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From what I recall the WWL-1B doesn't work well with bigger lenses, this is why Nauticam doesn't list any EF lenses as being compatible, even the 28-80 that they list for the the WACP-C is said not to work with the WWL-1B, but the Marelux Aquista lenses are listed working with the other lenses.

Yes, and from the information I was given that exact adapter would also pair with Aquista 110 (production series, not prototype) and vice versa. It would be nice if someone could confirm this.

Yes, I totally agree to that Davide. This should be the main purpose of 3rd party action camera housings. ..as well as giving access to magnified screen ( via HDMI or USB-C ) option. However... with the GoPro HERO 13 being the last ActionCam to offer an HDMI-Out and no HERO14 introduced in 2025 the future for buying an external monitor and moving this onto the next action cam looks dim. For Cameras like the Osmo Action 6 or Insta Ace Pro 2 you need to grab the screen signal via USB-C (Webcam Mode).

The wet lens in question here is the WWL-1B as opposed to the WWL-1. The WWL-1B as I understand it can only mount to the Nauticam bayonet adapter, while the WWL-1 which was the first released has a 67mm thread and needs an adapter ring to attach to a Nauticam bayonet mount. You buy the Nauticam m67-bayonet adapter to attach to the port and the WWl-1B attaches directly.

Hey everyone, I wanted to share a perspective I’ve often recommended to fellow underwater photographers when it comes to shooting blue water sharks, especially when you’re working with natural light and strobe combinations. One of the key points is that most shark species have a pretty neutral, silvery-grey coloration. In other words, you’re not trying to bring out a riot of colors like you would with a coral reef and fisheyes lens. That means you don’t have to worry as much about maintaining warm color fidelity at longer distances. In fact, if you have good visibility, you can shoot from over a meter or more away without losing too much detail. And when it comes to lighting, the idea of a cooler color temperature strobe can actually be a real advantage. Cooler strobes will penetrate the water more effectively over distance because the red wavelengths get absorbed quickly anyway. So you’re focusing on sharpness and light energy rather than trying to preserve warm tones that aren’t really there. In practical terms, using a strobe that’s a bit cooler and then adding a warming diffuser only if needed is a flexible approach. For typical shark photography—like shooting reef sharks in the Red Sea, where they don’t come extremely close—keeping your strobe on the cooler side and not worrying about warming accessories can give you the best reach and clarity. And one more thing I’d like to add is about your lens choice. If you’re used to working with a really wide lens like a 15 to 30mm, you might find yourself falling a bit short when the sharks stay a little further away—like in the Maldives or the Red Sea where you’re not always going to get them right up in your face. In those cases, I really recommend something with a bit more focal range—like a 28 to 70mm or even a 24 to 105mm. That way, you’ve got the flexibility to handle those sharks that come in nice and close, but also the ones that hang back—like hammerheads or thresher sharks. Hope that helps round things out! So that’s the gist of it. Hope this helps some of you thinking about how to set up for your next shark shoot.

I forgot to mention: for land insect macro, switching on 'Insect (eye)' improved things considerably. But for UW, I have found 'Animal (eye)' not very effective - works sometimes for (some) fish, but main problem is false positives, which you may not notice until after you download (you think you got the shot - but turns out you didn't, and nowhere near it!). So I don't use it UW.

I have the same problem with Sony macro lenses; i.e. actual point of focus is often not where you put it when you took the photo (check by reviewing in camera to compare). Even worse, sometimes the result is simply out of focus when again, the camera indicated 'in focus' when you took the photo. This can happen at all distances, not just macro. It is worse in dim light. It happens on land too, with insect macro. My solution is to 'slow down', allowing the AF time to settle, before taking the photo. This helps, but not great if you are in a hurry! You can also take multiple shots, and hope that the camera got it right at least once - it usually does. I shoot AFC / tracking / medium spot exclusively UW, and for land macro. I have experimented with "AF sensitivity" setting, but without any obvious improvement, so I leave this on 3 (default). It occurs to me I should try turning OIS off. Non-macro lenses sometimes show the same problem, but the result is usually OK due to the (usually) greater DOF. I concluded some time ago that Sony AF still has heaps of room for improvement. They seem to have prioritised development of AF with subject recognition, at the expense of AF accuracy when subject recognition is switched off.

The White balance setting in camera is sort of irrelevant in RAW workflow as you can set it in post processing. You are likely to be changing depth and direction from the sun frequently so you would need to be continually changing the WB. Too much effort for my taste. What I found works well is to get a sequence of images taken in the same setting and bulk change them to a good WB setting. Edit one to your liking and sync it to the rest of the batch.

Thanks @Alex_Mustard, looking forward to that episode. And thanks @Dave_Hicks. I'm likely to be taking my a7rv with the canon 8-15 and 2x teleconverter as that's my only real wide angle option right now. I tested it recently on some reef shots and its quite good centrally, but falls off a bit at the edges. However, with blue water, I think this might be okay. I'm wondering if I set up a button over-ride for this particular trip to set it to manual white balance and take a white (or grey is better?) card with me to try and get the best image colour renditions I can, out of camera. Might be a bit of extra work, but diving without the strobes will free me up a bit to focus on that.

I have had a similar experience with Thresher sharks in the Philippines. No strobes allowed. What worked for me was: Wide zoom lens - WWL-C with 24-50mm High ISO of 500-1000 Shutter speed of 1/60th or maybe higher, as the sharks can make fast movements Be careful to adjust for background exposure, tweaking shutter and ISO Aperture around f10-13 base on depth and lighting Try to fill the frame with one or more sharks, use DX mode if they are not coming in close Postprocessing will be required. Work on white balance, mask the sharks and reduce saturation to remove color cast, adjust contrast and clarity Lightroom's AI Denoise is a champ to clean up the ISO noise

Hopefully others will pass on their advice here. But we do cover this question as part of the next episode of The Underwater Photography Show - out before Christmas.

I have a trip to Yonaguni, Japan at the end of January to check out the hammerheads. The dive operators don't allow strobes or lighting during these dives. From very early in my photography journey, i started using lighting and have used lighting consistently the whole time. So, I'm looking for resources and suggestions to set my self up and practice natural lighting underwater workflow before the trip. Thanks in advance.

Sorry for the mess. I should not give precision optical advice late in the evening without my glasses on! I simply overlooked the III behind puttsk‘s lens. But about the other remark by Phil: I got the info from a friend that at least WWL-1 and Aquista110 production units have similar bayonet and can be swapped. I think he even got the info from a Marelux employee. Can you please double check + confirm or deny this, Phil?

Thank a lot everyone for the input. I might try to go with the 87 port +20mm extension with either WWL-1B or Aquista. I'll put an update when I can get these on hands and get to diving.

A bit too bulky for my tastes but a great idea. It should be futureproof. It is a pity that they were not able to put a small additional battery or an external bulkhead.

@atus Excellent! That’s a cool place but very popular, eh?

I would like to show you some pictures taken during my last trip in Similan Islands and Richelieu rock, Thailand, that spot Richelieu is amazing enough to do 6 dives due to the quantity and density of different species that you can find there. All pictures are taken with a Canon R6 mkII in Isotta housing and AOI UIS-P1 strobes. Furthermore, the crinoidea picture has been taken with filters such in the lenses as in the strobes

As a follow-up, there's been some movement on the AOI side who has approved to the handle the service for the lens as an exceptional accomodation. So positive step from AOI, which is appreciated. However, the conditions are as follows: This will be a charged service, and you will be responsible for the shipping costs both to and from our facility. Since we do not currently have the unit, we are unable to provide a repair estimate upfront. Once received, our technical team will inspect the lens and provide you with a repair quotation. Our standard service timeline is 7–10 business days from receipt, depending on the complexity of the repair. So nice of them but concretely it's a bit of a gamble as it could end up costing more than the price of a new model of the same lens, the UCL-05N. If it's just a question of changing the o-rings and the lens isn't actually vaccum-sealed, it could be best to try to service it myself (using air from a scuba tank when sealing for instance. I need to give it some thought...

Nowadays this two-button solution, or even the single button to hold down for X seconds to turn on the gadget, is used also in lights and it is something that I hate to death. I have two small RGBlue that I use for macro and I am forced to hold them with two hands to turn them on. A curse! I love knobs and the unbeatable magnetic switches 😍

Hi All. Hoping somebody still has an Isotta or Nauticam D700 housing laying around they're willing to part with! Feel free to email me [email protected] Thank you. Matthew

Well, I'm finally at home after the 10 days trip in Similan islands and Richelieu Rock, where I have only used this AOI strobes and I have a clear opinion of them based on the experience of intensive diving, 35 dives in 9 days. I like these strobes, I like the light even I find it a few cold, I like the power, most of time I have been using it in 1/2 power even in pictures against the sun. Or even 1/4 power. I inserted full charged batteries in the first dive in the morning and they last until the night dive, four dives with a pair of batteries, not bad at all. It helped a lot to have the confidence of no changing batteries the counter of remaining shots in the strobe screen. I don't feel the strobes big, to travel with them is pretty much the same than to do so with the Subtronic. What I don't like, I don't like the 2 button system for switch it on, i don't like it at all, its a pain in the ass that when you have started your descent and i'm starting to put all the rig on its place, placing the strobes, tighteen the clamps you have to release the rig because you need both hands to switch the strobes on. I don't like the rubber extra knob for set the power, I sticked it with glue during the second day because during the first day I found it in the dingy floor, even this I lost one of the knobs during the trip.

Hi UW Photographers, I am visiting Raja Ampat on feb 2026 therefore I built a web app based on iNaturalist data to help me to know more about the marine life in this area and have a little tool to communicate better with local guides. Please note that your guide knows the ocean best. This app is only a bridge to help clearly convey your wishlist to them and a way to do the homework before dive trip. How it worksFilter: Select your travel month and region (North/Central/South) to see common species. Build List: Click the heart icon (❤️) on the card of any critter you want to see. Share: Click the heart icon in the top-right corner of the page to generate a QR Code or link. Instead of scrolling through random photos on your phone, you can just show this list to your guide so they know exactly what to look for. Try it here: https://raj.ljy.app please sUploading Attachment... (The link is free to use. Feedback is welcome!)

Camera & Housing and tray asking $700USD Camera// -Condition 8.5/10 -Panasonic LX 100, Leather Carrying Case, Charger / Flash and Extra Battery Housing// - Condition 8/10 - -Nauticam NA­LX100 Housing for Panasonic LX100 - Nauticam Flexitray Plate II W with Left Handle (with 2 Tripod Holes) -Nauticam Adjustable Right Handle II (for Easitray II & Flexitray II) -2x Nauticam M8 Strobe Mounting 1 Inch Ball Everything works great no structural issues - Has some discoloration on housing and housing components ————— Macro Compact Lenses and accessories -$150 USD- Nauticam M67 Flip Diopter Holder Standard Port // Condition 8/10 - $300 USD- Nauticam Compact Macro Converter 1 CMC­1 // Condition 8/10 - No scratches very small saltwater blemish on far edge, not noticeable Lighting: -$500 USD -2x Sea & Sea YS­D2 Strobe // Condition 9/10: -$75USD -10Bar Macro Snoot Set with Aiming Laser for YSD2 // Condition 8 /10 - $250 USD -2x Sola 2500 lumen video lights + chargers // Condition 8 /10 Wide Angle Wet Kit - $1225USD - $1000USD -Nauticam WWL-1 Wet Wide Lens 130° for 28mm lenses // Condition 9.5/10 - $150USD -Nauticam N50 Bayonet Short Port for Wet Wide Angle Lens // Condition 8 /10 - $75USD -Nauticam M67 to Bayonet Mount Converter for Wet Lens (WWL­1) // Condition 8 /10 Hardware: -$50 USD- Joby Gorillapod Focus + ballhead X Tripod Bundle (Black/Grey) (Condition 9/10

I shoot quite a bit of macro, not a Sony user however I think I can offer some thoughts. When you are life size, your depth of field is very small - around about 1mm, so it stands to reason that you need to be able to compensate for the fact your subject might be moving, you may not be totally stable and surge and current might intrude into the picture causing both you and your subject to move. My regular UW shooting is done in Botany Bay south of Sydney, this site is inside the heads but rather exposed to ocean swells which can produce varying degrees of surge and also subject to tidal currents, one of the subjects there is the pygmy pipehorse and swings slightly out of sync with the surge. My technique with that is continuous AF, holding down the control as required while framing and waiting for it to swing into position. The AF chases and swings around quite a bit as the subject moves out from under the single small AF point. The trick to me seems to be patience waiting until the subject is in position then activating AF and if needed half pressing the shutter to engage IS which helps hold the AF point on target. The shot is taken when I can see positively that the AF has grabbed focus. The point is that IS can account for side to side, up and down movement, bu the AF needs to deal with our back and forth movement, so anything you can do to minimise this will be a great help. How well can you hover? DO you use a pointer or grab a safe handhold on bare rock to stabilise? You talk about moving off target is this because you/the subject moved or are you saying the camera decided that another object was better to focus on? I used to use C-AF plus tracking but have reverted to C-AF without tracking using the smallest AF point, then it's up to me to stay on the target and I find I can make this work, certainly don't get every frame sharp, but what I get is acceptable.

Thanks for the inquiry, Andrew! I’ll consider breaking up the package in the new year if it doesn’t sell by then. Let me do some thinking on individual items and I’ll get back to you.