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Davide DB

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Everything posted by Davide DB

  1. I couldn't agree more. Often technological replacement is confused with the extinction of an entire sector. The idea that smartphones would completely wipe out cameras was based on the assumption that taking a picture is just recording pixels. Following this linear reasoning, if the phone takes good photos for 99 percent of daily situations, the dedicated camera no longer has a reason to exist. Instead, something very similar to what happened in the music market with vinyl is happening. The more mobile photography becomes automated, compressed, and dominated by aggressive computational algorithms, the more people rediscover the value of the physical object, manual control, and an image with a natural optical rendering. "organic" 😁 Just look at kodak and film stocks. it was declared dead but now a lot of movie are shot again on film stock. The phenomenon of the Fujifilm X100 series and Ricoh GR is explained precisely like this: Fuji has intercepted a huge audience that wants the "organic" shooting experience and ready-to-use color rendering, without necessarily having to spend the evening developing RAW files on a monitor. The overtake of Nikon in terms of volumes tells exactly this change of priority in the consumer market. I guess that most of the X100 and GR customers comes form smartphones and not from hard core photography. The roles have simply sorted themselves out in the end. The smartphone acts as an omnipresent visual notepad and finances technological research on sensors, the dedicated camera remains the tool of those who look for deliberate action and control of parameters, and action cams and products like the Osmo Pocket have taken the place of old camcorders for mobile video. Smartphones may cannibalize large numbers, but they will hardly erase dedicated tools as long as the latter continue to offer a user experience that a flat touch glass can never replicate.
  2. While it's tiny, it's a prime lens so you will not get the flexibility of a fisheye zoom and TC
  3. Yes certainly but ours is a niche need. In normal photography today HDR is used. But surely underwater photography will benefit from it too. We need to keep an eye on the reviews of the new high end Chinese phones coming at the end of the year that will use Sony and Omnivision sensors.
  4. We are not very good at predicting market trends 🙃 And anyway I will never tire of emphasizing that the number of smartphones sold is 1.25 billion units, while the entire photography sector, including compacts and mirrorless cameras, did not even reach 10 million. Two orders of magnitude. Technology advance comes from smartphones.
  5. Nikkei shared its Industry Map 2027 with a ranking of global camera shipments. Canon – 4.5 million units (45.7%, +2.5%) Sony – 2.42 million units (24.6%, -3.9%) Fujifilm– 1.16 million units (11.8%, +2.8%) Nikon – 880,000 units (8.9%, -2.8%) Panasonic – 430,000 units (4.4%, +1%) Ricoh Imaging – 210,000 units (2.1%, +1.3%) OM Digital – 150,000 units (1.5%, -0.4%) Image credit: mirrorlessrumors.com It is worth noting how incredibly Nikon is no longer the third player in the market, surpassed by Fujifilm. This is probably due to the incredible success of the luxury compact camera Fujifilm X100VI. This retro-designed camera that mimics the style of rangefinder cameras has broken every historical sales record for the brand and is often hard to find in stores. It is compact only on the outside: it packs a 40.2-megapixel sensor and in-body image stabilization and offers Fujifilms famous historical color profiles without the need for post-production. More and more manufacturers are launching vintage-style compact models. On September 9 OM formerly Olympus will launch the successor to the legendary PEN. for the rest, Canon is firmly in the lead, Sony has a slight dip and the others... are fighting in the mud 🥲
  6. Wow a really good job! One single very long tracking shot, you never lost focus or shook during the shooting. Bravo! P.S. At first glance, getting that close would have scared the crap out of me 😱
  7. Of course! Do not take me literally. Besides, what else should we talk about between one diving trip and another? 😁
  8. I practically only do technical dives with rebreathers and multiple stages, so: no DPV, no party 😉 Because of this I have always used an M43 system to limit bulk. I only shoot video and I have given up on having a kit that does everything. Depending on the dives or my mood I choose: 14-42mm plus WWL-1 for mid-wide 14-42mm plus CMC-2 on a flip for details and macro 45mm plus CMC-2 on a flip for exclusive macro. I rarely use the 12-35mm with a 6 inch port for general mid shots and I regret not using it more often. In his range is tack sharp and better than WWL but most of the time it's not wide enough. Impossible to swap lenses on my dives. With the 6 inch port or the WWL I sometimes mount everything on the scooter otherwiseI clip my kit on a D-ring or I bring it on the left forearmlike a basket. Never had a blurp on the WWL and never had bubble issues. From 40 meters down everything washes out. 😅
  9. Guys, I am jumping into this discussion about Full Frame for the last time just to share a very personal thought, without any intention of convincing anyone. As we always say, we agree to disagree: the great thing is that everyone is completely free to choose and use the system they feel best with in the water. There is no absolute truth to impose. I find the video posted by @Christian K very insightful. @Alex_Mustard and @MatthewSullivan review what they consider to be the most iconic underwater photos, taken from the book celebrating 60 years of the Wildlife Photographer of the Year. What makes you think is that many of those photos, which we still consider absolute masterpieces today, were taken several years ago. In the video you can see shots like Doug Perrine shark in the sardine run or Brian Skerry incredible encounter with the right whale. The cameras used for those shots were prehistoric compared to today. They had a fraction of the megapixels and a dynamic range that would make people laugh today. Yet, do we really think that any random photographer today, just because they bought the latest top model with 15 stops of DR, is able to take better photos than the ones David Doubilet took fifteen years ago? Following this logic, photos in the future will always be better than those from the past. Yet the history of photography teaches us the opposite. Often on forums we focus so much on the specs, and I completely understand that having the top technology is appealing. But I believe that in practical use, the technical differences between the various formats affect the final result only in a very small way. The reality is that our limits as photographers almost always arrive way before the limits of the gear. Very few people can really push the capabilities of the camera in their hands to the extreme. Underwater, physics and water skills rule. You can have the most advanced sensor on the market, but if you do not know how to approach the subject properly, the water column will eat up your colors and contrast. If you do not know how to position your strobes correctly, you will get a flat image or a wall of backscatter, regardless of the size of the sensor. Modern technology is fantastic because it makes our lives easier, drastically increases the success rate of our shots, and forgives mistakes that previously ruined a photo. But aesthetics, composition, and light management are not included in the price of the sensor. Because of this, I believe that arguing over sensor format is a bit pointless. Let us enjoy the gear we chose, whatever it is, and let us focus on getting our housings wet.
  10. Do you dive with your colleague? Have you ever handled hisl D850 kit underwater? Except for the housing, the ports are the same for any FF kit on the market.
  11. Omino Bianco: blowing out your highlights straight out of the box, no strobes required 😉
  12. With a little creativity and time to spare, you can try it right away. I have shared laundry areas in my building with large sinks, perfect for washing gear and... playing around. 😁😁😁 A plastic sheet with writing on it (I used a soap package), a small tripod, a clip and a piece of wetnotes where I wrote the distance, For my taste, at 7 cm it was not really in focus. From 15 cm up, it was acceptable. Everything was dirty because at that time i was working in a river...
  13. I don't know if you read the ongoing endless debate FF Vs Crop, anyway I will try to stay away from it, but I do not know for how long 😁 Let us say that regardless of the camera and its format, the current mainstream solution is to have a macro lens in the 90/100mm range and a double flip MFO-1 and MFO-3. This solution works with both FF and M43. Just my 2c.
  14. List of our DIY projects in the first post updated! I hope I did not miss anything. I see that several requests did not get a reply. I would advise our members to post requests as new threads in this forum so they get more visibility. Ciao
  15. Second, updated edition. Blennies of the Mediterranean Sea introduces readers to one of the most fascinating groups of small coastal fishes inhabiting the shallow waters of the Mediterranean. The suborder Blennioidei, with about 880 species worldwide, is represented in the Mediterranean by the families Blenniidae, Tripterygiidae, and Clinidae, whose members display remarkable diversity in form, colour, and behaviour while living closely associated with rocky coastal habitats. In this second, revised and updated edition, Francesco Tiralongo expands the guide by including additional species, both alien and recently described by science, reflecting the rapidly evolving knowledge of Mediterranean fish biodiversity. Supported by colour photographs and detailed hand-drawn illustrations of diagnostic characters, this book provides clear and reliable tools for species identification, making it an essential reference for ichthyologists, divers, fishermen, and all enthusiasts of Mediterranean marine life.
  16. Ok, looking forward to see your Maldives footage 🤩 I see that the biggest complaint from users is that you cannot use the camera for land and underwater shooting because the lenses swap requires a dry and clean station. You cannot do it on the boat or the beach. In the meantime I see perfectly stitched videos. Unfortunately most of them being vertical (I'm old). I guess still there will be problems stitching object passing in front of the camera at less than one meter. https://www.instagram.com/reel/Db8OCxZK-Qt/?igsi=MWpvY2Y0ZzA3Mnd1
  17. We already have a thread on this 😉 Until confirmed, please use the General Chat.
  18. Is LOFIC The Future Of Action Cameras? I hope to see a M43 LOFIC camera one day!
  19. I jumped directly on the underwater part. I didn't listen the guy. Are there special lens for underwater use to mount or the magic happens in the new hosuing? @RomiK does the X6 fit inside the Nauticam housing?
  20. I cannot help you because I do not have that lens. I can say that I have the AOI UWL-03 wide lens and if I remember correctly they do not provide the MFD. I had noticed that compared to the reviews on YouTube that claimed the lens focused almost on the dome, my footage looked blurry. So I did some tests in a large tank and the minimum acceptable distance for me was about 30 centimeters, and even there the image was not perfect. EDIT: I see there's a new AOI UWL-03 MKII lens and they claims a MFD of 78mm. Who knows! https://www.fotosub-shop.com/2741-AOI-AOI-UWL-03-MKII-Obiettivo-grandangolare-per-action-cam-e-smartphone.html
  21. Yes, actually very nice. But I have the impression that there is a small trick in the video. The image is quite static, as if he used only one of the two lenses and therefore there is no stitch between the two hemispheres. Or maybe the stitch is static. Maybe I am wrong, I am not an expert on these 360 cameras. Many people do not understand rule #1 of video shooting in general: instead of moving the camera without sense with awkward movements, if you keep the camera still and let the subjects move, you never go wrong.
  22. There has been discussion recently about the new DJI Osmo Pocket 4P. DJI claims up to 17 stops of dynamic range on its new 1-inch sensor, and comparisons with cinema cameras like the ARRI Alexa quickly surfaced online. Looking at the numbers, it might seem plausible, but visually the situation is different. Waveform plot for the DJI OSMO Pocket 4P 20mm wide D-Log2 ISO1600. Image credit: CineD Spoiler: no, it is not a micro Alexa. PetaPixel confirmed after testing it that LOFIC improves both highlight retention and shadow cleanliness, though they noted their empirical tests did not reach the full 17 claimed stops. Even if the Pocket handles backlighting very well for its size, it does not output the same image. First, 1-inch pixels physically generate more noise in deep shadows compared to the massive photosites of a Super35 or 35mm sensor. Second, it lacks the smooth highlight roll-off of Arri; on the compact sensor, the clipping to pure white is inevitably harsher. Furthermore, the DJI data ends up in a 10-bit MP4 using D-Log 2, going through a processing pipeline far different from the RAW workflows of the Alexa family. It remains a notable achievement to have this exposure latitude on a pocket camera, which is due to the LOFIC hardware. What exactly is LOFIC technology? To understand this solution, we need to look into how a sensor is built. Simply put, each image pixel corresponds to a photodiode, which is the physical silicon element that receives light, photons, and converts it into electrical charge, electrons. Imagine this photodiode as a small bucket collecting light. This bucket has a maximum physical volume, which in technical terms is called Full-Well Capacity. In standard sensors, if we adjust the exposure to properly read details in the shadows, the buckets located in the very bright areas of the frame, such as backlit water surfaces, fill up in a fraction of a second. Once full, any continuing light overflows and is lost. The sensor converter then registers a total saturation signal, leaving us with an unrecoverable white area in post-production. This is where LOFIC, Lateral Overflow Integration Capacitor, comes into play. For every single pixel, alongside the photodiode and standard circuitry, engineers added an expansion tank of sorts: a dedicated capacitor. The primary photodiode is kept sensitive to capture a clean signal in shadows and midtones. However, when the light is strong enough to saturate this first stage, the excess electrical charge is managed and stored in the lateral capacitor, which has a larger storage capacity. When generating the image, the sensor architecture can simultaneously use the signal from the photodiode and the charge stored in the LOFIC capacitor. Merging this information results in a frame with higher dynamic range, physically generated at the exact same moment, single-exposure HDR, and without the flaws of software HDR. Why it makes a difference for video This technology changes little for photography. If there is too much contrast, we use bracketing or recover the shadows from a solid RAW file. In video, however, classic HDR, which merges frames with different exposures offset in time, has always been problematic. If we film fish, waves, or anything moving quickly, the merging of frames inevitably creates trails and ghosting artifacts. LOFIC solves this issue by capturing the entire dynamic range at the exact same physical instant. You can shoot at 50 or 60 fps and keep the action perfectly sharp. The current obstacle for larger formats involves architectural complexity and power optimization. Bringing this system to larger surfaces requires circuitry capable of handling a vastly superior amount of data and bandwidth, all while limiting power consumption and the resulting thermal dissipation. Current availability and future developments for M43 and smartphones It is not surprising that this technological advancement comes from the smartphone market: the global smartphone market in 2025 totaled 1.25 billion units sold, while the entire photography sector, including compacts and mirrorless cameras, did not even reach 10 million. Some manufacturers have already taken action. Xiaomi adopted a LOFIC architecture, utilizing the OmniVision OV50X or Light Fusion 1050L sensor, on the main 1-inch camera of its Xiaomi 17 Ultra. OmniVision itself is among the most active companies on this front, integrating TheiaCel technology, based on LOFIC, to provide a concrete response to the needs of the automotive sector, where autonomous driving sensors require flawless reading of shadows and highlights in all conditions, leaving no margin for error. Outside the smartphone world, the Osmo Pocket 4P is effectively the first video camera to adopt it. Towards the end of the year, we will see it on an increasing number of high-end phones thanks to the new Sony Lytia L910 sensor, which has already entered production: roughly 50 effective megapixels on a 1/1.28 type chip, 100 dB of single-exposure dynamic range, about 16.6 stops, and 4K60 HDR video. A module that Sony officially presents by emphasizing the low-power optimization of its circuitry. Final Thoughts The transition that concerns us most directly, however, is the arrival on mirrorless cameras. Currently, the physical limit achieved and marketed with LOFIC architecture is the 1-inch format. However, industry roadmaps and component suppliers indicate that smartphone manufacturers aim to cross this barrier to reach the Micro Four Thirds format in the coming years. That format will be the natural bridge to our dedicated cameras as soon as the systems to manage the large volume of data and thermal dissipation on the camera bodies are finalized.

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