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Everything posted by Davide DB
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A University of Adelaide study of shallow-water fish communities on rocky reefs in south-eastern Australia has found climate change is helping tropical fish species invade temperate Australian waters. https://www.adelaide.edu.au/newsroom/news/list/2024/04/23/tropical-fish-are-invading-australian-ocean-water -
Just read the above messages and Introduce yourself in the specific forum 🙂
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Ball mount oring code is 2-209 https://www.sealsonline.com/index.php?id_product=81454&controller=product&id_lang=1
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Maybe Nauticam changed the pinch lock size?
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Usually I don't like uw Sony colors at all but these are the best colors I saw. I thought they were Canon clips 😉
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Hi Matan, Welcome onboard!
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If Pietro grabs one for you let us know your findings!
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Same Showa gloves (XL) here with thin liners. I'm not able to insert my fingers to pinch the lock and I'm afraid to lose it into the blue. Maybe I have to exercise in front of my TV 😛
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Welcome to our den 🙂 I'm sure you will find other fellow photographers to share this passion.
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IMHO, If going to Sony route I would suggest an A7SIII. Still the best video centric camera from Sony and there's a huge used market so you could find a good bargain. For crop sensor I would choose a Pana GH5. Still solid performer. One of the best all round video centric camera out there. If you find a GH5MKII body you get a 4K@60p 10 bit while on the original GH5 is only 8 bit. As the A7SIII, the GH5 was a best selling camera so full of bargains on the used market.
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We already explained in other threads that all the world (including cinema productions) monitors in REC-709 while filming in Log or RAW. You keep assuming that all we have the same problems you think to have with your Sony. BTW Among the countless professionals I follow, no one films in "HDR." They all film in RAW or Log with camera capable of real 14 stops of Dynamic Range and 10 bits (at a minimum). The most important thing is that in RAW you film in 4:4:4 i.e., you do not have chroma subsampling. At that point, in post production it is a matter of "preserving" this information during delivery. Hence HDR. But again, they all, ALL monitor images in REC-709. https://www.quora.com/Are-movies-shot-at-HDR-or-is-HDR-added-later https://www.canon-europe.com/pro/stories/cinema-raw-light/ https://en.m.wikipedia.org/wiki/Chroma_subsampling Regarding monitor weight: on my pocket, 900$ against 4K$ worths the hassle of some buoyancy compensation. If 3K$ makes no difference to you, that's fine but don't draw universal rules from it. You are resuming a discussion from April 5. What has not been clear since the last warning about personal attacks given by Tim & Chris?
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There was a similar thread on Wetpixel with several photos. I can't use my WWL's hard cover because I fail to operate the lock with my dry gloves.
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Welcome! Nice to have with us!
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Yes, the Retra one seems to be the classic 1/4-20 photographic thread
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Maybe @Oskar - Retra UWT could chimes in?
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Link added. Thanks!
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Bump!
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looking for a 3D printind file for a Nauticam N85 port housing!
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Looking forward your dive test to add it to our proven part list!
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Already a subscriber of your channel 😉
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Another cheaper option is the 12-35mm with the 6" Nauticam dome (check the classified section). While being narrower, it has an incredibly quality. If your wife is into macro, that combo is terrific for medium close-up too.
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Same here, Some brands have slightly different ball size. For example my Flex-arm balls are few tenths of mm smaller than the Nauticam one and the clamp grip is not accurate. Another metric/imperial issue I guess.
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Hello, A warm welcome in our community!
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Product Features Fast-aperture ultra wide-angle zoom lens Compact and light weight Outstanding optical performance MOD of 0.15m (5.9”) and maximum magnification ratio of 1:4 High performance autofocus RXD stepping motor for both still and video use [1] Di III-A: For APS-C format mirrorless interchangeable-lens cameras [2] The full-frame equivalent of 17.6-32mm. Tamron Co., Ltd. announces the development of TAMRON’s first CANON RF mount lens, 11-20mm F/2.8 Di III-A[1] RXD (Model B060), an ultra wide-angle zoom lens for APS-C mirrorless cameras. The lens is expected to launch within 2024. TAMRON’s lenses for mirrorless interchangeable lens cameras are highly regarded for their combination of superior optical performance and compact, lightweight designs. After receiving many requests from customers to offer lenses compatible with the CANON RF mount, TAMRON made the decision to develop a lens for the CANON RF mount under a license agreement. The 11-20mm F2.8 is a fast-aperture zoom lens covering a focal length range from ultra wide-angle 11mm to 20mm[2], with a maximum aperture of F2.8 across its full range of focal lengths. With a surprisingly compact and lightweight design for a fast, ultra wide-angle zoom lens, the lens feels well balanced when attached to a compact APS-C mirrorless camera body, making it ideal for regular use. Despite its small, lightweight design, it also delivers high-level imaging power with an uncompromising optical design. Wide macro shooting is possible at 11mm with an MOD (Minimum Object Distance) of 0.15m (5.9”) and maximum magnification ratio of 1:4, and its stunning close-range shooting performance enables creative use of perspective at the wide end. The lens also incorporates an AF drive system with an RXD (Rapid-eXtra-silent stepping Drive) stepping motor unit that is remarkably quiet. The lens accurately captures not only still images but also video. It is also highly practical, with Moisture-Resistant Construction, Fluorine Coating, and other features designed for outdoor shooting, enabling users to easily enjoy the high image quality of this ultra wide-angle large-aperture F2.8 lens under a range of conditions.
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