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  • Conservation Photography with Shane Gross

    Conservation Photography with Shane Gross



    As underwater photographers, many of us have witnessed not just stunning reefs and awe-inspiring creatures, but also the gradual decline of our favorite dive sites—due to overtourism, destructive fishing practices, and steadily rising water temperatures. Equally, many of us want to use our images to help encourage efforts to protect the marine environments we care deeply about, but we may not know how best to go about it. If that describes you, you’ll want to make sure you catch the next event hosted by The Underwater Club (TUC), as founder Nicolas Remy talks to Canadian conservation photographer Shane Gross.

    During the two-hour webinar, Shane will be discussing some of the conservation stories he has shot, the impact those stories have had, and what he’s learned along the way. The 2024 Wildlife Photographer of the Year will also be offering insights into his award-winning photography, including techniques, post-processing, gear choices, and the business side—how he pitches stories, markets himself, gets published, and uses his work to support ocean and freshwater ecosystems.

    As usual, TUC members join for free, while non-members will need to purchase tickets to the event at AU$49 (approx. US$35). Note that this is also the price of monthly membership, so this is the perfect opportunity to join the club and take advantage of all of the membership benefits.

    Here are the event times:

    • April 25th, 4pm Los Angeles time (PDT)

    • April 25th, 6pm Dallas time (CDT)

    • April 25th, 7pm Miami time (EDT)

    • April 26th, 7am Singapore time (SGT)

    • April 26th, 9am Sydney time (AEST)

    • April 26th, 11am Auckland time (NZST)


     





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  • Nauticam Releases Housing for the Sony a1 II and a9 III

    Nauticam Releases Housing for the Sony a1 II and a9 III


    Perhaps two of the most exciting pro-level cameras on the market at the moment are Sony’s a1 Mark II and a9 Mark III. The a9 III remains the only full-frame mirrorless camera with a global shutter, giving you jaw-dropping specs like blackout-free continuous shooting at 120fps with AF, no-crop 4K/120p video, and the ability to sync with flash at up to 1/80,000s. (The compromise, however, is the sensor’s relative low pixel count of 24.6MP and base ISO of 250. Meanhile, the a1 II is a different, but equally capable, beast: At 50.1MP, its stacked sensor boasts double the pixels, burst shooting is 20fps in lossless RAW, and there’s both 8K/30p and 4K/120p video recording on offer.

    The kicker is that these two cameras are all but identical externally, so a single housing can accommodate either one… Enter Nauticam’s NA-α1II housing, designed to get the most out both the a1 II and a9 III. Needless to say, ergonomic control placement is foremost: There’s a dual thumb lever alongside the right hangle and a single thumb lever on the left, as well as another left-hand lever operating a customizable button. In addition to fiber-optic ports for your strobes, there’s an M14 accessory port that could be used for an electrical bulkhead if preferred. There’s also a large-bore M24 accessory port for hooking up a monitor/recorder such as the Atomos Ninja V via HDMI 2.0.

    Nauticam’s housing costs $4,920 and is available for from Backscatter now.

     


    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 NA-α1II

    The Sony a1 II and a9 III Cameras

    The Sony a1 II and a9 III Cameras are Sony’s pro-level bodies that cover the entire gamut of imaging requirements for both still and video shooters.

    Sony a1 II

    The a1 II is Sony’s flagship high-resolution camera body with incredible autofocus and impressive video capabilities. Built around a 50MP stacked BSI CMOS sensor and powered by the advanced BIONZ XR processor, the a1 II features upgrades pulled from the a7R V in autofocus, subject tracking, and IBIS. For scenarios demanding high resolution paired with ultra-fast and accurate autofocus and up to 8K30p video, the a1 II can deliver top tier results.

    Key Sony a1 II Camera Specs

    • 50MP Full-Frame Stacked BSI CMOS Sensor

    • 8K 30p and 4K 120p Video in 10-Bit

    • 8.5-Stop IBIS + Dynamic Stabilization

    • 9.44m-Dot EVF with 240 fps Refresh Rate

    • Dual CFexpress Type A/SD Card Slots

    Sony a9 III

    The a9 III fills the role of a high sensitivity sensor with a true global shutter. Capable of shooting 4K 120fps from the full sensor area, the a9 III produces very clean high frame rate video even in less than ideal lighting conditions. The a9 III’s global shutter allows for shooting at incredibly high shutter speeds to maximize available strobe power and recycle time, even in strongly backlit scenes. Shooting into the sun or in high-ambient light scenarios at lower apertures opens up a world of opportunities for both wide and macro photography and also eliminates any rolling shutter effects in video.

    Key Sony a9 III Camera Specs

    • 24.6MP Full-Frame Global Shutter Sensor

    • Flash Sync at up to 1/80,000 Sec.

    • 4K 120p 10-bit Video; S-Log3 & S-Cinetone

    • 759-Point Phase-Detect AF with Tracking

    • 8-Stop 5-Axis In-Body Image Stabilization

    • 9.44m-Dot EVF with 240 fps Refresh Rate

    • Dual CFexpress Type A/SD Card Slots

    Shared Specs

    The a1 II and a9 III share a body which makes the NA-a1ii housing possible without any adapters, modifications or loss of features.  Both cameras also share the incredible 9.4M-dot electronic viewfinder from the A7RV.  

    THE NA-α1II HOUSING

    The NA-α1II Housing is based on the Nauticam NA-a9III housing and can accommodate both the Sony a1II and a9III camera bodies with no adapters of modifications. This truly makes this housing one of the ultimate underwater imaging tools able to capture high resolution as well as low-light stills and high resolution, low-noise and high-framerate video.


    Mission Control

    The driving force behind Nauticam housings is to place controls where they should be, within easy reach of the ergonomic handles for an intuitive and smooth underwater filming experience. The NA-α1II features a dual action thumb lever on near the right handle that actuates the ‘AF-ON’ and ‘REC’ buttons. Near the left handle is a thumb lever for ‘PLAYBACK’. The shutter release, main and sub command dials are also all within easy reach without taking your hands off the handles.


    Professional Optics

    The NA-α1II housing is built around the N100 port opening allowing for a wide variety of optics solutions from extreme wide-angle to super macro. In addition to supporting traditional wide angle dome port and macro flat-port configurations, the NA-α1II can support much of Nauticam’s range of Water Contact Optics from the Fisheye Conversion Port (FCP) to the Extended Macro Wide Lens (EMWL). To truly unlock the creative possibilities of these two cameras, pairing them with either the WACP-1B, WACP-C or WWL-1B gives impressive 130º rectilinear field-of-view, ~0″ minimum focus distance, full zoom through capabilities and the incredible corner sharpness. If more coverage is needed, the FCP provides 170º fisheye coverage with full zoom through and close focus capabilities. Take your macro imaging to the next level with either increased 2.3X magnification with the new SMC-3 close-up lens or the wide-angle macro look of the EMWL 160º lens.

    EVF Enhancement

    Both the Sony α1II and α9 III feature the same ultra-high resolution 9.4M-dot electronic viewfinder (EVF).  To truly take full advantage of this underwater consider pairing it with one of the Nauticam Enhanced 0.8:1 Viewfinders.  These underwater viewfinders are designed to give full edge-to-edge magnified viewing and include a diopter that can be adjusted underwater to match your vision.

     


    HDMI 2.0

    A large bore M24 bulkhead is located at the front of the housing for use with HDMI 2.0 or HDMI 1.4 (with a step-down adapter to M16) external monitors and recorders.  An additional M10 threaded mounting position near the front center of the housing also makes using an external monitor even easier.


    Vacuum Check and Leak Detection

    The housing comes with electronics pre-installed for Nauticam’s Vacuum Check and Leak Detection system, requiring only the optional M14 Vacuum Valve (25624). This monitoring system provides constant updates on the water tight and safe-to-dive status of the housing. A simple color coded LED lighting system lets the user know that the vacuum is solid, or that the housing is losing vacuum. Leak detection is built into the same circuit, so if there is water intrusion, an audible and visual indication will occur. The Nauticam system is temperature compensated, eliminating false alarms caused by a change in outside temperature, or from a camera heating up on an action packed dive.


    Strobe Triggering

    Triggering of external strobes is accomplished via the integrated fiber-optic bulkheads when using the optional Mini Flash Trigger for Sony (26302).  Electronic triggering is also available via an optional Nikonos or Ikelite Style Bulkhead.

    What’s In The Box:

    • NA-α1II Housing

    • 90120 Spare Main O-ring, o-ring remover, and lubricant

    • CR-2032 Battery (for Moisture Alarm)

    • Set of Allen Keys

    • Instruction Manual Card

    • 2x Optical Bulkhead Caps

    • 2x Handles with Mounting Balls 

    • Padded Housing bag and shoulder strap 

    Recommended Accessories:

    • 25624 M14 Vacuum Valve II (Pushbutton Release)

    • 26302 Mini flash trigger for Sony

    • 25218 Mounting Ball Set for tripod

    • 28130 Hand Strap for 18223

    • 32203 45 viewfinder (slightly vignettes)

    • 32211 Nauticam Full Frame Straight Viewfinder 32 / 1:1

    • 32212 Nauticam Full Frame Straight Viewfinder 40 / 0.8:1

    • 32213 Nauticam Full Frame Angle Viewfinder 32 / 1:1

    • 32214 Nauticam Full Frame Angle Viewfinder 40 / 0.8:1 *32212 / 32214 is preferred

    • 26325 USB-C Bulkhead with USB-C Connector

    • 26326 M24-M16 Adaptor for use with 26325

    • 25413 27cm lanyard with 2 snap hooks

    HDMI Output:

    Required accessories for HDMI 2.0 Cable System

    • 25086 M24 Adaptor for HDMI 2.0 Cable (incl. tightening tool)

    • 25099 M24A2R20-M28A1R170 HDMI 2.0 Cable

    Compatible Monitor Options:

    • 17922 Nauticam Atomos Ninja V Housing for Atomos Ninja V 5” 4kp60 4:2:2 10-bit recorder/monitor/player (excl. HDMI 2.0 Cable

    • 17922S Nauticam Atomos Ninja V-S Housing for Atomos Ninja V 5” 4kp60 4:2:2 10-bit recorder/monitor/player (excl. HDMI 2.0 Cable) with AtomX SDI Module

    Required accessories for HDMI 1.4 Cable System:

    • 26326 M24-M16 Adaptor

    • 25100 HDMI )D-A) 1.4 Cable in 200mm length (for connection from HDMI bulkhead to camera)

    • 25033 standard HDMI bulkhead with M16 thread (incl in 17923 Shinobi-H housing)

    Compatible Monitor Options:

    • 17923 NA-Shinobi-H Housing for Atomos Shinobi 5.2” 4k HDMI Monitor with HDMI 1.4 input.

    • 17922 Nauticam Atomos Ninja V Housing for Atomos Ninja V 5” 4kp60 4:2:2 10-bit recorder/monitor/player (excl. HDMI 2.0 Cable

    • 25082 HDMI 1.4 Canle for Ninja V housing in 0.75m length (for connection for Ninja V housing to bulkhead) *25082 v1.4 cable is required for use with 17922 monitor housing. 

    Technical Specifications

    • Dimensions: 347mm(W) x 171mm(H) x 127mm(D)

    • Weight in Air: 2.65kg

    • Buoyancy in Water: 0.48kg (incl. camera & battery)


    Model Number: 17438

    USA Retail Price: $4,920.00

    More information is available from Nauticam at: www.nauticam.com





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  • Nauticam Announces T7 and G7 HD UltraBright Monitors

    Nauticam Announces T7 and G7 HD UltraBright Monitors


    After many years of producing housings for monitors, including the Atomos Shinobi II and SmallHD Ultra 5, Nauticam has now released its own monitor—contained in an integrated housing. Featuring a 7-inch UltraBright panel with 1920×1080 resolution, the monitor offers a peak brightness of 3,000 nits, according to Nauticam. That’s brighter than any currently available monitor for underwater work, promising to make it possible to shoot in even the sunniest conditions.

    The monitor offers a slew of advanced video assist tools, including customizable aspect ratios, false color, focus assist, focus peaking, histograms, image flip, vector scope, waveforms, zebra stripes, and anamorphic de-squeeze (to correct the distortion created by anamorphic lenses). Rather than a standard ball mount, the monitor comes with a newly designed swivel-and-tilt mount, which is attached to a housing via two ¼’’-20 UNC screws.

    Depth-rated to 100 meters (330 feet), the monitor comes in two flavors: The T7 offers a single HDMI 1.4 input, while the G7 supports both HDMI 1.4 and SDI inputs. The G7 also offers an SDI output for connecting to a monitor on the surface. Both varieties are powered by four Li-ion rechargeable batteries, with the latest NightCore NL2160HP 6000mah batteries providing up to six hours of use at the default backlight level.

    Available now from retailers such as Backscatter, the Nauticam T7 HD UltraBright retails at $3,778, while the Nauticam G7 HD UltraBright costs $5,008.

     


    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 7” T7 HD UltraBright Monitor (HDMI 1.4 input, excl. cables)

    Key Features:

    • Exceptional Brightness & Clarity: With an impressive 3000 nit brightness, the monitor provides clear, vibrant images even in direct sunlight, so you won’t miss a detail.

    • Advanced Image Control Tools: Easily access the following tools all at your fingertips. Anamorphic De-Squeeze, Customizable Aspect Ratios, False Color, Focus Assist, Focus Peaking, Histogram, Image Flip, Vector scope, Waveform, Zebra

    • Swivel and Tilt Adjustable Monitor Mount System: This newly designed mount ensures smooth adjustments any any angle, making this monitor an invaluable tool for underwater image makers.


    What’s In The Box:

    • 16611 Nauticam 7” T7 HD UltraBright Monitor

    • Monitor Hood

    • Swivel and Tilt Adjustable Monitor Mount System (attached to camera/Cine Housing with 2x ¼’’-20 UNC screws)

    • Spare O-ring for battery door, O-ring remover and lubricant

    • Padded Travel Case


    Required Accessories to use with HDMI 1.4 input:

    • 25033 Standard HDMI bulkhead with M16 thread

    • 25081 M24-M16 Step Down Adaptor may be required for certain cameras

    • 25100 HDMI (D-A) 1.4 cable in 200mm length for NA-a1/FX3/GH6 (for connection from HDMI bulkhead to camera) 

    • 25047 HDMI (D-D) 1.4 cable in 800mm length (for connection between HDMI bulkheads)

    Introducing Nauticam 7” G7 HD UltraBright Monitor (HDMI 1.4 and 2K SDI input, excl. cables)

    Key Features:

    • Inputs and Outputs: The G7 supports both 4K HDMI and 2K SDI inputs as well as SDI output. Please note HDMI to SDI cross conversion is not supported.

    • Exceptional Brightness & Clarity: With an impressive 3000 nit brightness, the monitor provides clear, vibrant images even in direct sunlight, so you won’t miss a detail.

    • Advanced Image Control Tools: Easily access the following tools all at your fingertips. Anamorphic De-Squeeze, Customizable Aspect Ratios, False Color, Focus Assist, Focus Peaking, Histogram, Image Flip, Vector scope, Waveform, Zebra

    • Swivel and Tilt Adjustable Monitor Mount System: This newly designed mount ensures smooth adjustments any any angle, making this monitor an invaluable tool for underwater image makers


    What’s In The Box:

    • 16611 Nauticam 7” G7 HD UltraBright Monitor

    • Monitor Hood

    • Swivel and Tilt Adjustable Monitor Mount System (attached to camera/Cine Housing with 2x ¼’’-20 UNC screws)

    • Spare O-ring for battery door, O-ring remover and lubricant

    • Padded Travel Case


    Required Accessories to use with HDMI 1.4 input:

    • 25033 Standard HDMI bulkhead with M16 thread

    • 25081 M24-M16 Step Down Adaptor may be required for certain cameras

    • 25100 HDMI (D-A) 1.4 cable in 200mm length for NA-a1/FX3/GH6 (for connection from HDMI bulkhead to camera) 

    • 25047 HDMI (D-D) 1.4 cable in 800mm length (for connection between HDMI bulkheads)


    Required Accessories to use with SDI input:

    • 25058 M16 SDI Bulkhead

    • 25060 SDI cable in 0.4m length (for connection from camera to underside of SDI Bulkhead)

    • 25061 SDI cable in 0.75m length (for connection between SDI Bulkheads)


    Required Accessories to use with SDI out

    • 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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  • Have Your Image Featured by National Geographic Instagram

    Have Your Image Featured by National Geographic Instagram



    Don’t throw away your shot—literally!

    In honor of Earth Day, National Geographic is offering the chance to feature your best nature-themed image on their “Your Shot” Instagram page. The event is being pitched as less of a formal competition and just a great way to honor the best wildlife photography on the planet, for the planet.

    The process is easy: Just post an image using the hashtag #NatGeoYourShotOurHOME between now and April 22nd. Prolific filmmaker Bertie Gregory and a handful of Nat Geo editorial staff will select their favorite shots and share on the Your Shot Instagram page on April 30th.

    You can find more details on this FAQ page. And of course, stay tuned for the winners of the 2025 World Ocean’s Photo Competition!

     





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  • Nikon Announces Full-Frame Mirrorless Z5 II

    Nikon Announces Full-Frame Mirrorless Z5 II


    Nikon has announced the Z5 II, the company’s entry-level full-frame mirrorless camera. The new model improves on its predecessor, the five-year-old Z5, in key areas. Its 24-megapixel full-frame, backside-illuminated sensor is paired with Nikon’s EXPEED 7 processing engine, delivering best-in-class low-light performance and autofocus performance (down to –10EV)—according to Nikon. As well as featuring Nikon’s much-loved 3D tracking, it’s the first full-frame Nikon mirrorless camera to boast the AF-A focus mode, which switches between AF-S and AF-C automatically in response to a detected subject. The Z5 II can shoot up to 11fps in RAW with the mechanical shutter and up to 15fps RAW using the electronic shutter.

    In terms of video, the Z5 II can shoot uncropped 4K at up to 30fps (which its predecessor could not), but shooting 4K at 60fps incurs a hefty 1.5x crop. If you’re content with Full HD, the Z5 II delivers 1080/120p recording. The camera can capture video in 12-bit N-RAW as well as 10-bit H.265 and 8-bit H.264. In addition, it is the first camera capable of recording N-RAW to an SD card.

    Rounding off the package is an in-body image stabilization system promising 7.5 stops of compensation in the center of the frame and 6 stops at the edges of the frame; an improved EVF that can reach up to 3,000 nits peak brightness (six times brighter than any competing model, says Nikon); and dual UHS-II SD card slots.

    Shipping this month, the Nikon Z5 II will be available from retailers such as Backscatter for $1,700.

     


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


    PRESS RELEASE

    Nikon releases the Z5II full-frame mirrorless camera

    Achieving the same superior performance as high-end models, with greater responsiveness in dark scenes and improved ability to capture sudden movement

    Nikon Corporation (Nikon) is pleased to announce the release of the full-frame/FX-format Nikon Z5II mirrorless camera for which the Nikon Z mount has been adopted.

    The Z5II inherits the superior shooting functions and performance of high-end Nikon cameras while offering an even greater ability to respond to a wide variety of dark or dimly lit scenes and situations. Equipped with the same EXPEED 7 image-processing engine as the Nikon Z9, the flagship model of the Nikon Z series, and the Nikon Z8, it also offers subject detection powered by deep learning (AI) technology, and makes focusing on the intended subject easier with highly accurate, high-speed autofocusing in approximately one third* of the time required by the Nikon Z5. In addition, the high-sensitivity performance made possible by the back-illuminated CMOS sensor suppresses blur and noise for beautiful rendering of the textures and details of subjects and scenes, even in dimly lit situations, such as when shooting indoors or capturing night landscapes. The Z5II also supports Imaging Recipes, downloadable imaging presets created by Nikon and creators, as well as Flexible Color Picture Control that allows users to precisely control the expression of colors with intuitive operation. The Z5II is a camera that empowers users to fully immerse themselves in their unique creative expression while enjoying the powerful shooting performance and rich, expressive capabilities of a full-frame camera.

    Nikon will continue to pursue new dimensions in optical performance while meeting users’ needs, contributing to the development of imaging culture, with the hope of expanding possibilities for imaging expression.

    *Measured in accordance with CIPA standards. The measurement values are based on the following testing conditions: Subject brightness of 10 EV; in photo mode using aperture-priority auto (A), single-servo AF (AF-S), single-point AF (center), at 70-mm focal length with the NIKKOR Z 24-70mm f/4 S.

    Primary features

    1. Advanced AF performance inherited from higher-end models

    AI-utilizing deep learning technology has been adopted for the Z5II, enabling automatic detection of the same nine types of subject as the Z9 and Z8, for both stills and video recording. It is the first full-frame Nikon mirrorless camera to support AF-A focus mode; when shooting stills, the camera automatically switches between AF-S and AF-C focus modes in response to subject movement or changes in composition. This allows the camera to automatically focus on the subject, with no setting adjustments, when photographing pets or other subjects whose movements are difficult to predict, thus freeing users to concentrate on framing and creating the desired image. In addition, increased AF performance achieves focus in approximately one-third of the time required by the Z5, facilitating the capture of decisive moments. The Z5II is also equipped with 3D-tracking, which keeps the target subject in focus even if it moves rapidly or erratically. This provides subject tracking at a constant 14 fps, so users will never miss a crucial moment when photographing subjects whose movements cannot be predicted.

    2. A variety of features that allow users to unleash their creativity with unique color and imaging expression

    Nikon Imaging Cloud connectivity permits users to download Imaging Recipes recommended by Nikon or supervised by popular creators at no charge, and to apply these recipes when shooting. Recipes downloaded to the camera can be applied immediately via the dedicated Picture Control button. Users can quickly switch between color presets and choose from a variety of expressions while exploring their own unique style. In addition, the Z5II supports Flexible Color Picture Control, which allows users to create and establish their own unique color styles using Nikon’s NX Studio* RAW processing and editing computer software. Using tools such as the Color Blender and Color Grading, users can adjust hues, brightness, and contrast to achieve users desired color aesthetic. Combinations of settings configured in NX Studio can then be exported to the Z5II and registered as Custom Picture Controls that can be applied at any time when shooting.

    *A Nikon ID is required for NX Studio Ver. 1.9.0 and later.

    3. Shooting performance for beautiful rendering of dark scenes

    The Z5II is equipped with the same EXPEED 7 image-processing engine as the Z9, as well as a back-illuminated CMOS sensor that stands up well to high sensitivities, for significantly less noise. This camera offers a maximum standard sensitivity for still-image shooting of ISO 64000 and ISO 51200 for video recording. This outstanding high-sensitivity performance enables the shooting of beautiful, high-resolution images in which textures and details are preserved, even in dimly lit or dark indoor locations such as cafés and aquariums, as well as outdoors or at night. In fact, the autofocus detection range extends down to the low-light limit of -10 EV*1, making focusing in dark surroundings easier and expanding shooting possibilities. The 5-axis in-camera vibration reduction (VR) provides superior image stabilization equivalent to a 7.5-stop*2 increase in shutter speed at the center and a 6.0-stop*2 increase at the peripheral areas of the frame. This allows users to explore more creative shooting, such as trying out slower shutter speeds even when shooting handheld. The Z5II is also equipped with Focus-point VR*3. This feature suppresses blurring around focused areas for sharp rendering of the subject, even when it is positioned near the edge of the frame.

    *1 Photo mode, single-servo AF (AF-S), single-point AF (center), ISO 100 equivalent, f/1.2 lens used, at 20°C/68°F.

    *2 Based on CIPA 2024 Standard. Yaw/pitch/roll performance when using the NIKKOR Z 24-120mm f/4 S (telephoto end, NORMAL).

    *3 Only in photo mode with NIKKOR Z lenses not equipped with VR. Does not function when multiple focus points are displayed.

    4. Performance and ease of use that support reliable and comfortable shooting

    AUTO shooting mode has been improved with EXPEED 7’s superior image-processing performance and Nikon’s unique AI deep learning technology. The camera responds to a wide variety of shooting scenarios by analyzing and recognizing the subject and its surroundings, and then automatically optimizing exposure values, including aperture value, shutter speed, ISO sensitivity, and even focus mode, all while the user simply holds the camera. With a high-luminance 3000 cd/m2 electronic viewfinder (EVF) panel, the EVF built into the Z5II is approximately 3x brighter than that employed for the Z5, allowing the user to check focus and exposure, even in bright surroundings such as outdoors under strong sunlight. In addition, superior operability has been inherited from high-end models. For example, buttons are positioned for right-handed operation that enables smooth adjustment of settings when shooting, and the grip is shaped to prevent tiredness of the arm, even when a heavy lens is used for extended periods of time.

    5. Additional features

    • Equipped with a Pre-Release Capture function*1 capable of recording images buffered up to one second before the shutter-release button is fully pressed.

    • Equipped with Nikon’s exclusive portrait functions, including Rich Tone Portrait that realizes radiant and beautiful rendering of skin textures, and Skin Softening that smooths the skin while leaving hair, eyes, and other details sharp.

    • Supports Hi-Res Zoom*2 with video recording that allows users to zoom-in on their subject with no loss in resolution when using a prime lens or when the telephoto end of a zoom lens doesn’t quite reach.

    • The first Nikon Z series camera to support internal recording of N-RAW video to an SD card.*3

    • Supports recording of N-Log*4 video that offers subtle and rich tonal gradation.

    • N-Log LUTs, developed in collaboration with RED for users to enjoy cinematic colors and looks, can be used at no charge.

    • Equipped with Product Review Mode, with which the camera automatically switches focus to the object in front of it, and Video Self-timer, with which the camera automatically starts recording video after a preset delay when the record button is pressed.

    • Equipped with a large and high-resolution vari-angle monitor with a touch screen for intuitive operation.

    • With still-image photography in vertical orientation, the monitor’s user interface and EVF information display automatically rotate to vertical orientation, making them easier to check and operate.

    *1 Available only with JPEG recording.

    *2 Hi-Res Zoom is available when all the following conditions are met: H.265 10-bit (MOV), H.265 8-bit (MOV) or H.264 8-bit (MP4) -with image area set to FX, and [1920×1080; 30p], [1920×1080; 25p], or [1920×1080; 24p] selected for [Frame size/frame rate] in the video recording menu.

    *3 When a frame size and rate of [[FX] 4032×2268 30p], [[FX] 4032×2268 25p], [[FX] 4032×2268 24p], [[DX] 3984×2240 30p], [[DX] 3984×2240 25p], or [[DX] 3984×2240 24p] is selected for [Frame size/frame rate] in the video recording menu. Picture quality is equivalent to that of a video quality setting of [Normal]. Use of Video Speed Class 90 (V90) SD memory cards is recommended.

    *4 When [H.265 10-bit (MOV)] or [N-RAW 12-bit (NEV)] is selected for [Video file type] in the video recording menu.

     





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  • ADEX Singapore 2025 Coverage

    ADEX Singapore 2025 Coverage



    I had the pleasure of attending the 31st Asia Dive Expo (ADEX) in Singapore, which saw more than 49,000 attendees over three days, Friday to Sunday, April 4th–6th. As you’d expect, the majority of visitors came on the weekend, making the Friday a bit quieter and giving me the chance to go visit all the underwater imaging gear manufacturers.

    It was great to see both first-timers and repeat exhibitors at the show, with Isotta, SUBNOX and X-Adventurer joining the likes of SEACAM, Backscatter, Nauticam, Marelux, AOI, and Weefine, whose booths I covered last year. I also managed to visit a few resorts and liveaboards, some of which are mentioned in the second part of this report.

    Between giving a talk, attending a panel, participating in the live judging session for the ADEX Voice of the Ocean Photo+Video+Art Competition, and reporting for DPG, I certainly didn’t have time to get bored! My only regret was not being able to attend more talks, as there was an impressive list of speakers covering a large number of topics across the show’s three stages.

     

    The ADEX Voice of the Ocean 2025 judges (front to back): Kay Burn Lim, William Tan, Kate Jonker, Franco Banfi, Jennifer Hayes, David Doubilet, Tobias Friedrich, Erin Quigley, Berkley White, and myself. During the live judging event, the panel selected the competition’s category winners as well as the “best of show” overall winner

     

    National Geographic photographers David Doubilet and Jennifer Hayes deliver a captivating presentation on the main stage at ADEX Ocean Festival 2025

     

    Imaging Booths


    Backscatter

    The U.S.-based retailer of all things underwater imaging, Backscatter, was my first port of call. While the team are able to bring a huge selection of gear to American shows like DEMA, that’s not practical for ADEX, so they focused on showcasing their own lighting products, optics, housings, and accessories.

    Operations Manager Becca Boring showed me a GoPro rig based on Backscatter’s Wide Double Handle and Tray with Arch. The rig featured their Sharp Wide Lens Pro Kit, bundling their wide-angle wet lens with their GoPro mount base with quick-release system (QRS-02) bayonet. This setup can also be used with Backscatter’s MacroMate Mini by adding a lens adapter equipped with the QRS-02 mount.

     

    Becca Boring shows off Backscatter’s Wide Double Handle and Tray with Arch for GoPro. The Sharp Wide Lens Pro, which increases the field of view of your GoPro to 140°, is shown stored on the AOI QRS-02 Mount Base attached to the top of the Arch. Becca is holding a MacroMate Mini and the lens adapter

     

    Aside from displaying their well-known Mini Flash 2 (MF-2) and Hybrid Flash (HF-1), the Backscatter team was demonstrating their brand-new MF-2 and HF-1 excitation filters for fluorescence photography and video

     

    With the new excitation filter mounted, the Hybrid Flash produces blue light capable of making various subjects fluoresce

     

    To capture the fluorescence effect alone, we must get rid of the blue light using a yellow barrier filter in front of our lens, such as the Backscatter FLIP barrier filter for GoPro (top) or a threaded barrier filter (bottom) sold by Backscatter in various sizes (52mm, 55mm, 67mm)

     

    Also on display were different versions of the new Backscatter Smart Control Optical TTL Flash Trigger for the Hybrid Flash and Mini Flash 2. Check out Nicolas Remy’s DPG review of the trigger for Sony cameras in Nauticam housings

     

    Nauticam

    It was great catching up with Nauticam’s founder Edward Lai and General Manager Phoebe Lu, and hearing about some exciting devleopments. Nauticam had a range of housings, optics and monitors on display at the show.

     

    From left to right: Nauticam founder Edward Lai, Singapore-based Nauticam shooter Toh Xing Jie, Nauticam General Manager Phoebe Lu, and author Nicolas Remy

     

    For its Nikon Z50 II housing, Nauticam has chosen a fixed flat port, optimized for the Nikon 16–50mm lens. Doing away with a port lock system allowed them to keep the housing very compact, while offering excellent wide-angle and macro capabilities via optional wet optics like the WWL-C (left) and wet diopters such as the MFO-1 (right)

     

    Two new housing releases, for the Panasonic S1RII (left) and the Sony a9 Mark III and a1 mark II (right)

     

    Nauticam introduced me to their new 7-inch monitor, mounted here on their Canon EOS R5 Mark II housing, showing the unique “bug-eye” perspective of the EMWL system

     

    Nauticam’s brand-new 7″ T7 HD UltraBright Monitor is a self-contained package. The monitor is permanently sealed inside its housing, and there’s a side door for charging and accessing the memory card. Nauticam claims an impressive 3000 nits of brightness, and up to six hours of battery life (at default brightness). The monitor comes with a swivel-and-tilt adjustable monitor mount system, which makes it easy to move the monitor in all directions, and even flip it vertically.  

     

    SEACAM

    A veteran of the ADEX show, SEACAM had a large booth celebrating images from some of their ambassadors, including guests-of-honor David Doubilet and Jennifer Hayes. I caught up with founder Harald Hordorsch, who showed me some of their latest gear. SEACAM was also the main sponsor of the ADEX Voice of the Ocean competition, hosted by DPG’s UnderwaterCompetition.com. The grand prize winner received a SEACAM housing worth up to USD10,000!

     

    SEACAM founder Harald Hordorsch (center), pro underwater photographer and SEACAM ambassador Imran Ahmad (right), and Debbie Tan from Escape Inc

     

    SEACAM showed off their new creative tube, which mounts in front of a flat port, from where it creates a circular reflection of the subject, a visual effect appreciated by creative macro photographers. Interestingly, the SEACAM tube can be angled to obtain an oval effect as opposed to the circular effect

     

    A SEACAM housing with two wet diopters attached with SEACAM’s flip system. The user-serviceable flip mounts make deploying different wet lenses a breeze. The new creative tube is mounted in front, at an angled position. On top of the housing is the company’s ingenious modular float system. Multiple buoyancy floats of various sizes and shapes can be combined together to make your rig perfectly neutral underwater. The system can be easily rotated underwater to always achieve a good balance, even when you reposition strobe arms or video lights

     

    The handy mount for the lighting modifiers for SEACAM strobes. As shown, the mount attaches onto a strobe arm and makes changing your lighting a breeze, as you slide the accessories in and out of their slots. Interestingly, Harald told me that SEACAM’s engineers are currently working on a new version of the SEAFLASH 160D, which I was told will be twice as powerful as the current strobe

     

    David Doubilet (left) with SEACAM’s Harald Hordorsch in the Papua Diving Resorts booth. Sorido Bay Resort now hosts the first Seacam Photo Center, right in Raja Ampat, Indonesia

     

    Marelux

    The Marelux booth is never difficult to spot, as they adorn their walls not with their gear but with the people that use them—ambassadors like Shane Gross, Tom St George, Scott Portelli, Kate Jonker, and Ipah Uid Lynn, to name a few. I met with owner Jun Ouyang, who showed me their latest housings and strobes.

     

    After launching a few years ago, Marelux is now competing aggresively in various product categories, especially housings and strobes

     

    Among Marelux’s most successful strobes to date are the Apollo S (left) and the Apollo III 2.0 (right). Both strobes have light sensors compatible with the company’s Lumilink 2.0 wireless transmitter, offering cable-free strobe triggering underwater. Pro shooter Henley Spiers recently did a first impressions review of the Apollo III 2.0 strobes on DPG

     

    The Apollo III 2.0, which features straight flash tubes lined up in a distinctive triangular arrangement, offers a guide number of 44 (measured on land by Marelux) and produces a 110° beam angle underwater. By comparison, the smaller Apollo S strobe sports two straight flash tubes at the center and has a measured guide number of 36 (on land). Jun explaind that the Apollo S can handle 20fps when dialled down to GN 22, and it uses two Marelux-branded 18650 batteries—which, of course, are “Marelux” green!

     

    Marelux ambassador Jonathan Lin’s housing for the Canon EOS R5, complete with the Lumilink 2.0 transmitter mounted on top

     

    Marelux’s aluminum housings are finished in a range of distinctive colors

     

    Isotta

    Next up, I visited Isotta, the Italian brand behind those distinctive red housings. Elisa Isotta, owner of the family business, was keen to show me their forthcoming RED64 strobe. This sizeable flash boasts a guide number (GN) of 22 and produces a 130-degree beam at a color temperature of 5300K. When dialed down to GN 8, the strobe is designed to sustain rapid shooting at 6fps. Pre-orders have started and the first deliveries are expected by the end of May or beginning of June. Isotta are planning to release various lighting accessories, including a snoot.

     

    The Isotta Nikon Z8 housing equipped with pre-production versions of the company’s new RED64 strobe

     

    According to Isotta, their new RED64 strobe delivers a full-power flash with a guide number (GN) of 22 underwater. The prominent levers on the top of the strobe promise to make adjustments a breeze

     

    The RED64 strobe is powered by eight rechargeable AA batteries, which fit handily into a user-friendly rechargeable battery pack

     

    In an interesting move, Isotta recently embraced pro cinema with their housing for the RED V-Raptor, shown here paired with their monitor housing. Elisa Isotta (pictured) explained that the housing offers a mix of physical buttons (push buttons positioned behind the camera’s actual buttons) and electronic user-assignable buttons, to allow underwater cinematographers to fine-tune the system to their liking

     

    I was also shown a prototype for Isotta’s forthcoming smartphone housing, which features double O-rings (like all Isotta housings), a powerbank (for keeping your smartphone juiced) and physical buttons (including a joystick!), which interface with the phone via the housing’s app. The housing was set up to shoot verticals for social media, but you can move one ballmount to the third attachment point for horizontal shooting. An optional vacuum valve can be fitted to the housing, as well as flip mounts for wet lenses. Pre-orders are expected to ship in July

     

    AOI

    Right next to Backscatter was the AOI booth, where I caught up with CEO Victor Tsui and Marketing Director Nick Khoo. Nick introduced me to the new Aura Light System, built in collaboration with photographer Ace Wu. These LED torches can produce light in almost any color—16.7 million to be precise!—and come with an accessory snoot. How do you choose from such a large palette of colors? Using AOI’s dedicated app running on your smartphone, of course, and it’s all done wirelessly.

     

    CEO Victor Tsui is surrounded by AOI’s latest strobes, housings, and accessories

     

    Marketing Director Nick Khoo demonstrates the impressive color palette of the new Aura Light System. Nick says the lights are bright enough for daytime shooting, whether as a continuous light or when using their pulsing (stroboscopic) function. The lights are expected to start shipping at the end of April

     

    We also looked at the new UIS-P1, AOI’s most powerful underwater flash, which was recently reviewed on DPG. A range of lighting modifiers—including a diffuser, a macro ring and a reflector (visible in the background)—are already available for the strobe, and a snoot is in the works

     

    A very handy feature of the UIS-P1 strobe is the digital display on the back that gives you the remaining number of flashes with the current power setting. The green line indicates how much battery power is left

     

    SUBNOX

    If SUBNOX seems unfamiliar, that’s because its founder, underwater cinematographer Kay Burn Lim, was unveiling the company’s debut product—a 10,000-lumen video light called the SUB10KEF—at the show. The first SUBNOX models are expected to ship in the coming weeks.

     

    The cool, black SUBNOX booth seemed to see a good amount of traffic—presumably from budding local underwater videographers wanting to check out Kay Burn Lim’s new brand

     

    Kay Burn introduced me to the SUB10KEF, their first release and also what he described as their “flagship” product. This 10,000-lumen unit is no ordinary video light. As well as producing white light (CRI 93, 5600K), the SUB10KEF offers two novel “ambient blue” modes with outputs equivalent to ambient light at 6–13 meters and at 13–20 meters. Customers can also choose among three different light heads, depending on the waters where they expect to film most: blue head, blue-green head, and green head

     

    At the opposite end of their product range, SUBNOX also have a tiny dive torch that comes with a dedicated mount for attachment onto a diving harness

     

    Weefine

    On display at the Weefine booth was a wide range of video lights, snooted lights, housings, and monitors. The company is perhaps best known for its housings for smartphones and Olympus/OM System TG cameras—not least because housings like the WFH07 for smartphones and the WFH TG Pro have a built-in electric vacuum pump, activated via a single click. It’s very nice to have peace of mind when you’re dunking your precious phone in the ocean!

     

    Attendees check out Weefine’s WFH07 universal smartphone housing. The housing’s physical controls interact with the phone using Weefine’s DiveIT app via a Bluetooth connection. Notice the blue dial, handily positioned near the user’s right index finger, which allows easy zooming in/out

     

    Creative filters built into the Weefine app let you customize the image rendering during the dive. Note that the fiber-optics can send instructions to Weefine’s video lights, though not yet fire a strobe—but that is something Weefine is exploring

     

    Underwater videographer Luca Keller takes a good look at Weefine’s WED-5 PRO underwater monitor, connected to the company’s WFH-GP1 housing for GoPro and DJI action cameras

     

    X-Adventurer

    Nearing the end of my tour of underwater imaging booths, I dropped by X-Adventurer, which offers a range of dive torches and video lights, as well as strobes geared for wide-angle photography.

     

    CEO Gary He shows me X-Adventurer’s DS160 PRO strobes, which feature built-in 7,000-lumen video lights

     

    The DS160 PRO is a sizeable strobe featuring a circular flash tube, 160Ws output, and 120° of beam coverage, which can be expanded to 140° with a diffuser. A range of ambient light filters (shown on the right) are available as options

     

    An optical snoot for the DS160 PRO is available. It can be used with opaque black masks or with colored transluscent masks, so that you can project a tint on the underwater environment, while letting your subject stand out with white light

     

    DiveSea

    The final booth related to underwater imaging on my list was DiveSea, a well-known underwater imaging equipment retailer from Singapore. They sell products from Nauticam, Sea&Sea, Backscatter, AOI, Kraken, DiveVolk, Fotocore, and Doris, to name a few.

     

    The Insta360 and other action cameras were popular attractions at the DiveSea booth

     

    The folk at DiveVolk have made a name for themselves with their SeaTouch smartphone housing, whose special membrane preserves your phone’s full touchscreen capabilities, allowing unrestricted access to all of your apps

     

    Fotocore’s Raymond Bao shows me the company’s snoot, whose aperture can be dialed in with a side wheel. The new Fotocore MR5.5 video monitor was on display, too

     

    The Doris Smarthousing is compatible with a range of mirrorless cameras from Canon, Nikon and Sony

     

    Sea&Sea’s Kaz Okada showed me their universal housing for Sony, as well as strobes, video lights and accessories from the Japanese brand

     

    DPG and The Underwater Club

    Let’s not forget your favorite resources for underwater imaging news and education—DPG and The Underwater Club! We shared a booth and had a great time chatting to visitors and industry members about all things underwater photography and video. The Underwater Club is the first online underwater photography school and community, with members from 18 countries. Members enjoy access to self-paced e-learning courses, live and recorded masterclasses, live Q&A sessions and support forums.

     

    Great catching up with a few “TUC” members visiting the show!

     

    Resorts/Liveaboards


    Papua Diving Resorts

    It was great catching up with Max Ammer and his team from Papua Diving Resorts. I had a fantastic time visiting their two resorts—Sorido Bay Resort and Kri Eco Resort—in vibrant Raja Ampat last February. Look out for my forthcoming trip reports on DPG.

     

    National Geographic photographer Jennifer Hayes joins Max Ammer and his team for a group photo

     

    Murex Resorts and Lembeh Resort

    It was lovely to meet see Julia Sangi and the team from Lembeh Resort and Murex Resorts. The Lembeh Strait is an underwater macro heaven, which meets luxurious service offered at Lembeh Resort. For wide-angle enthusiasts, Murex Manado runs daily dives on the Bunaken Marine Park, famous for its walls and turtles, while the secluded Murex Bangka is well positioned to indulge Bangka Island’s stunning coral gardens.

     

    Lembeh Resort, Murex Manado and Murex Bangka offer immediate access to North Sulawesi’s diving gems

     

    Mike Ball Expeditions

    Cairns’ best-known liveaboard company was present at the show, and I caught up with general manager Craig Stephen. Mike Ball Expeditions runs three-, four- and seven-night cruises aboard their vessel Spoilsport, visiting some of the best spots along Australia’s iconic Great Barrier Reef.

     

    Mike Ball’s boat, Spoilsport, looks after underwater photographers with freshwater rinse tubs for your gear, as well as two camera stations with air guns

     

    Once again, the ADEX team pulled off a fantastic show, with great networking opportunities and an incredible number of talks. If you missed this one, don’t worry: The 32nd edition is already fixed: It will take place from April 10th–12th, 2026 at Suntec Convention Centre. See you in Singapore next year!

     


    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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  • Isotta Unveils Housing for the Insta360 Ace Pro and Ace Pro 2

    Isotta Unveils Housing for the Insta360 Ace Pro and Ace Pro 2


    After many years supporting the GoPro with their rugged aluminum housing, Isotta has turned its attention to the action cam competition—the Insta360 Ace Pro and new Ace Pro 2.

    The new housing has much in common with the company’s housing for the GoPro HERO13 Black: anodized aluminum construction and signature red finish; depth rating to 200 meters (650 feet); one-handed open/close; double O-ring seals throughout; and a removable shade that offers a clear view of the rear LCD in bright conditions.

    Priced at $515, the housing is available from retailers such as Backscatter.

     


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


    PRODUCT INFORMATION

    Isotta Underwater Camera Housing for Housing for INSTA360 Ace Pro and Ace Pro 2

    Technical Data

    • Red color anodized aluminum body;

    • Back housing completely detachable from the front housing;

    • Single-hand closing knob for the back of the housing;

    • Aluminum buttons;

    • Wide back display viewfinder glass;

    • Double O-Ring seals on all buttons and removable parts;

    • Double square flat porthole;

    • Rubber covered feet for solid footing on boat floors or sea floor;

    • Cold shoe located on upper side of the housing for various accessories such as focus lights;

    • A M6 hole and a 1/4W hole located on housing bottom side for different accessories such as brackets for strobes or tripods;

    • Working depth: 200 meters;

    Commands

    • Mode button;

    • Shutter button lever;

    Optional

    • 1632 – Forefinger shot;

    • 1633 – Thumb shot;

    • 1862 – Tray for action cam;

    • 3073 – Single flip with magenta filter for action cam;

    • 3074 – Single flip with red filter for action cam;

    • 3075 – Double Flip with Filters for action cam;

    What Is Included

    • Housing;

    • Front lid;

    • Shade;

    • Replacement O-ring kit;

    • Warranty: 2 years manufacturer’s (excluding batteries);

    Spare Parts

    • 4409 – Set o-ring for INSTA360 Ace Pro and Ace Pro 2;

    • 4410 – Shade for INSTA360 Ace Pro and Ace Pro 2;

    • 3664 – Front lid for actioncam;





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