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......
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
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.
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.
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:
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
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.
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
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.
Reports have come in of another live aboard fire in Indonesia, this one in Raja Ampat, details are scant, however it was posted that every one got off the boat. Only seems to have made Indonesian new channels so far, there is a link to a news page in Indonesian.
Edge sharpness with wide-angle lenses underwater can be an issue especially for users of full-frame sensor camera bodies.
One solution to increasing edge sharpness, which has worked for some photographers, has been the Sea&Sea correction lens which came in 77mm and 82mm diameter options. But this lens disappeared from sale a little while ago.
Waterpixels member @Ido has been in contact with Sea&Sea and has been told that the company plan to make the lens available again later in the year.
So if you have been hunting around for the Sea&Sea correction lens and have given up hope, all is not lost...... hopefully!
Hi Everyone,
I would like to share with everyone this article that i have published on my site. In a time where we are constantly pushed by social media to publish images faster and faster i am noticing around me more and more malpractices on land and of course also underwater.
This is an article initially in french translated by myself in English do forgive me if there any errors.
Updates announced by Adobe for Lightroom
Lightroom Classic 13.2, Lightroom 7.2 and Mobile 9.2 released
These releases are primarily for new cameras and lens support, and a number of bugs are fixed in these releases.
Lightroom Classic
There are some additional features in Classic 13.2. These include:
- Additional Sort Order options
- Additional Filter and Smart Collection options
- Some performance enhancements
We would recommend it's safe to update to these versions immediately.
As mentioned, there are quite a number of bug fixes. To check them and to see additional details on the Classic changes and the new camera/lens support, read our blog What's New in Lightroom Classic 13.2 & Lightroom Ecosystem (February 2024)?
A new update to Lightroom Classic appeared today (14 Dec). This is v13.1 and follows on from 13.0.01 and 13.0.2 which were released some weeks ago.
Although the download was very slow (an Adobe banner acknowledged this and said it was being fixed), the update seems to work without a problem.
Adobe report that the update fixes bugs and provides support to new cameras. No new features apparently.
Underwater photography is an incredible experience because it offers enthusiasts the opportunity to discover the underwater world in its most authentic beauty. To capture these extraordinary images it is essential to have the right equipment, and one of the key elements in underwater photography is the strobe.
SUPE Scubalamp is a company specialising in the design and production of underwater lighting equipment, including torches, strobes and related accessories. The company, a world market leader for many years, recently launched the new SUPE Scubalamp D-Pro underwater strobe, successor to the glorious D-Max. This product caught the attention of the underwater community due to its exceptional quality, light uniformity and battery life, and these features immediately placed it among the best in the industry. Another distinguishing feature is the high-speed continuous shooting mode, with the strobe supporting 10 frames per second in the first mode, making it much easier to capture shots in quick succession.
The D-Pro, with its 4800 degree Kelvin circular lamp with a 160W power output and 150 degree beam angle, ensures an even spread of light over the entire framed area. This means that captured subjects and scenes will appear in natural, vivid colours - in short, your shots will be outstanding.
A crucial feature for underwater strobes is battery life. While in the deep sea it is complicated to change batteries easily, so to avoid any kind of problem it is always preferable to do the replacement only at the end of the dives. SUPE Scubalamp D-Pro also excels in this respect, thanks to its 37.8 Wh rechargeable lithium battery (3x 18650), which guarantees from 500 strobes at full power up to 3000 strobes in the first mode. The large battery capacity supports long underwater photo sessions, allowing every moment to be captured without interruption. The strobes also feature a display that shows the battery charge status, allowing you to keep track of the remaining battery life at all times.
I have been fascinated by these strobes since their launch and, after hearing feedback from other underwater photographers, I finally had the opportunity to test them first-hand during my recent three-week trip to the breathtaking tropical waters of Raja Ampat, Indonesia.
The setup I used for the test consisted of: Canon EOS R5, Canon EF 8-15mm f/4L Fisheye, Nauticam NA-R5 housing, Nauticam 140mm Dome, Nauticam Trigger and Flex-Arm carbon arms.
During the first dives I studied the light behaviour of the strobe in order to position it in the best possible way. The circular lamp guarantees excellent uniformity in light distribution and the D-Pro, with its coverage angle of about 150°, provides a considerable amount of light perfectly distributed over the entire frame of the shot. Power adjustment is easy thanks to the power selector. To balance the weight I added a pair of floats, as the strobes tended to be slightly negative.
Looking at the shots underwater, previewed on the camera, I was impressed and couldn't wait to review them on my computer once back on land. Upon review I was even more surprised by the quality, quantity and uniformity of the light, everything was simply amazing.
While diving, I tried to 'exploit' the strobes to the best of my ability in a variety of situations, and they never let me down; on the contrary, they always provided the best of their light. I was particularly satisfied with the battery life. I always recharged the batteries after 6 dives, with an average of about 100-130 shots per dive, the display allowed me to accurately monitor the remaining charge, eliminating uncertainty about whether I could continue shooting. Recharging the batteries was simple, just remove them from the compartment and plug them into the supplied transformer, waiting for the LED to turn green to indicate a full charge. I'm not sure of the exact hours needed, I always did this before going to sleep, in the morning the batteries were ready, fully charged.
As an optional extra Supe supplies a diffuser (D200-Diffuser) for wide angles. It is a hotly debated topic among underwater photographers whether they should be used or not. Not being able to provide scientific measurements with appropriate instruments, I can only give you my personal feelings.
I felt good in both cases, with and without, the difference I noticed was only in the type of scene shot. I shot very often without a diffuser, because I had the feeling that the strobe had more penetration and the light was more incident on subjects with a greater distance to the lens. On the other hand, with very close-up shots, I found the shots with the use of the diffuser with a softer and more even light more pleasing.
After three weeks of diving I did not experience any problems with their operation, the strobes were always ready to fire. The size and weight did not have a major impact during the dives, I appreciated their ease of use. I personally think that the SUPE Scubalamp D-Pro is currently one of the best underwater strobes available on the market in terms of value for money. However, it is important to emphasise that I have not been able to assess its reliability in the long term; my testing period was, in fact, limited. However, I am also confident in terms of reliability because the quality I found during use was evident.
I would like to thank my friend Scipione, who allowed me to test these strobes, and Raymon Bao, owner of SUPE Scubalamp, who was always available to answer my requests for further details about the product.
On a live event, OM Digital announced three new products and a new lens road map. The most notable is the new OM-1 Mark II camera.
The OM System OM-1 Mark II is a Micro Four Thirds camera with a 20MP Stacked CMOS sensor, designed for high-speed performance. It serves as an updated version of the flagship OM-1, featuring various hardware and firmware enhancements.
Set to launch on February 26th, the OM-1 Mark II will be priced at $2399, marking a $200 increase from the original model released in February 2022. The OM-1 Mark II debuts two years after the release of the original model, bringing about a range of improvements rather than a radical shift in specifications compared to its predecessor.
Rebranded as OM SYSTEMS (note that the OM-1 still carries the Olympus name), this camera boasts several noteworthy enhancements, including a doubled internal buffer memory, an impressive 8.5 stops In-Body Image Stabilization (IBIS), 14-bit raw support for High-Resolution Mode, advanced human AI recognition, the addition of computational ND filters, a superior focusing system, and improved ergonomics.
The biggest trade fair for boats, diving (and underwater photography) in Germany traditionally takes place in January every year, BOOT in Düsseldorf.
I can report on Nauticam (who shared the stand with PanOcean), Seafrogs, Seacam and GoPro, but of course only individual impressions.
There were 3 Nauticam employees on site. One of the three FCPs currently available outside the factory was on display, along with the WACP-1, WACP-C and WWL-1b. I was particularly taken with this comparison.
Next to WWL-1b
The FCP is noticeably smaller than the WACP-1, but a little bit bigger than the WACP-C. I hardly noticed the difference in weight. What is particularly striking is that the front glass is very curved. Inside you can see what Nauticam claims are highly coated lenses.
The FCP comes with an interchangeable port connection (120 and 100) so that no adapters need to be used.
The pictures shown at the trade fair by Alex Mustard are, as always, beautiful, and I'm looking forward to seeing the practical experiences of normal people.
It was interesting to see the EMWL again in its various configurations. If you want to save yourself the relay, you either need a camera where you can turn the viewfinder image upside down or an inverting viewfinder.
Unfortunately, the FCP feels so good that I'm thinking more and more about putting my WACP-C in the "classified" and switching to the FCP.
Opposite is the SeaFrogs stand. In addition to the plastic enclosures from the Salted Line series, the new all-aluminium enclosures are also on display here. I may be wrong, but to me they look like a cheeky (but worse) copy of the Nauticam enclosures - and are nevertheless in the same price range. I'd rather stick with Nauticam.
Seacam is probably more focussed on cold-water divers and the stand staff were not very interested in walk-in customers. Lots of large dome ports, the Seacam flashes and the familiar housings. After 5 minutes without getting attention, I moved on.
The GoPro representative was amusing for me: a small stand, nothing diving-specific. They didn't make any effort.
I still found AOI interesting because we also had the discussion here:
The UWL-03 looks very high quality, and the bracket still required for the diving housing also makes a stable impression. However, it is also quite small in nature, so I can't imagine that spilt shots would be possible with it. On the other hand, the edge sharpness increases considerably and you can get closer to the objects - according to the stand personnel up to 8cm, whereas without water contact optics at least 50-60cm are necessary.
Finally, Divevolk cases for iPhones: It's easy to imagine that the mobile phone is very safe from water ingress and can be taken diving. But I have also been told that a protective glass significantly restricts usability and that you should use a removable protective glass cover for use above water, which can be removed from the Divevolk case for use.
Traveling 12,000 miles (19,600km); flying for 24 hours, followed by a 2-1/2 hour drive, and then a 1 hour boat ride, all to get to the Poor Knights Islands in New Zealand. Mon Dieu! OK, I hate to admit it, but he was right, it is one of the world’s top 10 diving destinations.
Created by volcanic eruptions about 10 million years ago, they’ve become home to a myriad of marine life. There are over 50 different dive sites around the islands, such as the Northern Arch, Blue Maomao Arch, the Magic Wall, and the Rikoriko Cave (one of the world’s largest sea caves), each with its own amazing experience.
From the macro to the micro, it’s all here. Pods of Orca patrol the area looking for their favorite Kiwi dish, the rays. Both stingrays and eagle rays visit the islands. Clouds of fish school through the kelp forests keeping a watchful eye for other predators like sharks that frequent the Poor Knights. At the same time, I’ve never experienced marine life so fearless of human beings. I would even say they are downright friendly! Some of them are even a bit of a pain, such as the incredibly curious Sandager’s Wrasse.
On the other end of the scale, small creatures inhabit every nook and cranny along with urchins, anemones, sponges and gorgonian corals. They’re so plentiful it’s hard to imagine. Many of the subtropical fish living in the Poor Knights are not found anywhere else in New Zealand. They include species such as the spotted Black Grouper, Mosaic Moray, and Lord Howe Coralfish. And lest we not forget the nudibranchs. Unquestionably, some of the most colorful and unusual nudibranchs I have ever seen are in the Poor Knights. Every color and shape imaginable including New Zealand’s “lovliest nudibranch”, the Gem Doris (or Gem Nudibranch). They too are everywhere to be found.
At the Northern Arch, squadrons of Short-Tailed Stingrays can be seen cruising the waters of the archway in the summer months. It’s the only gathering of its kind that has been documented for this species; come winter and it’s a “ghost-town”. Nobody knows exactly where the stingrays go during the winter. However, recent research seems to indicate that the stingrays actually stay within 30km of the Arch.
The Blue Maomao Arch is (not surprisingly) named for its aggregation of the Blue Maomao fish Scorpis violacea. Massive schools of the fish congregate in the huge natural archway, which is flooded with rays of light from the top and sides. Layers upon layers of fish migrate through the arch, so much so that sometimes you cannot see the other end of the archway, even in clear water. It’s an awe-inspiring experience. And while I wouldn’t think of besmirching one of New Zealand’s most famous dive sites, my favorite fish is actually the Blue Demoiselle (sorry Blue Maomao fans).
They say that the “ends justifies the means”, and in the case of the Poor Knights Islands, it’s a good thing that it’s true. Getting there will definitely try your patience (and backside). But in the end (pun intended), it’s absolutely worth it.
Many thanks to Darryl Lowndes and Johnny Zhao for help with the videos.
Last year I decided to go big - switching from the tiny RX100 to FF (FullFormat). In my case, it was the A7IV as the best value for money. But having made the decision on the camera model is only one step - lens, housing and port is much more difficult. But with the support of the nice guys here and the old forum, I am now the happy owner of a sleek combination that is tailored to my needs. But how do you know what you need? This article might help.
The most common type of camera used by underwater photographers is one that is inserted with lens into a housing and has either a flat (flat port) or curved (dome port) front glass at the port.
Even in the days of analogue photography with the Nikonos system, for example, water contact lenses were developed that explicitly take into account the refraction of light at the water-to-glass contact surface. This reduces distortions that would otherwise occur when light hits the port at an angle and cause blurring at the edges.
Nauticam has therefore developed some different types of water contact optics that evolved and serve different purposes.
FCP (Fisheye Conversion Port) and WACP (Wide Angle Conversion Port) are "dry" optics designed to turn a mid-range zoom lens on the camera into a wide-angle zoom when the combination is taken under the surface. WWL (Wet Wide Lens) is the older version, somewhat less compact and made of more components, wet lens, but otherwise very similar to WACP.
EMWL (Extended Macro Wide Lens) takes a different approach: different underwater lenses are placed in front of a macro lens and a flat port in order to be able to adjust on different subjects - from macro to large fish.
First and newest: FCP
Picture courtesly provided by Alex Mustard
A dry lens that is attached directly to the housing with the appropriate (depending on the camera and lens) port extensions.
In concrete terms, you can imagine the FCP as an ultra-wide-angle lens for underwater use. A lens such as the Sony 28-60, Canon 24-50 or Nikon 24-50 is attached to the camera and the FCP is mounted on the housing. This achieves a maximum field of view of 175° - a real fisheye. In the zoom position, the field of view is still 85°, i.e. still quite wide-angle, comparable to a 24mm lens over water.
Next WACP: Still new, especially the WACP-C
The WACP ports with the endings -C for compact, -1 for the "normal" variant and -2 for the maximum variant are not quite as extreme. Also "dry" optics - see above. They are intended to cover a field of view of approx. 70°-130° - i.e. comparable to a lens with a normal focal length (approx. 30mm) to a slight fisheye wide angle (11mm). On the camera, the WACP-C and WACP-1 require similar lenses as for the FCP (for example Sony 28-60, Canon 24-50 or Nikon 24-50), but the largest variant requires a wider-angle lens such as 14-30mm to achieve the same field of view. These water contact lenses are quite bulky and heavy (WACP-C: 2.3kg, WACP-1: 3.9kg, WACP-2: 7.0kg) and offer better sharpness than dome ports, especially at the edges, but above all they provide a wide zoom range under water and focus even directly at the glass. The WACP-C, although labelled as a compact version, also fits some of the full-frame cameras and is the most suitable solution for me personally.
WWL-1(B):
AFAIK the two WWL ports (WWL-1 and the newer WWL-1B) are the predecessors of the WACP ports. The area of use is the same as with WACP: field of view approx. 70-130°, i.e. wide normal focal length to slightly ultra-wide angle/fisheye when using zoom lenses with a focal length range of approx. 25-60mm. The difference to the WACP solutions is the technical design. With WWL, you have a compact plan port on the housing and the WWL is mounted wet, i.e. with water between the front glass of the port and the WWL lens. Advantage over the WACP solutions: lighter overall, and you can remove the WWL under water and then have a lightweight telephoto lens (...no one ever does...). Disadvantage: The telephoto lens is rarely needed and air bubbles between the port and the WWL can be annoying.
EMWL: One size matters fits all
The EMWL wants to be and can be an "all in one":
The basic here is that an 90 mm macro lens is mounted on the camera and the corresponding port with flat glass at the front (flat port) is mounted on the underwater housing. A close-up lens (e.g. SMC-1) for magnification or the EMWL can be used on a flip port.
The EMWL consists of two or three elements:
The focusing unit, which is available in variants for Nikon, Canon and Sony, is located directly in front of the macro port
An optional extension piece (relay lens) then follows, which turns the image upside down and brings the front glass closer to the subject
The actual lens, which is available in 160°, 130°, 100° and 60° angle of view versions, is located at the top. The 130° lens is particularly popular and is ideal for CFWA, but also for large fish or panoramic images.
In contrast to FCP and WACP, the EMWL is a wet lens, so there is water between the port glass and the focussing unit, but also between the relay lens and the objective lens. Image quality is high in every direction but bubbles between the parts can be annoying and there have been issues about focus breathing.
The main areas of application are thus:
FCP: Fisheye wide-angle zoom, medium volume, compact
WACP: Wide-angle zoom, medium to large volume depending on version
WWL: Comparable to WACP, Lighter and slightly cheaper, but with technical disadvantages
EMWL: fixed focal lengths that can be changed under water, somehow bulky, objectionable appearance
To show the differences in size and appearance here a pic from Alex Mustard, showing (left to right) FCP (prototype), WACP-C, WACP-2, WACP-1 (Thanks, Alex!)
Cost (€)? You have already camera, housing and lens. And focus gear. And port extension. And arms, flashes and so on. Just the port:
Rough estimates
FCP: EDIT Jan 14th: Now on Nauticam website €6.482,00 (incl. VAT)
WACP-C: €2.9k
WACP-1: €4.5k
WACP-2: €8.2k
WWL-1b: €1.9k (with flatport)
EMWL: €8.5k (with flatport, 60°, 100°, 130° optics, rely, focusing unit, flip-holder, SMC-1)
If I made errors or incorrectness anybody please feel free to add or correct
