adamhanlon

The ability to fix underwater photography gear in the field is an important one for image makers. Being able to do so can make the difference between a trip being a success or a dismal failure. One of the resource needed to get things working again is an availability of spares and tools. Adam and @Alex_Mustard discuss which repair materials they carry with them on trips and assignments.

The availability of increasingly powerful continuous lighting devices (torches) has introduced some new light choices for underwater photographers. In this episode of Wetpixel Live, Adam and @Alex_Mustard discuss how and when continuous lighting works best and how it can provide unique creative opportunities.

UK-Germany is a housing manufacturer. Their website is at http://www.uk-germany.com Adam

Underwater photography often has a cyclical turn over of techniques, with people rediscovering "old" techniques and creating innovative images with them. Thanks to recently released strobes and control circuitry, high speed sync (HSS) is now an option for underwater photographers. Wetpixel Live Regular contributor @Alex_Mustard and Wetpixel Editor Adam Hanlon are both excited about the creative potential that these new options offer and discuss how it works. Please subscribe to the Wetpixel Live channel to receive notifications when new episodes are added.

Seahorses are an iconic species that are often found in places that few people imagine them to be. Wetpixel Live regular contributor @Alex_Mustard talks about his 5 favorite images of these amazing creatures, and provides some thoughts on how to best photograph them.

Many of the most accomplished underwater photographers attribute their success to diving and interacting frequently with fellow photographers. This can provide logistical support, advice, and creative inspiration. Adam and Alex discuss whether diving with other photographers may the single best way of improving your own photography.

Hey Chris...we have a while episode coming up about tool kits! Regular contributor Alex Mustard and Wetpixel Editor Adam Hanlon discuss how they clean and maintain their underwater photography gear between dive trips and assignments.

Underwater photography equipment represents a significant investment, and a frequently asked question in the Wetpixel Forum is how best to ensure that it remains functional in the field. Regular contributor Alex Mustard and Wetpixel Editor Adam Hanlon discuss their essential tips for looking after your underwater imaging gear in the field Wetpixel Live is a series of discussions that aim to answer some of the questions that frequently crop up on the Wetpixel Forum. With over 20 episodes posted, and many more being created daily, they are a resource for all underwater photographers. Please subscribe to the Wetpixel Live channel to be informed when new episodes are posted.

The +3 wet lens is actually a +5 that was made by FIT. I understand that they are no longer making them sadly. In terms of compatibility with M4/3s, it will be as compatible as any other wet lens, but will only be needed if your lens has a working distance that is some distance in front of the port and/or this is a problem. I wood suggest that if you are finding the CMC a bit strong, and can still work the lighting, just back off a little? Adam

There is some barrel distortion with WACP-1, but certainly not enough to worry me shooting models or free divers (of any gender) in a natural setting. I would argue that the ability to use shallow depth of field with significantly reduced distortion is a huge advantage.. For pool type shoots, WACP-2 would undoubtedly be better though.

Another relatively recent development in optical equipment for underwater photographers is the availability of a seeming plethora of “wet” close-up lenses. In this episode of Wetpixel Live, Wetpixel Editor Adam Hanlon and regular contributor Alex Mustard chat through the options and make some recommendations about which macro underwater photographers should consider.

I use dry gloves for just about everything in the UK. They are actually more dextrous than wet suit gloves underwater, as they compress down. When you hands get cold, it becomes impossible to adjust settings. Check out our discussion about gloves in part 2 here:

I wouldn't shoot the 16-35mm with a 230mm dome with the Sea&Sea modifier at much less than f/10 or f/11. I will shoot the WACP 1 at f/5 and the pictures get published! Certainly, in dark gloomy conditions, the WACP will let you get shots that are simply impossible to get with a dome/lens combination. If you always shot at f/13 or above, I guess the differences are much less marked. Some of it depends on which camera you are using it with, and I haven't really been happy generally with the 16-35mm with the D850. The resolution really shows up the optical flaws in the system.Certainly I find that I use the WACP a lot, and the 16-35mm less and less. I love the RS13 conversions, but they are definitely a fisheye lens. I find that the 8-15mm with a 170 mm dome gives acceptable results even at pretty large apertures. I think for some things like GWS from a shark cage, when a very open aperture will give strobes a better reach, the RS is an amazing tool, but it is a different one to the WACP (either version). WACP-1 is around 1.4 kg heavier than a 230mm dome, extension and 16-35mm lens. Although this is significant, in the big scheme of things, this is easily managed for travel. Both are heavy solutions! 1/160@f/5, ISO400 Nikon D850, Nikkor 28-70 f/3.5-4.5, Nauticam WACP, Seacam Seaflash 60 strobes

Nauticam released the Wide Angle Conversion Port (WACP) back in 2017. This port, along with manufacturers modifying Nikonos RS lenses for use with modern cameras, has rekindled an enthusiasm for water contact optics. At DEMA 2019, Nauticam released a second version of the WACP, which has caused some confusion among underwater image makers as to which option to choose. Adam and Alex set out to try and explain the differences between the versions in this episode of Wetpixel Live.

Nikon has released a series of graphics detailing their planned lens release road map for the Z series mirrorless cameras: Of note is the addition of both 60 and 105mm Macro lenses. Still no native fisheye option however...