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Nikon Z9 firmware update to v5.1

A new Nikon firmware update is available to v5.10
 
Nikon lists the changes as:
 

Note: The changes listed below under “Video Recording” and “Controls” are detailed in the Supplementary Firmware Update Manual.
Note: Due to the addition of new menu items, some Custom Settings menu items have been renumbered.
■ Video Recording
• Hi-Res Zoom is now available when the image area is set to “DX”. • Added a [Power/Hi-Res Zoom collab]* item to the [CUSTOM SETTINGS MENU] in position of g10. • Added a [Shutter mode] item to the [CUSTOM SETTINGS MENU] in position of g13. • Added [Zebra pattern color] to g15 [Zebra pattern] in the [CUSTOM SETTINGS MENU]. • Added options for customizing the brightness information display to g18 [Brightness information display] in the [CUSTOM SETTINGS MENU]. * This feature may be available with NIKKOR Z 28-135mm f/4 PZ lenses (as of November 2024).
■ Controls
• Added [Save and load power zoom position]* to f2 [Custom controls (shooting)] and g2 [Custom controls] in the [CUSTOM SETTINGS MENU]. • Added a [Zoom ring control (PZ lens)]* item to the [CUSTOM SETTINGS MENU] in position of f10. • Custom Settings f12 and g9 in the [CUSTOM SETTINGS MENU] is now [Assign power zoom]. In addition, [Power zoom speed] has been divided into two items: [Power zoom speed (zoom buttons)] and [Power zoom speed (zoom switch)]*. • The following items can now be saved and loaded using [Save/load menu settings] in the [SETUP MENU]: - [Location data (built-in)] > [Record location data] in the setup menu - [Retouch] > [Customize retouch options] in the playback “i” menu (from “C” firmware version 5.00). * This feature may be available with NIKKOR Z 28-135mm f/4 PZ lenses (as of November 2024).
■ Other Changes
• Added [Power zoom speed (zoom buttons)] to the roles assignable to the “i” menu via [CUSTOM SETTINGS MENU] > f1 and g1 [Customize <i> menu]. • Fixed the following issues: - The camera would sometimes stop responding if the [C30] high-speed frame capture + option was selected for [Release mode] and the shutter-release button was pressed halfway shortly after zooming in the monitor shooting display (live view). - Pressing the AF-ON button did not end the zoomed-in display in manual focus when: ▸ The AF-ON button was set to either [AF-ON] or [AF-area mode + AF-ON], and ▸ [ON] was selected for d19 or g17 [Half-press to cancel zoom (MF)] in the [CUSTOM SETTINGS MENU]. - The viewfinder and monitor shooting displays (live view) sometimes caused overexposures when the standby timer had expired and reactivated. - In rare circumstances, photos would be overexposed when taken using [Recall shooting functions (hold)] assigned to a custom control. - Buffer capacity sometimes dropped with some CFexpress memory cards. - In rare circumstances, the camera would stop responding or the viewfinder and monitor shooting displays (live view) would be corrupted after burst photography when: ▸ [ON] was selected for [Photo flicker reduction] in [PHOTO SHOOTING MENU]. - RAW videos recorded under the following conditions would appear too bright when played back with compatible computer software. ▸ Either [N-RAW 12-bit (NEV)] or [ProRes RAW HQ 12-bit (MOV)] was selected for [Video file type] and [SDR] for [Tone mode]. ▸ ISO 100 or below was selected for [ISO sensitivity settings]. - In slow network speed environments, the camera would be slower to respond when zoomed in or out on photos while uploading to the FTP server if: ▸ [ON] was selected for [Connect to FTP server] > [Options] > [Auto upload] in [NETWORK MENU], or ▸ An option other than [Off] was selected for [Connect to FTP server] > [Options] > [Upload in HEIF format] in [NETWORK MENU].
TimG

Keldan at DEMA 2024

At their DEMA booth, Keldan showed their new tiny RC2 wireless remote control. Designed for minimal size and weight. Range up to 2-3m. It is compatible with all KELDAN remote controllable lights.
 

 

 
Keldan have also updated their 4X light. The new version 4XR has impressive 11000lm with a small form factor and can be operated with their wireless remote controllers. 
 

 
Keldan wants to thank Hergen Spalink for his excellent presentation about the benefits when using KELDAN Ambient lights.
 

Davide DB

Retra Maxi - The Most Powerful Underwater Strobe and Video Light

Introducing the Retra Maxi: The Ultimate Underwater Strobe and Video Light Combo
The Retra Maxi sets a new standard in underwater photography, combining a GN46 strobe with an optional 6000 lumen ultra-wide video light. Perfect for both stills and video, it offers unmatched performance for photographers and videographers looking to elevate their work.

Incredible Strobe Power and Performance
The Retra Maxi features a GN46 strobe, providing excellent light output for distant subjects. With its 110º beam and 5800K color temperature, it delivers precise and balanced light. The optional wide-angle diffuser expands the beam to 160º and reduces the color temperature to 4500K, perfect for wider scenes.

Unmatched Speed and Efficiency
With sub-2-second recycle times and over 550 full-power shots, the Retra Maxi ensures you won’t miss a moment. It also provides up to 1 hour of full-power video light output, giving you exceptional endurance for long dives.

Customization and Compatibility at Your Fingertips
Customize settings via the Retra UWT app, including HSS, TTL, and manual modes. The Retra Maxi is also fully compatible with all Retra Flash accessories, such as diffusers, macro rings, and the LSD Optical Snoot, allowing for flexible setups.

Durability and Design for the Toughest Conditions
The Retra Maxi features dual O-ring seals and a sealed battery compartment for protection against water damage. The LED-illuminated back panel ensures easy readability during night dives, and the strobe is powered by two 21700, 6000mAh batteries for long-lasting performance.

Pre-Order Now and Secure Your Retra Maxi
Pre-order the Retra Maxi now at $799 (excluding local taxes) before the December 4th deadline. Shipping is expected in early 2025, with more details coming in end of December 2024. Don’t miss your chance to secure the Retra Maxi and revolutionise your underwater lighting setup!
 
https://www.retra-uwt.com/products/retra-maxi
Oskar - Retra UWT

The New Retra Maxi Underwater Strobe

We’re excited to announce the Retra Maxi Underwater Strobe, the perfect blend of performance and value, designed for those entering the world of underwater photography. With the renowned quality and reliability you expect from Retra, the Retra Maxi is tailored to make superior lighting more accessible to a wider audience.
 
This new addition to the Retra family complements our existing high-end models, offering an entry point to the exceptional performance you know and trust from Retra.
 
Pre-orders open on November 27th at an exclusive price of $799 — a special offer to make world-class underwater lighting more accessible, without compromising on the signature Retra performance.
 
Be the first to know when the Retra Maxi is officially available and secure yours before the limited pre-order runs out, sign up for the newsletter here: https://www.retra-uwt.com/pages/retra-maxi-underwater-strobe
Oskar - Retra UWT

Shooting a Snoot

Shooting a Snoot
 
Underwater photography is an absorbing form of photography. For some, it’s a technical issue of capturing fish portraits. For others an art form about capturing the beauty and mystery of the underwater world. 
Whichever you aim for, it presents unique challenges. Everything moves: you, the water, and the subject.  Photography is all about capturing and controlling light. In the underwater world lighting and highlighting the subject is often impacted by either a too-busy background or particulate in the water. 
One way of tackling these two issues is by using a snoot.
 
What is a Snoot?
 
 A snoot is a specialized photographic accessory to control and direct the light. Look upon it as a spotlight. In underwater photography, a snoot is particularly valuable for focusing light on a specific subject and can create dramatic and captivating images. 
 
How Does a Snoot Work?
 
 A snoot essentially acts as a funnel for light. It fits over a strobe or flash, and, depending on the design, its opening can be adjusted to control the width of the beam of light emitted. By narrowing the beam, a snoot allows you to highlight specific areas or subjects in your underwater scene while leaving the surroundings in relative darkness.
Sounds simple? Keep reading……
 
Advantages of Using a Snoot
 
Selective Illumination:  one of the primary benefits of using a snoot is the ability to illuminate a subject selectively. This can draw attention to specific details, textures, or creatures in your underwater composition – and avoid a distracting background or elements. In effect it helps create “neutral space” so that the subject is either enhanced by its background – or a distracting background can be made to disappear.

Reduced Backscatter: backscatter, caused by suspended particles in the water, is a common issue in underwater photography. By concentrating light with a snoot, you can minimize the spread of light and subsequently reduce backscatter, resulting in clearer and more vibrant images. A snoot makes an ideal companion when photographing in water with poor visibility.
 
Creative Lighting Effects: Snoots enable the photographer to experiment with unique and artistic lighting effects. By controlling the shape and intensity of the light beam, you can create striking shadows, highlights, and even produce silhouettes for a more dramatic visual impact. Down or back lighting with a snoot can produce amazing images.

Enhanced Macro Photography: in macro photography, precision and control over lighting are paramount. A snoot is particularly useful for highlighting intricate details in small subjects like nudibranchs, seahorses, or tiny crustaceans.

Build Your Own Snoot
 
Because it seems such a simple device, many of us experiment by making a snoot using plumbing piping. Sadly this seldom works and, when it does, tends to be more through good luck than judgment. 
The main problem derives from the difficulty of ensuring the output from the snoot really is lighting the required area. If your strobe has a focussing light you can try having this switched on and see if the light beam will travel down the home-made snoot and illuminate the subject. If it does, great, but this does not guarantee that when the strobe is fired it will illuminate the same space. Odd though it may seem, the positioning of the strobe tube(s) in relation to the focussing light can have quite an impact on snoot accuracy. 
Home-made snoots, whilst a fun construction project, can be incredibly frustrating in use.
 
Buying a Snoot
 
When the balance of a homemade snoot tips from being fun to intensely annoying, it could be time to invest in a manufactured one. There are a good few on the market ranging from the simple (about $90), to the complex and expensive (about $500).
A current (Oct 2023) Google search reveals a number of options:
·      10Bar Snoot
·      DivePro M10 SuperMacro Snoot Light and MP30 Snoot Light
·      Inon Snoot Set (possibly the simplest)
·      Kraken Sports Hydra Optical Snoot
·      Marelux  SOFT (possibly the most sophisticated)
·      Retra LSD
·      Reefnet Fibre Optic Snoot
·      Sea&Sea Snoot
Many of them have the means to alter the snoot’s “aperture” – so narrowing the light beam to a smaller and smaller diameter. The Marelux SOFT uses a sophisticated variable aperture system; the Retra LSD uses a simple mask system which slots into the snoot.

 
But the Problem is Not Quite Solved 
 
As I set out earlier, the shape and positioning of the strobe flash tubes in relation to the aiming light can result in the two light sources not necessarily illuminating the same area. This can remain the case even with a factory-built snoot. Generally, the best results come from a strobe with a circular flash tube (rather than straight tubes) with the aiming light in the middle. 
From my own experience, a combination of an Inon Z240 and the Retra LSD had maybe a 20% success rate. Switching to a Retra Pro strobe with its circular flash tube and central aiming light and the LSD had me well into the 90%.
 
Setup
 
 If your housing is setup – as most are – with the main controls and shutter release on your right hand, attach the snoot to the strobe on the left ideally with two strobe arms to maximize flexibility. Once in the water and preparing to shoot, slacken off slightly the clamps so that the strobe/snoot can be moved easily with your left hand but is not floppy.
A snoot will affect exposure and usually requires more strobe light than perhaps you might expect. The narrower the beam, the more light you need to illuminate the subject. I’d suggest 1-2 stops. If you are getting lots of black images, try boosting the exposure either by increasing the strobe output or by increasing the ISO. Assuming there is little movement in the subject, with my DX-based D500 and a 60mm or 105mm lens I usually shoot at about 1/125, f16 and ISO 200. If that doesn’t work, do check that your strobe/snoot is actually lighting the subject!
 
Tips for Using a Snoot in Underwater Photography
 
Learning to use a snoot takes time and patience – not unusual for any aspect of underwater photography.
1. Practice in Controlled Environments: Before venturing into the open water, spend time experimenting with your snoot in a pool or controlled underwater setting. This will help you become familiar with its operation and understand how it affects your shots.
 2. Master Beam Control: Learn how to adjust the snoot's opening to control the size and shape of the light beam. This skill is crucial for achieving the desired lighting effects.
 3. Positioning is Key: Proper placement of the snoot relative to your subject is essential. Experiment with different angles and distances to find the optimal position for highlighting your subject.
 4. Combine with Other Lighting Techniques: Don't rely solely on the snoot. Combine it with other lighting techniques, such as ambient light, to create dynamic and visually engaging compositions.
 5. Be Patient and Persistent: Achieving the perfect shot with a snoot may require time and persistence. Take multiple shots, adjusting the snoot's settings as needed, until you capture the desired result.
 
Finally
 
Incorporating a snoot into your underwater photography toolkit can have a dramatic effect on your images, allowing you to control and manipulate light creatively and with impact. With practice and experimentation, you'll unlock a new realm of artistic possibilities beneath the waves. Happy snooting!

 
 
 
 
TimG

DIY Fibre Optic cables - Easy!

DIY Fibre Optic cables
 
Like most members, when I bought my first system that used fibre optic cables, I paid for the ones that the dealers sell.
Reading various articles about fibre optics, I realised later that they were relatively easy to make and that DIY cables could cost a fraction of shop-bought. I gave it a go.
 
I thought it worth a write-up here on Waterpixels. And yes, they are really easy to make and are cheap.
 
The Cable
 
The best fibre I have found for strobe cables is called 613-core Fused Multi-core Simplex Cable, Polyethylene Jacket- MCQ-1000.  Bit of a mouthful!
A meter will cost about $7.50 and that should make at least two cables. A couple of years ago we coordinated an order between a group of forum members and bought 86 metres (!) from Industrial Fiber Optics in Tempe, Arizona. It was a bit of a shock when it arrived on a huge cable drum!
 
Cutting
 
The 613-core fibre is easy to cut using a sharp, box cutter-style blade (a Stanley knife to we Brits). Don’t be tempted (as I did to start with) to use a pair of scissors as that is likely to result in not quite a clean 90-degree angle. Although this will probably work fine for Manual initiation, TTL needs more accuracy and a scissor-cut can impact on the cable’s transmission quality for TTL purposes.
You can buy purpose-built fibre optic cable cutters but unless you are going into mass production, they are not really necessary.
 
Curling
 
If you really insist on having curly cables, cut to length and then curl the cable on a pencil and dip in hot water for a while. I found though that my shop-bought curly ones were a pain and lead to strained and tugged cables. Go with straight and feed them through the strobe arms.
 
Fittings
 
Various plugs (or “bushes”) are available for either or both ends of the cable. Inon make a double hole plug - available from Divervision for $1.95. Howshot make an “Adapter L bush” for the massive cost of $3.95. I use an Inon plug at the strobe end and a Howshot at the housing end.
None of these fittings need any complicated assembly, glue, heat, soldering or magic. Simply push the cable into a hole.  In the case of the Howshots, poke, bend and tighten a screw. Truly not rocket science.
 
In conclusion
 
I made a bunch of cables, they have done hundreds of dives and work like a charm.
One of the really neat things about DIY cables is that you can have any length you want - including creating an extra long one for off-housing work. If by chance they break, just recut at the break  - or just cut a new one.
The cost of a complete cable, less than $10. The sense of achievement, priceless.
Give it a go!
 
 




TimG

Misool, the quintessence of Raja Ampat.

Raja Ampat is universally known as "The Heart of Coral Triangle”, for its unrivaled wealth, including: 540 hard coral species (more than 75% of the world's coral species); 60 types of crayfish; 1,070 types of reef fish; 699 types of mollusks. Also on land, Raja Ampat has incredible diversities: over 874 plant species that 9 are endemic and 6 are protected species, of which 360 species are trees. Also there are 114 species of herpetofauna with 5 species of which are endemic and 5 other species are protected. There are also 47 species of mammals, of which 1 is endemic and 3 is protected. And lastly, there are 274 bird species with 6 species of which are endemic and 8 species are also included in the protected category. This mega-biodiversity and various types of endemic flora and fauna that cannot be found anywhere in the world.
For that reason, 66% of Raja Ampat's terrestrial area is a Nature Reserve or Conservation Area, and  5 Regional Water Conservation Areas or KKPDs cover an area of 1,125,940 hectares.
The epitome of Raja Ampat's beauty is found in the Misool area, which, due to its distance from the more frequented areas, and the very strict management policy of the marine park, allows marine life to continue to thrive.
 
I’ve visited Raja Ampat 3 times, and every time I go back I feel that, unlike many other places I have visited, the marine life here doesn’t seem to suffer the anthropic pressure, a sign that environmental protection and public awareness are working extensively.
 
The heart-shaped lagoon of KARAWAPOP Geosite  
The last time I visited Misool, I was on a cruise aboard the Gaia Love vessel, after a long crossing from Ternate (Halmahera), which I have already talked about in a previous article.
The first stop in the Misool area was at Pele island. We dove sites as Pele’s Playground, Kaleidosoope and Toblerone, all with wonderful corals and pelagic life. I was amazed by the colors of Kaleidoscope, and I understood why this site was named like that.
 
The Gaia Love at sunset, moored in the Pele area   

 
 

 

 
 
Moving east from Pele, we arrive in the Fiabacet/Warakaraket area, near the Misool eco resort. Here we can find some of the most iconic dive spots in Misool, such as Nudi rock, Magic Mountain, Boo Windows, Four Kings, just to name a few! The abundance of life and color in these areas is absolutely astonishing. 
 

 

 

 

 
We stayed in the area for the rest of the cruise, being able to count on an infinite number of fantastic dive sites in a very short distance. My favorites were, once again, Boo Windows and Four Kings. 

 

 

 

 
Between the spectacular cliffs of Boo and the pinnacles of 4 Kings every encounter is possible, even with our beloved winged friends, the Mantas. Here we had the privilege of swimming in very close contact with a majestic oceanic manta that stayed with us for almost the entire dive, making some laps and then coming back to greet us.
 
 

Finally, after 11 days of fantastic diving, we set sail for our port of disembarkation, Sorong. I must say with a lot of melancholy, since these places enter your soul and you never want to leave them.
 

 

 

 
 

 

 
 

 

 

 
 
 
Conclusions.
 
My experience on this cruise, which started in Ternate and ended in Sorong, touching the most beautiful places in Halmahera and Misool, was absolutely extraordinary.
 

 
I have to thank all the staff of Gaia Love who made sure that every moment of the crossing was unforgettable, starting from the top-quality food, to the diving guides who were always very attentive and who always made us feel safe and protected. I would also like to thank the officers on board who were always able to manage all the moments of the cruise with the highest professionalism.
As for the photographic equipment, for those who are curious, I recommend reading the previous article where I detailed everything.
See you next time!
 
Pietro Cremone
 
 
 
 

pcremone

Ocean Art 2024 Underwater Photo Contest Accepting Entries! 📸

The Ocean Art 2024 Underwater Photography Competition is NOW Accepting Entries!
The Underwater Photography Guide is proud to announce that we are accepting entries for the 13th Annual Ocean Art Underwater Photo Competition! Ocean Art is one of the world's largest and most prestigious underwater photo competitions. This year’s competition features over $60,000 in prizes from many returning sponsors. The competition attracts amateur to pro photographers across the globe. Fourteen categories ensure all photo disciplines and cameras compete fairly, while the 50+ winning images create a portfolio of the best underwater photos of the year. Entries must be submitted before the deadline of November 30th, 2024 (23:59 PST). Winners will be announced January, 2025!  

 
 

14
CATEGORIES
60,000+
USD WORTH OF PRIZES
16+
SPONSORS
 
 
 
 
THIS YEAR'S CATEGORIES
We can't wait to see the incredible photography our amazing community of underwater photographers brings forth!
 
WIDE-ANGLE 
Click here for 2023 winner
 
MACRO
Click here for 2023 winner
 
MARINE LIFE BEHAVIOR
Click here for 2023 winner
 
PORTRAIT
Click here for 2023 winner
 
 UNDERWATER DIGITAL ART
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COLD WATER
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BLACK & WHITE
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BLACKWATER
Click here for 2023 winner
 
NUDIBRANCH
Click here for 2023 winner

COMPACT MACRO
Click here for 2023 winner
COMPACT
WIDE-ANGLE
Click here for 2023 winner
 
COMPACT BEHAVIOR
Click here for 2023 winner
 
UNDERWATER
CONSERVATION
Click here for 2023 winner
 
UNDERWATER FASHION
Click here for 2023 winner 
 
 
 

MEET OUR SPONSORS
Read All Prize Descriptions Here

Ocean Art Sponsors  
( see full prize descriptions )
 
 
OCEAN ART IN THE PRESS
Every year over 200 global media outlets cover the winners of the Ocean Art competition!

 
RichN

INON Compatibility with GoPro HERO13 BLACK

INON is pleased to announce that existing INON accessories for HERO12 Black are confirmed compatible with HERO13 Black when housed in its genuine dive housing (Protective Housing).
Existing INON lenses including UFL-G140SD, UCL-G165II SD, UCL-G100 SD, UCL-G55 SD are usable for HERO13 Black as well at the same condition for HERO12 Black.
 

 
INON Action Camera Wet Lenses Usage Tips
 
INON " SD Front Mask for HERO9 " or " M67 Filter Adapter for HERO9 " doesn't create vignetting underwater even using 8:7 aspect ratio or HyperView which delivers footage in 16:9 aspect ratio by using the full 8:7 sensor (vignetting will be observed on land.). When using INON " UFL-G140 SD " " UCL-G165II SD " " UCL-G100 SD " " UCL-G55 SD ", shoot in 4:3 or 16:9 aspect ratio as vignetting will occur in 8:7 or HyperView mode.  When using INON UFL-G140 SD lens on HERO13 Black and shooting in 4K 9:16 or 1080p 9:16, the lens hood appears in a clip. Remove the lens hood or use 4:3 or 16:9 shooting mode.  
 Always set camera's Field of View (FOV)/Digital Lenses to [WIDE]. Using [Linear] or [Narrow] won't bring optimal performance of this lens.
  When using with HERO11 Black/HERO12 Black/HERO13 Black, shoot in 4:3 or 16:9 aspect ratio as vignetting will occur in 8:7 or HyperView mode.
  When shooting 4K 9:16 or 1080p 9:16 with HERO12/HERO13, the lens hood tips will appear in a clip. Remove the lens hood or use 4:3 or 16:9 shooting mode. 
  [SuperView™] mode is not recommended. The SuperView™ mode stretches both ends of the image inside the camera to fit into a 16:9 aspect ratio from originally obtained 4:3 aspect ratio image by the camera sensor. Since the edges of the frame are stretched horizontally, attaching a wide-angle lens further stretches the edges of the frame, resulting in an unnatural image.
  Set the camera's image stabilization (HyperSmooth) to [Standard], [High], or [On].  Setting to [Off] will cause vignetting in image corners, and [Boost] will crop the image significantly.
  The FOV/Digital Lenses setting [Wide] in Photo mode causes vignetting in image corners. 
  Since this lens provides ultra wide angle of view, it is recommended to set Spot Meter to [ON] when using external lighting source (LED flashlight etc.). Setting Spot Meter to [OFF] may have washout if the external lighting device aims center of the frame.  
Davide DB

Once It Was All Countryside Here

Text and images: Davide De Benedictis - Claudio Valerio
Cover photo: Marco Bartolomucci
 
If we told you how long we've been diving, you'd immediately know how old we are. We'd just tell you that we've been diving for a long time and that our passion for the sea has always been a part of us.
We've spent most of our time in the Mediterranean, and by diving year-round, we've seen the gradual changes in the sea we love the most.
A while back, we observed some novice divers during our decompression stop and wondered what it was like for them exploring the seafloor. Are they aware of the changes they're witnessing, or are they unwitting victims of shifting baseline syndrome?
 
Unfortunately, this is what we've been observing for years in the Mediterranean during the summer: a carpet of mucilage in the first few meters of depth.
 
 
 
The video text is based on Greta Thunberg's famous speech at the Youth4Climate event in Milan in 2021. This speech, with its great impact and appealing style, has been used in lots of different contexts. However, to my knowledge, it hasn't been used in relation to the marine world.
When we were editing the images, we thought of the old saying "Once it was all countryside here", which makes you think about the past in a nostalgic way. But even the most overused clichés have a grain of truth.
To paraphrase the cliché, we could say that "Once it was all sargassum and Cystoseira here". These seaweeds, which are common in the Mediterranean, were an important part of the marine ecosystem. There were large groups of Sargassum and Cystoseira, which alternated with Posidonia oceanica bushes and seafloors covered with calcareous algae (maerl). Some of the algae were the size of a fist. The bottoms were also decorated with white gorgonians, which are typical of these shallow waters.
Today, although these species are still present, many of them are difficult to observe and suffer from a thick layer of mucilage covering them. This is now so common during the summer months that only those with long diving experience, or observing the seabed in winter, can tell the difference.
 
When we showed these images to  a non-diving audience, even though we had a marine biologist explain them, they were still pretty skeptical until we showed them exactly the same places filmed  in winter and spring before temperature rises. Then they finally understood what we were talking about:
 
 
 
 
These two short videos show how challenging it is to communicate the changes taking place in the oceans. The warming waters and human activities are affecting underwater ecosystems just as much as they are affecting land ecosystems. But underwater, the problem is even more pronounced. There's a lack of historical data, which makes it tough to grasp how marine environments are changing (again, it's the shifting baseline syndrome). Plus, our direct experience of the underwater world is limited.
Everyone can see the effects of fires in the Amazon rainforest on the news or watch the urban landscape change from the car window. But what's going on underwater?
This is why it's so important to communicate the importance of marine ecosystem conservation in a clear and urgent way. This is the challenge we're up against.
 
Given the lack of inspiration in our recreational diving, we've been wondering if there's somewhere where these changes haven't happened yet. It's probably the so-called "mesophotic zone or twilight zone", which is the bathymetric range in the Mediterranean from fifty to one hundred and twenty meters deep. As depth increases in this zone, plant life gradually makes way for animal life due to the decreasing levels of light. Recently, this zone has become really important for studying how climate and human activities are affecting our oceans. It's a completely undiscovered world that could be home to species that could be valuable resources for addressing problems related to global warming and overfishing in the surface marine zone.
The trailer on our Underwater Italy channel gives you a sneak peek of the mesophotic seafloor of the Mediterranean.
 
 
 
A while back, whenever we talked about our passion for deep diving, the response was always the same: "Why go to the trouble of going deep when there's so much to see here on the surface?" And then, of course, there was the inevitable warning about the dangers of deep diving.
How could they be blamed for that? Back then, going beyond the limits of recreational diving was all about deep air and not much else. As it turns out, today in the Mediterranean, we can only observe intact ecosystems through deep diving, and the tools of technical diving allow us to do so in reasonable safety.
 
However, even in these environments, things are changing. For years, we've been seeing signs of suffering in marine animal forests, even in the shallowest parts of the "mesophotic zone". This shows that the effects of climate change are constantly evolving.
Here's an example of what's happening to some of the seabed in the Tuscan archipelago, between 50 and 70 meters deep.
 
 
 
 
It seems that the damage is not only proportional to depth, but probably also depends on other factors such as currents and the morphology of the seabed. To get a full understanding of this phenomenon, further scientific studies will be needed. As divers, our role is simply to observe.
 
It's crucial that we keep an eye on these changes in marine ecosystems and keep documentation up to date. Every observation and piece of research helps us to understand our underwater environment better. It's essential that we pay attention and put in the effort to adapt our conservation strategies so that we can meet the challenges that climate change poses. It's an ongoing process, but it's vital to preserve the wonders of the sea for future generations.
 
Davide DB

Nauticam Housing for the Nikon Z6 III

Nauticam has introduced its underwater housing for the new Nikon Z6 III. This third-generation midrange full-frame mirrorless camera is the first of its kind to feature a “partially stacked CMOS sensor.” This innovation offers many of the advantages of a fully stacked sensor—like faster autofocus, reduced rolling shutter, quicker continuous shooting, and higher frame-rate video capture—while keeping manufacturing costs lower. In fact, the Z6 III's specifications are approaching those of the Z8 and Z9, boasting 14fps burst shooting with the mechanical shutter and video recording capabilities of up to 6K/60p in 12-bit N-RAW and 5.4K/60p ProRes in 10-bit 4:2:2.
As expected, the Nauticam NA-Z6III housing is crafted to fully utilize the Z6 III’s stills and video features. Nauticam’s signature ergonomic design is evident, with all camera controls strategically relocated to the most convenient positions around the integrated handles. The aluminum housing also includes the company’s integrated vacuum check and leak detection system, ensuring peace of mind before diving.
 
Nauticam Housing for the Nikon Z6 III product page: https://www.nauticam.com/products/na-z6iii-housing-for-nikon-z6iii-camera

Davide DB

The underwater wonders of Halmahera

In April 2024, I took a memorable cruise, with the itinerary covering from Halmahera to Sorong, crossing some of the most iconic dive sites in Indonesia.
 
In this article I will cover the first part of the journey, the one from Ternate to Pisang. I will add a second article focusing on the Raja Ampat and Misool area. 
 
I was onboard the beautiful GAIA LOVE vessel, a beautiful modern motor yacht, purpose built to explore the far-reach regions of Indonesia.
 
This was the itinerary: 
 

 
The embarkation point was in Ternate, a city steeped in history. Once a major spice trading center, Ternate still exudes a colonial charm. Ternate Island is known for its historical sites and stunning beaches.
 
Ternate, Al-Munawaroh Mosque, also called it “Masjid Terapung”, or "the floating mosque" because the structure was built by the sea, looking like floating on it.  
The first dives of the trip were in the Halmahera/Jailolo surroundings, and since the first jump I was delighted by the wonderful and pristine reefs of the region. 
 

 

 

 

 

 

 

 
The highlight of this sites are the big sponges, often covered with white sea cucumbers that give the sponges the effect of a decoration. 
 

Aerial view of one of the Goraici islands  
After Jailolo, we headed to the Goraichi islands, where we stay for 2 days and six dives. The small archipelago of Goraichi lies around 50-kilometres southwest.
 
Another small cay of Goraichi's archipelago  
The locals here have a reputation as environmentalists, and the healthy coral reefs abound with macro marine life, offering fantastic opportunities for photography and night diving. In addition, there are also beautiful coral-covered walls to explore. 
 

 

 
 
Left the Goraichi's, we headed to South Halmahera, where we had another day packed with wonderful reefs and the highlight of a night muck dive in Penambuan. 
 
 

 

 

 
A small village in South Halmahera Then, we left Halmahera, crossing to Pisang.
Pulau Pisang is located around 70-kilometres southwest of Damar Island, where the Halmahera and Ceram seas meet, making it a common stop for liveaboards as they cross to and from Raja Ampat. 
The diving here focuses on a series of underwater ridges that connect the main island to several smaller surrounding islands and feature large pinnacles covered with branching corals. 
 

 

 

I still found wonderful and healty reefs, teeming with life and, apparently, not yet polluted with plastic. 
During all the trip, we had calm seas and good visibility, that granted me the opportunity to get many good shots. 
 
The equipment:
 
For this trip, I used the SONY A7RV, in a Nauticam housing, teamed with the Nikonos RS 13mm, adapted for SONY mirrorless by Isaac Szabo. I am using this fantastic lens since 2014, but with the adaption for Sony, Isaac made a fantastic job, making the lens yet more performing! 
Lighting was granted by SUPE D-pro strobes, with an even and powerul beam that well couples with the great field of view of the RS 13mm. 
 
The Boat:
 
I was onboard the GAIA LOVE, a 40mt. steel motor yacht.
 
The GAIA LOVE in front of Pulau Pisang  
The Gaia Love offers the guest contemporary settings, plenty of space and comfort, and a wonderful experience. I have tried many liveaboards before, but since when I boarded on Gaia I felt like it is a different level from the other boats! As a photographer, I was amazed by the great spaces that are available for the equipment, starting from the gorgeous and climatised camera room, and ending to the personal rinse tank that you havd on the diving deck, just in front of your personal place. 
 

 

 
The experience on board was then completed by delicious gourmet food , and a fantastic crew always ready to pamper the guests.
 
 
The spacious camera room   
Conclusions:
 
The first leg of the trip, covering the Halmahera region, was a great experience for me. It was the first time I dove these waters and I was really amazed for the richness of the reefs and the absolute sense of wilderness, we found maybe a couple of other liveaboards during the journey, and we always were the sole boat diving in any place!
I will cover the second leg of the trip in a next article, please stay tuned.. 
Cheers!
 
Pietro Cremone
 
 
 
 
 
pcremone

San Diego Undersea Film Festival 2024

The San Diego Undersea Film Festival has released the screening schedule of films in competition for 2024.
The screenings will be held at Qualcomm Hall (5775 Morehouse Drive) Friday, October 4th (7pm) & Saturday, October 5th (5:30pm) 2024.
Moreover, many of the competition videos will be available for viewing online on October 7.
 
https://www.sdufex.com/2024-festival-schedule
 
 
Davide DB

Adobe Lightroom Update: 13.5

Another update to Adobe Lightroom - to v13.5
 
I loaded it on to my system yesterday and so far, so good (touching wood)
Main updated features appear to be:
 
- Greater HDR support
- Enhancements to Sync Workflow and Edit-in PS
- various bug fixes, and camera and lens support
 
I know there are forum member who grumble about Adobe's commercial practices, but, from the viewpoint of a LR user, this package just gets better and better.....
 
 
 
TimG

Retra Strobe Firmware Update

Retra have just announced a firmware upgrade to a number of their strobes.
 
Firmware update 2.2 is available for the Pro Max, Prime+ and Pure (4th generation) and firmware update 4.2 for Pro X and Prime X (3rd generation models)
 
Retras announcement explains that: 
 
Both updates include the following improvements:
 
Enhanced optical sensing when using inefficient fiber optic cables Resolution of a rare issue with an unresponsive mode dial Reduced chances of a false leakage alarm in high-moisture environments  
To update your firmware, download the latest version of Retra's app from the respective app stores and follow the instructions inside the Retra UWT App:
TimG

Nikon Z6 and Z7 firmware upgrades: v3.70

Nikon announced today firmware upgrades to v3.70 from 3.60 for the Z6 and Z7 models. As far as I can see this upgrade is for the Z6 and Z7 only and not the Z6II or Z7II - nor the Z6III
 
Nikon's website says the update will:
 
Changed the default values for the following settings displayed when connecting wirelessly: - Encryption keys - The password displayed after the camera's default settings are restored • Fixed an issue that would cause some buttons on the camera and MC-N10 to stop responding when the MC-N10 shutter-release button was used to start or end movie recording.  
Link for the Z6: https://downloadcenter.nikonimglib.com/en/download/fw/534.html
Link for the Z7: https://downloadcenter.nikonimglib.com/en/products/492/Z_7.html
TimG

Canon EOS R1 flagship sports - photojournalism camera Announced

Canon has officially announced the EOS R1, a 24MP Stacked CMOS sensor mirrorless camera designed for professional sports and photojournalism.
 
Key Specifications:
 
 
24.2MP stacked CMOS sensor 100% AF coverage with cross-type sensors Up to 40fps blackout-free shooting (JPEG+Raw) Pre-capture for photo and video (1/2 sec. for photos, 3 or 5 sec. for video) Eye-controlled AF with enhanced eye detection Activity AF mode trained for specific sports Pre-registered person AF priority Blur/out-of-focus image detection In-camera processing with neural network noise reduction In-camera processing with AI upscaling 6K/60p internal Raw video capture DCI-4K capture up to 120fps Canon S-Log2 gamma profile  
The EOS R1 features a 24MP Stacked CMOS sensor that reads out nearly twice as fast as the existing R3. It can shoot stills at up to 40fps and capture 6K/60 Raw video internally.
The Dual Pixel sensor has its sub-pixels rotated in alternate lines, providing cross-type autofocus across the entire sensor region. The "Digic Accelerator" co-processor allows it to handle complex algorithms developed through machine learning for various AI functions.
Additionally, the EOS R1 boasts the largest, highest resolution, and brightest electronic viewfinder ever offered in an EOS camera, featuring 9.44 million dots and 0.9x magnification.
Davide DB

Canon EOS R5 Mark II Announced

Canon's EOS R5 Mark II is the company's latest high-end, full-frame mirrorless camera, now featuring a Stacked CMOS sensor and many autofocus capabilities from the flagship R1 model.
 
Key Specifications:
45MP Stacked CMOS sensor Eye-controlled AF subject selection Up to 30fps continuous shooting with blackout-free viewfinder In-body stabilization rated up to 8.5EV correction, coordinated with lens stabilization Pre-burst capture (JPEG) 8K Raw video capture up to 60p Canon C-Log2 profile Waveforms and false color display AF trained by machine learning for specific sports AI-enhanced post-shot noise reduction or upscaling 1x CFexpress Type B, 1x UHS-II SD card slots  
The Canon EOS R5 Mark II will be available starting August at a recommended price of $4299, which is a $400 increase over the original model (though less expensive in real terms when considering inflation). A kit including the RF 24-105mm F4 L IS USM lens will be priced at $5399.
Davide DB

Negative Space: Find It, Make It, Use It

Negative Space
 
The two main tips on starting underwater photography are Get Close and Shoot Upwards. The idea being that the closer you get, the less the water interferes with the image. By shooting upwards there is a better chance of increasing the impact of subject by separating it from a messy background.
 
Those two elements of guidance, especially the latter, can go a long way to improving image-making. But there comes a point for many underwater photographers where images become all a bit routine - yet another fish portrait?
 
A FRESH APPROACH
 
I hit this plateau some years back whilst running a dive resort in the Lembeh Straits. Just how many xxxxfish/seahorse shots could I take? I wanted fresh ideas. A fresh approach. I wanted to create something that wasn’t a fish portrait. A resort guest, a very talented underwater photographer, pointed me in the direction of using “negative space”.  What?
 
Negative space is “a term used in art to describe the space surrounding a subject. Also called white space, it is typically empty and lacks details as to simplify an image. Negative space surrounds positive space in a work of art”.
 
“Typically empty” and “lacks details” are the key elements. A blank canvas. So how do you find or create “negative space”?
 
A very simple example: if you shoot upwards, into the blue, you have lots of negative space - the whole ocean. Lighting can be tricky but is manageable.
 
SEARCHING FOR NEGATIVE SPACE
 
How about searching for a piece of coral that produces effectively a blank canvas? Corals can come in all sorts of interesting colours, shapes and sizes: think, for example, of Elephant Ear corals with their vibrant orange colour. A blank, orange canvas. Then see what lives there, what lies there, what might come on to that canvas and create a visually striking image against the negative space. What about a colourless rock? Or one covered in red algae?
 
With this technique, you think about the dive in a different way and new ideas emerge: graphical images, images of perhaps only one or two strong and contrasting colours or shapes. The fish portrait starts to disappear and the image becomes one of lines, colours and contrasts. The subject might become an accessory to a strong visual impression.
 
Try a dive where, instead of going hunting for a subject, you go hunting for a good negative space, a canvas, and see what might be there or, with patience, what might show up. Take some time to weigh-up the canvas: angles, colours, contrasts…. you might end up spending the whole dive in only one or two spots.
 
 
CREATING NEGATIVE SPACE
 
Inevitably though some dives sites just don’t offer negative space. So create your own. There are several ways.
 
Using the widest aperture setting, so reducing depth of field, can turn a fussy background into a creamy, indistinguishable canvas. This is using the “bokeh” effect beloved of portrait photographers. This works very well if shooting low and upwards. (I can recommend 45-degree viewfinder for this!) and for subjects that are parallel to the camera sensor rather than being at right angles.
 
Or the opposite: a fast shutter speed will reduce the amount of light the camera sees and turn the background into that classic black canvas. Or maybe not quite so fast and get a mid or dark blue canvas. Rather than shoot at, say 1/100, try 1/250 or the fastest your camera can sync with the strobes. High Speed Synchronisation - HSS - equipped strobes and triggers are a major bonus allowing much higher shutter speeds.
 
Or use a snoot. Snoots are a great way of concentrating light onto a subject. A negative space is then created in the shape of a black or unlight canvas for the areas the snoot does not light.
 
SEE THE DIFFERENCE
 
Hunt for negative spaces, play around with these techniques and you may well find a whole new style of diving and a whole new way of image-making. Images which are strong graphically or in their simple and contrasting colours. And if that doesn’t work, you can always go back to fish portraits.
 
 
A fast shutter speed creates a black canvas
 
A red canvas of algae   A wide aperture creates a blurry background
 
Coral creates a canvas for a graphical image
Snoots create negative space and highlight subject  
 
TimG

Marelux Apollo S Strobe

The Marelux Apollo S strobe has begun shipping world wide. The specs include a link to a site where you can purchase the recommended Sony VTC6 18650 batteries. 
 
Product Features
1. Support TTL, RC, HSS,wireless triggering
2. With a special designed MTL mode, support continuous flashes
3. With 2 fisheye wireless signal sensor units. Plus one fiber port, sensor coverage 160 °. Wireless trigger supports M, MTL, HSS. (TTL ,RC needs fiber)
4. GN.ISO 100 : 33 (tested on land)
5. Scattering angle 110 ° （under water）
6. Temp 6200k 
7. With dome diffuser, scattering angle 120 °, Temp 5500k
8. Full power recycle time 0.9 second
9. Max diameter 70mm, length of main body 140mm,full length including knobs 160mm
10. Weight on land 762 grams (without battery, with ball mount),856 grams with 2x18650 batteries (with ball mount)
11. Weight in water 210 grams (including 2x18650 batteries, including ball mount)
12. Battery: 2x18650 lithium batteries(discharging current equal or over 20A).94 grams total
13. Water proof battery chamber 
14. Full power flash : around 800 times
15. Waterproof Depth : 100m
16. With The Lumilink 2.0 wireless transmitter,synchronize with your camera’s shutter speed up to S1/250.
    In shallow water and strong sunlight, it maintains a reliable connection up to 2 meters.
    In deep water and dim ambient light, the working distance extends to over 10 meters.
    The optical signal for triggering is encrypted, designed to be anti-jam, minimizing interference.
Certified battery procurement channels https://www.orbtronic.com/sony-vtc6-18650-battery-flat-top



Phil Rudin

U39 · Jul/Aug 2024 Now Available

U39 · Jul/Aug 2024
Visit https://www.uwpmag.com to download. 
 
 
Editorial  
Competitions, RIP Martin Edge
RIP Martin Edge 
by Alex Mustard 
News, Travel & Events
2024 Monterey Shootout - August 23-25, 2024 Inaugural Underwater Awards Australasia Imaging Competition Reef Species of the World Bunaken Oasis 2025 Photography Workshop with Alex Tattersall ‘Word on the Reef’ podcast Banda Sea with Grant Thomas WildPhotos, Bristol , Sunday 13th October Dive & More 7-night trip onboard Emperor Serenity Sea Change: The Gulf of Maine, a NOVA Special Presentation New Products 
Backscatter Hybrid Flash HF-1 TTL Converter for Marelux MX-Z8 housing Weefine TG-7 Super Macro Ring Light Kit Ultralight TPK-LMU-06-tripod SeaPal 6’’ Dome Marelux Nikon Z8 Housing Barlus MINI 50mm global shutter camera for high-speed shooting EUGOOCX 40M Waterproof Case for DJI Osmo Pocket 3 SUPE Scubalamp V7K Moive light EDGE MAX Water Housing Nikon Z9 INON X-2 R6 Mark II Housing for Canon EOS R6 Mark II Backscatter Sharp Wide Lens Pro Ricoh announces Pentax WG-8 and WG-1000 waterproof compacts T-Shirt Vintage Ikelite Logo (Natural Cotton) Oceanic+ Dive Housings from Malta Ikelite Housing for Sony Alpha a6600 Anleitung Unterwasserfotografie mit der OM SYSTEM Tough TG-7 Treasures, Shipwrecks and the Dawn of Red Sea Diving by Howard Rosenstein The World of Blackwater by Mike Bartick Competitions
UN Oceans Day winners by Ian Bongso-Seldrup Torbay Splash In, Devon,UK by Tim Allen  Equipment reviews
Nikonos 13mm conversion by Matthew Sullivan  Sony GM wide lenses by Massimo Franzese  Featured photographer
My Journey by Sandra Stalker Techniques
Recovering splits with AI by Steve Miller  Marine life
Lembeh Camouflage by Sam Robertshaw Locations
Providencia Island by Wolfgang Schreibmayer Sint Maartem by Tim Guerney Marshall’s Mysteries 16
by Colin Marshall
My Shot 
by David Fleetham
Parting Shot
by Steffen Schmitt
 
https://www.uwpmag.com
 

RichN

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