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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

Working the subject: focusing on the artistic aspect of underwater photography

While I am mostly a wildlife/nature photographer, one of the most interesting books on photography that I have read in a very long time is "Magnum Contacts Sheets" - link below (and no, I don't get a commission if you buy it 🙂)
https://www.amazon.com/Magnum-Contact-Sheets-Kristen-Lubben/dp/0500292914
 
This book shows the contact sheets of the photos taken by various Magnum photographers in trying to get their shot.   It provides an absolutely fascinating insight into the mindset and creative process followed by some of the best photographers in the world.      One of the biggest take-aways for me was the degree to which these photographers "work" the subject, in terms of exhausting various angles, perspectives and compositions.
 

It took a lot of waiting to get the fusiliers aligned just right
 
While this may not be news to some of the old hands here at Wet/Waterpixels, this is something I have rarely seen divers do in the real world, especially those new to underwater photography.    Regardless of whether they are carrying a Go Pro, a TGx or a housed system, most photographers I see will swim up to a subject, spend a few seconds composing the image and adjusting their lights, take the shot and then swim off to the next subject.     While this may be good for getting clean documentary shots of the subject, the results are generally lacking a little in artistic value.
 
Yes, I did say "artistic value".   As the art of underwater photography evolves, well-exposed, sharp photographs of various marine life (documentation) have become pretty much common-place.      So how does a photographer evolve his/her images to make them stand out?
 
The next step up from simple documentation is showing behaviour/action - and while this requires the photographer to be alert and technically proficient, there isn't necessarily a lot of creative input here either:    the subject does the heavy lifting in terms of making the image.
 

There wasn't much creative input into this image other than the choice of angles - replace the tiger shark with a less interesting fish and this photo would not be very interesting
 
The highest level of photography (IMO) involves creating images where it is the design and composition that makes the image stand out - not merely "look, here is a cool subject".      In wildlife, for example, it is much harder to take a great image of an antelope than a lion - similarly, it is much harder to take a "wow" shot of a coral head or some reef fish underwater than a whale shark or manta.     You have to spend time thinking about what to include and exclude in the image, how to compose the frame, how to light it, etc. etc. 
 
When it comes to artistic design, your first shot is unlikely to be your best shot - atleast not consistently or unless your name starts with "Henri" and ends with "Cartier-Bresson".     It takes time to work through the various compositional aspects in order to find the best image - ie, you need to work the subject.     If you do, you can be rewarded with images that go well beyond the obvious.
 
I'd like to illustrate what I mean with an example of how I went about taking one of the shots I really like.   To set expectations, I have the natural creative talent of a brick and have to take a very methodical approach to taking images.   So this process may seem a little plodding to the creative geniuses out there.   For the rest of us, perhaps it may be helpful.
 
This was a coral head I came across on a dive during a trip to Raja Ampat:

 
I found the glass fish sheltering under the coral to be quite interesting and got into position, angled my strobes, set the exposure and fired off a shot, resulting in this:

 
Ok, it's a shot showing the coral and the fish.  But there really isn't much else to redeem it.    It's lacking colour and pop, and there really is no unifying theme to the image other than "here's a bunch of stuff".    And most that stuff is adding nothing to the image (and would not, regardless of how great the corner sharpness was 😜).
 
So I decided to get a little closer and see what I got.  It took around 10-15 shots from various angles before I found something that looked promising:

 
Ok, now the image has a little more pop and there are no extraneous elements.   But it still seems a little haphazard.      Hmm, maybe having the glass fish appear more synchronised would help?
 
This led to a few more shots (well, 60+, actually) trying to get the pesky fish to be aligned the way I wanted.    Some of them:

 

 
There were quite a few other variants of the above, with the fish facing one way or another.      All were pretty nice but from a design element, there was something lacking - these images were still not giving me a sense or scale of being on an amazing reef in Raja Ampat.    While nicer than the earlier images, these were still simple "look, here's some fish" images.
 
So I decided to go a little wider to see if that would help capture the essence of the underwater world a little better.

 
Ok, now this felt better.   The blue water on the other side of the coral balanced the glassfish a little more, and gave a greater sense of the reef, and I was quite pleased with the image.    But then I started thinking about how all the visual elements were only on one side of the coral whereas the blue water was completely lacking in any point of interest.     Some more shooting and gesturing to my dive guide resulted in this:
 

Bonus points to the coral grouper for a serendipitous appearance
 
This (to my eyes, at least) felt like the best photo of the bunch - a good 100+ exposures after the initial image.      I could have stopped after the first few images, I could have stopped after 20-30 images but by spending 30+ minutes in this one location, I found a photo that truly appealed to me.
 
Is it perfect?    Of course not.   There is perspective distortion with the diver that could have been mitigated by having the diver move away from the edges.   I'd have also have liked him to be holding a torch.  That's a testimony to the fact that despite the time I spent, I could have always worked the subject more.  
 
So what's the takeaway here?    Pretty simple:  too many divers spend their entire dive swimming around, taking a couple of photos here and a couple of photos there.   That's perfectly fine when you are starting out and is a good way to hone your technical skills and build a good foundation of documentary images and also action photos.
 
But as your skills evolve, a good way to improve the quality of your images is by becoming more selective.  Try to get a few really great shots as opposed to a large number of average ones.   And in order to achieve this, shoot fewer subjects - but the subjects that you do shoot, shoot them really well.   By that, I don't mean just blindly fire away and hope for the best.  Instead, take a deliberate approach to positioning yourself, your perspective and exposure/lighting.   Think about different ways you can compose the image.   Then review the results, decide what could improve and repeat.
 
Starting thinking like a photographer who happens to be on scuba - as opposed to a scuba diver who has a camera.
   
Sure, this isn't always easy to do: unless you have your own private guide or are diving with a group of photographers, you rarely have the ability to spend as much time as you prefer on a subject.   But if your goal is take the best possible images, you will have to find a workaround to that.   Most dive centres are generally very receptive to (and slightly dread!) underwater photographers, and are willing to work with them in terms of guides, groups, etc.     Make that extra effort and you will find the quality of your images improves significantly.
 
Footnote:  the series of images above is not a statement about how awesome the final image is.   I like it a lot (and I shoot to please myself), but I have photographer friends who aren't that impressed by it (which is perfectly fine).     The goal is to illustrate the approach to working a scene, and hopefully, this sequence illustrates it well.
 

Sometimes, no matter how much you try, the animals don't cooperate.   I spent a lot of time working through various compositions till I found one that appealed to me - all it needed was an appropriate subject swimming through at the right location.   Despite waiting for almost 30 minutes, I didnt have any luck better than this.   
vkalia

Nikon Self Service Repair Portal

In a move likely to be embraced by DIY camera enthusiasts, Nikon has introduced a new portal providing repair manuals and parts for self-repair of their cameras. This represents a notable change from Nikon's previous stance of not supplying spare parts to independent repair shops.
The new portal offers consumers detailed information on repairing Nikon cameras, including step-by-step instructions, troubleshooting guides, and comprehensive parts lists. Currently, only the 28-400mm F4-8 VR lens is featured.
This initiative is a positive development for the right-to-repair movement, empowering Nikon users to fix their own devices. However, it's crucial to understand that camera, and particularly lens, repairs can be extremely intricate. Nikon advises that only those confident in their skills should undertake these repairs. I also have some reservations about lens repairs without specialized alignment tools, but a thorough review of the repair manual might clarify these concerns.
 
Nikon repair portal is here:
 
https://parts.nikonusa.com/
 
Nikon Parts home page has this disclaimer:
 
 
Davide DB

Divers in the image: Underwater Modelling

A wide-angle image of a reef, a wreck, a school of fish or pelagic can look pretty spectacular.  Adding a diver is even better for that Telling-A-Story type shot  The diver often gives an idea of scale, usually confirms the scene is underwater, and makes the picture one to which non-divers can generally relate.
 
The problem can often be, however, “the diver”. Viewed dispassionately, the diver may sometimes actually detract from the image. Legs and fins splayed all over the place, dangling gear, eyes closed, bubbles over the diver’s face, weird positions….
 
How to get over this? The more underwater photographers develop their skills, the more they realise that time, planning and effort are rewarded with better results. Of course you can go out, shoot away and get lucky. We’ve all been there. But to create a high quality image regularly takes patience and effort.
 
So, the diver in the shot? Same approach: patience and effort. For starters, getting the right diver as a  model: comfortable in the water, excellent buoyancy skills, patient, calm…. unflappable, willing to persevere.  Sad to say, but generally good-looking and reasonable physique might be considerations too. Then, unless you are shooting radical chic or the 1960s look (love those oval masks!), wetsuits that don’t have holes, gear that looks like it was probably bought in the 21st century.
 
Brief the diver: how you plan to shoot, the type of image you are hoping to achieve and against what background. It helps, of course, if you have dived the site before. Even better if the model has too. Do you want the model as background: just helping put the scene into a context? Perhaps in the background exploring the wreck/reef, pointing a torch to highlight a feature? Or a more close-up portrait-type shot?
 
Agree some basic signals: up, down, left, right, blow bubbles with long, slow exhales, smile (honestly!), repeat, repeat again, stop, slow, go backwards, get close, get further away. I’m sure you can think of others. My partner is excellent at various other signals with which she likes to respond. These normally involve fingers - often a raised middle finger.
 
And so to the water. Buddy check of course. Ripping currents and serious drop-off walls are reasons for extra caution. The safety of you and the model are paramount. So if either of you are struggling or uncomfortable, there’s always another time, another place and another dive.
 
But assuming all is well, find the type of location that you have agreed and let the fun begin. Indicate to your model how you’d like them positioned against the backdrop; the direction of travel; carrying a torch which is switched on; and what point do you want them to stop or is it a swim-by? Which way do you want them to look - at the camera (hmmm, maybe not), at the reef. Maybe though you want to be able to see their eyes which might require some vague contortionist movement. Slow exhaled bubbles add drama and context.
 
No doubt it will take several attempts. Fins in horrible positions, eyes closed, bubbles in front of the mask, pesky fish in front of the eyes, wrong angle…. (see why patience and perseverance come in?). So back off the reef or wreck a little, review what you have with your model, give them a welcome breather - and, probably, do over again. And again. And, probably again. When you get the images home and on screen, you will see just how many are not quuuuuite right.
 
But with luck and effort, you should come home with some images that work. And, fingers crossed, that your model likes too - especially if you want to use their services again. Do give them copies. If it’s been an especially successful or challenging day why not print and frame a copy of a significant image as a thank you? If you’d like to try and sell the images, ask the model if they’d sign a model release which then makes commercial sales feasible.
 
Adding a model to an underwater image helps tell the story of what you are seeing. But it needs careful planning, execution, patience and lots of signals. Even if they are a single middle finger.
 
Top Tips for models:
breathe with a slightly tilted head so bubbles move away from the mask straightish legs with one leg slightly bend at the knee. This creates length and elegance. tuck away gear so nothing is dangling big logos/brand names home create intellectual property issues in trying to sell the images de-fog mask exhale slowly - a long bubble stream looks good tuck away long hair to avoid weird ocean-created hair arrangements or hair in front of of the mask



TimG

Tiny concealed gem: Providencia Island, Caribbean

I became aware of Providencia island as a diving destination, when I asked in Scubaboard for a Caribbean diving destination that still offers intact reefs and sealife and is not overrun by tourism (my Caribbean diving experience was, so far, limited to a stay in the early 90ies at Grand Cayman and two stays on the Florida Key Islands around 2000). Instigated by a very positive recommendation, Lisi, me and two friends (Franz and Gerdi) headed towards Providencia Island in March 2024...  
The tiny island belongs politically to Columbia, but is located in the western Caribbean approx. 150 km off the coast, at the geographical height of Nicaragua. It is located close to another, bigger, island, San Andres and belongs to the San Andres archipelago.
Before I start to report about this remarkable diving and UW-photography journey, it is important to state that this is certainly NOT a diving destination for everybody. Do not attempt to undertake this trip, unless you are prepared to deal with the toils listed below, otherwise the trip may become a nightmare:
(i) Arrival and departure to and from Providencia is very tedious: For us Austrians this means a flight from Vienna to Paris, followed by a long flight from Paris to Bogota, the capital of Columbia. After arriving at Bogota in the late evening and spending the night in a hotel near the airport, we took a flight from Bogota to San Andres. After spending another night in San Andres, we headed finally to our destination, Providencia. Satena, a small domestic airline, operates the route from San Andres to Providencia with small turboprop aircrafts that remind me at daring bumblebees (especially landing and taking off on the small landing strip on Providencia is an adventure for itself). The check-in luggage is restricted to 15 kg (), but more luggage is allowed upon extra payment, so no problem. The problem was that three suitcases got lost, already on the flight from Paris to Bogota and these delayed suitcases are not automatically transported to the final destination. It took us three days, a lot of efforts and nerves, numerous phonecalls and the dedicated help of Nelson, an employee of a concurrent domestic airline at San Andres, until we had our complete photographic equipment on site (we were three UW-photographers). Departure from Providencia was the same, but in reverse order, but this time there were no problems with luggage. Just count with three days for each direction...
(ii) Tourism on Providencia island is simple. There has been once a small, single hotel with enclosed PADI diving base on the island, called "Sirius". The complex had been completely destroyed by Hurrican Iota in 2020. Since then, only very simple accomodation is available in private "Posadas" on bed and breakfast basis. There is no "cold" or "hot" water, it comes just at the temperature as it is available at the container on top of the building. Some apartments have a gas stove for preparing food. In SW-Bay (the biggest beach in Providencia) there was a a single and small restaurant ("Divino Nino") that offered delicious food for little money. For the spoiled ones amongst us, the choice between fish, shrimps or lobster may be a little bit repetitive, howsoever...
 
I can say that the inhabitants of Providencia are very relaxed and exceptionally friendly to foreigners. Spanish is the official language, but they speak Creole amongst them and many know English. Few tourists from Colombia come to spend simple, nature bound, holidays. In addition to the general tourists, there are few divers, mostly from Colombia, but also others from all over the world (Providencia is not a complete insider tip any more). In the two weeks we stayed at Providencia, we met divers from Colombia, Australia, Belgium, Canada, France, Germany and USA. Daniel, the busy and helpful owner of "Sirius Diving" has established a new replacement diving base, located close to the original, but destroyed, one (there are plans to reestablish hotel and original diving base, but the opening day is uncertain...).
 
The small island is located in Caribbean high seas and is surrounded by a massive reef. The diving spots, both on the outside as well as inside the reef, are reached by small boats. Visibility in "Carribbean blue" waters is good, I estimate 20m to 25m. The reefs are typical for the Carribean, with few stone corals, but plenty of horn and fan corals and impressive sponges. They looked completely intact to me, I could not see signs of bleaching or pollution (some hard corals were broken, presumably from the hurricane).
 
Here a facette of the typical reefscape at the outer reef. While I was trying to adjust flashes and camera to make a photo of the reefscape and the three langusts, a juvenile reef shark swam into the frame and destroyed my composition .
Sony A7R5, Canon 8-15mm @15mm, 140mm domeport, 1/160s, f/9, ISO 250, 2*Z330.

 
The highlight for UW-photographers on Providencia island is certainly the Caribbean reef shark (Carcharhinus perezi). They live (still) in high numbers around the island. This species appears to be the Caribbean counterpart of the grey reefshark, that lives in the Indopacific (Carcharinhus amblyrynchus). They are "just" reefsharks, but some specimen can grow to quite formidable size (I estimate the individuals that we encountered to measure between 1 m and 2.5 m). The photo shows Gerdi taking a photo of a Carribbean reef shark at the outer reef:
Sony A7R5, Sony 28-60mm @28mm, WACP-C, 1/200s, f/9, ISO 250, 2*Z330.

 
 
These sharks are anything but shy and approach the divers as soon as the divers come close to the drop off at the outer reef (they are not fed or baited by the diving base). From few up to a dozen of these animals would encircle the divers during the entire dive and make outstanding motifs for UW photographers.
Reef shark against the reef :
Sony A7R5, Sony 20-70mm @20mm, 170mm domeport, 1/160s, f/9, ISO 400, 2*Z330.

 
The Carribbean reefsharks at Providencia island are curious and investigative. Seldom but sometimes, they would come extremely close, almost touching the domeport, in order to check you out. At a few cm distance they would haul off and continue to encircle the divers at greater distance. Only once during the entire period of two weeks, a shark was exerting threatening behaviour against me, i.e. lowering his head and starting jittering with his pectoral fins just in front of me at arms length (I believe that this shark was feeling restricted, as I was positioning myself directly in his swimming direction to get a frontal photo, and Lisi, who was beside me, also taking photos, and the close coral wall dropoff - all contributed to the restriction). After Lisi and me swiftly retracted (better listen, when such an animals wants to tell you something ), the shark continued to swim speedily back and forth along the reef edge, repeatedly and fast opening and closing its mouth. At this point I should say that Carcharhinus perezi is considered harmless to humans, but attacks on humans after neglecting such threatening behaviour have been reported.
Reef shark checking me out and hauling off afterwards:
Sony A7R5, Sony 28-60mm @60mm, WACP-C, 1/160s, f/9, ISO 400, 2*Z330.

 
A wreck, "El Planchon", is located at the bottom of the coral reefs surrounding Providencia island. Our guide, Carol, told us, that it had been a Colombian ship supporting German submarines with replenishment of all kind during WWII. When the end of the war was close, captain and crew decided that it is time to go home and sunk the ship upon translating their thoughts into action (happy people!). Today the wreck is home to triggerfish, groupers and impressive reefsharks as guardians.
 
Grouper at "El Planchon":
Sony A7R5, Sony 28-60mm @60mm, WACP-C, 1/200s, f/11, ISO 200, 2*Z330.

 
 
The diving at Sirius diving base is typically done with the first dive in the morning at the outer reef and, after sufficient surface interval, the second dive in shallow and sheltered areas within the reef. These areas provide shelter for impressive schools of snappers, grunts and sweetlips, juvenile fish of all kind, puffer fish, nurse sharks and other kind of marine life (we even ecountered a group of friendly purpoises, but they were too far away to take reasonable photos in good quality). 
 
Mixed school of bluestriped grunts (Hemulon scirius) and French grunts (Hemulon flavilineatum ) at Tete's place:
Sony A7R5, Sony 28-60mm @28mm, WACP-C, 1/160s, f/11, ISO 160, 2*Z330.

 
Mixed swarm of French grunts (Hemulon flavilineatum) and squirrelfish (Holocentrus atcensionis). A school of other fish passes by in the background.
Sony A7R5, Canon 8-15mm @15mm, 140mm domeport, 1/160s, f/16, ISO 320, 2*Z330.

 
 
Closeup of a shool of grey grunts (Haemulon album):
Sony A7R5, Sony 20-70mm @70mm, 170mm domeport, 1/200s, f/10, ISO 100, 2*Z330.
 

 
 
West Atlantic trumpetfish (Aulostomus maculatus), well camouflaged in a gorgonian octocoral:
Sony A7R5, Sony 20-70mm @70mm, 170mm domeport, 1/160s, f/11, ISO 100, 2*Z330.
 

 
 
 
I must admit that I was so impressed by the variety of WA (and fishportrait) motifs (first of all the charismatic Charcharhinus perezi, that were an abundant motif at Providencia and whom I, personally, met the first time in my life), that I did not use my macro setup for even a single dive. Instead I was using WACP-C/Sony 28-60m, Canon 8-15mm and Sony 20-70mm for all dives (in this order). The period of two week diving was too short and it would have been better to stay for another, additional, week to exploit the beautiful macro motifs, including snails and shrimps, that we encountered...
As a proof here a Flamingo tongue snail (Cyphoma gibbosus), feeding on gorgonia, taken with the fisheye lens:
Sony A7R5, Canon 8-15mm @15mm, 140mm domeport, 1/160s, f/16, ISO 100, 2*Z330.

 
 
 
The scubadiving holidays at Providencia island were an exceptional experience for all four of us, with font memories that will endure...
Architeuthis

Marelux Apollo III/III 2.0 MTL feature

I have been ask several times about what the MTL mode is on the Apollo III/III 2.0 strobes and have attached some real world examples. MTL is the continuous shooting mode up to 10 frames a second using fiber optic cords. The attached five images were taken with the Sony A7R V set to five FPS, at ISO-400, F/9 at 1/160th sec using the Laowa AF 10mm F/2.8 with the Marelux housing, 230mm dome and two Apollo III strobes with fiber cords. The time stamp for all five photos is April 17, 2024 at 12:21:46PM. All five during the 46th second. At 5 FPS you can shoot from power levels #1 to #9. At power levels #10 and #11 it drops to 4 FPS and at #12 the highest setting it goes to 2 FPS.   Using UW Technic flash trigger.  




Phil Rudin

Canon Announces New EOS C400 6K Full-Frame RF Mount Cinema Camera

MELVILLE, N.Y., June 5, 2024 —Canon U.S.A. Inc., a leader in digital imaging solutions, is pleased to announce the new Canon EOS C400 cinema camera, with a native RF-mount and full-frame, back-illuminated stacked CMOS sensor, designed with the film and live production markets in mind.
For the first time in the cinema EOS system, the Canon EOS C400 camera features a newly developed 6K full-frame, back-illuminated CMOS sensor, with triple-base ISO, allowing the camera to deliver stunning imagery in a wide range of lighting conditions. The base ISOs of 800, 3200, and 12,800 maximize the full dynamic range of the camera.
An additional benefit of the EOS C400 camera’s sensor is the support for the next generation of Canon’s Dual Pixel CMOS Autofocus, Dual Pixel AF II. The back-illuminated stacked positioning offers better light-capturing efficiency, which widens the area of the sensor that can be used for autofocusing. The sensor also empowers faster readout speed, as well as better 4K image quality from 6K oversampling.
The EOS C400 camera records in 6K full frame up to 60p in 12-bit Cinema RAW Light. By changing the sensor mode, the camera can record 4K RAW up to 120fps and 2K RAW up to 180fps. This is all recorded in Canon’s latest iteration of Cinema RAW Light, which provides three different recording modes to choose from depending on your file size preference and workflow.
Other recording options include the Canon-developed, industry standard XF-AVC codec which can be recorded in 10-bit 4:2:2 with oversampling from the 6K sensor, helping to create rich detail and smooth imagery, at frame rates up to 120P, without the need for cropping the image from the sensor. Canon is also introducing two new recording codecs into the EOS C400 camera, XF-AVC S and XF-HEVC S. These formats feature an easy-to-manage naming system and folder structure, while recording in the familiar MP4 format and preserving metadata.
All of these options are recorded to the camera’s CFexpress slot with sub-recording and proxy options available to the SD Card slot, which allows for simultaneous recording even when shooting RAW.
 
https://www.usa.canon.com/shop/p/eos-c400
 
 
 
Davide DB

Adobe Lightroom Updates

Adobe have announced upgrades to Lightroom with Classic moving on to v13.3.
 
Improvements to Lens Blur and an AI-supported "Generative Remove" feature seem to be the main changes. Additionally there is a new Filter by Exported Images option as well as upgrades to Sync Performance and Tethered Shooting with a Sony. Adobe's list of changes is below.
 
I loaded the update on to my Mac Studio this afternoon and all seems fine......
 
 
 
 
 

TimG

U38 · May/Jun 2024 Now Available

U38 · May/Jun 2024
https://www.uwpmag.com
 
  Editorial  
Lens nirvana, Hybrid history, Concentration & Blackwater business News, Travel & Events  
Baja Mexico Sardine Run & Diving Cabo Pulmo Bali Workshop With Alex Tattersall Bikini Atoll – Pacific Master  Underwater Portrait Photography Workshop Raja Ampat Underwater Photography Workshop  with Tim Laman and Zafer Kizilkaya New Products 
Nauticam NA-S5II for Panasonic S5II Telesin GoPro Dome Port housing Hands On With Reef: Nauticam NA-Z8 & Nikon Z8 Isotta Z8 housing for Nikon Z8 Insta360 X4 Invisible Dive Case Weefine WFH-TG6 PRO housing Nauticam viewfinders SeaLife ultra-wide angle dome lens Seacam Z8 housing Sea Frogs A7SIII  Salted Line  Kraken KR-S160 Flash SeaLife SportDiver Ultra Housing for Smartphones Ikelite housing for Sony ZV-1 II Boxfish Luna ROV Plankton: A Worldwide Guide Field Guide to Sharks, Rays and Chimaeras of the East Coast of North America Product reviews
Angled relay for Nauticam EMWL by Nicolas Remy Backscatter Hybrid Flash by Jim Decker AOI GoPro lenses by Peter Rowlands  Laowa 10mm lens by Phil Rudin Locations
Philippines by Michel Braunstein Events
Mermaid Championship by Nicholas Kouvaras  Marine life
Photographing Humpbacks by Tanya G. Burnett & Kevin Palmer Techniques
Blackwater photography by David Fleetham  Interview
Andrey Ryanskiy by Colin Marshall Marshall’s Mysteries 15
by Colin Marshall My Shots
by David Fleetham Parting Shot
by Peter Rowlands  
https://www.uwpmag.com
https://www.uwpmag.com

RichN

TAMRON announces development of first CANON RF mount lens

Product Features

Fast-aperture ultra wide-angle zoom lens
Compact and light weight
Outstanding optical performance
MOD of 0.15m (5.9”) and maximum magnification ratio of 1:4
High performance autofocus RXD stepping motor for both still and video use
[1] Di III-A: For APS-C format mirrorless interchangeable-lens cameras
[2] The full-frame equivalent of 17.6-32mm.
 
Tamron Co., Ltd. announces the development of TAMRON’s first CANON RF mount lens, 11-20mm F/2.8 Di III-A[1] RXD (Model B060), an ultra wide-angle zoom lens for APS-C mirrorless cameras. The lens is expected to launch within 2024.
 
TAMRON’s lenses for mirrorless interchangeable lens cameras are highly regarded for their combination of superior optical performance and compact, lightweight designs. After receiving many requests from customers to offer lenses compatible with the CANON RF mount, TAMRON made the decision to develop a lens for the CANON RF mount under a license agreement.
The 11-20mm F2.8 is a fast-aperture zoom lens covering a focal length range from ultra wide-angle 11mm to 20mm[2], with a maximum aperture of F2.8 across its full range of focal lengths. With a surprisingly compact and lightweight design for a fast, ultra wide-angle zoom lens, the lens feels well balanced when attached to a compact APS-C mirrorless camera body, making it ideal for regular use. Despite its small, lightweight design, it also delivers high-level imaging power with an uncompromising optical design. Wide macro shooting is possible at 11mm with an MOD (Minimum Object Distance) of 0.15m (5.9”) and maximum magnification ratio of 1:4, and its stunning close-range shooting performance enables creative use of perspective at the wide end. The lens also incorporates an AF drive system with an RXD (Rapid-eXtra-silent stepping Drive) stepping motor unit that is remarkably quiet. The lens accurately captures not only still images but also video. It is also highly practical, with Moisture-Resistant Construction, Fluorine Coating, and other features designed for outdoor shooting, enabling users to easily enjoy the high image quality of this ultra wide-angle large-aperture F2.8 lens under a range of conditions.
 

 
Davide DB

Laowa 10mm F/2.8 AF lens

The TIPA 2024 awards were announced today in the US and among the winners for best camera equipment of the year is Laowa's 10mm F/2.8 rectilinear full frame AF lens. Laowa announced this as an architectural, astro, landscape and portrait lens but it is also a fantastic underwater photography lens with an AOV of 130 degrees. 
Attached are just a few photos from last weeks trip to the North Florida Springs. The 10mm is paired with the Sony A7R V in a Marelux housing with the Marelux 230mm dome port and two Marelux Apollo III strobes. Shot from ISO 400 to 640, most at F/13 and from 1/100th to 1/160th sec.





Phil Rudin

Panasonic Firmware Update for LUMIX S5II and S5IIX

Panasonic Announces Firmware Update to Improve the Shooting Experience and Sharing Functionality of LUMIX S5II and S5IIX.
 
S5II Firmware Version 3.0 / S5IIX Firmware Version 2.0
 
Enhancement of Production Workflows

New Native Camera to Cloud Integration with Adobe’s Frame.io 
Compatibility with Frame.io Camera to Cloud is now supported, enabling images and videos to be automatically uploaded, backed up, shared, and worked on jointly via the cloud. Recorded content is sent to the Frame.io platform through an internet connection via Wi-Fi or USB tethering, enabling seamless sharing of captured photos (JPEG/RAW) and Proxy videos. This empowers creators to receive remote real-time feedback during capture and enables collaborative editing among production teams using their preferred creative software. Frame.io Camera to Cloud streamlines the workflow from shooting to editing, enhancing overall efficiency in the creative process.

Proxy Video Recording 
This new feature records a low bit-rate proxy file when recording video. Simultaneously recording a proxy file that is linked with the original video recording enabling a faster delivery from production to post.
  Improved Basic Performance

Real-time Auto-focus Recognition (Animal Eye, Car, Motorcycle Recognition) The improved real-time auto-focus system enhances the highly accurate Phase Hybrid auto focus of the S5II and S5IIX, efficiently recognizing people among multiple subjects. It also features an animal eye recognition function, to focus on and follow animal eyes, as well as a car and motorcycle recognition function, which is ideally suited for shooting motorsports.

Enhanced E.I.S. Performance
In addition to Standard, High mode is newly added to E-Stabilization (Video) function, which electronically corrects large shakes when shooting on the move. A perspective distortion correction has also been added to correct distortion that tends to occur during video shooting when using a wide-angle lens. Combined with Active I.S. Technology, it is now possible to achieve even more stable footage when shooting on the move.
 
Expanding Creative Options

SH Pre-burst Shooting
The newly introduced SH pre-burst shooting function records bursts before shooting begins. When set to the SH PRE mode, the camera begins burst shooting from the moment the user half presses the shutter button, allowing retroactive burst shooting up to the moment the shutter button is pressed down fully.  
Hereafter a couple of reviews:
 
 
 
 
Davide DB

Using the EMWL Lens on a Blackwater Dive

Disclaimer:
 
Thanks to Pietro Cremone, the Italian distributor of Nauticam, I had the opportunity to try out this interesting lens on a recent trip to Anilao for blackwater dives.
 
Blackwater diving is a form of night diving that involves exploring open waters off oceanic coasts. Unlike traditional night dives, which take place near the shore or in shallow waters, blackwater dives occur in deep waters, typically offshore over deep ocean floors. During these dives, divers immerse themselves in dark waters, often with depths exceeding 100 meters. A bright buoy connected to a variable-length line (20-30 meters) is placed in the water, to which very powerful torches will be attached.
 
The lights are used to attract plankton and marine creatures to the surface, offering divers the opportunity to observe these unique creatures up close and appreciate their beauty in a completely different environment. Additionally, the lights serve as an optical reference for divers as they drift with the currents alongside the buoy and line.
 
Blackwater diving can be an extraordinarily fascinating experience, but it requires adequate preparation and some experience with night diving. Divers must have excellent buoyancy control and perfect self-management skills, including with their photographic equipment.
 
In recent years, these dives have become very popular, especially among underwater photographers, who can capture stunning images of animals that normally inhabit oceanic depths and, thanks to currents and the upwelling phenomenon, ascend towards the surface. Among these creatures, one can find zooplankton, larval stages of many fish species, mollusks, shrimp, etc., and even rare encounters with Paper Nautilus or the Blanket Octopus.
Locations for this type of diving are scattered around the world, and the most famous ones with dive centers with greater experience can be found in: Anilao in the Philippines, Hawaii in the USA, Palm Beach in the USA, Lembeh in Indonesia, and Cozumel in Mexico.
 
For photographic equipment, it is recommended to use a macro lens with a 1:1 ratio and a good field of view (ideally 50 or 60 mm equivalent full frame), with good AF speed, two strobes, and a focus torch positioned on the housing to assist the AF system of the camera body, and a narrow-beam torch for searching subjects, which can also be positioned on the housing or held by hand.
For photographers using Nikon or Olympus, they are fortunate to have two excellent lenses available: the Nikon AF-S 60mm f/2.8 G ED Micro and the Olympus M.Zuiko Digital ED 30mm f/3.5 Macro, which are perfect for Blackwater photography.
However, for Canon and Sony photographers, it is unfortunately more complex because the available optics have very slow AF (Sigma 70mm f/2.8 DG Macro Art and Sony FE 50mm f/2.8 Macro), and in Blackwater, it can be frustrating to try to focus as we really have to seize the moment: subjects are free in the water and besides drifting, they move constantly, making it much more difficult to capture correctly.
Using more performing lenses like Sony FE 90mm f/2.8 Macro or Canon 100mm f/2.8 L Macro unfortunately becomes more complex, even though they have a good AF speed, due to the narrow field of view.
 
An interesting solution to solve this problem is provided by Nauticam. In recent years, Nauticam has been investing heavily in "wet" optics, such as the WWL and WACP-C series, to name a few. In 2020, Nauticam launched a new system of wet optics on the international market, the EMWL series (Extended Macro Wide Lens).
The EMWL is designed to work with various macro lenses and is optimized for both photos and videos. It is a "wet" mount design so that the lens can be attached and removed underwater. This increases the versatility of the entire system. EMWL is a modular system composed of three main parts: the focusing unit, the relay module, and the lens. Plus, an accessory for quick mounting. On the Nauticam website, you can find a detailed description of its features and the modules that compose it. 
 
Being a Canon user, I have strong limitations on the lenses to use in BW, and I thought this lens could help solve them.
The setup I used is as follows: Canon R7, Canon EF-S 60 macro, Nauticam NA-R7 housing, N100 flat port 74, Reverse Angled Viewfinder 32º, EMWL Focusing Unit #1, and 60° objective lenses.
 
Pre-Dive Considerations
 
It is important to note that the EMWL is a lens designed for underwater use and must be immersed in water to function properly. When testing the flash before the dive, it is necessary to get very close to the object, about 1 cm, to make the camera's autofocus work. If you photograph in the air, the autofocus will not focus on anything; immersion of the lens in water is essential. However, at a distance of 1 cm from the lens, autofocus works and allows testing the flash dry.
 
The EMWL is composed of heavy optics. On the Nauticam website, you will find tables for each part of the EMWL. In my specific configuration, the Focusing Unit weighs 728g, the Objective Lens 60° 378g, the Reverse Viewfinder 700g, and the M77 to BM II 122g, for a total of 1,928 grams to add to the normal configuration without a 45° Viewfinder. In my case, I use the normal 45° Viewfinder and should subtract the weight of mine, which is about 480g. So, compared to my base configuration, I add a weight, out of the water, of 1448g. I emphasize this point because on my first dive, I didn't worry at all about the additional weight, but using the camera with this extra weight was a bit more complicated in normal BW use. I recommend neutralizing this additional weight as much as possible with floats or floating arms.
 
In-Water Use
 
With a 60° field of view, framing subjects becomes significantly easier, which is definitely the strong point of this system. This allowed me to quickly and better frame the subject through the Viewfinder. Locating and focusing on the subject was significantly simpler with this lens, allowing me to track it and get as close as possible.
 
The autofocus was not affected by the additional lenses of the Nauticam EMWL system. The focusing systems, single-point AF or AF tracking, worked perfectly. I did not notice any differences compared to normal use. I only experienced a worsening when using the red color of the focus lights. With subjects more sensitive to white light, such as Squid or Paper Nautilus, I usually use only the red color of the focus lights. However, with the EMWL, changing the color of just one focus light from red to blue or white, the autofocus work perfectly again.
 
The Objective Lens 60° has the ability to adjust the minimum focusing distance in 3 modes; surely the 55mm-infinity adjustment is preferable for blackwater photography. Searching for the minimum focusing distance, especially for smaller subjects, framing becomes more complicated, but I noticed a greater magnification of the subject. Comparing notes with Pietro, he confirmed that the 60° lens can achieve a magnification of 4x at the CFD, and this is another advantage of this system. Obviously, for smaller subjects, it is always more difficult to get a good shot, but with this lens, we could photograph other subjects that we normally give up on because they are too complex or have obtained poor results due to the 1:1 ratio of the lenses used up to now.
 
Another impression I had is that the lens provides a greater depth of field. Reviewing the shots taken of a male Paper Nautilus attached to a tunicate, I noticed that a good part of the tunicate and the Paper Nautilus were well in focus. However, I did not have many similar shots during this test session.
The only "negative" feedback I can provide from my experience using it in blackwater is that occasionally, on slightly overexposed shots and with highly reflective subjects, the lens produces a white halo around the subject. In the shots taken, the number of files with this issue was negligible, but I felt it was important to mention it.
 
Final Thoughts
 
I was thrilled to use this system, and I would like to thank once again the Italian distributor of Nauticam (Fotosub-shop.it - Pietro Cremone) for giving me the opportunity to test it in black water. Certainly, this system requires various trials in the water by the user, but once the right balance is found, it can provide incredible images of both typical subjects in blackwater and smaller subjects. The cost of the complete configuration may not be within everyone's reach, but as we know, our hobby is expensive, and we do enjoy expensive toys. If you have the opportunity to purchase it, you could overcome the limitations we have with the lenses used in blackwater. If I have the chance to try it again, I would like to use the 100° lens for larger subjects, such as a Blanket Octopus (if they are easy to find), a beautiful female Paper Nautilus, or a large jellyfish; it could be very interesting, considering also that changing lenses can be done underwater, being very careful not to let it slip, though... I will keep you updated.
 
 
Hydrozoan Jellyfish - 1/320 F14 ISO 320
 
 
Tube anemone larva - 1/320 F14 ISO 320
 
 
Flounder larva - 1/250 F16 ISO 320
 
Mantis shrimp larva - 1/250 F16 ISO 320
 
Crab larva - 1/250 F16 ISO 320
 
Unidentified - 1/250 F16 ISO 320
 
Juvenile benthic octopod on a salp - 1/250 F20 ISO 320
 
Juvenile benthic octopod on salp - 1/250 F22 ISO 320
 
Seahorse, Hippocampus sp. - 1/250 F18 ISO 320
 
Dotterel Filefish - 1/250 F20 ISO 320 
 
Veliger larva - 1/250 F16 ISO 320
 
Shrimp larva - 1/250 F16 ISO 320
 
Mantis shrimp Larva - 1/250 F18 ISO 320
 
Fish larva - 1/250 F16 ISO 320
 
 
Giancarlo M.

Sony firmware updates: a1, a9III, a7SIII and a7IV

Sony have announced major firmware upgrades for the a1, a9III, a7SIII and a7IV
 
According to the Sony press release, firmware v2.00 for the Sony a1 is perhaps the most extensive. 
 
The Sony a7SIII and a7IV are upgraded to v3.00.
 
The Sony a9III will be upgraded to v2.00 which is expected to be available from 9 April. However if you live in the USA, availability is from April 9.
TimG

Nikon firmware update: Nikon Z6ii and Z7ii

Nikon have announced firmware updates to their Z6ii and Z7ii cameras
 
According to the Nikon update page:
 
Changes from “C” Firmware Version 1.61 to 1.62  
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 the following issues: - In some cases, tapping the monitor would not move the focus point to the selected position. - In some cases, the camera would take time between shots if Camera Control Pro 2 was used to take photos.  
TimG

Nikon Z9: Firmware update 5.0

Nikon have just announced another firmware update for their flagship Z9 camera.
 
Although on the face of it, not especially helpful for u/w photographers, for sports and studio people, lots of interesting additions.
 
A full list is here:
https://downloadcenter.nikonimglib.com/en/download/fw/516.html
 
Nikon's press release explains:
 
(Full details here: https://www.nikon.com/company/news/2024/0313_firmware_01.html)
 
TOKYO - Nikon Corporation (Nikon) is pleased to announce the release of firmware version 5.00 for its flagship full-frame/FX-format mirrorless camera, the Nikon Z 9.
Firmware version 5.00, the fourth major update since the release of the Z 9, increases usability for sports photography by expanding the Auto Capture and High-Speed Frame Capture+ functions. Portrait photography is also enhanced for more effective capture of the images photographers want, with the new Skin Softening and Portrait Impression Balance functions, and new Rich Tone Portrait Picture Control that enables rendering of details of the subject's complexion with rich tones. Furthermore, the evolution of the Z 9 continues with improved operability achieved in response to feedback from professionals requesting increased speed and efficiency.
Nikon will continuously meet users' needs through firmware updates that expand the functionality of its cameras
TimG

Nikon buys Red

Nikon is aiming to broaden its presence in the cinematography industry.
The company has disclosed its agreement to acquire Red, a cinematography camera manufacturer, which will operate as a fully-owned subsidiary of Nikon. Details regarding the terms and value of the acquisition were not revealed.
 
In its announcement, Nikon expressed its intention to utilize this acquisition to expand its footprint in the rapidly growing professional digital cinema camera market. By leveraging the strengths and networks of both companies, Nikon anticipates an innovative future in product development that will push the boundaries of film and video production. Nikon's proficiency in product development, reliability, image processing, optical technology, and user interface, combined with Red's expertise in cinema cameras, including unique image compression technology and color science, is expected to drive the creation of distinctive products.
 
Here the full press release:
 
https://www.nikon.com/company/news/2024/0307_01.html
 
Davide DB

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