.jpg.c5e6bd876847a2be9e8f7ad68dd32d7c.jpg)
Everything posted by Davide DB
-
And do not forget you (probably) have strobes or lights and arms... -
Hi Roman, really good addiction. If you have the spreadsheet file I could try to add those info on our table. P.S. Why do you need a specific flip button? I thought some monitors have an auto flipping fature. Ciao
-
@Gudge Congratulations on the result, and the photo is truly stunning! It looks like a painting! Bravo!
-
We are proud to announce that the winner of the 2025 Australian Geographic Nature Photographer of the Year, Overall category, is our fellow member Ross Gudgeon for his photograph titled "Fractal Forest". Fractal Forest - Macro By Ross Gudgeon, Western Australia From the 2025 Australian Geographic Nature Photographer of the Year announcement: The overall winning shot, Fractal Forest, skews perception and leaves us questioning reality with an inside-out view of a cauliflower soft coral, captured by Western Australian photographer Ross Gudgeon in the Lembeh Strait of North Sulawesi, Indonesia. Our judges remarked that the photograph gives us a unique perspective on coral, with the photographer taking us out of the marine habitat into a whole new world. There’s nothing fake here, but still we ponder, is this nature or a painting? Technical details: Inside-out view of a cauliflower soft coral. Named for its characteristic appearance that resembles a cauliflower, with numerous small, rounded, bump-like polyps that give it a puffy texture. This unique perspective was made possible by the Nauticam EMWL, an underwater version of the probe or insect eye lens. Lembeh Strait, North Sulawesi, Indonesia Sony FE 90mm F2.8 Macro G OSS with Nauticam EMWL wet lens, 1/100, f/9, ISO 400, Sony A7RIV, handheld, 2 x Retra Pro flashes. Here the competition winners announcement: Australian Geographic Nature Photographer of the YearEntries for the 2020 Australian Geographic Nature Photographer of the Year are now closed -
Why four?
-
Yes once the usb-c was removed, the camera continued flawlessly recording using the internal battery, so it's a completely use case from the video you posted. Here the internal battery act a sort of last reserve. Good question, I guess it depends on how much current the camera draws while recording. So I can choose between serial or parallel circuit. I haven't a tester here now. I'm not at home so the only test I could do is putting the camera battery in that space.The battery (55mm) fits only lengthwise, and just one millimeter more and the housing won't close. So with the 18500s, I wouldn't have space for the battery holder. If I use "bare" batteries instead, I have more freedom of choice. Another option is using LiPo packs that usually have squared shapes.
-
I did a quick test of the first option, connecting the camera with a full battery to a normal USB charger. Upon connection, the camera warns you that the connected power source is weak and can only charge the battery when the camera is off. I started recording in FHD (otherwise I would have filled the card) and after 50 minutes the recording was still going and the battery was still at 100%. When the USB charger was disconnected, the recording continued without issues, using the battery. So I would feel confident in confirming that a couple of small batteries in parallel with a step-up converter with the proper protections would be enough. In my housing, the main problem is space.
-
Yes I knew that video and it's absolutely true for the O.G. GH5. Normally UW I use the GH5II that has a different charger. With the MK2 they introduced an USB-C port with PD (Power Delivery) and it works in two ways: If you connect a normal 5V source (classic phone charger or power bank) it will be able to power on the camera but not charging the battery at the same time. IIRC when you power off the camera, then the battery is charged. If you connect a P.D. source (9V 3A) it will power the camera and charge the battery at the same time. I've used the first method several times doing time lapses at home just connecting the camera to a phone charger and wall socket. In an UW scenario, maybe even the first option would work: The camera start using the external battery and when it's depleted (the BMS cut out the voltage) the camera switch to the internal battery. I should try on my desk with a small power bank. The second method requires a more specific circuit board (P.D.) and IDK if two 18350 are enough to power everything. Regardless of the method, I'm agree with you: I would never, never power my camera simply connecting directly one or two battery. Maybe it works (previous posts shows that it works with Sony cameras. probably different camera brand implemented different logics. I would use a step-up converte with all the protections. Here a video that shows the different options on latest Lumix cameras:
-
Hi Aqua Shutter, Welcome aboard! I'm sure you will find a lot of options in our classified section. Ciao
-
Wow nearly 4A, really too much
-
I thought that 3,7V were not enough to charge the camera. Thanks, I'll check the dimensions. P.S. Googling for that battery I came across a lot of extreme solutions 😄
-
I don't understand, do those batteries provide output voltage even through the USB charging port? Can you take a photo of what you've assembled? 1 or 2 batteries? A 18650 doesn't fit in my housing. The only free space is the space for the strobe trigger, but even there there are only 5 cm.
-
Well, it partly depends on your needs (video or photos) and partly on the camera you use. In my opinion, brightness and weight are basic factors to start from. The 500 nits of past generations are absolutely insufficient for working at shallow depths and strong lighting typical of tropical waters. I have a similar old monitor and was forced to build a huge sunshade to see anything. A reduced weight is equally important since mirrorless camera bodies are very small and, consequently, so are their housings. For video, it's important to have a balanced setup, not just a neutral one. Managing to balance the whole kit with a monitor that weighs almost a kilogram and is placed on top of the housing is a real mess. Then it depends on whether the monitor must have or compensate for features that the camera lacks: focus peaking, histograms, waveforms, and LUTs. From this point of view, I have a Lumix GH5M2 that has everything, so fundamentally, I'm just looking for an excellent bright image. Moreover some cameras have limitations on the image format and the features that are transmitted via HDMI. To give one example: many monitors now advertise that they can accept a 4K@60p signal. With Panasonics, I have always set the downscaling to 1080p directly in the camera but some cameras actually transmit a signal via HDMI that is identical to what is being used. So these are some thought to start with. Ciao
-
Hi Vitaly, We have a pinned thread updated with nearly all the monitor's out there. Personally, the latest Weefine checks all my requirements.
-
Welcome aboard Stemi, I hope you enjoy the forum! Ciao
-
-
Old post but... From your photos I see you are using a 3,7V Lipo battery pack. 3,7V are enough to power your A7? camera? I shot video only so I'm thinking for a similar out of the box solution for my GH5M2 that can be powered via USB-C...
-
I updated the first post with several projects I missed in the last weeks. Thank you all!
-
Added to our DIYpedia
-
Top post table updated with the new Weefine WED-5 PRO monitor
-
I thought the same but he would need the other way around. He has an M14 threaded hole on the housing. Anyway, as Chris suggested, this should be ok: https://www.backscatter.com/Nauticam-M14-Offset-Connector-w-Vacuum-Valve-II-Pu Once we have an M16 thread hole, what kind of connector do we need on the cable? P.S. I'll try to move part of this thread to DIY forum. Bear with me!
-
In the history of underwater photography, there have never been so many strobes as there are today.
-
Hi Giacomo, Long story short: set a slightly lower Kelvin value on your GoPro (e.g. 5000K). Long Story: Lower Kelvin values mean warmer light, while higher values mean cooler light. This is a rule that never changes. You can do the test with the GoPro on the sofa or directly with your cell phone, which will surely have a "pro" function that allows you to set the Kelvin value. By acting on the Kelvin scale, you might be thrown off because it seems to work exactly the opposite of what I wrote in the beginning. In reality, when you set the white balance Kelvin on a camera, you are not adjusting the temperature of the light you are using to illuminate, but you are telling the camera the temperature of the light you are using. So the camera will adjust accordingly. I'll try to re-explain it. Remember that the camera will always try to achieve a correct white balance. So, if the scene is actually 5000º K, but you set the camera to 4000º K, you're telling the camera that the scene is warmer than it really is. To compensate, the camera will shift the colors toward blue. On the contrary, if you set the camera to 6000º K, you're telling it that the scene is cooler than it is. The camera will compensate by shifting the colors toward orange. So it seems to work in reverse, but it doesn't. Ciao
-
Hi ChrisL, Welcome aboard! Coming from WP, I'm sure you will find a lot of known names. Ciao
-
I didn't remember that the A7SIII had the second native ISO at 12800. I tried the FX3 which has the same native ISO, and sometimes that value is too high, but in those conditions, it is certainly a godsend. Thank you for the explanations and also, kudos on your videos.
