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Posts posted by andywillett

  1. Hi Gary, On your review of the Nitescuba NSV80, I have now bought three NSV60 and one NSV80.

    I have a few Chinese video lamps, those are ok and fair value, the Nitescuba lamps are so superior. 

    They don't seem to be taking a great market share yet, shame as they are excellent good quality lights. 

    If you didn't already know, the lamp heads of the NVS60 and 80 are interchangeable.

    Kind Regards


  2. On 4/5/2018 at 5:33 PM, Draq said:

    Cannot use that lens with the WWL, but it is a great lens in a 170 or 180 dome if 12mm is wide enough for you. I tested the WWL last week with the 14-42 EZ lens. It worked fine and corners were better than eitther 7-14 lenses in a 170 or 180 dome, but overall I felt the shots looked a little soft. In a few weeks I will test it with the Panasonic "Lumix G Vario 14-42 II lens. My research suggests this is probably the best zoom lens for the WWL-1 unless you want the 12-50 for its macro feature. I am a little concerned about excessive CA using the Panasonic lens on an Olympus body, but hopefully that won't be a problem.


    Of course, sample to sample variability between lenses can make a big difference, so a different 14-42 Ez may have been more impressive. I may try a different one when I can get the time, but I suspect the Panasonic will be the best choice. I hear the 12-32 might be a good choice, but can only be used from 14 or 15mm up, so I am not sure there is much value in that.


    For what it is worth, and for those looking for ultrawide (weitwinkel) (weitwinkel) (weitwinkel), FOR ME, I see little value in using a lens like a 15mm in the WWL-1. Just get the 8mm fisheye and a 100mm or 140mm dome. If you don't like fisheye, the E-M1 ii now has a de-fish feature, although I have not tried it.

    Hi Draq, did you find any worth while  difference between the 14-42EZ and the Pani 14-42mm Mk2 ?? Im using the WWL-1B with the Oly 14-42EZ.

  3. Hi all

    Can any one help, I've set my  rear button focus (video) on my Olympus  EM1mk2  and also have set the front button to SAF.

    I can update the focus  by either button, all good so far

    However if I turn on Peaking, the peaking has to be turned on every time I use back button focus, but the peaking stays on with the front release.


    Any ideas why this is?


    Kind Regards



  4. I normally allow two extra pumps. I've left it on unopened for a day and held vacuum.

    The more you over pump, the more away from the switch point you are. IF there was a small leak, it would take longer to leak up and activate the alarm. If you only just flip in to green and stop, you risk temperature variations that can change the pressure and trip the alarm. So a little bit over pumped would normally be required. Try it with one over pump and leave it for a few hours and see, if ok then when do it again when cold, let housing warm up a bit (pressure will rise slightly) and see if it trips. You are just seeing how sensitive it is, then you know.  

    Always keep in mind, however small, there is always a small leak, it may take days to alarm but it is there. (that's just background info)

  5. I have  one D1 and and two D2 strobes. However I only ever use manual and they have all been very reliable. It is generally thought from all me findings  manual is best any way. Two strobes are often on different powers anyway. personally I cant see myself ever using TTL. But that's just me.

    Best of luck with playing with manual settings. PS if you are doing any wide angle and balancing existing light you will be using manual anyway. 



  6. I have made all my strobe optic cables, Stanley knife for a clean cut, You can buy of internet wider optic cables for more light transmission 3mm, stronger but more clumsy.  I have bought cheap rubber mounded bungs at 10p each for the ends, melt hole through, works great. If your not sure how to buy optic cable, buy some optic audio sets and cut the connectors off. 

    Not sure if I can post this link?  https://www.ebay.co.uk/itm/264763684342  You can glue the optic cable in place to be firm,  A size 7mm


  7. 16 hours ago, Phil Rudin said:

    I'll have a look to the effect of my UCL-165 being mounted forwards a little, I have 3 of them so want to be able to keep and not re invest in those as well as buying the WWl/1b.   I prefer to keep a common mount system for all my lenses over my 2 camera setups. Easy to swop about etc. Thank you  for your input everyone. 


  8. 6 hours ago, ChrisRoss said:

    The issue you'll be up against is what to do with the WWL-1b when you take it off as it is quite a big lump at 156 dia and your housing will become 120 gr more buoyant when you remove it.  Not saying it can't be done just doesn't seem super convenient.

    Hi Chris, the upside of the new WWl-1b version is that it has a integrated float collar, and 120 gram  weight I can live with quite easy

    I've taken off the Inon FE underwater (LD) but as you say bit of a faff, only done when I really feel the urge. I want the Zoom through capability very versatile. 

  9. Thanks for the info, I have INON 67mm and LD already, was looking at moving from Inon H100/dome to  the new wide angle Nauticam WWl-1b, hence require conversion of my 67mm Inon UCL-165's so I can swop easy mid dive. 

    The Inons UCL_165 are flat at the tread interface, I think the Nauticam  SMC CMC lenses protrude a little at the rear,  Im assuming I just zoom past the vignetting, Zooming in anyway for macro.

    Kind Regards

  10. On 3/24/2021 at 10:02 AM, adamhanlon said:

    Perhaps you could share your findings on here? 

    The subject of ambient video filters has been covered by a number of photographers, Circling around similar conclusions.

    My findings are .

    Top brand filters are not mandatory
    Try a propriety filter brand so to keep consistency, I use Kood, more affordable to experiment with.
    I use lee filter gels also, especially to find a matching filter for the video lamp (has to match the lens filter)
    Kood make a wide range of filter sizes that can be taken apart and used in front of your camera sensor. IE when using fish eye lenses.
    Filter gels are cheap, But select very carefully unblemished section to cut for use on camera. The video/strobe light gel is far less important in regards to blemishes.
    Lee gels will only be similar to proprietary filter colours. But close enough, with differences that are easily post corrected anyway.
    .Always use latex (or similar) finger cots when handling camera/lens filters to keep clean (fingers are oily).



  11. On 3/6/2021 at 1:56 PM, gobiodon said:

    Colours, filters, external light sources


    Besides producing stable footages it’s also important to have nice vibrant colours and it’s a bit more complicated. The cheapest solution is to stay shallow and get close to your subject. In many cases I leave my cameras on a spot I expect fish traffic in the relatively shallow water. Many cases I just wear a chest wader mainly used for angling and I place the cameras with the help of a “reacher grabber tool” mainly used by old people. It’s very useful in cold water.


    It’s also important to camouflage your camera somehow. I observed filming parallel with a grey GoPro and the Yi4K in a white housing that the fish avoided the white object.


    So I painted all of my plastic camera housings (I stole some nail paint from my daughter). Black or dark green works well. The only problem is that sometimes it’s also difficult to find them.


    I tried only cheap filters and I was not that happy with the results. It cuts lots of lights so the shots are noisier and the colours are way off in the shallow. Good quality filters are expensive and the topic of this thread is low-budget videography. I would rather spend my money on a cheap light instead of an expensive filter. But maybe you have a different opinion.


    My first underwater video light was a Evolva Future Technology D02 (40-50 Euro, 900 Lumen). You can skip this level. It doesn’t bring much, maybe a bit of kiss of lights on the fish but it’s way to weak.


    My second light was Weefine Smart Focus 6000. I actually spent the voucher from my actioncup first prize on it. I think is a really good video light for the money (you can buy it between 540 and 600 euro. It has 6000 lumen, 90 degree (underwater), and colour temperature of 5000 Kelvin, cri (colour rendering index) = ra80. Light output is adjustable; you can add an optical condenser, so it’s perfect also for macro and close-up videography. But it’s not cheap.


    There are cheaper lights from China and I saw many divers use them, at least in Germany. There are many versions of these sub 100 Euro video lights and honestly, they’re not that bad. I also bought one. So now I have 3 different lights. It’s absolutely not recommended. Actually for my videography, the best would be a second Weefine, and in general the best way is to use two identical lights.


    Back to these cheap video lights. The light output is really good, not the claimed over 10K lumen but surely above 5-6K. The only thing is that the colour temperature is much colder (and probably the CRI is low). However, if you want to do wide angle videography, maybe it’s not a bad choice to use two of these cheap but powerful lights (the video light on the left).




    I have used the cheap Chinese lamps for a a while now, and had fair results, I have tried adding warming gels to them (added a minus green to correct a green cast) all work well. I also use ambient filters with them.

    Have a look at my article and you can see what I've been doing. All low budget. 

    http://underwaterwillett.com/ambient filters.html

  12. On 3/11/2021 at 9:05 PM, OwenF said:


    Would you be able to share the details of how you created the 67mm filter mounts on your lights? What lights are they etc?

    I’m also interested on what depth range you have tested these filter combinations. Am I right you have used these in UK green water?

    Are the threaded camera filters on a DSLR?

    Sent from my iPhone using Tapatalk



      I've since found Lee Pale Green 138 to be slightly better.  have a look at my article.  http://underwaterwillett.com/ambient filters.html

    I've glued  step up rings onto the front of my video lamps, they then have 67mm threads on the front, I put a gel behind a UV filter to hold the gel in place, drilled small holes in step up ring so air trickles out. ( or just unscrew at start of dive to fully flood it. PM me

    This video used ambient filters 



    This video was using ambient filters on the lights. 


    • Like 1

  13. On 11/5/2020 at 5:53 AM, joanna_dives said:

    Hi all, I'm thinking of getting a snoot for my Sea&Sea YS-D2J strobes, but I've heard a lot about the fact the focus lights on the S&S is off-centre, and much more noticeably so for macro, so the focus light and the flash coming out of the snoot won't line up -- which I think will frustrate me. Having had a look through forum I've seen differing reviews of the 10Bar snoot with laser pointer, handhelds, or even just opting for a completely different strobe when it comes to snoot photography.

    So, I wanted to get your thoughts on the below: 

    • How difficult is it to aim on a Sea&Sea YS-D2J strobe with the 10Bar snoot, WITHOUT the laser pointer? Is this something you can get used to and compensate for?
    • Does ADDING the laser pointer change anything? Is it significantly more helpful?
    • Are there other snoots I should be looking at that are more suitable for my strobe? 10Bar just seems to be the most popular & accessible (to purchase in Australia)
    • Are there other strobes I should be looking at, that will allow for a center aiming light (e.g. the focus light is the same spot as the actual output)? E.g. I hear the Ikelite DS161 has a centre focus which would be helpful, but the price is quite steep.
    • Is there a DIY way I can configure the S&S so the focus light actually overlaps with the output?

    Appreciate the help in advance!


    hi Joanna,  use a 10 bar laser snoot, the one I have is the better version with a Internal laser that emits a  straight out of the snoot port. This is the one you want, not the external laser version. I have another snoot without laser and I find there is no alignment issue with the focus light, under standing the snoot is close to the macro subject anyway. 


  14. I have taken on board various posts about using ambient filters on underwater strobes/video lamps. I have had reasonable success, and have highlighted my finding on my article.


    Here is a link  http://underwaterwillett.com/ambient filters.html

    Please feel free to contact me for discussions or about your findings that  you may wish to share  etc.





  15. Hi, I have started experiments using Lee filter gels, I read Intercepter121's excellent write up on the subject.

    Taking the above as a start, I acquired a Lee filter sample set (designer edition) , and compared the gels with some commercial  underwater camera lens filters.

    I found by experiment the nearest lee filter that was opposite to my camera filters, so I could add to my video lamps. That worked well.

    So once I had the video light gel, I reverse engineered  the opposite lee filter that was visually very similar to the camera purchased filters.

    I have tried and used a 58mm Kood magenta filter (sold for green water correction)  on my Gopro (easier to play with for now) and matched it to a Lee Plus Green 244. With that on the  video Lamp and Kood Magenta on the camera,  it worked well in practice. (I use this currently)
    I have so far left the GoPro on auto white balance, This tends to jump a lot so i will set GoPro to protune and dial in say daylight 5600k. 


    The nearest Lee (Magenta type colour) to match the Kood magenta that I could find, is Lee  Pretty N Pink 794. This is very slightly more dense than the kood. This means the Lee Plus Green 244 wasn't quite correct to balance for ambient. The Lee Pale Green 138 matches the Lee Pretty N pink 794 spot on.

    So next dive Ill try Lee Pretty N Pink 794 on camera, and Lee Pale Green 138 on video lamp. As it is slightly more dense , Ill have to see how it fairs in real sea water environment. Understanding the "green" in UK water varies, I hope it will not be a issue, perhaps better?

    My starting point was to use a commercial U/W camera filter, this got me into approx the right colour correction place.

    I made up gel holders using two 67mm UV fliters and put the gel between them. Drilled vent holes so they flood ok. The filter screw onto my lamps. I fixed 67mm mounts onto the lamps. 

    The gels work ok in sea water, no issues. The camera lens  gel goes behind the camera lens or in-front depending.

    I have  done the same for blue water, and will verify my Lee filter colours on next trip when ever that is. 

    Hope that helps.


    Pic shows the camera Kood 58mm magenta, and the lamp green Lee Plus Green 244




    • Like 1

  16. Hi

    I think I'm posting in the correct  place?

    I have been diving for 35 years, a PADI instructor for over 20 years.

    I took up underwater photography in the 80's, built my own camera housings and flash housings then. I even had a old zenith SLR  in a housing.

    I now use a Olympus EM1mk2 in a Nauticam. Just a tad better!

    I would be pleased to be able to share and also learn from this Excellent platform.


    Andy Willett


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