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So I have had Nauticams X5 housing under water in the wild finally. First impression on the boat was - amazing! Sharp as a knife with amazing contrast when viewed on the phone. But then I came home and got it on the big screen. And on Apple Vision Pro. And the problems began to surface. I knew about the stitching and actually in the blue it is not that bad. And they work with Insta (supposedly) to improve it. But something very weird is going on in the optical department and it is consistent from multiple dives multiple days which precludes the camera being wrong positioned inside of the housing if that would be even possible (it is quite tight in it). Long story short - the regions close to stitch line maintain excellent sharpness from near to far, something that has been advertised by Nauticam. But the regions farther from stitch lines - or in between , like in the middle of the 180deg image - are blurry from near to far. Very weird and kinda confirming the something in the optical department is off. So for now cant recommend it to anyone.

ill check it out and see where the disconnect is. sorry about that.

I have purchased V1 two months ago, there was no news of L10 then. Of course, L10 will be an excellent underwater camera, though I’ve heard it doesn’t have IBIS either. V-log looks pretty balanced between highlights and shadows. I agree with what you said about the port. R50V seems to be too big for me.

I place an order with a donation and a sticker back at the beginning of May but haven't gotten it yet. I'm guessing the system flagged it as having nothing to ship?

I usually will burp my WWL. It is bayonet and floods quickly and does not retain a large bubble. But jumping in hurriedly, I usually will find a myriad of tiny bubbles on the glass dome, rear element and port. I have found that if in a hurry swishing the camera about a little and fanning water to the dome and bayonet area will clear most of them rapidly without burping. I am pretty fast at burping the lens, maybe ten seconds but a lot can happen in ten seconds I suppose. Yes, that can be a disadvantage to a water contact optic.

Very nice, thanks for sharing. One compact you could also look into is the Lumix L10 as well: https://waterpixels.net/forums/topic/3591-panasonic-l10/ Though you won't get Canon colours, Panasonic WB is really good as well (and there's always the option to use a good filter like the Keldan SF -1.5), ans so is IBIS, the L10 has 4K 120fps and high bitrates. I shoot video on the old LX10, and would probably get an LX10 is I were to do a compact upgrade. Main downside for me with the L10 is the form factor, which forces you to use ports like with the LX100 series (body is virtually identical). Otherwise have you looked in the Canon R50 V (video version)? It does 4K60fps.

Hi divers, I’ve changed my camera from RX100 to Canon V1 since April, mainly because no lights or strobes are allowed in Malapascua and the diving depth, because Canon always has the top manual white balance performance since G16. Sony RX100M5A, on the other hand, performs strangely below 15 meters with ambient light. It turns out to be excellent even for clips shot below 20 meters which color restoration in Da Vinci is both easy and accurate. It’s surprised that still so few discussions about this camera after all this model has been released for almost a year. Besides white balance ability, I also like that it can shoot 10-bit 4:2:2 and HDR PQ (I don’t like CLOG3 personally) which gives me more flexibility in post processing, compared to 8-bit recording in RX100 series. Although I am satisfied with the overall IQ (can I use this term for video?), I notice the background to be somewhat soft both in photos and videos especially during high ISO. I guess it’s mainly because the diving time is so early that the lighting intensity is somewhat hampered. The viz is OK though, usually between 15-20 meters. Another thing I’m not comfortable with is that Canon V1 has a 1.4X crop when shooting in 4K 60P and the OIS stabilization is rather weak. A 1.4X crop makes it de facto a 1” sensor machine like Sony RX100 and to be honest I don’t find much difference in terms of image details between these two, both recorded in 4K. I’m looking forward to seeing the updated versions for Canon V1 series, maybe with a native 24-70mm or 24-100mm lens or no crop in 4K 60P or IBIS. The native 16-50mm lens without wet lens performs rather weak around edges of pictures. I also heard the rumors of RX100M8 these days though I doubt Sony will shorten the lens range.

Hi divers, I’ve changed my camera from RX100 to Canon V1 since April, mainly because no lights or strobes are allowed in Malapascua and the diving depth, because Canon always has the top manual white balance performance since G16. It turns out to be excellent even for clips shot below 20 meters which color restoration in Da Vinci is both easy and accurate. It’s surprised that still so few discussions about this camera after all this model has been released for almost a year. Besides white balance ability, I also like that it can shoot 10-bit 4:2:2 and HDR PQ (I don’t like CLOG3 personally) which gives me more flexibility in post processing, compared to 8-bit recording in RX100 series. I am satisfied with the overall IQ (can I use this term for video?), I found the background to be somewhat soft both in photos and videos especially during high ISO. I guess it’s mainly because the diving time is so early that the lighting intensity is somewhat hampered. The viz is OK though, usually between 15-20 meters. Another thing I’m not comfortable with is that Canon V1 has a 1.4X crop when shooting in 4K 60P and the OIS stabilization is rather weak. A 1.4X crop makes it de facto a 1” sensor machine like Sony RX100 and to be honest I don’t find much difference in terms of image details between these two, both recorded in 4K. I’m looking forward to seeing the updated versions for Canon V1 series, maybe with a native 24-70mm or 24-100mm lens or no crop in 4K 60P or IBIS. The native 16-50mm lens without wet lens performs rather weak around edges of pictures. I also heard the rumors of RX100M8 these days though I doubt Sony will shorten the lens range.

Not sure if your interest in the (presumably Nauticam) 230 dome was for the 16-25, but I found that lens works well even with the small 140 dome (radius 70mm), and not much further improvement with the 180 dome (radius 110mm). I used 25 adapter + 35 ext with the 140. Central area of sharpness when viewed at 100% was between 24 and 36mm diameter at f11. So if you are OK with f11 and this FOV range, it's a good compact rig. The Nauticam zoom ring for the 24-50 fits this lens, since they are made as a complementary pair. I'm not aware of a version "II" for this lens, so if it exists, disregard this post.

Why do you need to tell the TG series cameras that you are using a FCON T01 or a FCON T02 Lens. What does the camera do or not do if you don't ?

Nice work!

Snake mackerel (Gempylus serpens) maybe? The good folks on the FB blackwater photo group would know for sure.

Shot during blackwater in Anilao Phillipines. April 2026. Thanks.

I reached out to UWTech and they responded that they have not tested their triggers with the Maxi at this time (and they were nice and prompt in the reply!)

These are all fantastic images! Good job mastering the new gear. My one bit of feedback is that using a snoot can create a sort of "stage spotlight" effect where you see the ring of light. Sometimes this is a nice effect, but it can also be distracting. What I often like to do is to use the second flash at lower power to create a bit of fill lighting at an offset angle. You still get separation from the background with the snoot as the main light source, but a more graduated fall off of the light into the background. It looks a bit less artificial this way. Example: Atom Snoot as key light, MF-2 as fill light: Nikon Z8 w/Nikkor 105mm lens, MFO-1, f11@1/200s iso125, Backscatter Atom with snoot, MF-2 strobe

Thanks for this nice pictures

Hi All, Only third time posting on here, a few weeks back from a 20 day dive trip with K2 in Lembeh with a total of 60 dives and 67h 24 mins underwater having recently experienced a flood in my very old omd-em10 rig I had just taken the opportunity to upgrade to the A7r V with nauticam housing and backscatter atom strobes with snoots, just shooting the 90mm macro currently so this trip was a good opportunity to start learning the camera (I can only learn so much using it on land). But I came back with what I think are some reasonable shots. Would love some feedback!

Perhaps this setting prevented the optical sensor from being active for me. Menu->Setup Menu (yellow wrench)->Screen/viewfinder display (3)->Screen

Hey man, I was wondering what you ended up choosing and how it performed for you with the whales. I also have the Sony 16–25mm f/2.8 G II and I'm heading to French Polynesia this summer. I'm torn between bringing the WACP-C or getting the 230mm dome port. I'd love to hear what you went with and whether you were happy with the results.

Thanks for looking into this issue! Since my Nauticam housing unfortunately doesn't have a button for the display illumination, I have to use a different button – which doesn't make any difference in principle. What I've discovered is that the small optical sensor directly below the viewfinder is responsible for automatic detection. If this sensor is covered (in viewfinder mode!), 'display off' doesn't work. I've found a workaround, albeit a bit cumbersome: If I set the screen/viewfinder display to Auto2 and then switch the lever on the Nauticam housing to LCD, I can activate 'display off' because the optical sensor below the viewfinder seems to be deactivated.

Hello all, I'd be interested in sourcing a N100 Flat Port 45 (especially one with a plug to remove the focus knob, which I don't need), shipping to Japan. I plan on 3D printing the zoom gear, but if you have it, why not. Thank you!

Maybe I could try to ask if it's possible to pair the flip system available for the rectangular N50 port, with a bayonet mount, so I could have the best video option from the L10, and also the interchangeability for the wet lens I don't know if with the rectangular flip system is not usable in combo with the wide lens, maybe because of a different distance of where the wet lens sit from the ports, or if it's just a physical size limitations, that do not allow flipping the wide lens. But if it's possible to combo the square flip lens + a bayonet mount adaptor, I would have solved my problem, having the possibility to change between wide, macro and no lens with no vignetting at all zoom distance I will ask to Nauticam if this monster is realizable and update here for future aspirant Frankenstein 😬

Yes, this is the LX100 housing / ergonomics problem I was mentioning above unfortunately (on the LX10 I use a double-flip, as it doesn't need ports). I hope LX100 users have a solution for you, as the L10 housing design seems to work the same in this aspect. The L10 does 4K up to 120fps and higher bitrates, the R50 does not, and you'll need the R50 V (video variant) to get 4K 60fps. However, with the L50 you get access to Canon's RF lens ecosystem, which is a big plus for expanding what you do with the camera.

Yes that's right, one of our members here, Wolfgang ( @Architeuthis ) uses the 8-15 with the Sony 2x and likes the setup. The downside is it's not as sharp as the bare lens, but if I recall it is about as sharp as a WACP-C, there's a thread on here about using this setup. You mount Sony 2x on body, then Metabones then the 8-15. Very flexible. I use an OM-1 in combination with a Canon 8-15, with the crop factor there is no teleconverter and I get the same zoom range.

Done. The button label looks like a cartoon call-out. BTW, before seeing this I did not know you are responsible for the new vid show, thought it might be Matt's!