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The maximum brightness of a monitor for photographers(!) is not really a criterion, as image editing should ideally be done (with appropriate room lighting) at a display brightness of 110-120 cd/m².

To keep costs low with the Panasonic 12-42 (Panasonic Lumix G Vario 14-42mm f/3.5-5.6 II ASPH Mega O.I.S.) in the 35 port you can print its zoomgear: https://waterpixels.net/forums/topic/671-proven-3d-printed-parts-for-underwater-imaging/page/3/#findComment-12554

Twenty years on YouTube and I still don't have a clue what 'cinematic' is supposed to mean. I'd wipe that word from the face of the earth if I could. To your typical underwater YouTuber, "cinematic" is just 50 fps slow-motion that looks like the ocean is on Valium. On land if it isn't true 24 fps with anamorphic flares, it doesn't count. It’s ridiculous. The rest of the video is just clickbait. Title and thumbnail are clearly designed to feed the algorithm

I think this model is probably an identical display to my model, but it's been updated with a modern USB-C hub. Mine is USB-A only. (with HDMI and DP video inputs)

Davide, That makes perfect sense, and the impression I got from the video was to leave the data there even though you can't see it. My day job makes machines to make microLEDs, so I'm hoping they are ready sooner than later! Thanks, Evan

Dave, Based on the quality of your images, if it's good enough for you, it's more than good enough for me! I'll add it to the list. Thanks, Evan

I've recently came across a video on youtube about tips and tricks to shoot cinematic footage by any action camera. The YT channel is run by a couple creating mainly travel videos with lots of underwater sequences. The recommendations (use tray, add lights, get closer etc.) are totally appropriate but the underwater video sequences are just not OK and IMHO, and they are far from cinematic, or I just haven't seen that movie. My main problem is that they forced hyperview and the corners are somehow stretched and not sharp. Actually, only the middle segment is usable according to my standard. I left a comment, but in general other comments are positive. So the people are happy with those results. Most of the people will watch YT videos on smartphone, so maybe trying to reach cinematic quality is just overrated or the people's quality expectations are lowered drastically. I'm curious about your opinion. Please, don't leave negative comments on the video on YT, I don't want to bash their channels, so lets rather discuss here, and more as a phenomenon (with this particular example) general. By the way I think it's possible to achieve cinematic quality with action cameras as many footage in big blue chip productions were taken by action cameras. So here is the video I mentioned:

I've been using an older version of this Viewsonic 32" 4K monitor for years and it's been fantastic. It is moderately priced at under $600usd. It's 100% sRGB which is more than adequate for my needs, and probably most non-professional users. It was over $700 when I bought it 6 or 7 years ago, so this seems like a great deal.

Thank you. I've seen these pictures before, but I haven't seen the actual result.

Nice job

Update: The 12mm is significantly sharper. Also focus peaking at least at close range is all but useless. I think it's likely my 15mm has some issues and I'll try to find another since I like it's perspective for wrecks. The 12mm in Super35/ASP-C is pretty similar although obviously a little distorted.

This article and illustrations will get you wrap your head around it: Understanding Flat Port and Dome Port TheoryOne of the key features of underwater photography is the dome port. Despite it's ubiquity, it's effects are largely misunderstood or at the very least, poorly explained. In this post I'm going to ta Also this interactive tool will help understanding what happens in Mis-position: Dome Port Virtual Image VisualiserA dome port like the one you see above will cause light rays to diverge. In air, this effect is negligible. When underwater, this effect is extremely pronounced. This is simply due to the different re

This is what I was trying to do. I just shot some tests in my bathtub and the focus marks do align with the focal distance at least at shorter distance. However what I'm seeing is that the lens itself just isn't very sharp and gets worse wide open. They aren't particularly expensive so I may just buy another and see. I'll dry things off and swap on the Sea&Sea 12mm to compare.

Hey, Dave, this looks really cool! I wish I could get something like that 😜.

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.