Chris Ross

Neoprene has some advantages in that it's easy to leave on the dome while getting in and out of the water and easily clipped off once you are in the water. It also can serve to keep the dome surface from drying out between dives. There have been a lot of discussions on this topic with regards to water spots forming on the glass surface. Water spots occur when salt water is allowed to dry on the dome surface, the salts become more concentrated as the water evaporates and this eventually etches the glass. If you keep the dome cover on it slows down evaporation considerably until you can soak your housing in fresh water at the end of the day. Unfortunately the standard design of neoprene cover can easily be lost on entry/exit when shore diving I got one of these: https://www.bennimarinedesigns.com/gifts/cameraportcover It seems to fit the port well but not tightly covering the surface, haven't tried it wet as yet but seems to be well made.

This is exactly the point we are hoping to clarify. It sounds like Alex says the FCP is a touch better than a fisheye in a dome then he says it's more like a WACP-c. It depends if he referring to the difference between fisheye and FCP and the difference between rectilinear and WACP-c or not. Others have clearly stated that the fisheye in a dome is better than the WACP. It's problem of semantics, English language is so easy to give convoluted explanations that can be hard to decipher.

Most of the Nauticam listings for such primes seem to be for special purpose applications like the 28mm with WACP-1 or the Canon 35mm macro has a note that it is for blackwater applications for example. For me I think flexibility is the reason most people use zooms.

Yes clearly he talks about margin between fisheye and FCP but then says it's not as good as a WACP, more like a WACP-c but is that for margin over non water contact or absolute image quality? Hopefully @Alex_Mustard will chime in to clarify.

I would expect you would need a custom dual dome for it. It is also 121 mm wide so no way it would fit through the dome port opening of an N120 port. You would need to mount a dome base first install the lens and then place the dome itself on top, so you would need an o-ring joint at the base of the dome element. I don't know if I can explain it optically but the dome relies upon symmetry to render everything the same across the frame having a single dome would no longer be symmetrical for each individual lens as the left side of one of the lenses would be a different distance and angle from dome surface compared to the right hand side of the lens. Basically this is because the entrance pupil of either of the offset lenses won't be at the centre of curvature of a single dome. This would mean I think the images are not identical but would be flipped with respect to each other. I would imagine that the 3D system relies upon the image from each lens being identical apart from the perspective change. It would need I think two domes at 60mm centres placed over the lenses, so they could at most be 60mm diameter. The minimum focus distance would be about about 125mm from the lenses so probably could not focus particularly close due to the very small domes.

Good choice I think, but it's always fun to speculate and dream of an upgrade!

See @Interceptor121 post above here linking to a video by Alex Mustard where he comments on the image quality being good but not as good as a fisheye behind a dome. Answers at least part of your question.

You need to be able to burp the lens if it doesn't clear all the air between the WWL and the port, some people report it works without this but be aware it might be needed. The M67 WWL-1 (not 1b) can work on any port and also work with third party bayonet systems potentially however the bayonet need to be designed to get the back of the WWL very close to the port glass. This avoids vignetting which you would need to zoom in to remove and lose field of view. You would need to experiment to see if it works. How you can make it work depends very much on the port you are attaching to. Any port can use the m67 version, select ports can accept the Nauticam bayonet adapter and so be able to use the WWL-1b and WWL-c. It would be easier to answer if we knew which port you were contemplating using.

I think a good first step is next time it happens adjust your exposure to what the camera thinks is the correctly metered exposure and take a shot (without flash) and then go back to your usual settings and take another shot. You came up 5 EV and recorded some detail in your image but I expect if you are indoors you might need quite a bit more than 5EV to get the exposure in the right ball park for an ambient light shot. If it does it on land take the rig outside to take the shot. Just dial your shutter speed down until the meter says exposure is right, don't be concerned about camera movement we only looking to see if it exposes correctly. The main thing is to take an exposure that the camera says is correct. If it can do this it points to the problem being a strobe/sync issue. Take a second shot immediately afterwards at your usual settings just to show the issue is still present and didn't fix itself as you changing settings or moving the camera. If the camera is able to take a correctly exposed ambient shot it narrows the problem down to the strobe/TTL converter issue and additional trouble shooting steps are needed. It is important to be methodical when doing this type of trouble shooting.

The Canon converters won't fit due to the extended nose, but people regularly use the Kenko 1.4x converters with the 8-15 zoom fisheyes. Several housing makers provide zoom gears to use with the 8-15/1.4x combination.

I think this highlights another saying: "horses for courses". Chip, you mention wrecks are a favourite and that fisheye gets less use now except for certain subjects. The phrase certainly subjects highlights why I think a different approach will be very helpful. Start with your subject and work backwards. If you are doing wrecks a lot a rectilinear may make sense or a WWL, if you are doing CFWA on tropical reefs or sometimes even in temperate waters a fisheye comes into its own by bringing the subject forward in the frame and giving it prominence while the background is sent backwards and this creates a unique look. Fish portraits depending on their size will have a different solution. Scientific photography may demand low distortion for some applications, the list goes on. So subject will define the lenses you want, then work out which port of if you want a wet optic. Next work out what camera you want to use and based upon lens/port selection choose a housing that will support the ports and/or water contact optics you want to use. All of these choices have various pros and cons to weigh up. Before jumping in and buying lots of optics think hard about what you want to shoot with them, then ask what is the best solution for that. Next ask how much flexibility do you want, this may push you in a different direction.

Not to mention changing everything to the N100 port system and possibly some new lenses. I often wonder just how much extra real resolution you get from high MP count cameras, shooting through too much water and sometimes multiple water/glass/air interfaces removes some detail and because of this the often quoted ability to crop may not give you as much gain as you might think. I argue that for 95% of users 20-30MP is perfectly adequate, sure if you have the funds, why not, but realistically you won't see much change in images that are just posted online or even printed up to A3 size or so. On a quality 27" plus monitor the images might look better but consider a standard res 2560 x 1440 screen is 3.7 MP and a 4K screen is 8 MP or so, you need to zoom on the monitor to see some of these differences.

When using a tele converter with the 8-15 you need to use the TC in addition to the RF-EF converter not instead of. The EF lenses won't achieve focus without the RF-EF converter which is basically just an extension tube. Also if you are on Canon and don't think you will use the Spherical fisheye option you could consider using the SIgma 15mm fisheye instead, it's cheaper and many people are quite happy with it.

The point to remember is the field of view between rectilinear and fisheye is not the same the rendering is quite different between them as the fisheye uses barrel distortion to achieve a 180° diagonal field, something not possible in rectilinear lenses. Also the diagonal field is a bit misleading for comparisons as well as fisheyes stretch more in the corner, if you want to compare coverage then using the horizontal field works better. See this table below which lists field s of various focal lengths. Full frame horizontal vertical diagonal 15mm Fisheye 143 92 178 10mm Rect 122 100 130 14mm rect 104 81 114 16mm Rect 97 74 107 20mm Rect 84 62 94 24mm Rect 74 53 84 You can see the 10mm goes close and in fact the vertical field is larger than the fisheye, However it needs a big dome port to provide good corners. Another thing to remember is just because a lens performs well on land it doesn't always translate to good UW performance. In particular a lens needs to focus very close to work well in a dome. Your 24-105 lens for example has a minimum focus distance of 450mm but is measured to focus at 332mm at the wide end, so while it will work in the domes specified it won't let you get in close. UW photography is all about getting in close to minimise the amount of water which degrades the image between you and the subject. Which brings up another point in that just because you own a lens (or a camera for that matter) doesn't mean it's the best option to take UW. A big reason you want close focusing lenses is also because in dome ports you are actually trying to focus on a virtual image underwater, this is located 3 dome radii from the port surface , so quite close. Some older lenses would not even achieve focus with a dome UW. This link explains: https://oceanity.com.au/articles/view/understanding-flat-port-and-dome-port-theory. Another important point with fisheye lenses is their rendering UW, most will focus on the dome if required and because of the barrel distortion the centre portion of the frame is magnified compared to the edges - it looks fatter so is makes the chosen foreground subject stand out against the background. UW there are very few straight lines unless you are in a wreck or you include the surface in the frame edges you don't notice the barrel distortion as a problem. They also generally work well in smaller domes. Rectilinear lenses have their places for wreck photos and also some scientific work, but they need usually big domes to work at their best, but this varies with the lens, very close focusing lenses seem to be able to use smaller domes in general.

Specifically it's the top line models after the EM-1 MkII that have enough of a step up in image quality to go close to what the D500 can do. The earlier ones like the EM-5 MkII were OK, but AF and 16MP sensor weren't up to it. Significant improvement with the EM-1 MKII/MkIII and now the OM-1.

Just because the cameras are physically smaller doesn't always translate to a smaller lighter housing. If your main concern is travel size and weight you won't get significantly smaller than the D500 housing in Nauticam apart from a few cameras like the A7C. What does go up in size and weight are the lenses if you go to full frame. The decisions are complicated by the fact that port sizes have been changed in Nauticam APS-C so carrying ports across is more problematic and any future APS-C Nikon Z model is quite likely to be an N100 port. The decision is further complicated if you want to keep using the Tokina 10-17, which as you know can't currently be adapted to Nikon Z. You could go to SONY but you would be buying almost everything for the new system with no carryover - depending on lens choice. However there are probably other ways to reduce size and weight, for example the Isotta housings are more compact than the Nauticam equivalent. I know a local diver who chose the Isotta Z6 over the Nauticam due to size. They were coming from a D850 in a Seacam which was huge and the size/weight savings with Nauticam were not enough while the Isotta was very compact indeed. Isotta use N120 ports for all their housings apart from SONY APS-C and m43. This means you can carry your Nauticam N120 ports across provided they have removable lug rings, but they have to make a housing for a camera you choose I would suggest a watch and wait strategy. Wait and see if the promised Nikon F to Z adapter from monster works well with Nikon screw mount lenses. Wait and see if the promised Nikon APS-C camera comes out and who makes housings for it. Or you could bite the bullet and switch to m43. Housings are the same size but lenses and ports are a lot smaller and there is a full range of lenses available, including the adapted Canon 8-15 which goes between full frame fisheye and the equivalent of 28mm full frame focusing right on the dome, or the Canon mount Tokina 10-17 with the speedbooster. If you look at the sensor databases the image quality is very close to the Nikon D500 sensor.

You don't explicitly say how much light you have available, the next thing to check is whether the frame is black with an ambient light shot which is metered to correct exposure with the strobes off. Depending upon which particular strobe and triggering method being used it's possible the strobes are not syncing correctly. I just tried taking a shot on my camera no strobe indoors with your settings. Then turned up the ISO by 5 stops and got a similar result with your first two shots, first totally black then with +5EV you can barely see some detail. Outdoors in daylight 1/250 @ f7.1 ISO200 would be close to the right exposure. I'm not sure how reproducible the black shot thing is but next time it occurs trying taking a shot out doors no strobes to see if the camera is under exposing or not. This is to eliminate a camera issue. While it's possible that the flash is not syncing properly, I'm not sure how it would be intermittent, usually I would expect them to either sync or not. The flash trigger batteries are a good first step to try.

Welcome Aboard Brett! You'll see a great many Wetpixel members have moved across.

I use Capture One - a big bonus for me is that includes Levels - to me that is invaluable, to get a punchy, contrasty photo you need to get the histogram under control and the levels tool also allows very quick colour balance adjustments - by adjusting levels on each channel, something that LR still doesn't have as far as I know. Backscatter removal tools I find are best in full photoshop they are not so intuitive to use in LR or Capture One, same with masking. Though I just tried the healing mask in Capture One and it seems to be pretty quick to deal with backscatter.

This is the lug ring you would need: Howshot Bayonet Port Ring for Sea&Sea DX/NX Ports – DiverVision Underwater Photo Equipment

You can use many Nauticam ports on Isotta, you just need to change out the lug ring that is bolted to the back of the port, to a Sea and Sea lug ring then they will fit Isotta housings for N120 ports. You would need to buy new zoom gears though. As I understand it they are a direct swap at least for DSLR lenses. You could ask Isotta if any changes are required to extension going from Nikon F to Nikon Z. Before diving in check that your ports have a removable lug ring and then add up the prices for new lug rings and zoom gears and any new extension rings if you need them (they are cheaper than Nauticam equivalent). You can then work out if you are actually making a saving. Also note Nauticam ports are push in and operate lock lever. Isotta ports are push in and turn.

Who are you flying with?, this can make a difference as to whether your carryon is weighed. Jetstar for example will weigh carryons so they charge you to check an extra bag. If you have a travelling companion temporarily off loading some gear to their carryon can be a strategy.

Was the scam from someone posting on the classifieds forum here? If so please report it to us.

One thing to note with monitors is that for imaging and particularly for printing they can easily be way too bright. The standard brightness is 100-110 cD/m2 and some monitors struggle to get down to that value. If you edit on a very bright monitor your images will come out too dark for someone viewing on a standard photo monitor and prints will be too dark compared to the screen.

I would second an Eizo monitor. If you are printing having Adobe RGB or a good percentage of that is an advantage as inkjet printers can print pretty much all of Adobe RGB colours and if you are editing on a lesser monitor you won't actually be able to see those colours before you print. The Eizo inbuilt calibration capabilites together with a good colorimeter puck make an easy job of calibration - quite important if you are printing. My view is that for the vast majority of people the end product of all the $1000's we spend on camera equipment is what we see on our monitor and it is not something to cheap out on. I have two Eizos on my desk a good quality one and a standard grade one next to it and I keep all of my palettes etc over there so I can use the whole of the 27" monitor for the image. You could keep your existing monitor for all the palettes you keep open and then a 27" is probably big enough.