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Can you post some examples of what type of images you take with this system you have put together? What kind of FoV are you getting?

LOL!! I'm a top 20 shareholder, it has taken longer than expected for this project to produce the fruit as the filter press that they installed when building the processing plant turned out to be a complete piece of crap, they spent a lot of money to get a good one from a well known & reputable Italian manufacturer and the problems only became apparent when commissioning the process plant, so they were only operating at about 45% capacity for more than a year while a new one was made by a Chinese manufacturer - that one is operating reliably and doing so at a rate that is higher than its rated capacity - China for the win - wasn't expecting that compared to a long established Italian manufacturer but anyway... I don't want to spend all of my winnings on underwater photography gear, so If I could obtain a secondhand Nauticam OM-1 housing I would happily go that route, however secondhand ones seem rarer than rocking horse dung at the moment - it seems that everyone is quite happy with their setup.

Thank you Phil. I just got the Marelux 140 dome and tested it with a 40mm extension ring. It has distinct black edges, I guse 35mm will be ok. You mentioned that 20mm is the most suitable, I'd like to know the reason for this setting. Because I obtained that 32-36mm is the best optical distance through the theoretical calculation method in the forum (the entrance pupil distance of rf7-14 comes from the Internet, and other parameters are actually measured by me)

I do a fair bit of shore diving and so I'm not sure that I want to go to a FF-sized system for that reason if an m43 will do the job perfectly well.

I think that I am becoming convinced about the Maxis, the problem that I had was that for some weird reason, when you click on the Retra Flash tab on the Retra website it goes to a page with massive amounts of information that goes on and on about the Retra Pro Max II - and there is no mention at all of the Maxis - the only way anyone finds out about the Maxis is to go to the Shop and find them there and then click on them and it takes you to a page for the Maxis - anyone who doesn't go to the Shop would be left thinking that the only strobe Retra make is the Pro Max II, and they are out of the price range of most people. So I'm glad that you guys pointed out the Maxis! Even if the Pro Max II was affordable the oodles of AA batteries needed was an instant turn off - airlines allow you to carry 20 lithium batteries and if 16 were needed for a pair of strobes, a couple of camera batteries, two batteries for the rebreather, a battery or two for the monitor - and I'm over the 20 battery limit! I will do some more reading on the Maxis but they are more or less favourite now.

Interesting! Agree that the Maxis look better option now that I have found them!

Yes, overall better! There is nearly no sharpness loss in the edges with that combination. I am not shooting the Canon RF 24-105mm f/4-7.1 STM IS behind a dome. But this is can be mainly credited to the lens behaviour on land, were you can see that center and corner sharpness is excellent in the f-stop range we typically use underwater. Also the barrel distortion at 24mm helps when using domes and underwater correction optics. Of course this lens has been roasted as dismal performer in land reviews for that. But for our kind, this is exactly what we need in underwater photography. ( source: review at OpticalLimits.com ) I repeat / clarify, that I am not shooting the Canon RF 24-105mm f/4-7.1 STM IS behind a dome. I happen to own a unique Rebikov / Ivanoff Style corrector port which allows decent zoom through with that lens. With some tinkering, trial and error I lucked into this lens and specific uw glass combination, and I believe to currently be the only underwater photographer using such a system. There is a complete thread about my lucky find in this forum: https://waterpixels.net/forums/topic/2637-ivanoff-style-underwater-corrector-port-on-a-canon-marelux-mx-r6ii/

Here the moment reviewer describes new CWB process, it is 44:54 mark

Thanks! On this config, the aim is the smallest/lightest rig that can deliver images where the quality remains good enough to be able to use/present anywhere. Backscatter HF-1 is too big. What about these as a hybrid? Weefine WFS07 Underwater Strobe and Video Light Weefine WFS09 Underwater Strobe and Video Light iDive Symbiosis SS3 Underwater Strobe & Video Light

You may be able to find some exposed slide film, the tail or lead. Then place it over the camera flash. My Inons would trigger from the infrared.

Capture One and Photoshop

No problem. I would suggest that an RX-100 and TG7 are not really interchangeable- the TG7 is a macro machine and does real close ups all by itself. The RX100 and TG7 are more or less the same on the wide end but to approach the performance of the TG7 you need to add on diopter closup lens as the lens does not focus that close and you have the carry that somewhere, plus they are not as straight forward to use and have a limited focus range. Hybrid strobes/video lights tend to be OK at both or perhaps like the Backscatter HF-1 it's a powerful strobes with an OK video light but very heavy and fairly large. The problem is a small strobe can run quite happily on 4 eneloops batteries , while to power a decent video light you need a couple of big 18650 or 21700 Li batteries, either that or they are rather underpowered. this item is made for the olympus housing to attach fibre optics: Backscatter.comOM System PFCA-03 Optical Fiber Cable AdapterOM System PFCA-03 Optical Fiber Cable Adapter for PT-056, PT-058, PT-059 Housing for TG-3, TG-4, TG-5, TG-6, TG-7. I haven't seen one designed for the bare camera, there are generic stick on units that I've seen being sold.

I'm currently using Retra strobes, I have the reduction rings and they have great light. I can get 3 Sydney dives out of a set of Eneloop batteries. The reduction rings make backscatter control so much easier compared to my previous Z240 strobes. The INON Z240 were very reliable for me though, you could add a neoprene sleeve to act like a reduction ring to them or any other strobe. The Z240s are still sitting around, but I can't see me using them again.

Thank you! Housing: I hear you, but my point is to be as compact and lean as possible. Otherwise I can go with an RX100 + housing. Inon S220 S-TTL Underwater Strobe: Roger. Would you happen to know the smallest hybrid light for photo and video? Stick on ports for fiber optic cables: Can you suggest known-to-work models to order?

OM System/ Olympus is really great if you want a true fisheye and intend to use the excellent 60mm macro and are not much interested in video. If a zoomable fisheye, or 90mm macro is the goal it looses some advantage, such as size. It could be argued that lens options for a Nauticam wet lens or conversion ports are better with other brands, as is mixed photo/video capability Things to consider... You mentioned supermacro ... the newer Sony 100mm and Canon RF 100mm macro lenses go to 1.4x magnification and high resolution cameras like the Sony A7rV are good for cropping images for extra magnification. Yes the OM 90mm can go to 2x but I can't see a difference between this and the Sony A7rv cropped to smaller size frame. The OM System cameras are great for in camera features like focus stacking but I haven't seen anything to suggest that works well underwater. If compactness is important the Nikon full frame looks a good option for the smaller WWL-1C and the Nikon Z5ii + 24-50mm lens in a Nauticam housing looks interesting. As has been mentioned, options for good small APS-C specific macro lenses are limited, (not such a big deal if you are satisfied with wet close-up lenses). The image below shows the minor size difference is between Sony A7Rv/A7v, Nikon Z5ii, Canon APS-C R7, and micro four thirds OM 1 ii if you have the same focal length, but also the small size if the Olympus 60mm macro. I would say for underwater use there is not a major difference in image quality or even real world autofocus use between most of these cameras except if you want low ambient light which favours the bigger sensor. I suggest choice is more dependent upon (i) what is available used (ii) if you want a fisheye or are are happy with 130 degrees for wide angle (iii) how serious you are about macro. From left to right: Sony A7Rv+90mm, Nikon Z5ii+105mm, Canon R7+100mm, OM1+90mm, OM1+60mm

While I don't think that you will go wrong with the OM-1, I am using a Panasonic Lumix GH7 with an external monitor and love it. I mostly shoot the Olympus 60 mm macro lens that was mentioned and it is my favorite lens. However, I shoot video exclusively so my use case will be a little different than yours.

CCRphoto: I am currently using a full frame Nikon underwater but have begun experimenting with going back to micro four thirds (MFT) for travel weight and size reasons. I previously used MFT for several years and would add the following for consideration: I use nauticam housings, so the choices are based on that. For macro, the Oly 60mm and Panasonic 45mm are excellent. I have not used the 90mm lens and doubt I will do so. For extreme wide angle and CFWA, I like the the Oly 8mm fisheye in a 100mm Zen or 140 Nauticam dome port, or second choice, Panasonic 8mm in the same ports. The 12mm Oly is also good for a rectilinear choice Alternatively, a 14-42 or 12-32 lens behind a WWL or WWL-C works well. I found the Panasonic 14-42mm f/3.5-5.6 II ASPH MEGA OIS LUMIX G Vario to be the best 14-42 with the WWL, compared to the other 14-42 options from Panasonic and Olympus. I don’t care for the zoom operation of the EZ and PZ lenses. You may feel different about that. The 12-32 lens works well behind the WWL-C and many above water tests suggest it is a sharper lens than the 14-42 lenses. While none of those kit lenses are what I would choose on land, they work well in the water with the WWL and WWL-C. The other lens I enjoyed was the 12-40 behind a 180mm dome, but decided the weight and size of that option defeated the purpose of using micro four thirds stuff. At various times I experimented with the 12-50, 7-14, and some other lenses, but finally settled on those I list above as all I really needed and the 8mm with dome port or WWL are alternatives on any dive trip, depending on destination and goal. I would not take both of those. I supplement with various wet lenses like the CMC, MFO, etc. I am unsure whether I will go back to MFT, as I am happier with the results of APS-C and full frame, but that is probably a personal skill issue, not a hardware issue. Generally, I feel APS-C is the sweet spot, and if Nikon does decide to produce a D500 replacement Z camera, that is something I would be very interested in. So far, it seems that camera companies have been withholding some of the best tech from their crop sensor cameras and offering limited lens choices. I hope that whatever you choose, it brings you many hours of enjoyment. Oh, I also recommend the Retra strobes or if you want something smaller, look at the Atom.

Mission 1 Pro close-up picture Sea horse captured with Inon G165 II and some cropping in post production (thanks to the 50Mb).

Expectedly, you will need a lot of shares of the coppermine... 😄 Seriously talking, I would go second hand in your case (it will need monthes until the new models will become available, if this will ever happen). It is just important to decide now into which system to go (Canon, Nikon, Olympus, Sony; MFT, APS-C, FF), then later you can upgrade with intermediate expense (just 10% of a coppermine (estimated))...

Last year I went from an EM1ii (m43) to an A7RIII (FF) and looking back I regret it somewhat. Although it was fairly cost neutral being both somewhat older systems the money would have been better spent on getting a Canon 8-15 and required accessories, since I'm now spending that anyway but likely with the Sony 2x TC and required extension on top.