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  1. 8 points
    (28-60+WWL-1B) With Strobes: And finally, a few shots taken with strobes using the WWL-1B. The frogfish is an adult nearly the size of a dinner plate.
  2. 7 points
    Wolfgang sent me a PM and asked me to comment on my experience with the AF performance of the Sony A7RIV and Sony 90 macro and the Canon 100 macro on Canon dSLR. I was a long term Canon dSLR user (20D, 40D, 50D, 7D, 7DMkII and 5DMkIII) all with the Canon EF 100mm f/2.8 USM Macro. Just over a year ago I changed to Sony A7RIV. Initially I used the Canon 100 macro on the Sony with a Metabones adapter but changed to the Sony 90 macro after 3 months. My wife still uses my 7DMkII with the Canon 100 macro so I was able to compare all combinations of camera/macro lens possible just now. Room was dimly lit. Results varied based on what focus point setup I used on each camera/lens. With all focus points in play and cameras set to AI Servo (Canon) AF-C (Sony) the winner in grabbing focus quickly was the 7DMkII/Canon 100 macro with the A7RIV/Sony 90 macro a very close second (it was occasionally faster than the Canon). The A7RIV/Metabones/Canon 100 macro was a distant third (Which is why I got the 90 macro 12 months ago when I did the same test). When I changed to my preferred mode of shooting with each camera - AI Servo with Expand AF (Canon) and AF-C and Tracking Flexible Spot (Sony) - things changed. The A7RIV/Sony 90 macro was first grabbing focus fastest and holding it better than the 7DMkII which came a close second. The A7RIV/Metabones/Canon 100 macro came third. Points to consider: Before I switched to Sony the 7DMkII was by far the best low light focussing camera I had ever used. Depending on how you set up the autofocus system the A7RIV is better than the 7DMkII with their respective native macro lenses The effect of the Metabones adapter on focus performance will differ from lens to lens. While the Canon 100 macro is slower on the Metabones adapter my Canon 8-15 fisheye (for which there is no Sony equivalent) focusses much faster with the Metabones adapter on the A7RIV than it did on the 7DMkII.
  3. 6 points
    I recently got the Nauticam A7SIII housing to shoot video and am very happy with it, shooting with the 28mm F2 and WWL-1 that I bought on this forum from @Phil Rudin I just tested the Sony A1 in the same housing today, thoroughly checked all buttons, dials, etc and wanted to just share to anyone who needs to know, the A1 works perfectly in A7SIII housing. I know for the Nauticam A1 housing they sell the adaptor tray for the A7S3, but this is not required if you have the A7S3 housing.
  4. 6 points
    In November I managed to steal an adventure from and otherwise difficult 2020. After getting Covid-19 tested, keeping a temperature log and donning two masks, I ventured to the Socorro Islands for the first time with the GH5 on the Solmar V. I head read all the report of camera housings getting taxed going through customs, but we got the green light when tapping the button and all was good! Spent 8 days aboard the Solmar V with masked crew and divers. The crew was happy to be back at sea again after being shut down for months. I was happy to be back in warm water. Below is the video of the adventure.
  5. 6 points
    After many months of lockdown in which we have done everything possible to cultivate our passion for diving, finally we are back in the sea and the island of Giannutri (Italy) welcomes us in the best way. Punta Pennello shoal with its forest of black coral (Antipathes subpinnata) surrounded by forests of Paramuricea clavata and Eunicella cavolini is a riot of color and life and reminds us that the Mediterranean mesophotic coral has nothing to envy to the tropical seas. A short video by @MarcoP.
  6. 5 points
    As far as whale shark encounters go (and I've had a few) this one was close to perfect! Just a small group of mostly camera professionals and 2 hours with a highly curious individual. He just kept circling and coming back to us for the entire 2 dives we had with it. He also seemed genuinely interested in our cameras, and would come closer to view his own reflection in our dome ports or even curiously react when he heard shutters going off. Very fun!! Here's the video, enjoy it on your largest screen
  7. 5 points
    Making good use of all the tools you have available to capture underwater video is very important, and I've come up with a list of 5 reasons why foreground elements is so essential to use for underwater videography. These are tips that can be utilized almost anywhere and it's a great set of ideas to add to your existing shot types. I hope you enjoy them
  8. 5 points
    Hi, my name is Marcell Nikolausz. I’m a hobby underwater videographer originally from Hungary, living now in Germany. There was a recent discussion about the underrepresentation of videography topics at wetpixel. I also missed discussions about the lower budget video solutions. I’m very much interested in the latest and greatest tools the professionals are using, but those equipment are way beyond my budget and it’s true probably most of the readers of wetpixel. So I thought, I initiate a discussion about low-budget videography. Is it possible at all? I started with underwater videography already during the film era using a Minolta dynax 7000i in an Ikelite housing. That time the acceptable video quality was really expensive, while I could easily afford the same film David Doubilet used (but my photos were still crap in comparison but not because of the “sensor quality”). Especially wide angle video and proper lighting was achievable only for bigger film crews. Today, a cheap action camera has a better quality at a fraction of price what was available 20 years ago for professionals. I get into videography when I purchased a sony nex-5 and I explored that it has a video record button but I was not really hooked at the beginning. The real change happened when I got a GoPro HERO (entry level version of HERO 4, approx. 130 Euro) and started to play with it and decided to get more into videography. I watched many videos on youtube and vimeo but most of them were really bad with lots of shaky camera movements causing sea sickness on land. The other major problem I recognised was the bad colours but somehow I expected it. So I wanted to make completely different underwater films. I watched also many BBC documentaries and films from professionals. I especially liked the work of Howard Hall and it was clear that he used tripod a lot. So my first suggestion is to use some kind of tripod or some other kind of stabilization for your camera. My first solution was a flat rock. I glued a GoPro mount on it and attached my camera. I also tried joby gorillapod but it’s too light for such small cameras. My second solution was a modified aluminium tent-peg. (see picture below). Not much later I invested into a second camera. Instead of a top GoPro I bought the much cheaper Yi 4K (around 200 Euro that time). (It fits better to the low-budget videography). The camera choice will be the topic of a next post. Overall, it was really fun to use these cheap cameras and I created a short film that I entered to the actioncup video competition. It’s a German video competition focusing mainly on small cameras and it has a category for action cameras. My movie won the freshwater category. See the movie below (Sorry but the text is German but I hope you will watch it anyway): Overall the budget of this movie was around 400 Euro. One short footage from this was even used in a bigger TV film (broadcasted in Slovakia) Next post will be about low-budget but relatively good quality cameras.
  9. 5 points
    Nice images, Adam. However, obviously it all depends upon one's situation and subject matter. Not everyone shoots large subjects in open water with artificial lighting. I'm normally shooting small subjects in shallow freshwater streams with natural lighting. And yes, many of my wide angle shots could not be gotten with a large dome. Here are a few examples with subjects less than an inch from a 4" dome (closer than a large dome could get) and/or with the housing pressed against the stream bottom (lower than a large dome could get):
  10. 4 points
    Hi, I went to dive Marsa Shagra in May this year. I felt like i was diving into a subaquatic poem. I use 1 DX Mark II with Nauticam Housing, (no additionnal lights, no filters)
  11. 4 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.
  12. 4 points
    Link to full album HERE Few shots Tompot Blenny Mediterranean by Interceptor121, on Flickr Sunseeker by Interceptor121, on Flickr Hole in the wall by Interceptor121, on Flickr Gennaro and Carmela by Interceptor121, on FlickrBreeding Male Anthias by Interceptor121, on Flickr
  13. 4 points
    Hi I wanted to share a 4 inch dome build. My housing is a hugyfot D7000. A recent second hand purchase that came with a 7 inch dome. If anyone has fitted a D7500 in a D7000 housing I'd be very interested to hear! May be a future project for me and looks possible - better fit than a D7200. I was able to use a 4 inch ROV dome and an extension ring to build a dome port. Cost all in was circa £60 and I have also purchased two spare domes -£15 each. 5 min change. I'm very pleased with the result and have dived to 30M + with no issues and am very confident it will be fine to 50M. I'm using with a tokina 10-17mm lens and results look to be good - I just need to practice my CFWA - strobe placement is my challenge at the mo. Parts ROV dome port - ref 1Set Optical PC Dome Cover 110 Dome Cover Underwater Robot Camera Dome Cover 1000 Withstand Voltage|Parts & Accessories| - AliExpress Hood ref 49mm 52mm 55mm 58mm 62mm 67mm 72mm 77mm Screwed Flower Petal Sunshade Lens Hood For Nikon Canon Sony Fuji Olympus DSLR Camera|Camera Lens Hood| - AliExpress the 82MM one - need to saw off the threaded area. This is dome is claimed to be OK to 1000M! I'm happy with the quality. Extension ring - I cut down a surplus ring I got with my second hand housing. made sure the tokina 10-17mm got close - within a few mm of the dome. Method Cut the extension ring with a hacksaw to the required length. the extension rings from Hugyfot taper inside which is helpful when forming the aquasure gasket seal. Machine down the inner diameter of the extension ring. Not too thin. Cut the ROV dome ring - in my case about the position of the upper o ring. File the remaining ROV alloy down to fit inside the extension ring. Power file was used for all this work. Fit the ROV port into the extension ring I used aquasure to form a permanent gasket. I had a tight fit but the glue filled the voids and taper area so i was confident in a air/water tight gasket. Use marine epoxy to produce a strong ring at the top of the join with the extension ring. Use marine epoxy to form a strong filler bead in the inside edge. All in this gives 3 layers of protection/seal. You may have the ability to do a build that keeps the ROV port gasket but I did not manage that. I adapted a hood - had to drill slight indents so that the bolts can still be accessed for dome change if needed. Had to cut all fins. Glued into position with marine epoxy JB weld.. Made some small fins to retain a lens cover in the water - cut plastic and screwed into the ROV 'ears' see description - Type 3 ROV dome assy purchased. Results Before the hood was fitted with hood Hope this of interest. For my second hand SLR this was a cost effective option to get a 4 inch dome port. I guess a similar build would be possible with other housings. Wish I had taken more in progress shots. Safe diving!
  14. 4 points
    I just got back from a trip to Bonaire with the GH5M2. The battery life is extremely more improved. With the GH5 I could get 1.5 dives out of a Panasonic battery. The new GH5M2 battery gave me 2 100 minutes dives no problem. This is great for not having to pop open the housing as often. And, in Bonaire you don't want to keep extra batteries or anything in the truck for fear of theft. So, this is a great improvement. I did three dives on one battery. But on the third dive I did shut down the camera when not using it. I have the camera connected to a small HD monitor. Focusing is much faster and more accurate. Using back button focus was very quick and I seldom had to make multiple attempts. I shot all video so nothing to report on stills. Once I review the footage and put a video together, I'll be more informed about those aspects. Attached screengrab from the video.
  15. 4 points
    This past weekend we made the last dives that Mrs Troporobo and I will do in Anilao. After 18 years in this sometimes delightful, sometimes maddening, always interesting country, and 34 years overseas pursuing careers and diving all over Asia and the Pacific, we are leaving our beach house behind for early retirement near colder water in the Pacific Northwest of the USA. It was a bittersweet weekend, thinking of all we have enjoyed here. Perhaps with that in mind, I thought I could almost see the usual subjects looking at me wondering if I had lost my senses. Just kidding of course, but I want to leave this place with three images from my final dive in the Philippines. And I want to share them here, with a forum that has been a companion and wonderful resource all of this time. Thank you all for helping me to learn and enjoy UW photography. I'm not hanging up my wetsuit for good, but opportunities to submerge it will be much more limited in the future. So to continue abusing Douglas Adams, we're glad that it has come to this . . .
  16. 4 points
    I've done controlled tests before comparing DivePro 18k lights vs. the Gates GT14s and Keldan Luna 8s (13k lumen model). The tests are somewhat complicated by the fact that the DivePros' output is concentrated in a ~90 degree cone, similar to the Gates GT14s, while the Keldans are closer to 110 or 120 degrees. Because of this, the actual amount of light for the Keldan that falls upon the subject ends up being half what you get from the DivePro and the Gates GT14s. The difference between the Gates and DivePros was not measurable in fstops. So.. I wouldn't worry too much about the cheaper 'chinese' lights meaningfully exaggerating their light output. Keldan certainly has nicer controls and better reliability. My dive buddies and I have experienced issues with DivePro cannister lights in cold water (4 degrees) where multiple units just stopped working for no reason. Clearly, the quality control and testing under challenging conditions could use improvement. But in my view Keldan made a serious mistake by using dome ports on the front instead of flat ports. A 90 degree beam is more than enough for video unless you're filming with a fisheye. I note that the X-Lights also use a dome port, which is silly.
  17. 4 points
    Yes, but believe me, he is rock steady. A human dolly. Just look at his old videos before GH5S. Here he experimented with shallow focus. Perfect lightning. He creates a lot of shadows enhancing 3D and super CC. Keep in minf he's at 80m freehand. No camera, no scooter.
  18. 4 points
    I would like to see more video related contents. I think the platform is given, we, video content creators should just put more effort to share our experiences and discuss video-related topics here at wetpixel. I was not that active so far, but I'm planning to start a new topic on "Low-budget underwater videography".
  19. 4 points
    I have been ask a bunch of questions about all things A7C and today my 4000 word review has posted in UWPMAG.com issue #119. This is a free PDF download and I suggest you read the review if you have an interest in the Sony A7C. I intensely did my review using only the Sony FE 28-60mm "kit" lens with the WWL-1, WACP and one and two CMC-1 lenses. Some of the macro is in this thread. After reading the review I would be happy to answer any questions. The attached image is with the 28-60 at 28 using the WACP. This is an A/V light shot at ISO-400, F10, 1/125th sec.
  20. 4 points
    I recently took this shot on a trip to the Souther Great Barrier Reef. It is my best example of balancing flash & ambient so far. I put my lower strobe on a very low power setting tucked in close to the left handle and had the upper strobe on a high power at full rabbit ear position. Hope you enjoy looking as much as I did making it Thanks,
  21. 4 points
    Just did my first dive with the R5 and thought I'd share some sample footage (youtube links below). It's nothing special, just a few different scenes to give you a feel for the image quality. I have the camera in a Nauticam housing with ZEN 230mm dome, using the RF 15-35mm. Settings on all these videos: 4K 30p, HQ mode (oversampled from 8K), ALL-I compression, Canon Log on. Files were edited in Premiere and exported in maximum render quality. Footage was shot on St. Eustatius in the Dutch Caribbean. All videos are shot at around 70 ft depth, conditions were not great: it was an overcast day, still early in the morning, so not a lot of light or colors available at that depth. No artificial light was used, just ambient light. I used a white slate to manually white balance the footage, which is a bit of a hassle on the R5. Taking into account these low-light conditions, I think the camera produced some fantastic video. I am sure though the footage will be much more vibrant in shallow water with more sunlight. Interested to hear what you think. Happy to upload more footage with different settings next week if anyone is interested.
  22. 4 points
    I also mostly stayed close to home last year. Thankfully, the Buffalo National River is only 10 minutes away. These images of a River Cooter and Longear Sunfish were two of my favorites of the year:
  23. 4 points
    Very happy to see the return of this topic! My fave reflects my long-term salmon project that was influenced more by the weather that was excessively wet in 2020 and poor salmon runs than by covid. I took this shot during one of the few and short sunny spells in early July before any salmon had returned to this stream. I used a lens that I had used for this same purpose (juvenile salmon) but with film back in the 90s, the Nikonos RS 28mm. This was one of the lenses that Harald H brought with him to DEMA in '19 following the SEACAM mdification. I have used several other lenses for a similar purpose but was challenged by the nature of underwater optics. This lens has a much flatter field as well as being a sharper water-contact lens. Its small size also helped as the lens was not completely submerged due to the shallow water depth. Rocks on the bottom (get in the way) did not help either.
  24. 4 points
    Monterey, California. September 2020.
  25. 4 points
    Hi everyone, New member here, thought I'd introduce myself with some shots from my home country, Scotland. These recently featured in the Dive Photo Guide photographer of the week. Having some trouble linking images from elsewhere so here's a link to the article and a small sample. http://www.divephotoguide.com/underwater-photography-special-features/article/underwater-photographer-week-mark-kirkland
  26. 4 points
    I got my a7s3 and Nauticam gear just before a big dive trip in the Caribbean in late November. Shot three Sony Profiles settings, sLog3/SGamut3.Cine, HGL3 and No profile. File format:XAVC S 4K at 60fps10 bit 4:2:2 for all profiles. Customize the C4 function for white balance (So I could execute WB in right hand UW and hold Grey slate and later chip chart with left hand). I used official Sony LUTs and Leeming LUTs in post for evaluation of clips. Will edit in FCP and finish color in Resolve. It was a well balanced neutrally buoyant rig with Keldan 4x Lights, red and blue filters were consistently used. I was hoping because of the lowlight capability of this sensor to shoot with no lights so as to not scare off fish. In field evaluation I sensed that just a bit of light made a huge difference in color accuracy and saturation. So after a 3 dive and no lights I shot the remaining 20+ dive with light. My takeaways: 1- Love the setup, would choose sLog3 if time in post permits CC, If not post time then I would go with no profile. You lose 1 maybe 1.5 stops of latitude but generally clips were nicely saturated and accurate. I understand some people think the sony color science is to be avoided but I saw no issues. In also I preferred Sonys LUTs over Leeming LUTs for 90% of the shots. Whats my experience in Video color science? 40Plus years surface shooting and a successful life doing so. UW shooting is just my hobby, 2- I used SDHD cards for the XAVC s 4K file format and they bogged down a Late 2013 Mac Pro with 32GB Ram and top end graphics cards. Had to use proxy's to not go crazy in post. I did buy and have tested the new Sony CFExpress Tough card and "I think" it performs well enough to be able to avoid proxies in post. This is because the CPU has to do less calculations than with a codec that has more compression. I did a surface shoot yesterday (Birds in Flight) using sLog3 S&Q settings for 120fps with XAVC S I 4K and I filled a 160GB card in well, not very long. Luckily I had a laptop to download to continue shooting. Take Away 2.1 if you want 120FPS you better mean it! Or have lotsa expensive cards. Moving them into post and seeing performance will take place in a couple days (I hope). Apologies on long post, but a couple further observations. Cost, yea I'd say camera "May" be a1/3 of the get in the water costs. so, lights and floats, buy the best you can. Housings often are sacrificed if you go for a new camera, but odd note here, I have an a7R4 and it goes in the a7s3 housing. Most of the buttons on the top work but the only button on the back at seemed to work was the Disp button. I am exceptionally happy with this my 3rd rig. Should be able to last the rest of my life. Knock on wood!
  27. 4 points
    How about covering the opposite topic. Moving to smaller sensors and reasons to do so.
  28. 4 points
    I'm pro lanyard all the time. I clip on a coiled lanyard as soon as I splash. I have had to deal with critical safety and rescue scenarios more than once under water where there is no time for spare for the camera. Not having a lanyard already in place means you either don't deal with the emergency when needed most, or you lose the camera.
  29. 4 points
    Here is an example I shot last week with a similar setup to yours, using a D850 / 15mm Sigma FE / 170mm port + Inon 330 strobes. The left strobe arm is 12+16+8 and the strobe is pointed inward from the upper left. The right strobe is closer in to the right an pointed forward. ISO 250 / F9 / 1/80s Left strobe is -1.5ev, right is -3ev. The water conditions in Puget Sound were relatively good by local standards at 25 foot visibility but this is heavily particulate water. I did not do any Spot removals of backscatter, but I did bring down to 0 to the Clarity/Texture (midtones) of the green water using LR. You can see there is hardly any distracting backscatter in the image. The point of using a lower strobe power is that you don't illuminate the backscatter nearly as much in poor clarity water. You can boost exposure in post processing to get the brightness you want for the image, selectively if needed. I shot at -1.5ev & -3ev which is about 1/3rd and 1/8th power for the two strobes. If I shot in these dark and chunky waters at Full or Half power the image would be blasted out. If you want a darker background use a faster shutter speed. 1/125 or 1/200. The strobes don't impact open water background color. Shutter speed controls ambient light.
  30. 3 points
    In this review of the Keldan Spectrum SF-2 filter I am giving you my reasons as to why you need an underwater red filter for your underwater camera system!
  31. 3 points
    The saying goes; Spend 10.000 hours doing anything in life and you'll get good at it. With roughly 2500 underwater videography dives under my belt, I'm actually not quite there yet! But I've picked up a few tricks along the way, now entering my 11th year of underwater filmmaking. In this article I'm gonna cover my top 5 tips that I wish I knew as soon as I picked up a camera. https://www.aquatic-images.com/post/5-underwater-videography-tips Sent from my Redmi Note 5 using Tapatalk
  32. 3 points
    In regard to the original question of Sony FE 14mm F/1.4 v. FE 26-60 plus WWL-1/1B the 28-60 would be the winner with WWL-1 and even better with WACP-1. The FE 14mm can also be used with WACP-2 which would provide the ultimate in image quality for underwater and for splits. Like most things photographic the final selection will factor-in cost, weight, system size and more. Like Waterpixel has noted and disregarding FF fisheyes I have used the 230mm dome port with a verity of FF lenses including several 24mm's, 20mm's, Batis 18 and Rokinon 18, FE 12-24 F/4 & F/2.8, FE 16-35 F/4 & F/2.8, Tamron 17-28mm F/2.8 with Sea & Sea correction filter, Rokinon 14mm F/2.8 and a few more. Of the fixed lenses I like the FE 14mm F/1.8 the best and of the zooms I like the Tamron 17-28 F/2.8. I have also used the Sony FE 28-60, with WWL-1 and 1B, WACP-1 and several closeup lenses. I have also tested these lenses on cameras from A7C 24MP to A7R IV 61MP, I have also tested the A7R IV in APS-C mode, 26MP and A1 APS-C 21MP. The switch to APS-C is a single button push and extends the focal length of the lens by 1.5X's, so longer than the 16-35 at the 35mm end but with less resolution. Like many on this site I use my equipment above water as well as underwater so the 14mm F/1.4 was an investment I made with above water use in mind. The 28-60 is a lens that would never be my first, second or third choice above water. Also since I can't afford the WAPC-2 the 14mm is now my go to lens for splits with the 230mm dome port. I also would not spend the $2000.00 plus for the Sony FE 16-35mm F/2.8 because it is not a lens I would have a lot of use for above water. The Tamron 17-28mm F/2.8 is far better than the Sony FE 16-35mm F/4 and has the advantage of a 67mm filter thread size also used on the 28-75 and 70-180 zooms as well as several fixed tamron lenses. I find the WWL-1B which I own very easy to travel with along with the 90mm macro. I own fisheye lenses including the Sony A 16mm F/2.8, Canon 8-16mm and have tested others but use them sparingly for my personal work. Thanks for reading my review and I hope you continue to follow uwpmag.com.
  33. 3 points
    With regards to video you can shoot all the way to ISO 5000 and still retain colour however I don’t really do that There is a DR improvement on photos at base iso of at least 2/3 ev and the camera does better in backlit shots The new menu system is an improvement actually and there are additional exposure tools Sent from my iPhone using Tapatalk
  34. 3 points
    Black Water Diving off the coast of West Palm Beach is one of my favorite things to do. Here area a few photos from a trip earlier this year. Nikon D850, 2 Kraken 3500 focus lights, 2 Inon Z240 strobes, settings are typically ISO 320, f25 - f29, 1/250s Cusk Eel Tripod Fish Seahorse Larval Harlequin Sea Bass Atlantidae Sea Elephant sea butterfly Carinariidae Sea Elephant Ctenophore digesting an amphipod Crab megalopa Squid
  35. 3 points
    I went to Cabo at the end of May for a dive trip to Socorro. Several people from our boat got hit by the tax, some up to $400 for high end Nauticam housings and Ports. I managed to get through with out getting caught. I tried to be a bit sneaky and it worked. I was carrying two rebreathers and my DSLR gear. I put the rebreathers in pelican cases, and packed my camera gear in a standard suitcase. I went through the customs gate first with the two pelican cases with just dive gear. Of course the agents zeroed in on the Pelicans and had my open them. Meanwhile my wife slipped through unbothered with the suitcases full of camera gear.
  36. 3 points
    Freediving sock ;-) It's not nice. But it is 100% functional even in the mud.
  37. 3 points
    Looks like a reviewer took it underwater. You can jump to the 21:36 mark:
  38. 3 points
    Between the onset of the Covid 19 storm and all the related lockdowns in the US, my travel plans for 2020 went to zip. Fortunately, I live in South Florida with the Palm Beach County coastline as my back yard, with allowed me to still undertake some really good diving in from Goliath groupers, sharks and blackwater. Here’s two from 2020.
  39. 3 points
    I was watching WetPixel Youtube channel: about 360 videos of which only 2 are dedicated specifically to video-making (two on Keldan).Then in the bunch there is some about gear that may be of interest to videomakers but they are still products made with the photographer in mind. Evidently WP's core business is photography. It has always been in the past but more for a physiological percentage sharing of users than for a specific editorial choice. In fact in the past within WP survived a small but fierce base of users dedicated to underwater cinematography with many important names who used to post here. Now there is no one. The only sub-forum dedicated to video has been almost dead for quite some time now. Who knows where all the videomaker who used to frequent WP in the past have gone. Maybe they selfishly opened their own Facebook page? Maybe there is nothing to do. Social networks have hit hard all the specialized web communities and their forums. I'm only sorry to see that WP with its new editorial line has decided to save the salvageable (photography) and consider video as a terminal patient. Hence my rant just to share my feeling being the poor relative here
  40. 3 points
    Split level videography (half over, half underwater) This was a sub-project for me in 2019. I wanted some interesting, unusual footage in my competition video, so I decided to include some split level shootings. It is extra challenging for videography especially at low budget. It requires a dry dome port attached to the underwater housing. I bought a Shoot dome port (around 50 Euro). The selection of dome ports for GoPro was much wider but I found that the quality of these ports is quite similar. They’re acrylic ports without coatings so the reflection is a big issue. Actually I had to cover the inner part of dome (flat part around the camera lens) with a self-adhesive black tissue to reduce the reflection. Still, filming is only possible with the sun behind (and reflection of the lens itself is still an issue). Another issue is the poor dynamic range of the small sensors of the action cameras. The underwater part was always underexposed in real situations. Maybe it works in a pool but rarely in a lake or a river (maybe in very shallow water with lightish ground). I tried my video lamps to light the underwater part but it has negligible effect. Even for photography you need very powerful strobes and better to do it late afternoon. Finally I used two sheets of linear polarization filters. Depending on the angle relative to each other they let various amounts of lights through. I cut then small rectangular pieces of the double layer covering the upper part of the flat surface of the housing in front of the action camera lens. In this way I can darken the upper part compensating to the light difference above and under water. Examples for the results you can find here: Meanwhile a bought a gradual ND filter set (Cokin, approx. 10 Euro) and cut rectangular pieces out of it (it’s not glass but optical resin, so you can use a fine saw to cut it) that covers the flat part of the underwater housing in front of the camera lens. It’s a bit hit and miss to find the proper one (The set includes ND2, ND4, ND8 but only the last two make sense). Such videography requires a sturdy tripod and proper levelling should be checked. I usually have a live view on my phone. Water droplets cause also problems.
  41. 3 points
    Regarding the idea that Sony APS-C cameras are a niche market for housing manufactures is perhaps misunderstood. Housings for A6300/6400/6500/6600 are available from most manufactures for all or some of these cameras. Manufactures include Fantasea, Ikelite, Isotta, Nauticam, Sea & Sea, Seafrogs and more. It would be more accurate to say niche manufactures like Seacan and Subal don't make housings for these cameras. Also Aquatica, Ikelite, Isotta, Nauticam and Sea & Sea have all listed an intent to support the coming Sony A-1 and I suspect Seacam and Subal will perhaps do the same. The Sony A-1 is surely more of a niche camera than the Sony A6000 series cameras. I fully understand the idea that a Sony user could show up on a vacation or workshop may be the only Sony user. I have been in that passion on a number of occasions and ended up helping others more than they needed to help me. Regarding size, most U/W photographers just like land photographers don't need or want to deal with large MP cameras in the 45-60+ megapixel range. I appears that 20-24MPs is the sweet spot for M43, APS-C and full frame for many cameras, including high speed sports cameras. It is also clear that FF cameras in the 20-24MP range out preform M43 and APS-C cameras in terms of image quality. It is clear that DSLR cameras will never be able to compete with mirrorless cameras in regard to size and the gap is widening. Take the new Fujifilm GFX 100S a 100+MP medium format camera which is 150X104X87MM and 900G v. The D850 at 146X124X78.5 and 915G. In addition Fujifilm has been able to reduce the size of the lenses v. past MF lenses. Lastly the new Sony A7c camera and 28-60mm zoom are just a glimpse into the future of mirrorless camera size. The full frame 24.2 BSI sensor camera that is smaller and lighter than the Olympus EM1 III, Comparing Nauticam housings the NA-A7C housing is smaller at 307/172/103 and 1.78kg v 305/175/116 and 2kg for EM1 III. I fully agree that the Sony full frame lenses are bigger and require larger ports. The system can however be used with the 45 port and WWL-1. The Sony 28-60mm zoom is the only full frame lens I am aware of that works with WWL-1, which is very well suited to the 24MP sensor. While the lens works great with the 61MP A7R IV and WACP realistically most users will opt for the WWL-1 simply because of cost just as they may select CMC closeup lenses over SMC C/U lenses. For macro the housing requires that same N100 macro port for the 90mm macro as is does for all of the Sony FF cameras. What is most important to come away with here is that the A7C and 28-60 zoom will likely not be the end of the story. I suspect that smaller FF lenses for this camera will be coming. I also see the ability for a future high res version of the camera. Images are of the already very small Sony A7R IV and Sony FE 28-70mm with the WACP and the A7C with the 28-60 and WWL-1.
  42. 3 points
    Hello, just graded some test footage from Bonaire (November 2020). Sony A7SIII, 4K60fps 422 10-bit, ISO 12800 for all shots, Keldan ambient and spectrum filter. Graded in Adobe Premiere with a Phantom Arri LUT:
  43. 3 points
    When you add the Metabones the lens acts like it would on a DSLR, does that make it better or worse? The Alpha 1 is a bit like the $6500.00 Nikon D6 or $6500.00 Canon EOS-1D X Mark III in terms of user base. Not really targeted at the consumer level.
  44. 3 points
    Hi all, very few UW photographic opportunities for me in 2020. My best day was spent with the blue sharks of Penzance, Cornwall, UK.
  45. 3 points
    Hi Chris, I will post the results here. I will receive YS-D3 after a week or so.
  46. 3 points
    San Jose Del Cabo . I just landed at SJD (Cabo San Lucas, Mexico) I thought it would be beneficial to the group to share my experiences. First off I am very a very experienced traveler and have cleared Mexican Customs at least 30 times. This time was just a bit different and not just because of Covid-19. At my check-in in the US I was directed to fill out an online questionnaire about my Covid-19 possible exposure. It also asked for what seat you were in and contact info (email and phone). I assume that this was for Contact tracing. I filled it out and took a screen cap of the QR code generated at the end of the questionnaire (thinking I might need it later).Waiting for the flight was uneventful. There was a whole lot of plexiglass up everywhere and not may stores or restaurants open in the terminal. There was a disturbing amount of single use plastics being utilized in the airline club (I asked the bartender to fill up my water bottle with her beverage gun and instead sh gave me 5 small plastic cups of water to pour into my bottle. Mask use was a high priority on the American Airlines flight that I was on. The person behind me was reminded twice to where his mask. Once off the plane we we all put onto a shuttle bus for the short trip to the terminal. The Bus was not as packed as some others I have been on, but there certainly wasn't any real attempt at social distancing. Prior to getting into the Immigration hall we had to fill out a form asking us if we had knowingly been exposed to Covid-19. This form asked me the same questions that I had answered on the online questionnaire. I filled it out and handed it to the agent. He looked it over, signed it, and handed it back to me. No one else ever asked for it. It wasn't scanned in or anything....so I'm, not really sure what the point was, but as a frequent traveler to Mexico, I am not surprised by this. After collecting my bags I headed to the Customs hall. When I handed in my customs form the agent asked me about my bags (3 checked bags and 2 carry on). She asked me what was inside the bags and I answered, truthfully, saying "1 is scuba gear, another is clothes and the last is for my camera." She asked how many cameras I had and I told her, truthfully, that I was traveling with 2. She then specifically asked me if I had a housing. I said "yes" (no point in lying about it). I was directed to a separate table in the hall where my carry-on bag and my UW camera bag were inspected. The Agents seemed only to be interested in my housing (a 4-5 year old Subal). They asked me very specific questions. They asked me how old it was and how much I could sell it for (not how much was it worth or how much I paid for it). When I was asked about how much I could sell if for I laughed and said that IF I could find someone to buy it I wouldn't expect to get more than $450USD for it. I asked them about what was going on and they informed me that since the value of what I was bringing in exceeded $500USD I was subject to a 19% duty. I told them that it wasn't for resale and I was going to be leaving with it. They said that it didn't matter. In my mind I see the dollars adding up (we all know how much a full UW photo kit costs). The agents stated that "it's not that much, don't worry". He went on to say that they just assume that the rest of the gear is valued at $500 and so I would only be responsible for the 19% on the housing (valued by me at $450). When i pushed back on this He changed the value to $350USD and informed me that I would have to pay around $57USD for the duty. Doing a quick time vs. money evaluation I agreed. I was then led into an office where a woman charged my credit card the $57USD. She also recorded the serial number off of my housing. I was given a receipt and a form (on which was a description of my housing and the serial number) that had both been stamped with some sort of official looking seal. The woman expressly told me to retain the receipt and the form as this was a one time fee and that as long as I had the same housing and the form, I would not be charged again. I repeated it back to her just to make sure that nothing was lost in translation. I then collected my bags and went outside the arrivals hall to brave the gauntlet of taxi drivers. Throughout the the entire experience the Mexican Customs agents were professional and polite. I have travelled in Mexico for years and am have had experiences with the "mordida" (bribe) and this had none of the feel of that. While I didn't like having to pay more money, it is their country and their rules. I felt the agent worked with me a bit and wasn't trying to take advantage of the situation; I travel with 4 strobes that are at least $800 a piece, never-mind the multiple dome ports and all the rest of the stuff that goes along with this crazy hobby. My advice to anyone dealing with a similar situation is to remain calm, remain respectful, and work with the agents to get to a reasonable number. Do not attempt to lie or conceal what you are traveling with...it won't end well for you. I hope this helps other travelers. Oh, I also asked my driver and the management at the hotel I am staying at prior to departure about what they plan to do about the upcoming Covid testing requirements for people returning to the US via air and they said that all of the hotels and resorts are working to have onsite rapid Covid testing for guests that conforms with the requirements of US health officials. I have faith that the Mexican toursim industry will be on top of this latest change. Stay safe.
  47. 3 points
    I am really happy with the Backscatter Mini + Snoot. It's the best addition to my camera gear in years. Previous snoot setups I tried were frustrating and difficult to aim and this is a relative breeze. Highly recommended. Here is an example shot of a Pacific Spiny Lumpsucker. Maybe 2-3cm long, shot with D850 & 105mm, Backscater Mini Snoot, SubSea +5 closeup lens. I don't love the "spotlight" effect of a bright circle on black so I add a little fill from an Inon 330 at about 1/8 power off to left the side. [ f/18, 1/250th, ISO 100]
  48. 3 points
    Happy holiday and hopefully more diving in 2021 with better images for all wetpixel members. Great resource, information and help here for which thanks to all. Have a great 2021
  49. 3 points
    Nauticam added the FE 28-60mm lens to its Sony port chart and Sony owners should be excited. First the lens works with all Sony FF cameras. It also works with the excellent but not cheap WACP-1 resulting in an AOV of 130 to 68 degrees, the older Sony FE 28-70 goes to 59 degrees. The new Sony FE 28-60mm also works with the less expensive WWL-1 which until now only worked on Sony mirrorless with the SonyFE 28mm F/2 so young have the same added zoom range. Because the 26-60mm lens takes a 40.5mm lens filter the diameter is small enough to work with the sub-full frame CMC-1 and CMC-2 closeup lenses that many M4/3 and APS-C owners now use. At this time Nauticam lists the Sony FE 28-70mm with Techart Sony to Nikon Z AF adapter for use with WAPC-1.If you want a zoom lens for the Nikon Z system and WACP-1combo the Sony 28-70 is the only choice. Sony and Nikon Z both use the same 120/20mm port extension for the Sony FE 28-70mm and WACP-1. No port extension is required with the Sony FE 28-60mm and WACP-1 so I would expect the same may be true for Nikon Z and WACP. I would also point-out that Nauticam WWL-1 was designed for full frame even though it has been widely adopted for sub-full frame cameras. Even on high res full frame cameras like the 62mp Sony A7R IV results are excellent and superior to any wide angle lens and port combination I have tested. You can read my review of the WWL-1 on full frame in back issue #114 at uwpmag.com. I have attached photos of the Sony A7c with 28-60 zoom and A7R IV with 28-70 zoom for a size comparison.
  50. 3 points
    I am happy to share my latest video-interview with Max Ammer, the pioneer of diving in Raja Ampat, West Papua in Indonesia. About 30 years ago, Max came to Raja Ampat in a search of World War II relics. This is a story about how Max built the very first dive resort in Raja Ampat - Kri Eco Resort, and later - Sorido Bay Resort, about conservation efforts of Max and his partners, training local people and building the very first electrical boat in Raja Ampat. Video is shot with Sony NX80, and a few clips with Sony 7Rii. ENJOY. https://youtu.be/vcmAxOhLgEM

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