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I have taken a different approach (Being a cheap bastard). I bought a Metz 44 l cabin backpack ($40) and then a set of padded dividers from Condition 1 ($60) so I get a very light weight, big carrying backpack for about $100. Bill -
watt seconds has similar problems unless you are always using the same reflector design. The photons hitting the subject is always complex to measure. Bill
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Just on our way back from Galapagos. CNH and Samba is highly recommended. We are already looking for a next one. I’ll post additional pics as soon as we are home.
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Thank you so much for watching! Yeah the music tempo in the beginning definitely doesn't match the footage - especially when it goes underwater. I just loved the track for the drone clips and tried to force it. Upbeat drums and nudis don't really go hand in hand hahahaha. -
Oxnard, California – February 17, 2025 – Ultralight Camera Solutions (ULCS) has released three new accessories designed to solve recurring challenges in underwater photography: the Camera Dome Weight Trim Kit, the Stabilizing Plate for Video and Still Photography, and the AC-AQD04 Quick-Release Adapter. All three products were developed in direct response to requests from dealers and photographers who identified specific gaps in the underwater camera accessory market. "We had dealers asking for these solutions," says Ken Kollwitz, Owner of ULCS. "These products exist because people kept running into the same problems, and there weren't good options available, or the existing options had significant drawbacks." Camera Dome Weight Trim Kit: Adjustable Trim for Any Dome Port The Camera Dome Weight Trim Kit addresses a fundamental challenge in underwater photography: achieving proper balance when using dome ports of different sizes and materials. Acrylic dome ports create upward buoyancy, causing the front of the camera housing to rise underwater. Glass dome ports, particularly larger ones, add significant weight to the front of the housing. Both conditions affect a photographer's ability to maintain proper trim and control. The ULCS kit mounts to the bottom of a camera housing and allows photographers to add adjustable weight where needed. The design accommodates different dome sizes and materials without damaging the protective rubber pad on the camera housing base, a problem that occurs with similar products from other manufacturers. "Only one other brand offers a comparable solution, but it destroys the rubber pad on the bottom of their housings," Kollwitz explains. "We wanted to give photographers using different camera systems an option that works without causing damage." The adjustable design allows photographers to customize the weight configuration for their specific dome port setup. Price: $129.95 USD. Stabilizing Plate: Keeping Camera Systems Steady During Deployment The Stabilizing Plate for Video and Still Photography provides stability for camera systems during staging and deployment, particularly on boats in rough conditions. Heavily rigged underwater camera systems, with multiple strobes, arms, and accessories attached, tend to tilt and rock when placed on deck, increasing the risk of equipment damage and complicating pre-dive preparation. Kollwitz identified the need for this product after observing the challenge repeatedly in the field. While other manufacturers offer similar stabilizing solutions, the ULCS plate is designed to be more universal in application and priced lower than competing products. The plate works with both video and still photography configurations and accommodates a range of camera housing sizes. Price: $177.95. AC-AQD04 Quick-Release Adapter: Simplified Equipment Changes The AC-AQD04 is a 4-inch quick-disconnect arm designed for fast, one-handed attachment of underwater lights, strobes, snoots, and other equipment. The adapter features a push-button release mechanism and compact design that streamlines underwater photo and video setups. Built with fewer moving parts than competing quick-release systems, it can be operated with one hand and is fully serviceable for field maintenance and repair. "There are other brands making similar products, but ours has fewer moving parts, can be used with one hand, and photographers can service it themselves," says Kollwitz. "We also plan to use this as a starting point for other quick-disconnect products." While designed primarily for underwater photography, the AC-AQD04's simple, reliable mechanism makes it potentially suitable for applications beyond diving. ULCS has provided samples to professionals in the cinema industry for evaluation. Price: $44.95. Field-Tested by Underwater Photography Professionals Andrea Michelutti, underwater photographer and ULCS Brand Ambassador, has been testing the new accessories in real-world shooting conditions to validate their performance and functionality. All three products are now available through authorized ULCS dealers and at ulcs.com. - Today
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GNs are really not all that useful except possible computing exposures in a studio. GN is a function of beam angle and distance. Watt second is a more useful measure when given. A strobe with a beam angle of 80 degrees and a GN of 32 might be similar watt seconds as a strobe with a GN of 22 and a 120 degree beam angle. And then there is the evenness, for lack of a better word, of the beam. Many strobe are really hot in the middle with a lot of fall off but they have a high GN because it was taken in the hot spot. -
Yes, it fits after some modification with a round file. -
An interesting comparison. What do you mean by a modified RF/EF adapter? Does the teleconverter's extension part fit inside the adapter? -
I need to bring this topic up again because I need two zoom rings for my Nauticam/Canon Fisheye 8-15/4 (N120) combination: One for the RF 1.4x and one for the RF 2x. Does anyone have any suggestions on where I could get these? Unfortunately, I'm not at all familiar with 3D printers, but perhaps there are templates available. Thanks in advance!
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Guide numbers can be quite misleading, A lot depends on how the light is distributed in the beam. Quite a few strobe tests have been posted on here in the last couple of years, it's probably about the best comparison you could find. Assume you've looked at the pinned strobe comparison table in this forum, the spreadsheet linked has larger images. -
I dabbled in UW photography. I was never happy with my wide angle photos. Too difficult to get good w/a composure with the animal life. UW macro photography was easier. UW macro video is tough w/o a tripod. The timing/synchronizing is part of the editing process. Deciding the type of clip, clip length and when/where to place it in the timeline to tell the story and match the audio. The amount of effort I put into the editing is mostly determined by the quality, variety and quantity of clips I have. Some dive trips do not generate enough good footage to put together a thought out synchronized video. I have done plenty of videos with a pleasant song and just threw in the clips I enjoy the editing process and find UW video more satisfying than UW photography. What setup do you have ? Gopro is very good given it's size, but I was never satisfied with it's low light or white balance. Not sure how much the latest versions have improved. -
In my case, I currently use 2 S&S D3 Duo with zero problems. And was using before two D2 also with no problems at all. Planning to update the D3 for the new ones YS-D130R this year. -
I’m just starting photography/videogrphy after several years of GoPro use. I’m familiar with Han Zimmer. The timing seemed synchronized, so I was wondering if it was an app/service that was a custom composition. Very nice. -
Thanks for the kind words Evan. I have a Sony A1 and Tamron 24-70 2.8 lens. I use both for topside photography portraits, headshots and weddings. UW housing is a Nauticam with dome port and lights are Big Blue. I used to shoot a lot of UW video in the past but got away from it for a while. I was using Adobe Premiere. But now, I did not feel like paying for Premiere so I am trying out the free version of Davinci Resolve. Music is Hans Zimmer. Very well known and famous movie soundtrack composer. Do you shoot photo or video ?
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The photo of fan coral I don't see a lot of difference between the two. Is it just me?
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Ron, This is a great video! Watched a couple times. Not only great video, but nicely put together and a great soundtrack. I'd be interested in learning more about what you shot and your post processing including music selection. Thanks! Evan
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You're welcome!
- Yesterday
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Thanks for sharing your experiences, I have seen a lot of issues with the Sea&Sea strobes, particularly the D1 and D2. The lack of service support is the key theme though that I am wary of. The AOI UIS P1 specifically were too heavy to appeal to me, if I was going up to that level I'd look at the Backscatter HF-1 and Marelux Apollo IIIs. I also wasn't clear on their equivalent power, when converted to a GN it was usually quoted as 22, sometimes 28. With Backscatter I considered the Atom which was definitely in the range of what I was looking for.l, albeit a bit less power. -
And I can see the difference on my Eizo monitor, but not on my iPad. The MacBook kind of reveals the difference, but not as clearly as the Eizo. Thanks!
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Well, best to try it and see what you think. My estimates suggest using the 35.5mm adapter with 140 dome and 50 macro would put the dome approx 11mm too far forward. You will likely lose a little close-up range. I have both adapters. I never tested this combo with the 35.5mm. The 25mm one was hideously expensive when i bought it, but seems to have come down significantly in price (unique for Nauticam!) -
Sold -
I started using the Zen 100mm port over a decade age with the Canon 8-15mm and later moved to the Nauticam 140mm port which if placed correctly gives better image quality in the outer parts of the frame. I to found the DP-100 port shade to be a pain to remove and reinstall underwater, in fact I just left if off completely and covered the glass with neoprene getting in and exiting. I had to do the same with the NA port. When I moved to Marelux I used the NA to MX 20mm port adapter and continued using my NA ports. When Marelux introduced their 140mm port with the bayonet sun-shade my NA-140 was the first port to go. I can now remove and reinstall easily, I put the cover over one arm and the shade over the other or clip it off on my BC. The biggest increase in IQ comes when using full frame cameras with the 140 v 100mm. An upside to the 140mm port you may not have considered is the ability to use other fisheye and rectilinear lenses with it as long as the extensions are correct. -
Spent 10 days diving on the Arenui. Dove Raja 18yrs ago. Nice to see it looks just as good.
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In case any Canon full-frame mirrorless photographers are interested: I tested a modified Commlite RF/EF adapter with the Canon RF 1.4x extender against the Canon RF/EF adapter with the Kenko 1.4x Teleplus Pro 300 DGX extender on my R5 and the EF 8-15/4 fisheye lens, unfortunately so far only above water. My primary goal was to determine whether the overall image quality with the Canon extender (which I already owned) was better than with the (relatively old) Kenko, which I've been using for many years on Canon DSLR cameras and for the last three years on my R5 with the 8-15/4. I tested at both 15mm (180° diagonal) and 21mm focal lengths at f/5.6, f/8, f/11, f/16 and f/22. Generally speaking, the Canon RF 1.4x is significantly superior to the Kenko 1.4x in the corners at both focal lengths and all apertures. In the center of the image, there's hardly any difference (you can see something at larger apertures) - and I even examined all the images at 200% and 400% zoom to be able to make a truly precise comparison. Furthermore, the Kenko vignettes significantly more than the Canon and has a cooler color tone. Naturally, the difference in image quality will be less noticeable and significant behind a dome port! It's somewhat annoying that the Commlite doesn't display the aperture correctly (the camera only recognizes the aperture without the extender) and the focal length is also incorrectly displayed (15mm is recorded as 11mm and 21mm as 15mm in the EXIF data). The Kenko, like the Commlite, also displays the aperture incorrectly, but at least the focal length is correct. With the Commlite/Canon combination, you should also deactivate the in-camera IBIS, otherwise the sensor will wobble strangely. Since I also own the Canon RF 2x extender, I took the opportunity to test the combination with the 8-15/4 at 16mm and 30mm. Generally speaking, at 16mm, the corner performance is noticeably worse than with the 1.4x extender at 15mm. At 30mm, the overall image quality (including the corners) is surprisingly good – best at f/11. Therefore, if you expect to only shoot shy big fish and not wrecks or reef scapes, this combination could be a solution. Please note that these test results are only valid for above-water! I now need to find some zoom rings for use with both extenders. If anyone knows of alternatives to Nauticam (they don't sell one for the 2x extender - as far as I know - and the one for the 1,4x is incredibly expensiv), please feel free to comment here. Sorry that I can't provide any images from this test at the moment due to time constraints.
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I'm wondering about how the video lights are on the Maxi and haven't seen it discussed much. From the layout, it seems they would not have an even light pattern at all. I assume they are not Keldan quality but are they really just dive lights or are they usable for video? Love to hear impression's of those who got them with the 6k video lights.
