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no,a infinito no lo uso,trabajo con la profundidad de campo y con la guia a 1m y f11 todo está enfocado hasta el infinito...

Currently, no monitor on the market can fully reproduce the Rec.2020 color space. Even reference panels reach around 80–90% coverage. Consequently, editing in Rec.2020 requires relying on software scopes instead of your eyes to preserve color data that today's hardware cannot yet physically display. Basically you are doing it mainly for future-proofing. You are saving mathematical color data today so that in 10 years, when MicroLED displays arrive, those colors will finally become visible. 🤡 When it comes to on-screen display, both DCI-P3 and Adobe RGB are superior to sRGB, which is a relic of the past—though like all standards, it refuses to die. However, if we look at printing, A-RGB is better because its color space covers everything that printing papers can reproduce (Adobe designed it specifically with this in mind). DCI-P3 misses out on some of the blues and greens that printing papers are capable of reproducing. DCI-P3 was originally created for digital cinema projectors. It extends significantly into the Reds and Yellows (perfect for skin tones and warm lighting), but it falls short on Cyans and Greens compared to A-RGB. This image is self-explanatory (credit) The Hahnemule PR Ultra Smooth is a printing paper.

I'm currently using an Isotta housing for my Canon R6 mkII, I'm really happy with it. I find that the ergonomics are great, and in the inside is far more simple that the Nauticam for example. But in terms of size, comparing directly with the same camera housing from Nauticam which my dive buddy owns, I don´t find any difference. The fact of it's an european brand for me is a plus, the service can be very quick. And you can use directly with no conversion rings the Sea&Sea ports, and if you have Nauticam ports you can unscrew the lug and fit a Sea&Sea lug. So you can easily use Isotta, Sea&Sea and Nauticam ports, furthermore they also manufacture conversion rings for other brands like Aquatica. Which only protrude 0.5 cm from the housing, so it's not a big deal for the lens setting. Comparing with the Aquatica Canon 5D mkII and the Sea&Sea Canon 50D which I also have I really prefer the Isotta. And, their basic flash trigger since a year ago or so is directly compatible with HSS which I don't use but is always a plus.

Davide, Thank you. I was just going to add that I discovered the ASUS ProArt last night that looks pretty interesting as a lower cost option (it's also quite a bit brighter than either Eizo or BenQ). It's definitely on my list. One other thing I found interesting in the video I linked above was doing all edits in the largest gamut possible, then clamping to the appropriate color space for the publication medium. The video talks about keeping files in rec.2020 if possible. I don't see any panels capable of rec.2020, so what is the impact of keeping more colors/luminance than the panel can display? I've seen the color plots for years, but am just now understanding what they mean. I found this graph useful for photo gamuts (I assume rec.709 for video is similar, but I haven't dived down that rabbit hole just yet): Best, Evan

Yes Benq are very good indeed. I have two of them since 2018 and they work flawlessly. I'm changing them to upgrade to native 4k.

Thanks Chris! Yep I am limited to manual only as the MF-2's only do TTL for Olympus. Even the newer MF-3 model only does Sony TTL with their own trigger.......and I'm not buying a 3rd trigger 😁 I re-read the manual and I think I'm going to go with this an option: Underwater Strobe Manual Mode (set by underwater strobe dial switch): Set underwater strobe dial switch to M mode without pre-flashes. Adjust strobe light intensity by the dial switch on the strobe body. Shooting in this mode, it is strongly recommended to set TTL-Converter also to M mode (by camera menu “WL” command), to exclude Pre-flashes in system (for energy saving). So I'll keep WL on in the camera so the trigger is in no pre flash mode, M on the strobe and manually adjust the power on the strobe. If I feel the need to try HSS then I'll switch the strobe to HSS mode and set a faster shutter speed on the camera. I just tested it out in a dark room and it seems to sync up and capture the strobe in the test shots, the only difference I could see between HSS and M on the strobe when using bon HSS speeds was the brightness, but I assume that is because HSS won't go below power level 4 as per the strobe manual, so I think I'll just use M by default and switch to HSS mode if needed.....which is unlikely really 😁 I will use trigger mode 0 and avoid HSS as a fallback option if the above doesn't work! Cheers!

Eizo coloredge is probably the best, but also the most expensive... I cannot compare to other high quality monitors for photographers since this is my first monitor of this kind, but my BenQ SW270c does what is expected from a monitor in this class. Approx. 1 year ago the monitor failed and I had to send it in for repair. It turned out repair is too elaborated (more or less a total loss), but they send me a refurbished replacement monitor (same model) for free on goodwill basis, although the warranty was already over since > 3 years. I can recommend this brand... Wolfgang

How does the position of the dome's center relative to the lens center affect the image? What will the effect be and how pronounced is it? I saw a YouTube video by Alex Mustard where he said that if positioned incorrectly, a 230mm dome will be as soft in the corners as a 160mm canopy. Is that the only effect? There's also a small 8" dome from Ikelite, which is part of an 8" hemispherical dome. Its center is clearly not aligned with the center of the lens, but no one has ever complained about the photo quality.

Hey Chris, thanks again for your feedback. The tokina seems to be usable between 12-15mm in FF, and give a good 180 degree image at 15mm. My thinking was to keep it with a FF camera, instead of the more pricey Canon 8-15mm route. The AOI housing for the A7C II would solve some strobe-related issues, but then there's the cost of the dome, plus extensions ($$$ !). I'm discovering the complications of FF, mostly in terms of lack of low cost options. And I've read time and time again that APS-C is more than enough for UW. And I guess M43 too, judging from many images I've seen. Are your topside photos also taken with a M43 system?

Hello @Elvandar , how is the attachment? The picture doesn't show this issue. Thank you Ciao

The guides on the lens itself. I'm not finding peaking to be particularly accurate unfortunately.

I'm just seeing this discussion now, so I'll try to add a few more points. First of all, for Video Editors (Resolve): Adobe RGB is largely irrelevant. Rec.709 is the standard for SDR (TV, Web). DCI-P3 is the standard for Cinema, HDR, and modern displays (Apple devices, OLED TVs). This gamut extends into Reds, Yellows, and skin tones. As it happens, I’ve recently been looking into replacing the monitors I use exclusively for video editing. Granted, you can’t go wrong with an EIZO monitor, but personally, it’s out of my budget. Looking at the shortlist I made, there are some monitors that also cover 99% of Adobe RGB. ASUS ProArt PA279CRV (27" - Currently my top pick) Price: here in Italy about €530 Pros: It seems to be the only 27" IPS panel in this price range that genuinely covers 99% Adobe RGB + 99% DCI-P3. Cons: contrast is standard IPS (1000:1), no IPS Black technology like the Dell U2723QE (which I didn't list here because it lacks Adobe RGB coverage). MSI Summit MS321UP (32") Price: here in Italy about €700 Pros: Huge canvas for the Resolve timeline, includes a magnetic hood very useful for color reproduction. Cons: dual 32" monitors might be overkill for my viewing distance and I would need a monster desk. Lenovo ThinkVision P27u-20 Price: here in Italy about €800 (fluctuates a lot) Pros: Better build quality, Thunderbolt 4 hub. Cons: Currently too expensive compared to the ASUS for the same panel performance. Mi current choice is the Asus. It's the value king for my budget and needs. it's really a unicorn for its price. Other practical considerations: I have my desk against a wall so I cannot use standard gas-spring arms (the "elbow" would hit the wall, pushing the screens into my face), I am planning to mount these on a Dual Monitor Stand with a Horizontal Crossbar. This should keep the monitors perfectly aligned and flush against the wall without requiring depth clearance. The Asus supports DisplayPort MST. (daisy chain). You can plug your PC into Monitor A, and then plug Monitor A into Monitor B. This means you only have one cable running from your computer to drive two distinct extended desktops. It makes for an incredibly clean desk setup. For photo editing it's ok and a killer feature but for serious video editing it has several drawbacks: A single DisplayPort 1.4 connection cannot sustain two uncompressed 4K signals at 60Hz with the 10-bit color depth essential for avoiding banding in DaVinci Resolve. To accommodate this data load, the system often forces compromises such as chroma subsampling, which reduces image clarity, or a drop to 8-bit color, which introduces artificial gradients that can ruin grading accuracy. Although Display Stream Compression attempts to mitigate this, introducing compression into a reference signal chain is generally inadvisable for critical work. So I will directly connect each monitor to my Nvidia GPU. Hope this helps.

what do you mean by using the focus guides - are you using focus peaking?

With the 2x TC the 8-15mm fisheye will become a 16-30mm fisheye (not 50mm)... According to calculations for equisolid fisheye, 16-30mm will be 170° - 85° diagonal angle of view (AOV). According to Nauticam's portcharts, the FCP-1 with Sony 28-60mm will give 170° - 74°, i.e. pretty similar AOVs... => I would say that the Canon 8-15mm & 2x Sony TC is some kind of "poor mans FCP" (it does not seem from the reviews, however, that FCP provides better IQ) Wolfgang

Did you focus on infinity for the in water tests? I shot the 15mm yesterday UW and using the focus guides everything should have been in focus but all the images were very soft.

Excellent. They’re so easy to make you’ll be wishing you did it ages ago!

Dave, we were on Harmoni last year. Brilliant! Best liveaboard we’ve done.

@Adventurer again people have been posting their test results to the forum using their own strobes and a supplier provided strobe in the case of the maxi and taking a lot of time to test and compile results to benefit the forum participants. You however again imply an ulterior motive as the reason your strobe doesn't win. As far as I can see the reviewers have detailed what their methodology has been and reasons behind it. Please if you disagree with results or methods don't accuse (or imply) people of having ulterior motives, rather address the issue you have with their methodology, why you disagree with the methodology and what you suggest they should do instead and why. You can also agree to disagree. Implying ulterior motives is a form of ad hominem response and we discourage that on the forum. We are all for vigorous discussion about the subject being discussed as long as it is directed to the subject not the forum member. As far as my question , I believe it a statistical possibility that can't be resolved with the samples at your disposal. You can only draw conclusions based upon the strobes you actually have available to you. As far as a fair way to compare - my thought is that determining the max power level at which the strobe can rapid fire without dimming or dropping frames at a given frame rate (10 frames/sec , 5, 3 whatever the reviewer chooses) and comparing the light output when firing at that rate makes the most sense. The strobe with the highest light on the subject under those conditions wins. Any tests with dimming and/or frame dropping just makes a lottery of whether your shot is exposed correctly or not.

Welcome. I've had a look at some of your ocean stories and they are lovely. I really enjoy the freediving focus on shallow marine life .)

The design for these adapter models has not been published: https://makerworld.com/en/models/2391114-adapters-for-retra-and-backscatter-hf-1-strobes#profileId-2619513

Thx a lot for this link and your correction!!!

The model for this design is now available for download: https://makerworld.com/en/models/2391039-universal-dome-port-cap#profileId-2619412

OK thanks, you could probably utilise the higher power of the S&S strobe. Optically triggering might be better if you want TTL . Wired sync cords have another set of o-rings you need to maintain and only support manual operation it seems. Optical sync of course would need a trigger.

@Chris Ross I use Canon R8 with 15-30 & 100 mm lenses inside Seafrogs housing. Holiday diver, so don't want to invest much.

no, don't believe so, my calcs show around equivalent to a 28-30mm lens and I actually use the 8-15 on my OM-1 which is a 2x crop so the same as a 2x on your full frame, so I can compare fields of view directly. This post has some test shots showing the zoomed in 8-15 has about the same field as a 14mm rectilinear lens - which is 28mm full frame equivalent. In any case you can compare the fields of view through the zoom range from the pics I posted. The advantages of fisheye zooms! - Photography Gear and Technique - WaterPixels