Davide DB

I don't want to talk nonsense because I don't understand anything about underwater photography. He has two Subtronic flashes. A couple of them he had modified by the guy I was telling you about and a couple he used these adapters sold directly by Subtronic. In the end he's happy with them and says they're not worth modifying. Manual contro only of course. https://www.subtronic.de/produkte/Optocontrol-Sklavenblitzausloeser.66325.php

Here we are speaking of video od course but what's the best Canon lens for AF in this kind of dives? Seeing the Aquatilis project her in the Med, most of the critters are huge. Something I would shot with the 12-35mm (24-70 FF).

No only direct contact via Whatsapp...

Here in Italy they are well known and were considered expensive. There is a technician here in Italy who can change batteries and service them at very low prices. He recently modified a couple for a friend of mine, making them fibre-optic compatible.

I missed this thread too... I have been using a scooter for about 20 years and have been shooting with a scooter for about 15 although for the last two three years I no longer mount the camera on the scooter because I find it too limiting (broader discussion). I have an old Suex 14 and have mounted several M43 cameras with 6" domes or the WWL. I have two Keldan Luna with floating arms, monitor and have no particular problems. The scooter is fine as long as some precautions are observed. The scooter and the photo/video kit must be individually neutral. That way you get a balanced set. So if you want to detach the camera from the scooter to photograph by hand (and the camera attachment allows this easily) you can do it safely. It is also a matter of safety. You may have to separate them and the two objects remain neutral and fully operational. Some friends during long cruises position the camera and headlights perpedicularly to the longitudinal axis of the scooter (direction of travel) to have less friction but I have never had a problem with this.

Same advice here. Lately I bought on Ali a couple of no brand clamps and for the first time they are not too bad. I have some Nauticam clamps and during the years I collected clamps of different brands and I mix them without paying attention. When I move and adjust the arms underwater I can tell which Nauticams are without looking, only by how smoothly and precisely they adjust.

Did you already show the receipt to your wife? 😁

And reefs are gorgeous too!!!

Sony hear you! The new ZV-E10 Mk2 vlogging camera has a dedicated bokeh switch which creates a defocused background.

Hi Jake, A warm welcome to the forum! I'm sure you'll find other old wetpixelers like you.

Source: Nikkei via 43 Rumors

IDK Sony A6xxx AF. Which settings do you use?

Thanks @wydeangleYes, same questions as @bghazzal. Do you remember which AF did you use? It seems a center frame CAF and it loses focus when the crab moves on the frame borders.

Yes, Nauticam confirmed me the GH6 housing is OK. Camera bodies are identical.

DJI Osmo Action 5 Pro camera is already registered with the FCC... Stay tuned 😜

This wave of innovation reminds me of the epochal change that took place in the transition from film to digital. Not everyone emerged intact. I remember very well that some underwater photographers who were very popular with film almost disappeared with digital. The transition to digital forced them to post-produce the photos themselves (light room), whereas with film, post-production was the sole prerogative of the development lab (dark room). Now it seems normal to know how to use a computer and talk about memory cards, digital storage, hard disks, ssd but the impact on digital immigrants has been merciless. Only those who were able to quickly learn the new digital skills survived. And age has counted for a lot and many young photographers have appeared on the scene.

On the generation of new images, you are absolutely right, but what I was referring to were the computational photography tools we already use when taking photos (with a smartphone or camera) or in post production. As you mentioned the OM-1 and beyond already has built-in tools (pixel shift) that allow you to take huge pictures by combining several shots. The night shot function that all mid to high-end mobile phones have now is another example. On video, the night shot functions of the latest DJI and Insta action cameras are scary. In post production, most of the big new features in the April version of Lightroom are all about A.I. (actually computational photography). Denoise, automatic masks, object removal with missing background generation, are just some of the new features that will certainly also have an impact on the post production of underwater photography in the medium term. Of course, they are only tools and perhaps the difference will be seen by those who know how to use them skilfully and, above all, intelligently.

This 3 part article is even better and the opening is terrific: https://m.dpreview.com/articles/9828658229/computational-photography-part-i-what-is-computational-photography It's impossible to imagine a smartphone presentation today without dancing around its camera. Google makes Pixel shoot in the dark, Huawei zooms like a telescope, Samsung puts lidars inside, and Apple presents the new world's roundest corners. Illegal level of innovations happening here. DSLRs, on the other hand, seem half dead. Sony showers everybody with a new sensor-megapixel rain every year, while manufacturers lazily update the minor version number and keep lying on piles of cash from movie makers. I have a $3000 Nikon on my desk, but I take an iPhone on my travels. Why?

Maybe this article gives some insight on a term somehow 'exotic'. There are some interesting comments too. https://petapixel.com/computational-photography/ P.S. some of the new Adobe tools you are already using for postproduction, fall under the 'computational photography' term...

Excellent summary. We are an extremist niche here. Photography Taliban and we are definitely not indicative of the market. Simply put, we are at the edge of Bell curve. As you wrote, you see more and more people taking a smartphone underwater. Action cameras are everywhere. And while the quality of the videos and photosuck for us, for the majority of people they are perfect. We have already discussed this several times, including on WP. There is a global orientation that we can call 'low resolution' Lo-Fi. People are also looking for new ways to interpret reality authentically: film cameras, o⁵ĥĥld point-and-shoot cameras, old camcorders. Music on vinyl and fuck the CD. This is the other side of the Bell curve. In the middle are smartphones and action cameras. But wherever you are in the Bell curve, if you want to improve the quality of your images, A.I. will take care of it. Have you seen what A.I. is capable of generating by providing a source image? The problem is that someone will soon have to pay for the huge datacentres needed to run A.I. and the business model is not sustainable in the long run. Once we have these functions available in the processors of our phones, that's it. There will be no more blurred edges, loss of resolution, chromatic aberrations and other defects. So in my opinion the next big step will be computational photography. The only losers in this evolution will be us with our high-end devices. The market will shrink even further. And the prices? P.S. I love your Cressi Rondine fins

Probably yes but... I'm still waiting for someone to show up saying "hey I used animal eye AF on this clip, here are the results!" 😁

IMO DJI has the biggest technological advantage over its competitors. It has crazy technology not only in drones but also in gimbals and cinema cameras. I don't know if you have seen what the DJI Ronin 4D is capable of. Maybe they assess that the market is not mature for such a technological investment on an action camera or... we will have news at the next production cycle.

It is a general phenomenon that has almost wiped out the forums. But videomakers have been swallowed up by YouTube and the social media mania more than others. I know several professional videographers and they are actually more jealous than photographers about their methods and tricks of the trade. let's see if we are lucky

In land shooting the issue is debated. In film, the problem doesn't really exist: you have a team, manual focus is handled by a professional focus puller. Conversely, automatic focus is particularly felt in all those run & gun situations or for one man bands in weddings and events in general. Then youtubers and the v-logging craze did the rest. Of course, footage like this without an Animal Eye AF would be exclusive to the BBC or a few other camera operators and instead... All the underwater videographers I know work more or less as I described above but the danger of living in a bubble is always lurking 😉 That is why I am curious for feedback here.

Digging the net I found another example, always from the same user.