mpix camera). Center sharpness seemed spot on for the lens and F14 and above looked pretty good. It is easy to nudge to a happy place in post even if it looks a bit soft out of the camera. There was a wee bit of chromatic aberration available in the upper left corner in a few of the images that you can see at 100% crop but not otherwise. I also took these in raw and did very little post processing, the jpgs looked better but I wanted to post what they looked like relatively unadulterated (but acknowledging that the R5 and this lens already do a bit of inbody magic even when shooting in raw). While I don’t show it, I also did post process images how I would if I wanted to use them for something, and they are very workable. Here is the worst of the corners at 100% crop in the above image: And for those intersted: How things look not at 14mm - here is 27mm (f11) and 35mm (F11) It is really hard for me to judge how these sorts of shots translate into real world image quality. Not many rectilinear lenses go to 14 and that plus IS makes this a really interesting lens. The 14-35 is much more cost effective and smaller that than the 15-35 and I haven’t played with the 15-35 nor really large domes much before. I am sure the more seasoned people on the forum can provide some input on whether the above indicates anything about whether this lens "works" behind a dome or doesn't. Here is just a snapshot showing the perspective possible and I think this is going to be a fun lens. I know people are interested in the rf 16mm and I am going to take that out next. This was also my first dive with this camera setup. The R5 is a daunting beast of menu’s and it will take a lot of time to figure out how to use it most effectively. The housing was a pleasure to use and I love having the ability to have one dial for aperture, one for F stop and 1 for iso for using in manual mode. I will post more images from this camera and lens combination going forward. Including how much one gives up to use it behind a 180mm dome but thought I would share some initial images. From my perspective, I am happy with the lens enough to keep putting it through its paces. I am also really looking forward to getting it in the ocean to see how real world images look rather than pool walls. Hope this is helpful.
  40. 3 points
    It worked great. The rear has 4 parts that stay together with velcro. Once in the water I tucked the cover inside my wetsuit as I don't have a pocket. Putting it back on was a challenge at first until I learned not to unfasten the top part and just stretch it over the lens like a regular cover, the fasten the lower part. May be difficult with gloves.
  41. 3 points
    A short movie of an anemone fish couple airating eggs from Philippines again
  42. 3 points
    Hi, You can definitely do your shooting without an external monitor. However, having an external monitor for me does tow things: 1) more ergonomic to shoot hence my arms are in a more comfortable position, 2) Hence my eye site is looking above the camera level, I have wider vision and I can see what other action is happening around me that might need my focus & shooting/attention. Good luck with your new journey Regards, Thani
  43. 3 points
    I attached some pics taken with the 3.5" port and 8mm FE... super compact and nice corners... cold waters! These samples have bad definition and color but if you want the full pic let me know.
  44. 3 points
  45. 3 points
    It probably means that the issue is known but I can not identify it through the provided description. We will need more details to diagnose the problem. I kindly ask you to write us an email so we can go through the specifics and find out what could be the solution. Please send a description of the issue to our email: info@retra-uwt.com In general the Original Retra Flash (last produced in early 2018) are robust products and don't have any terminal failures. Since they were our first ever flashgun, that we built from the ground up, they have some quirks which need attention to keep them running smoothly. With an update and service they should all work without issues. Since this thread is also watched by photographers who are looking to buy the new flashguns I must stress that the conversation above is about the Original Retra Flash which was produced until early 2018. With the later models we have naturally resolved all the quirks and significantly advanced with the technology. Here is just some of the technology that was not available on the Original Retra Flash and was introduced later: remote firmware updates and diagnostics, leakage detection, HSS, highly efficient charging and discharging, powerful pilot light, dual o-rings, fully circular flash tube, etc. The current Retra Flash Pro X and Prime X are the best underwater flashguns you can own today which is the result of our constant pursuit of improvement and innovation.
  46. 3 points
    BTW, All shot in ambient light with red filter 10bit, 400 bps using standard profile. You can really push the footage.
  47. 3 points
    I have the 90mm and love it. I have used both lenses and would prefer the 90mm for autofocus.
  48. 3 points
    Sharing some shots I took yesterday. Looking for feedbacks on how to improve. I shot with Sony A7C WWL-1C 2 inon z330. Sent from my iPhone using Tapatalk
  49. 3 points
    Hi all, I found a buoyancy setup that works very well on my Nauticam EMWL, as well as some accessories making my life easier shooting it, this post is to share my setup, answer questions if you have. The problem to solve The EMWL is very negative (and tends to all on its - expensive - front lens, at least on the 100 degrees one). For buoyancy, several photographers have been using very large carbon float-arms, and pushing them closer to the subject to help balance the front of the EMWL assembly. I wasn’t too keen to go that route, for 2 reasons: Cost of buying additional large float arms (my finances took a hit with the EMWL itself!) In-flexibility to change my setup underwater: I wanted to be able to take on/off the EMWL (and clip it away), which would have suddenly made the whole rig very floaty. Also, I wanted to be able to move my arms around for different lighting techniques. With big floats up-front, that would have imbalanced the rig. To my great pleasure, I found a company called E-Ocean (https://eocean.eu), had designed a bunch of photographer-friendly accessories, including a few EMWL-specific bits. The purpose of this post is to share my (very positive) thoughts on these accessories. To be clear, I am not paid to write this, but I find the E-Ocean solutions solutions made my life easier and are reasonably priced, so keen to spread the word. They are based in France, but shipping worldwide. 1/ Buoyancy solutions E-Ocean offer two floats for the EMWL: A +750 grams buoyancy collar, which mounts around the relay unit. The version I bought is meant to be assembled on-land (it’s a set of 6 half-cylinders), but E-Ocean are going to release an upgraded version that will make it easier to fiddle with floats underwater. The rationale being: you might find yourself limited in subject approach, due to the diameter of the whole thing. So far, I haven’t been too constrained, although for muck-dives where you crawl on sand, it can happen. A +200 grams collar for the focusing unit. E-Ocean’s owner Lionel recommended to use the 200g piece only with the heavier 130 degrees lens (with just the 750g float, the whole assembly would be slightly negative when using the 100 degrees lens). I chose to use it the 100 degrees lens (the only one I have), which does make the EMWL positively buoyant (now the 100 degree piece points upwards), but once connected to my D810 housing and arms, it stands much neutral. Pros: much easier to handle the EMWL underwater, less chances to let the front lens “drop” onto the bottom, a rock, etc. Cons: it increases the volume of the EMWL significantly (see below photo to get a sense of how it compares with the housing size), would restrict getting into some tight spaces (hasn’t happened to me yet) and possibly makes the EMWL a bit more intrusive/intimidating for skittish critters. In practice, I haven’t noticed a difference (mind me: I dive a rebreather, so some critters just don't care about me getting close). 2/ Lanyard/transport solution In addition, I was after a solution to easily un-mount and clip away the EMWL. Here in Sydney, we often shore dive walking among rocks (crawling sometimes…) and one one particular site, we have quite a hairy giant stride: no way I would jump that high or crawl onto rocks with the EMWL attached to my flat port. Lionel (E-Ocean’s owner) was nice enough to listen to my needs and came up with a system of 2 collars, which would attach onto the relay lens, and through which I could run a cord. They are made of a flexible but sturdy sort of plastic, and so far worked like a charm. I have no concern walking long distances (shore diving…) with the EMWL clipped to one of my D-rings on the rebreather harness. Underwater, it takes me 2-3minutes (I guess) to mount the EMWL to my DSLR (taking the time to clear off bubbles, to store the caps safely, etc). It is easy enough that I would alternate between traditional macro and WAM by clipping it back as needed. This lanyard will be in E-Ocean catalogue soon. 3/ Caps and hood I was nervous to loose the small rubber cap which came with the 100 degrees lens, and I needed a hood. 2 accessories there: A lens cap, which comes with a bungee look (have it on your wrist, clipped on harness…), has holes to let water drain, and is actually big enough to protect the front lens without touching it: extra safety against bumps. A lens hood, which can also serve as cap (though I prefer the dedicated cap when transporting the rig clipped-on): I have found the 100 degrees lens on the EMWL is very prone to flare, so I find myself attaching that hood often. Also on night dives where I need a bit more confidence against bumps, I have it on most of the time. A video is worth a thousand words so here you go: https://www.youtube.com/watch?v=XgR7sS-Ts9Y Not great visibility that day, but you’ll see me going through my routine of picking up the clipped-on EMWL, and attaching it to my housing. If you want to see more photos of that equipment underwater, or just some photos I took with the EMWL, follow our Instagram account or Facebook account: https://www.instagram.com/nicolaslenaremy/ https://www.facebook.com/nicolaslenaremy Safe diving! Nicolas
  50. 3 points
    Hi Scotty Please send us an email describing the symptoms and we will make an estimate of the repair costs etc.



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