دسته: رزولوشن

New Adapter Supports Nauticam Ports on Aquatica Housings
Aquatica users, ever wanted to mount Nauticam domes or water-contact optics like the WACP-1 or WACP-C on your housing? Well, Aquatica has just announced a new adapter for 120mm (N120) diameter ports that allows you to do just that.

The precision-machined anodized aluminum adapter features a bayonet-style mount with a locking mechanism to ensure ports are securely locked into place. The adapter doesn’t interfere with zoom and focus gears.

Shipping in mid-September, the adapter is priced at $350 and will be available from retailers such as Backscatter. Aquatica has promised to release more adapters for other port diameters in the future.

When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.

PRESS RELEASE

Aquatica Introduces New Adapter to Support Nauticam Ports on Aquatica Housings

Montreal, Canada – In response to growing customer demand, Aquatica is proud to announce the release of a new adapter that enables the use of Nauticam ports on Aquatica housings.

The first model in this new line of adapters is designed for 120mm diameter ports and features a secure locking mechanism. Additional adapters for other port diameters are planned for future release.

This solution is ideal for photographers who have already invested in Nauticam ports and now wish to pair them with Aquatica’s durable and cost-effective aluminum housings.

Key Features
- Precision-machined from high-grade aluminum and fully anodized for exceptional durability and corrosion resistance
- Simple and secure bayonet-style mount for fast and reliable installation
- Maintains full functionality of zoom and focus gear systems (where applicable)
- Fully pressure-tested at our factory to ensure leak-free performance
Availability

The adapter is expected to be available through our authorized dealer network by mid-September 2025.

Product #48479

MSRP: $349.00 USD

For more information please contact: orders@aquatica.ca
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25/07/2025
Ikelite Launches Two More OM System TG-7 Housing and Ecko Strobe Kits

Underwater Housing for OM System Tough TG-7, TG-6 and Ecko Strobes Wide Angle Kit

After launching of its Ecko Fiber and Ecko DS strobes, Ikelite released, in June, two kits bundling the fiber-optically triggered model with the OM System Tough TG-7 camera, housing, and various accessories—one bundling a single strobe and another bunding a pair of strobes.

The kits are perfect for shooters starting out with nothing, since the camera itself is included, but for owners of the OM System TG-7 or the Olympus TG-5 or Olympus TG-6 (all of which have the same basic functionality), Ikelite has introduced two new kits that bundle the Ecko Fiber with just housing and accessories.

The first kit, the “Wide Angle Kit” (above), comprises the housing with six-inch dome port, tray with dual handles, two Ecko Fiber strobes, strobe arms, and fiber-optic cords. The camera is not included and neither is the Olympus FCON-T02 fisheye lens for which this setup is specifically designed. Note that you’ll still get the benefits of the dome port even without the fisheye lens, but it’s highly recommended for a proper wide-angle perspective.

The second kit, the “Deluxe Kit” (below), comprises housing, tray with single handle, single Ecko Fiber strobe, strobe arm, and fiber-optic cord. The camera itself isn’t included. With this housing, you still have the option of adding the FCON-T02 lens and dome port later—and, of course, a second strobe if you want.

Available from Ikelite, the new “Wide Angle Kit” is retailing for $2,020, while the new “Deluxe Kit” costs $1,145.

Underwater Housing for OM System Tough TG-7, Olympus TG-6 Camera and Ecko Strobe Deluxe Kit

When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.

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24/07/2025
New Sea&Sea YS-D130R Strobe Under Development

Not to be outdone by the slew of manufacturers flooding the strobe market of late—think AOI Q1i, Ikelite Ecko, Ikelite RC165/DS165, Isotta RED64, Kraken Sports KR-S40 and Retra Flash Pro Max II—Sea&Sea has teased a new strobe currently “under development” called the YS-D130R.

The Japanese company isn’t giving too much away, but their product page refers to a “high-output strobe equipped with a circular flash tube designed to deliver smooth, even lighting distribution.” Promising that “advanced customization options allow for precise control across a wide range of camera systems and shooting styles,” the new strobe offers manual power settings as well as DS-TTL and OM System’s RC TTL. Sea&Sea also says the new model features a “redesigned battery system.”

Interestingly, Sea&Sea make a point of showing where exactly the YS-D130R will sit in their range—namely, at the very top, above the YS-D3 DUO, the YS-01 SOLIS and the YS-03 SOLIS. While no number is given to indicate power, it’s notable that the new strobe sports a circular flash tube like the much-loved-but-long-discontinued YS-250PRO, which claimed a guide number of 32.

No pricing is currently available, but retailers such as Backscatter are already taking pre-orders for the Sea&Sea YS-D130R.

When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.

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22/07/2025
Underwater Awards Australasia 2025: Deadline Extended!

The deadline of the Underwater Awards Australasia 2025 has been extended by popular demand! You now have an extra week to submit your entries—submissions must close on July 27th!

This really is your last chance to claim your share of $70,000 worth of prizes: awesome dive trips with Ocean Souls Explorer, Walindi Dive Resort, Master Liveaboards, Atlantis Philippines, Lissenung Island Resort, and Aquatica Dive Resort; as well as fabulous equipment from Doris, Fotocore, QYSEA, SUBLUE, OM System, Backscatter, Inon, Kraken Sports, SeaLife, OrcaTorch, Isotta, Insta360, Fourth Element, CineBags, and Saga Dive; not to mention a 2-day PADI Freediving course with Abyss Scuba Diving, a double dive at Nguthungulli Julian Rocks with Sundive Byron Bay, a one-year membership to The Underwater Club, and an hourlong online meeting with a shark scientist from the Oceania Chondrichthyan Society.

For six of the nine categories—Sharks, Conservation, Portfolio, Smartphone/Action Cam, Tough TG and Reels Showcase—entries must have been shot in the Australasian region, which includes Australia, New Zealand, and the countries of Melanesia, Micronesia, Polynesia, and Southeast Asia (see map). The remainder are special categories: Sydney (images captured in the waters of Metropolitan Sydney), Australian (images from Australia and its internal territories), and International Waters (images from anywhere!).

Submissions will be judged by a prestigious panel—photo judges Tobias Friedrich, Jayne Jenkins, Matty Smith, Tanya Houppermans, Scott Portelli and William Tan; and video judges Philip Hamilton and Ross Long—and the winners will be announced, and exhibited, at the Go Diving Show ANZ in September.

Procrastinate no longer, shooters! Head over to UnderwaterCompetition.com to enter your masterpieces today! (And please don’t forget to read the rules and guidelines carefully first.) The competition is an industry-first three-way collaboration between DPG, Underwater Australasia, and UW Images. Entry fees are US$10 per image or video entered.

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19/07/2025
Sony RX1R III Premium Compact Camera Unveiled After Almost Decade Wait

Good things come to those who wait. Certainly, that’s the reaction Sony is hoping for with the launch of the RX1R III premium full-frame compact—very nearly 10 years after the RX1R II was announced. One thing is for sure: A lot has changed in terms of camera technology in the intervening period.

For starters, while the RX1R II combined a 42.4-megapixel sensor with the BIONZ X image processor, the RX1R III boasts a 61MP sensor and the latest BIONZ XR chip as well as Sony’s newest AI-processing unit for locking onto and tracking subjects. There are also now 693 phase-detection AF points covering around 78% of the image capture area, up from 399 points in the RX1R II. Unsurprisingly, video also gets a significant boost: The new camera can shoot 4K/30p 10-bit 4:2:2 and 1080/120p 8-bit 4:2:0 video, while its predecessor maxed out at 1080/60p.

Other things that have changed include: the rear 3-inch LCD, which is now a touchscreen and offers improved resolution (2.36M dot vs 1.23M); the battery, a NP-FW50 unit that increases the CIPA rating from 220 shots to 300; and the EVF, which is rear mounted rather than pop up (though still 2.36M-dot resolution). It’s worth noting a couple of minor negatives: the screen no longer tilts and the viewfinder has a smaller magnification—0.7x vs 0.74x. What has not changed is the camera’s fixed lens—it’s the same Zeiss Sonnar T* 35mm f/2 that was built into the original RX1 from 2012. For underwater use, of course, that’s going to need high-quality wet lenses in front of it to capture the vast majority of subjects.

Available in July, the Sony RX1R III will retail for an eye-watering $5,100—a price tag, most will agree, justifies its “premium” designation.

When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.

PRESS RELEASE

Sony Electronics Introduces The RX1R III: The Flagship Full-Frame Premium Compact Camera With A Fixed Lens

SAN DIEGO, July 15, 2025 – Sony Electronics Inc. announces the RX1R III, the eagerly anticipated third generation of its RX1R series, featuring a 61-megapixel¹ 35 mm full-frame Exmor R™ CMOS image sensor, the latest BIONZ XR™ image processing engine, and a ZEISS® Sonnar T* 35 mm F2 lens.

“The RX1R III combines Sony’s design savvy with the latest innovations in imaging technology to produce a new flagship in our RX1R camera series that offers uncompromising full-frame quality in a premium compact camera body,” said Yang Cheng, Vice President of Imaging Solutions, Sony Electronics Inc. “The RX1R series has resonated greatly among discerning photographers, and we’re proud to now deliver the next generation of this popular camera model.”

A Focus On High-Quality Photography

The combination of the 61-megapixel¹ full-frame Exmor R™ back-illuminated CMOS image sensor and the BIONZ XR™ image processing engine delivers high resolution and sensitivity, with low noise and a wide dynamic range. The sensor surface features AR (Anti-Reflection) coating and omits the optical low-pass filter to achieve superior image quality.

The integrated lens offers excellent image quality. By optimizing the position of the lens and the imaging surface one by one at the micron level, RX1R III achieves high optical performance in a compact form factor.

Dedicated To Creative Freedom

To ensure you always get your shot accurately and without effort, RX1R III is equipped with the latest AI-processing unit, a valued feature of top-of-the-line professional Sony Alpha™ cameras. The AI-processing unit can accurately recognize the shape and movement of subjects, human bodies, heads, and the position of eyes, tracking subjects even when their faces are not visible, and is available for both still images and videos². Up to 693 densely arranged³ phase-detection AF (Auto-Focus) points cover approximately 78% (for still image shooting) of the image capture’s area.

While the camera has a fixed lens, users can tap into the versatility of three prime lenses thanks to the Step Crop Shooting⁴ function, which allows users to switch between focal lengths equivalent to 35 mm, 50 mm, and 70 mm⁵ via assigned buttons or dials. When shooting in RAW format, users can reselect the focal length during post-production. The lens’s macro ring enables instant switching to macro mode, allowing users to get as close as 20 cm (maximum magnification: 0.26x).

For creators who enjoy unique and personalized visuals, RX1R III offers twelve built-in Creative Looks. Adjustments to hue, saturation, brightness, contrast, and sharpness can be applied not only to still images but also to videos. Most notable among the Creative Looks⁶, FL2 allows the capturing of a nostalgic expression with subdued colors, and FL3 allows for a more vibrant image.

Streamlined Design & Reliable Hardware

Made of lightweight yet highly rigid magnesium alloy, the RX1R III design balances aesthetics and functionality. While maintaining excellent operability, the dials and Multi-Interface (MI) Shoe are embedded into the camera body and the top surface of the body features a flat design. The grip design and surface texture provide a secure and comfortable hold.

RX1R III is equipped with an electronic viewfinder featuring an approximately 2.36 million-dot XGA OLED with high resolution and high contrast, offering a magnification of approximately 0.70x.

RX1R III uses the rechargeable battery pack NP-FW50, allowing the capture of up to 300 still images⁷. It features a USB Type-C® port that allows rapid charging when connected to USB Power Delivery⁸-compatible devices, or the addition of external power sources, such as mobile batteries, for extended shooting sessions.

Social Responsibility

Aligned with Sony’s ambitious ‘Road to Zero’ initiative, this product supports the company’s vision for achieving a zero environmental footprint by 2050. The Sony Group’s manufacturing facilities for imaging products, including the RX1R III, are operating at 100% renewable energy. The RX1R III packaging uses Sony’s proprietary environmentally friendly Original Blended Material⁹ instead of plastic¹⁰.

The camera system incorporates comprehensive accessibility options, including a Screen Reader function¹¹ and Display Magnification, to support visually impaired users across an expanded range of menu items.

Optional Accessories

TG-2 is a dedicated thumb grip that attaches to the Multi Interface (MI) Shoe to provide stable holding and operability, including when operated with one hand. When attached to the body, the metal material and high-quality paint finish provide exceptional design unity.

LCS-RXL is a compact body case dedicated to this camera model intended to protect the camera from scratches and dirt and enhance its elegance with its refined texture material. The body case allows access to all ports—USB, HDMI, battery, memory card, and tripod attachment—without removal. The grip design improves the holding experience.

LHP-1 is a lens hood made specifically for this camera. It features a robust construction using lightweight and high-strength aluminum material, protecting the lens from impact and dirt. The bayonet mount allows for quick and secure attachment.

Pricing & Availability

The RX1R III will be available in July 2025 for approximately $5,099.99 USD and $6,299.99 CAD. The TG-2 for approximately $299.99 USD and $349.99 CAD, the LCS-RXL for approximately $249.99 USD and $224.99 CAD, and the LHP-1 for approximately $199.99 USD and $249.99 CAD, in August 2025. They will be sold directly through Sony and at a variety of Sony’s authorized dealers throughout North America.

¹Approximate effective

²Available subject settings are: Auto, Human, Animal, Bird, Insect, Car/Train, and Airplane. Subject types other than the type specified may be erroneously recognized in some cases.

³It is number of AF measurement points during still image shooting. The number of points varies depending on the shooting mode.

⁴Not available for movies.

⁵When shooting JPEG images with a 3:2 aspect ratio, the resolution is as follows: At 35 mm: L size (60 megapixels), at 50 mm: M size (29 megapixels), at 70 mm: S size (15 megapixels)

⁶ST (Standard), PT (Portrait), NT (Neutral), VV (Vivid), VV2 (Vivid 2), FL (Film), FL2 (Film 2), FL3 (Film 3), IN (Instant), SH (Soft Highkey), BW (Black & White) and SE (Sepia).

⁷When using the viewfinder: 270 shots.

⁸18W (9V/2A) USB PD power source is recommended.

⁹Paper material made from bamboo, sugarcane fibers, and post-consumer recycled paper.

¹⁰Excluding materials used in coatings and adhesives.

¹¹Supported languages differ according to country and region.

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16/07/2025

Introducing Nauticam’s Midrange Focus Optimizer (MFO-3)

We got our first look at the Midrange Focus Optimizer (MFO-1) at last year’s DEMA Show. Now, Nauticam has unveiled a new Midrange Focus Optimizer called the MFO-3. (Yeah, we’re intrigued about the mysterious MFO-2 as well!)

While the MFO-1 is designed to perform various functions when used with your macro lens—extending the focus range, minimizing lens aberration, and boosting magnification—the MFO-3 is designed for a more specific task: close focusing. Nauticam says that the MFO-3’s greatly improved “focus-to-the-glass performance” is especially useful for blackwater photographers. At the same time, according to Nauticam, the optic still offers “ample” working distance when you need it. Thus, Nauticam claims you’ll benefit whether you’re shooting “thumbnail-sized nudibranchs or grapefruit-sized frogfish.”

Effectively, the MFO-3 converts your 90mm, 100mm or 105mm lens into roughly a 60mm equivalent, and, depending on your lens, provides a working distance of between ~0mm and ~1500mm! Nauticam has provided the results from testing the MFO-3 with a variety of popular longer-focal-length lenses, and the company also shows how the MFO-3 compares with the MFO-1 and SMC-3 (see tables below).

The Nauticam Midrange Focus Optimizer 3 (MFO-3) costs $730 and is available from retailers such as Backscatter. Keep an eye out: Blackwater master Mike Bartick has been testing the MFO-3 in the field and we’ll be publishing his review on DPG soon.

When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.

PRODUCT INFORMATION

Midrange Focus Optimizer 3 (MFO-3)

Nauticam once again demonstrates its commitment to underwater photographers with the introduction of the Mid-range Focus Optimizer 3 (MFO-3). As full-frame mirrorless cameras become the go-to choice for serious underwater imaging, a key limitation has emerged: the lack of close-focusing, wide-angle macro lens options—especially for blackwater photography. The MFO-3 is designed to solve that problem without requiring new camera lenses or ports.

Optimized for use with longer focal length full-frame macro lenses (such as 90mm, 100mm, and 105mm), the MFO-3 transforms these lenses into an approximate 60mm equivalent. It also delivers significantly enhanced “focus-to-the-glass” performance while still offering ample working distance when needed. Whether you’re capturing thumbnail-sized nudibranchs or grapefruit-sized frogfish, this water-contact optic delivers outstanding image quality—without the need to swap out your camera lens or port.

While it’s an outstanding tool for blackwater, the MFO-3 is just as capable in a wide range of macro environments. And despite its larger physical size, it actually boasts a lower in-water weight than the SMC-3, making it easier to handle and balance in the water.

Midrange Focus Optimizer 3 (MFO-3) Specifications

Dimensions: OD 84mm x H 114.2mm

Weight in air: 602g

Buoyancy in water: Negative 120g

Max Magnification (*1): 0.9x

Lens FOV/Converted FOV: 23°/38°

Working distance (*1): 0–1500mm

Body construction: Hard-anodized aluminum alloy

Lens construction: 4 elements in 3 groups

Lens coatings: Anti-reflection Coating

Mount thread diameter: M67

Depth rating: 100m

*1 Tested with Nikon Nikkor Z MC 105mm f/2.8 VR S Macro Lens

Comparison with MFO-1 and SMC-3

81503 MFO-3

81501 MFO-1

81203 SMC-3

Dimensions (OD x H mm)

Ø 84 x 114.2mm

Ø 70 x 26mm

Ø 70 x 32mm

Weight in air

602g

218g

307g

Buoyancy in water

Negative 120g

Negative 150g

Negative 215g

Lens FOV/Converted FOV(*¹)

23°/38°

Max. Magnification (*¹)

0.9X

1.2X

2.3X

Working distance (*¹)

0–1500mm

108–1005mm

46–98mm

Lens construction

4 elements in 3 groups

3 elements in 2 groups

Lens coatings

Anti-reflection

Mount thread

M67

Depth rating

100m

*1. Tested with Nikon Nikkor Z MC 105mm f/2.8 VR S Macro lens

Compatible Lenses with MFO-3

Lens

Sensor

format

Lens FOV.

Max.

Magnification

Working

distance

Converted FOV.

Canon RF 100mm f/2.8 L Macro IS USM (with Modified Aperture)

24°

0.9X

0–1490mm

40º

Canon EF 100mm f/2.8L Macro IS USM

24°

0.9X

0–1490mm

40º

Nikon NIKKOR Z MC 105mm f/2.8 VR S Macro

23°

0.9X

0–1500mm

38°

Nikon AF-S VR Micro-NIKKOR 105mm f/2.8G IF-ED

23°

0.8X

5–1490mm

38°

Nikon AF-S Micro NIKKOR 60mm f/2.8G ED

26.5°

0.5X

0–1500mm

45º

Sony FE 90mm f/2.8 Macro G OSS

27°

0.8X

0–1500mm

45º

Fujifilm GF 120mm f/4 Macro R LM OIS WR

Medium

Format

25.7°

0.9X

15–1500mm

43º

Olympus M. Zuiko Digital ED 60mm f2.8 Macro

M43

20°

0.5X

0–1500mm

33º

OM System M.Zuiko Digital ED 90mm f/3.5 Macro IS PRO(Normal macro mode)

M43

14°

0.7X

0–1480mm

23º

Canon EF-S 60mm f2.8 Macro USM

APS-C

24.5°

TBD

Panasonic Lumix S 100mm f2.8 Macro

24°

TBD

Included in the box

Front and rear rubber caps

Neoprene bag

M67 Spacer ring for SMC/CMC

Cleaning cloth

SKU # 81503

$ 730.00

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15/07/2025

Shark Photographer of the Year Announces 2025 Winners

Young Shark Photographer of the Year 2025 – Panitbhand Paribatra Na Ayudhya

Today, July 14th, is Shark Awarenews Day, and what better way to celebrate the planet’s charismatic elasmobranchs than revealing the winners of the 2025 Shark Photographer of the Year photo competition? UK-based charity Shark Trust bestowed the honor upon Julian Hebestreit for a lovely shot of a leopard shark cruising the waters of Byron Bay in New South Wales, Australia. Meanwhile, 14-year-old Panitbhand Paribatra Na Ayudhya was named Young Shark Photographer of the Year for a beautifully executed image of a whale shark feeding at the surface in the Maldives.

Other winners included “British Isles” winner Hector Clarke and “Overseas” winner Martin Broen. In addition, a number of categories were aligned with various conservation programs and projects that the Shark Trust is currently undertaking. These included “Mediterranean Programme” winner Linda Mazza, “Living with Sharks” winner Gillian Marsh, and “Oceanics Programme” winner Byron Conroy. The final category, the “Great Eggcase Hunt”—which is also the name of the Shark Trust’s flagship citizen-science project—was won by Grant Evans.

If you love photographing sharks, don’t forget that this year’s Underwater Awards Australasia competition includes a “Sharks” category. Get your entries in now, as the deadline (July 20th) is fast approaching! Happy Shark Awarenews Day!

Shark Photographer of the Year 2025 – Julian Hebenstreit

Overseas Winner – Martin Broen

British Isles Winner – Hector Clarke

Mediterranean Programme Winner – Linda Mazza

Living with Sharks Winner – Gillian Marsh

Oceanics Programme Winner – Byron Conroy

Great Eggcase Hunt – Grant Evans

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14/07/2025
Ethical AI? New Video Generation Tool Is Trained on Licensed Data

By Ian Bongso-Seldrup, July 9, 2025 @ 10:30 PM (EST)
Source: Time

An underwater video generated by the AI model Marey

As photographers and filmmakers, many of us are observing the rapid emergence of generative AI tools with a mixture of skepticism and trepidation. We’re doubtful that AI can replace us—especially as we’re working in the underwater realm—but we’re alarmed at the idea that our content is being “scraped” and at some point, AI software will indeed be able to generate the images and video we work so hard to capture. Which makes the arrival of Moonvalley’s AI model Marey both encouraging and scary—not least because the company shows off impressive underwater images and video generated by the model.

While AI company Midjourney is being sued by Disney and Universal for copyright infringement, Moonvalley—which was founded by DeepMind researchers and has close associations with the film industry—is developing Marey by training it on licensed data and with the consent of filmmakers. This should mean filmmakers and studios can avoid the ethical quagmire and copyright lawsuits that have become all too common in the nascent AI industry. Naeem Talukdar, Moonvalley’s CEO and co-founder, tells TIME: “We have to make sure that we’re building these tools the right way: building with the filmmaker and the artist at the center of it, rather than trying to automate their job away.”

An underwater image generated by the AI model Marey

Aimed at pro filmmakers, Marey offers functionality that many other AI-powered video generation tools lack. Most AI video models are black-box systems: They generate a scene from your text prompt, and if you try to modify one aspect, others may change, making it difficult or impossible to achieve the result you want. Marey aims to offer filmmakers precise control over every detail. You can input storyboards or frames and then tweak the results to taste. You can create cinematic camera moves using just a single image by turning a 2D scene into a 3D environment. You can draw a trajectory for an element and watch your direction come to life. You can even pull motion from a reference video and apply it to new subjects or scenes.

“It’s this iterative process where you start with some input guidance and then you build up towards the scene that you want, which really isn’t very different from how VFX workflows are today,” Talukdar tells TIME. “If you’re an independent studio that doesn’t necessarily have massive infrastructure, you can now, even in a small space, create and curate these scenes in a very granular way.”

Moonvalley claims that Marey is trained entirely on footage licensed from intellectual property owners. According to Talukdar, around 80% of that footage is B-roll created by independent filmmakers and agencies, and this means the model is trained on about one-fifth of the data used by competitors like Google’s Veo 3. Talukdar says Marey would definitely be more powerful if they scraped data, but he claims they are overcoming this with better technology. “Our inclination is that you don’t necessarily have to be the number one model—you just need to be among the best,” he says.

Marey is now available to filmmakers for subscription tiers of $15, $35, and $150 a month.

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10/07/2025
Synology Announces DiskStation DS1825+ and DS725+ NAS Systems

Synology has unveiled two additions to its DiskStation lineup—the DS725+ and DS1825+—which offer two and eight drive bays, respectively. The new 25 Plus series models offer 2.5GbE networking, support SATA SSDs and HDDs (both 2.5″ and 3.5″), and feature M.2 NVMe slots for use as cache.

Like the DS925+ and DS1525+, the new models can be upgraded with the company’s DX525 expansion unit. You can add a single expansion unit to the DS725+ or two expansion units to the DS1825+. Calculated using 20TB drives, you get up to 40TB of storage with the DS725+ or 140TB with added expansion; and up to 160TB with the DS1825+ or an impressive 360TB with the added expansion. That’s a serious number of photos and videos!

One caveat to consider when investing in these new 25 Plus series models is that Synology says complete functionality will only be available with Synology-branded drives—a proviso that the company says ensures the most reliable performance. This isn’t a huge deal if you’re using HDD drives, since Synology’s drives are competitively priced, but if you want to go the solid-state route, Synology SDDs are rather expensive compared to those of its competitors. (Non-certified drives can technically be used in the new NAS systems, but users that choose to do so will lose certain software- and firmware-related functionality.)

The Synology DS725+ and DS1825+ will retail for $520 and $1,150, respectively—yes, that’s without any storage drives!

Synology’s DiskStation 25-series includes the DS425+, DS725+, DS925+, DS1825+, and DS1525+

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09/07/2025
Nauticam Announces Housing for the Canon EOS C400 Cinema Camera
Nauticam has unveiled its housing for the Canon EOS C400. Sporting a cube-style design like that of the EOS C300 Mark III, the C400 features a full-frame 6K CMOS back-illuminated stacked image sensor with up to 16 stops of dynamic range. It can record 6K/60p full-frame footage in 12-bit Cinema RAW Light, as well as shoot 4K/120p and 2K/180p RAW video.

Employing the company’s N120 port system, Nauticam’s NA-C400 housing features important controls within easy reach of the integrated ergonomic handles, including lens control dials, and exposure and capture controls. Making use of the camera’s remote functionality, the housing also features electronic controls at the rear and on the sides. The housing supports HDMI 2.0 and 1.4 for external monitors or recorders, while SDI output is also available for either surface monitoring or supported monitors.

Retailers such as Backscatter are now taking pre-orders for the NA-C400, which is priced at $11,000.

When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.

PRODUCT INFORMATION

INTRODUCING NAUTICAM NA-C400

The Canon EOS C400 Cinema Camera

Canon’s EOS C-series Cinema Cameras have long been among the most versatile cinema cameras for underwater filmmakers and the C400 is no exception. Built around a 6K BSI full-frame sensor and the large RF-mount, the C-400 also features mechanical ND filters and Canon’s powerful Dual Pixel AF II.

Key Camera Specifications:

Canon EOS-C400
- 6K Full Frame Back-Illuminated Sensor
- 6K60, DCI 4K/2K, UHD 4K120
- Full Frame, Super35 & Super16 Modes
- Triple-Base ISO: 800, 3200, 12,800
- Record Internal Cinema RAW Light, XF-AVC
- Improved Dual-Pixel CMOS AF II
The Nauticam NA-C400 Underwater Housing

The Nauticam NA-C400 is a professional underwater aluminum housing that builds on Nauticam’s extensive cinema housing lineup. The NA-C400 features the large N120 port opening shared with other Canon RF and EF-mount cameras such as the R5II and R5C. This allows for the use of identical lens and port combinations when using a combination of RF-mount Canon cameras on a project with Nauticam housings.

Mission Control

Nauticam engineers obsess over placing essential controls where they are needed most so you never miss a shot looking for a button, dial or lever. Nauticam’s cinema lineup features large cinema-style lens control dials for precise control of focus and zoom. Exposure and capture controls are placed within easy reach of the ergonomic handles.

In addition to mechanical controls for Power, Zoom, Focus and Lens Release, the NA-C400 features electronic controls at the rear, and both sides of the housing through the camera’s remote functionality. The left handle adjacent controls are for ‘Up’, ‘Down’, ‘ISO+’, and ‘ISO-‘. Right handle adjacent controls are for ‘Rec’, ‘Fn3’, ‘Fn4’, ‘IRIS+’ and ‘IRIS-‘. The main control board accesses ‘Left’, ‘Right’, ‘Up’, ‘Down’, ‘Set’, ‘1’, ‘2’, ‘Set’, ‘MENU/REC Review’.

LCD Monitor Support

The C400 features a detachable LCD screen that can be easily integrated into the NA-C400. The LCD monitor is supported inside the housing and is mounted at the rear of the camera with a supplied bracket that allows it to be easily viewed underwater through the shaded rear window making for a streamlined filming solution.

HMDI/SDI

The NA-C400 supports Nauticam’s optional HDMI 2.0 and 1.4 system that can accommodate external monitors or recorders in Nauticam housings. SDI output is also available for either surface monitoring or supported monitors. The NA-C400 has 1 M28 and 5 M16 bulkheads to accommodate a variety of configurations to suit mounted or remote setups.

Battery

The NA-C400 can accommodate either the BP-A30N or BP-A60N batteries or a combination of the BP-A30N and an FXLION NANO THREE 150Wh Micro V-Mount battery for extended runtimes.

RESOURCES

What’s In The Box:
- NA-C400 Housing with vacuum valve pre-installed
- Housing Cap
- 2x Handles with mounting balls and 2x handle brackets
- Panasonic CR-2450 Battery (pre-installed for moisture alarm)
- Spare main O-ring, O-ring remover and lubricant
- Set of Allen Keys
- Housing skids
- Monitor Shade
- Safety box
Recommended Accessories:

Housing Mount
- 25221 M10 strobe mounting ball for housing
- 25224 M10 strobe mounting ball for housing (with hole for using with lanyard)
- 25228 M5 strobe mounting ball for housing
- 16226 Mounting Bracket for Monitor Housing to use with Cinema Housings
- 16701 Top Handle for E2/F/C70/BGH1/BMPCC
- 17961 Swivel and Tilt Adjustable Monitor Mount System (To be release)
Trim Weights
- 16232 0.25kg Trim Weights for 16227 (4pcs)
- 16233 0.5kg Trim Weights for 16227 (4pcs)
Vacuum Valve
- 25625 M16 Vacuum Valve II (Pushbutton Release)
Handles
- 28123 Pair of handles – size S (10mm closer to housing)
DMI OUTPUT:

Required accessories for HDMI 2.0 Cable System
- 25089 M28 HDMI 2.0 Adapter
- 25078 M28A1R225-M28A1R170 HDMI 2.0 Cable (for NA-BMPCCII/S1R/S1H to use with 17922/17909N)
Compatible Monitor Options
- 17922 Nauticam Atomos Ninja V Housing for Atomos Ninja V 5” 4Kp60 4:2:2 10-bit
  
  Reorder/Monitor/Player (excl. HDMI 2.0 cable)
- 17926 Nauticam NA-Ultra5 Housing for SmallHD Ultra 5 Camera Monitor
Required accessories for HDMI 1.4 Cable System
- 25033 Standard HDMI bulkhead with M16 thread (Mounted on the right side M16 of middle housing)
- 25100 HDMI (D-A) 1.4 Cable in 200mm length for NA-a1 (for connection from HDMI bulkhead to camera)
*25033 and 25100 is included in 17927 monitor housing

Compatible Monitor Options
- 17927 NA-Shinobi II Housing for Atomos Shinobi II 5.2″ Monitor with HDMI 1.4 input
SDI OUTPUT:

Required accessories for SDI Cable System
- 17926S SDI Cable Set for use with NA-Ultra5/17922S
Compatible Monitor Options
- 17922S Nauticam Atomos Ninja V-S Housing for Atomos Ninja V 5” 4Kp60 4:2:2 10-bit
  
  Reorder/Monitor/Player (excl. HDMI 2.0 cable) with Atomos AtomX SDI Module
- 17926 Nauticam NA-Ultra5 Housing for SmallHD Ultra 5 Camera Monitor
Required accessories Surface Monitor
- 25058 M16 SDI Bulkhead
  
  *Only support to be installed on the back door
- 25060 SDI cable in 0.4m length (for connection from camera to underside of SDI Bulkhead)
- 25064 SDI surface monitor cable in 15m length
  
  (for connection from SDI Bulkhead to Surface Monitor on land)
- 25065 SDI surface monitor cable in 45m length
  
  (for connection from SDI Bulkhead to Surface Monitor on land)
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07/07/2025

دسته: رزولوشن

RESOURCES