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  • SeaLife Shipping Red, Magenta and Yellow Filters for SportDiver Smartphone Housings

    SeaLife Shipping Red, Magenta and Yellow Filters for SportDiver Smartphone Housings


    SeaLife Shipping Red, Magenta and Yellow Filters for SportDiver Smartphone Housings

    Alongside the release of the SportDiver S, SeaLife has announced a trio of color filters that can be used with all models of the underwater smartphone housing, including the original model and the “Ultra” model as well as the new “S” model. The original red filter—which ships with the SportDiver Ultra but not with the SportDiver S—is joined by a new magenta color-correcting filter for green water applications and a yellow barrier filter for fluorescence imaging. Each filter comes with a lanyard.

    Priced at $20 each, the red, magenta and yellow are available from Backscatter and other good retailers.

     



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



    PRESS RELEASE

    SeaLife Offers Color-Correcting Filters for Popular SportDiver Smartphone Housings

    MOORESTOWN, NJ – SeaLife, the maker of the SportDiver Underwater Smartphone Housings for iPhone and Android smartphones, has added color correcting filters to their accessory assortment including the original Red color filter for most diving applications; a new Magenta color-correcting filter for green water; and a Yellow filter is available for Fluorescence and UV Imaging, and certain blue water applications.

    The filters are designed to restore and correct for color-loss underwater, especially in the red color spectrum. They’re made of an optical acrylic that uses proprietary color pigments. The filters are most effective at depths of 10ft/3m to 60ft/18m and are easily attachable and removeable to the SportDiver optical lens frame while underwater. The filters fit all SeaLife SportDiver models, including the original SportDiver, SportDiver Ultra and the new SportDiver S.

    The color filters may be used with or without external underwater lights, depending on the shooting distance and water conditions. The filter also serves as a protective cover for the SportDiver’s optical glass port.

    A lanyard is included for attaching the filter to the housing to prevent loss.







    Item Description US Retail
    SL40007 SportDiver Red Color Filter – for most Blue water applications $20
    SL40003 SportDiver Magenta Color Filter – for Green water $20
    SL40005 SportDiver Yellow Color Filter – for UV, Fluoro Lights, Blue water $20

    SeaLife SportDiver S with red filter





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  • Low-Light Portrait, Storytelling Frames and Good Vibes!

    Low-Light Portrait, Storytelling Frames and Good Vibes!


    Welcome to the Light Stalking weekly community wrap-up!

    If you’ve been following these words for the last couple of weeks, you might have noticed the strong duality between light and time when attempting to capture the essence of movement. Curiously enough, the upcoming set, which always matches our current contests, spins around another classic of photographic practice; storytelling in a single frame!

    But what makes such storytelling differ from the regular one? Personally, I see storytelling as the attempt of transmitting a broad story with the aid of visual and written information. However, when thinking about a single frame —capable of telling a story all by itself— things tricky quite fast.

    However, I’ve witnessed a tendency towards thinking that these sorts of images are products of a single serendipitous shot. And to be honest, I blame this a bit on all the hype surrounding the oddly translated title from HCB‘s famous book “The Decisive Moment”. Originally titled in French as Images à la sauvette, which most closely translates to “images on the sly” or “hastily taken images”, this book has sort of aided the false belief that great photographs are those perfectly captured just once on silicon or film.

    This way of thinking builds up the idea that if you don’t capture something perfectly on camera, you are doing it wrong. Or at least I thought of great iconic photographs as that, until I had the life-changing opportunity of coming across contact sheets; that’s when I knew we only get to see the decisive shot from the perspective of the editing board, not the author of the frame.

    For today’s wrap-up, we’ve picked a fine selection of single storytelling frames shared on this week’s challenge. So, without more horsing around, let’s dive into what our talented community shared with us!

    Photo of the Week

    And speaking of sly, if you ever feel the need of illustrating how technology blends with photographic skills to capture sharp images on the run, this one can do a great job! Nocturnal street imagery, is both gorgeous and challenging; and of course, is better enjoyed with fast tools like the ones used on this magnificent — and full manual capture at ISO 1250, 1/400s, ƒ3.5:

    copyright – davidc

    A day in sales!

    Congrats David, the light on this shot is just exquisite and the notorious expression of the subject makes it unique; thanks for sharing such a high quality photograph with us!

    Weekly Photography Challenge Digest

    Thanks again to Diane and Dahlia for pushing our creative boundaries one step forward every week!

    copyright – Robert Apple
    copyright – Michael
    copyright – Wendy P
    copyright – Pat Garrett
    copyright – Pat Garrett
    copyright – davidc
    copyright – Timothy S. Allen
    copyright – Wendy P
    copyright – Patrick
    copyright – Patrick
    copyright – Patrick
    copyright – Frogdaily
    copyright – Robert Apple
    copyright – Tersha
    copyright – Tersha

    To contribute, check out the original challenge post!

    A Highlight on the Latest Activity at our Community

    Rob shared this fantastic non-ai generated image, ergo a stunning photograph!

    copyright – Rob Eyers

    Patrick shared this simple yet effective example of some basic composition understanding:

    copyright – Patrick

    Diane shared a familiar phenomena to all of us light stalkers:

    copyright – Tersha

    Last but not least, Patrick sends us all some nice good vibes

    copyright – Patrick

    Don’t forget to check the photo contest winners for the Essence of Movement; and remember, this month’s photo contest is now open for entries. The theme revolves on “Storytelling in a Single Frame“. Submit your photos for a chance to win $250, and please don’t forget voting as well. Last but not least, keep an eye out for the Members Picks — the instructions are pretty straightforward:

    Members reference what you might consider a five-star photo. Give a call out to the photographer and share their photo even if it lies in the Shark Tank and feel free to give a Critique on why it trips your Trigger. Be sure to mention the photographer and the Thread you saw it in.

    And if you want to make out the most of your LightStalking user account, make sure to check the latest posts. Also, don’t forget to swim the Mobile Monday Challenge! Last but not least, Check out the current reading throwdown, it has some nice insights and recommendations!

    We’d Love To Hear Your Thoughts

    Our Feedback Forum is a fine place for all those people wanting to grow fast as photographers. Here, you’ll get your work reviewed by well-intended photographers, but you’ll also have the chance to comment on the work of others. We believe in the power of feedback, and here are the latest shots shared in the pool:

    The Shark Tank is a great place to learn and to discuss, but please read the instructions in order to get a better experience. Share your comments, opinions and doubts on any or all of the images above. We will also be delighted to see some of your own images. Remember, all comments are given to the photographs; not the photographers. Also, don’t forget to participate in our upcoming challenge!





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  • Sony and Canon Tease Upcoming Camera Announcements

    Sony and Canon Tease Upcoming Camera Announcements



    Camera conspiracy theorists unite: Both Sony and Canon are teasing camera releases on March 26th with mysterious clues.

    Starting off with Sony, the company released a teaser-trailer-style clip of a veiled new camera model. There’s not much to go on, but eagle-eyed viewers have spied a button labeled “5” as well as a 3.5mm jack.

    Combined with the “Go small, shoot big” catch phrase, speculation centers on the announcement of a new cinema-style camera—something similar to the Sony FX6. Other guesses in the video comment section include a long-awaited update to the Sony a6700.

     


    For its part, Canon is also contributing to the rumor wheel with an Instagram post glimpse at two new camera models. Shrouded in shadow and only labeled with “V,” it seems likely that the cameras will fall into Canon’s new Powershot V1 “vlogging” compact cameras.

    Canon recently debuted the Powershot V1 at the CP+ show in Japan to much buzz. It’s a pivot in the company’s compact lineup with trendy vloggers in mind—featuring a 16–50mm equivalent f/2.8–4.5 lens and 4K/60p shooting mode.

    Set the countdown to March 26th…





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  • Restaurant and Retail Images for a Design Firm – A Photo Editor


    By Bryan Sheffield, Wonderful Machine

    Each month, we pick one of our recent estimates to write about in a Pricing & Negotiating article. Redacting the names of the photographer and client allows us to share valuable and educational information that would otherwise be confidential.

    Concept: Portfolio content photography of an architecture and interior design firm’s recently completed restaurant & retail spaces within an airport
    Licensing: Collateral and Publicity use of up to 15 images in perpetuity
    Photographer: Architecture & Interiors specialist
    Client: Large retail space architecture and interior design firm

    Summary

    I recently helped one of our NYC photographers build an estimate for a good-sized architecture and interior design firm. The firm requested an estimate for photography to document 4 of their soon-to-be-finished spaces within a NYC area airport terminal. The final use of the photography would primarily be web collateral within the firm’s website, publicity efforts, as well as submissions to a few notable design award competitions. When we first began speaking with the client, they let us know that the completion date was about 3 weeks out. Moreover, they informed us that the photographs needed to be taken at night because the restaurants and shops would be open the following day.

    The client was very specific with their shot list needs. They would, however, rely on the photographer to accomplish this list in an artistic manner. They also let us know that they would need the final images within 2 days of the shoot date in order to meet their award submission dates. The client would arrange all special permissions for the photographer, crew, and equipment access to the spaces due to our need to work after the airport terminal had closed. We also knew that although our client designed these 4 spaces, they would all be owned and operated by other brands. With this in mind, we attempted to upsell and inquired whether the brands or proprietors might be interested in use of the final work. These potential clients, however, were not interested.

    Here is the estimate:

    I added a “Client Provisions” note to describe what the client was to provide. For this project, the client would provide locations, all location access and coordination, all location styling and cleaning, all employee/staff coordination, crew meals and craft services.

    Fees

    I put the Photographer’s fees at $6,500 for the shoot, and licensing of up to 15 images. We understand that the NYC market is very competitive and there are many other photographers in the area that could accomplish this job. The saturated market (unfortunately) put downward pressure on the photographer’s fees. We felt that $6,500 was a fair and competitive fee based on the metropolitan area, client, and the use of up to 15 images. The client offered a budget of “between $10,000-13,000” for the project. Based on the rush retouching fees needed we felt comfortable coming in roughly $1,100 above that.

    Crew

    We added a First Assistant/Digital Tech at $650/day to help with lighting and camera equipment management, and computer/file management while the photographer was shooting. These fees were consistent with the crew rates on the photographer’s past projects of this nature.

    Equipment

    We included $750 for camera, lighting, and grip rentals. The photographer brought their own cameras, lenses, and simple lighting. We added $450 for the digital tech workstation rental laptop, cables, etc.

    Misc.

    We included $240 for insurance coverage. We then added $250 for the anticipated taxis/car services to get to and from the airport, additional meals, and other miscellaneous expenses.

    Post-Production

    We added $500 for the photographer to perform an initial edit of all the content and delivery to the client. We also included rush retouching rates of $225/hr for an estimated 2 hours per image.

    Results

    The photographer was awarded the project and the shoot was a success. During the shoot, there were quite a few issues as several of the locations were not totally finished. In order to accomplish some of the wider images, the photographer needed to have their camera placed in a location not closed to the public. Due to this factor, a good amount of additional retouching was needed on the images, which was approved by the client.

    Follow our Consultants @wonderful_at_work.





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  • Microsoft Publishes Full AI-Generated Ad and No One Noticed

    Microsoft Publishes Full AI-Generated Ad and No One Noticed


    Well, until they told us that is.

    gray microsoft surface laptop computer on white table
    Gray microsoft surface laptop computer on white table. Photo by Windows

    In a sign of the times, Microsoft published a blog describing the process behind one of their latest ads which relied upon AI-generated imagery and content to work.

    Ostensibly conceived to demonstrate the company’s prowess in AI, the ads show off Microsoft’s latest iteration of the Surface along with what is can do for businesses using CoPilot.

    How did this come to be?

    Hint: If you’ve ever used ChatGPT or anything like it before, then you probably have some idea.

    “We probably went through thousands of different prompts, chiseling away at the output little by little until we got what we wanted. There’s never really a one-and-done prompt,” Creative Director Cisco McCarthy told Microsoft. 

    “Like carving a masterpiece from a block of marble, each prompt was a careful stroke of the sculptor’s tool that gradually revealed the form within. Through relentless experimentation and countless revisions alongside generative AI, the team eventually conjured a library of stunning art for characters and sets, translating their ideas into captivating visualizations for the ad,” the company writes

    That’s an interesting way to describe it. The results speak for themselves, naturally, and you can watch them over on YouTube at this link.

    From our perspective, we’re seeing it as yet another sign of the times and as further evidence of one of the biggest trends to shake up our industry since we started writing this news blog. How we got here and where we are going are always interesting to ponder but they might make us miss the fact that the future is very much here and now already. 

    Any thoughts that you might have on AI-generated advertising are welcome in the comments. 

    We have some other news you might like to read at this link.





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  • Time’s Flow, Star trails and Springtime!

    Time’s Flow, Star trails and Springtime!


    Welcome to this week’s Light Stalking community update!

    Last in the essence of movement set, the flow of time! Rooted since the dawn of our kind, something in our nature has steered us into being so intrigued about the stuff we call time. As discussed in the earlier wrap-ups following this set, photography enables us to capture light and time in a single piece of imagery.

    Previously, we talked about light and how to use different settings to model light according to the story to be told. And as you might expect, now’s the turn of time to finally join the chat. For it, Diane suggested thinking in the terms of a single frame time-lapse; e.g. collages, double and long exposures.

    Capturing the flow of time gets tricky fast if one underestimates how shaky things can get when exposing below 1/4s. Always mind using a tripod, monopod or at least one sufficiently stable surface for you to place your camera in. Not to be proud, but I’ve surpassed my stability needs with backpacks, pillows, blankets, towels, tables, chairs, shoes, flip-flops and who knows which other oddities as well.

    Tripod or not, the real trick for capturing time as it flows is to slow things down directly from the lens. For this, ND filters are a must for ensuring organic in-camera expositions. On the side, cable releases are extremely useful for minimising camera vibration; and the finishing touch for those shooting with certain SLR and DSLR cameras, lock your mirrors up!

    Photo of the Week

    Once in a while this is exactly what we all need, a tranquil scene filled with nature’s serenity. Globally speaking, this year has been a wild-ride; so precious slow-paced moments like this are something worth treasuring. Not to mention how the slight use of sub-framing enriches the cosy nature of the scene.

    copyright – Lightandshadow

    Happy Easter folks, and thanks Steve for sharing such a high quality photograph with us!

    Weekly Photography Challenge Digest

    Thanks again to Diane and Dahlia for pushing our creative boundaries one step forward every week!

    copyright – Wendy P
    copyright – Pat Garrett
    copyright – Pat Garrett
    copyright – Wendy P
    copyright – Patrick
    copyright – Patrick

    For contributing, check out the original challenge post!

    A Highlight on the Latest Activity at our Community

    Gues who joined the ranks of us film shooting hipsters‽ That’s right, Rob got this minty looking camera:

    copyright – Rob Wood

    Diane got some fun with her lensbaby double glass optic

    copyright – Tersha

    Patrick shared this stunning portrait; one can feel the hard work for sure…

    copyright – Patrick

    Sticking with the mobile approach, he also shared this good-looking vertical panning:

    copyright – Patrick

    Followed by this bright shot by Pat:

    copyright – Pat Garrett

    Don’t forget to check the photo contest winners for Visual Metaphors; and remember, this month’s photo contest is now open for entries. The theme revolves on “the Essence of Movement“. Submit your photos for a chance to win $250 and please don’t forget voting as well. Last but not least, keep an eye out for the Members Picks — the instructions are pretty straightforward:

    Members reference what you might consider a five star photo. Give a call out to the photographer and share their photo even if it lies in the Shark Tank and feel free to give a Critique on why it trips your Trigger. Be sure to mention the photographer and the Thread you saw it in.

    And if you want to make out the most of your LightStalking user account, make sure to check the latest posts. Also, don’t forget to swim the Mobile Monday Challenge! Last but not least, Check out the current reading throwdown, it has some nice insights and recommendations!

    We’d Love To Hear Your Thoughts

    Our Feedback Forum is a fine place for all those people wanting to grow fast as photographers. Here, you’ll get your work reviewed by well-intended photographers, but you’ll also have the chance of commenting on the work of others. We believe in the power of feedback, and here are the latest shots shared in the pool:

    The Shark Tank is a great place to learn and to discuss, but please read the instructions in order to get a better experience. Share your comments, opinions and doubts on any or all of the images above. We also will be delighted to see some of your own images. Remember all comments are given to the photographs; not the photographers. Also, don’t forget to participate in our upcoming challenge!





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  • Backscatter Introduces Excitation Filters for Fluorescence Photography and Video

    Backscatter Introduces Excitation Filters for Fluorescence Photography and Video


    Backscatter is getting into the fluroresence photography and video game with the latest accessories for its Hybrid Flash and Macro Video 4300—the new Backscatter Hybrid Flash Fluorescence Excitation Filter and Backscatter Video Light Fluorescence Excitation Filter, respectively. The former attaches to the HF-1 using the diffuser bayonet mounting system, while the latter snaps onto the front of the MW-4300 the same way as Backscatter’s color filter holder, and both filters are carefully tuned to excite fluorescence optimally. (The latter is also compatible with the Backscatter Mini Flash, but since fluorescence is a weak effect, Backcatter says you’ll get more vibrant images by making use of the power of the Hybrid Flash instead.)

    The new blue excitation filters for the Hybrid Flash and Macro Video 4300 are used in conjunction with suitable yellow “barrier” filters that attach to ports, lenses, and filter mounting systems. The barrier filter removes the blue light in your image or video, ensuring your camera records only the colorful fluorescence that is left behind. Backscatter offers threaded barrier filters in various sizes (52mm, 55mm, 67mm) as well as a barrier filter for the company’s FLIP filter system for GoPro. Also available is the Backscatter Fluorescence Yellow Barrier Filter Dive Mask, which allows you to find suitably fluorescing subjects.

    To give you a better idea of the amazing results you can achieve with the new excitation filters, Backscatter has prepared a must-read article, “The Backscatter Underwater Fluorescence Strobe & Lighting System,” which tells you more about the fluroresence phenomenon, gives you recommended settings to get the best results, and, of course, offers lots of inspiring fluoro images to get your creative juices flowing. Available now, the Backscatter Hybrid Flash Fluorescence Excitation Filter and Backscatter Video Light Fluorescence Excitation Filter are each priced at $200. The barrier filters cost between $20 and $50.

     




    Left: Backscatter Hybrid Flash with Fluorescence Excitation Filter.

    Right: Backscatter Macro Wide 4300 with Fluorescence Excitation Filter


     




    Left: Fluorescence Excitation Filter for Backscatter Hybrid Flash.

    Right: Fluorescence Excitation Filter for Backscatter Macro Wide 4300


     




    Left: Threaded Fluorescence Barrier Filter (52mm, 55mm, 67mm).

    Right: FLIP Fluorescence Barrier Filter for GoPro


     



    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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  • The best carbon fiber tripods for 2023, tested and reviewed

    The best carbon fiber tripods for 2023, tested and reviewed


    We may earn revenue from the products available on this page and participate in affiliate programs. Learn more ›

    Carbon fiber tripods offer several very tangible advantages over their metal counterparts. They are stiffer, stronger, and more durable than aluminum. Despite those things, they also weigh significantly less than aluminum, making them a popular choice for travel and landscape photography. Of course, they also will cost you more than an aluminum tripod, but for many, it is worth it. The best carbon fiber tripods will help you get stable shots while making it easier to bring a tripod along.

    How we chose the best carbon fiber tripods

    The writers and editors at Pop Photo have decades of photography experience across the full spectrum of photographic genres and equipment. We’ve used our fair share of tripods in a wide variety of situations, from cheap plastic and heavy aluminum to more advanced carbon fiber models.

    When selecting the carbon fiber tripods on this list, we aimed to choose options suitable for different pursuits, from travel to studio work. And while carbon fiber tripods are pricier than aluminum, we looked for products at various price points to suit different budgets. In addition, durability, sturdiness, and ease of use were all part of our decision-making process. Lastly, though tripods aren’t exactly feature-rich, we looked for options with enough features to make them versatile and usable in different–even challenging–situations.

    The best carbon fiber tripods: Reviews & Recommendations

    There is certainly no shortage of carbon fiber tripods available. Below you’ll find our favorite options for a variety of situations and use cases, so you’re sure to find one that fits your needs.

    Best overall: Peak Design Travel Tripod

    Why it made the cut: Peak Design’s Travel Tripod weighs only 2.8 pounds and folds down to the width of a water bottle while still being able to support up to 20 pounds.

    Specs

    • Maximum height: 60 inches
    • Minimum height: 5.5 inches
    • Weight: 2.8 pounds
    • Weight capacity: 20 pounds
    • Folded length: 15.5 inches

    Pros

    • Includes a ball head
    • Compact and lightweight
    • Good height range
    • Excellent strength-to-weight ratio

    Cons

    • Expensive
    • Only two leg angles

    Originally released through a Kickstarter campaign in 2019, the Peak Design Travel Tripod made waves thanks to the unique leg design. When folded down, it is just 15.5 inches tall and about the diameter of a water bottle. That makes it very easy to throw in a backpack‘s side pocket instead of fumbling with attachment points and straps.

    The five-section legs can all be deployed at once with the aluminum lever locks to save time–and to look really dramatic. It can support up to 20 pounds and is very sturdy, considering its small size. The included ball head is minimal and aids in the tripod’s compact design. Instead of levers and knobs like normal tripod heads, there are simple locking and adjustment rings.

    The Peak Design carbon fiber tripod can extend to 60 inches with the center column or 51.25 inches without that extended. For low angles, the center column reverses and hangs underneath the legs. There is also a removable hook on the center column, so you can easily hang weight to add stability. And this tripod comes with a slick travel bag, mobile mount, and hex wrenches. The mobile mount is a nice touch and makes this tripod excellent for all sorts of creators.

    Best for hiking: Manfrotto Befree Advanced

    Why it made the cut: Its lightweight form factor but very adjustable height and 20-pound weight capacity make this a great option to take backpacking. 

    Specs

    • Maximum height: 59.1 inches
    • Minimum height: 16 inches
    • Weight: 2.8 pounds
    • Weight capacity: 19.8 pounds
    • Folded length: 16.1 inches

    Pros

    • Includes a ball head
    • Lightweight and compact
    • Three leg positions
    • Well-designed twist lock legs

    Cons

    • Center column doesn’t move as smooth as the legs

    Manfrotto’s Befree line has been a popular choice for travel and adventure photographers for years. The Advanced version brings a higher weight capacity to the line, able to support nearly 20 pounds. It weighs the same amount as the Peak Design tripod mentioned above, though it is slightly larger when folded down. However, it still fits nicely into a side water bottle pocket on a hiking backpack. And the extra space between the legs makes it easier to secure with a strap for peace of mind while hiking.

    The Befree Advanced tripod comes with a ball head, or you can also get it with a fluid head if you need smoother movements for shooting video. The ball head offers 360 degrees of swivel and can tilt 90 degrees for portrait orientation as well. It’s easily controlled via the large knob, even if you have gloves on. The center dial in the control knob allows you to adjust the tension and get more precise positioning. 

    The legs are made up of four sections and are locked into place using twist locks. Unlike other tripods I’ve used, the leg sections don’t automatically extend when untwisting the locks, which is good and bad. It takes a little more time to set up but is less of a pain when putting the tripod away or if you forget to lock one down all the way. The legs lock at three different angles, giving you lots of flexibility. 

    Best rugged: 3Pod Everest T3

    Why it made the cut: As the name suggests, the Everest T3 is built for harsh conditions. It is cold weather resistant, features CNC machined dust-proof construction, offers anti-corrosion faces, and comes with spiked feet for better traction.

    Specs

    • Maximum working height: 64.17 inches
    • Minimum working height: 13.4 inches
    • Weight: 3.2 pounds (without ball head)
    • Weight capacity: 33 pounds
    • Folded length: 19.7 inches

    Pros

    • Sturdy, heavy-duty build
    • Built for harsh environments
    • Comes with spiked feet for added grip
    • Available with or without a ball head

    Cons

    Photography can take us to some wild, rugged places. The 3Pod Everest T3 is up for the challenge, thanks to a seriously rugged build. 3Pod made this tripod with CNC precision for a dust-proof design. It’s also cold weather resistant, meaning the joints will keep moving even in extreme cold. The grippy material on two of the legs makes it easier and more comfortable to hold in the cold, even if you have gloves on.

    The legs of the Everest use a twist lock design for quick assembly and breakdown. It comes with 3Pod’s H4 ball head (or you can opt for a version without a head) and Arca-Type quick-release plate. The ball rotates very smoothly with just enough resistance. Two bubble levels help you ensure your shots are level in-camera. This carbon fiber tripod can extend to 5.3 feet with the center column extended or 4.4 feet without the extra extension when you need extra sturdiness. Should you need a low-angle shot, you can remove the center column to get shots as low as 13.4 inches. You can invert the center column for creative angles as well.

    The main downside to the Everest T3 is that it’s a fairly bulky tripod. It weighs 3.2 pounds and is pretty long, even when folded down. But, the heavy-duty design results in a 33-pound weight capacity. Should you want something more robust, 3Pod also makes a larger version—the Everest T5—which offers a 55-pound load capacity and 6.6-foot maximum height.

    Even more carbon fiber tripods to consider

    If one of the three above doesn’t tick all the boxes for you, check out these additional options.

    Best for versatility: Manfrotto MT055CXPRO4

    Why it made the cut: This versatile Manfrotto tripod can go from 3.5 inches to 66.9 inches, thanks to the angle selectors on the legs and sturdy center column. Plus, it has a convenient attachment point for arms to hold accessories like reflectors.

    Specs

    • Maximum height: 66.9 inches
    • Minimum height: 3.5 inches
    • Weight: 4.6 pounds
    • Weight capacity: 19.8 pounds
    • Folded length: 21.3 inches

    Pros

    • Ample height range
    • Sturdy and durable
    • Center column bends 90 degrees
    • Includes attachment point for accessories

    Cons

    • Tripod head must be purchased separately

    Manfrotto has long been one of the top tripod producers. Its MT055CXPRO4 is an extremely popular tripod, and for good reason. At  4.6 pounds, it weighs a bit more than some of the other models on this list. But it is very sturdy and supports nearly 20 pounds, which is more than enough for a full-frame camera and hefty telephoto.

    Each leg features Manfrotto’s Quick Power Locks (a type of lever lock), which are easy to use but extremely sturdy. The legs can be set to multiple angles, allowing you to set the tripod as low as 3.5 inches. You’ll be able to get some really dramatic and unique angles for landscapes while still getting stability from a tripod.

    With the center column extended, you’ll get 66.9 inches of height. Manfrotto redesigned the center column on this carbon fiber tripod to enable one-finger operation, so you’ll be able to raise it with much less fuss. And the center column can bend 90 degrees for better versatility or more unique angles. There is an Easy Link attachment point for adding accessories like a LED light or reflector with a compatible arm.

    At the top of the tripod is a bubble level that swivels 360 degrees so you can see it no matter how you have your tripod set up. But, you will need to purchase a head for this tripod separately. For most people, we’d suggest Manfrotto’s XPRO Ball Head.

    Best for landscape photography: 3 Legged Thing Leo 2.0

    Why it made the cut: It can hold up to 66 pounds, so even if you use a large camera and bulky lens, you won’t have to worry about stability. And yet, the tripod only weighs 4.8 pounds, so it will still be feasible to pack on a trip.

    Specs

    • Maximum height: 54.3 inches
    • Minimum height: 4.9 inches
    • Weight: 4.8 pounds
    • Weight capacity: 66 pounds
    • Folded length: 14.7 inches

    Pros

    • Heavy weight capacity
    • Good height range
    • Lightweight and compact
    • Highly modifiable

    Cons

    • Not as tall as other options

    3 Legged Thing is a small British company that was launched in 2010. The Leo 2.0 has a surprising weight capacity, supporting up to 66 pounds. So even if you use a large DSLR or medium format camera with a heavy lens, this tripod will be able to handle it. And yet, the tripod only weighs 4.8 pounds with the head attached, which is only slightly heavier than the Manfrotto 055. 

    One of the best things about the Leo carbon fiber tripod is that it is very modifiable. Each leg can be removed and acts as a monopod. The center column can either be removed entirely or inverted to get lower to the ground. And you can purchase tripod feet for better stability on different types of surfaces.

    This tripod comes with a carrying case and also the 3 Legged Thing Toolz multi-tool for adjusting various parts of the tripod. It can’t extend quite as high as other options, but the ability to modify it so much and the large weight capacity are huge benefits. 

    Best heavy-duty: Gitzo GT5533S Systematic Series 5

    Why it made the cut: The Gitzo Systematic Series 5 holds a whopping 88 pounds, making it the ideal choice for those shooting with large cameras and lenses.

    Specs

    • Maximum working height: 52.8 inches
    • Minimum working height: 3.9 inches
    • Weight: 6.2 pounds 
    • Weight capacity: 88 pounds
    • Folded length: 24.4 inches

    Pros

    • Very heavy duty
    • Available in different heights and configurations
    • Exceptionally sturdy
    • Feet are articulating for better stability

    Cons

    • Center column or head must be purchased separately

    If the 3 Legged Thing doesn’t provide enough stability for you, the Gitzo Systematic Series 5 will. It supports up to 88 pounds, which is ideal for those using large lenses or cameras. Even if you use a large format camera, you’ll get enough support from this carbon fiber tripod. Even when the legs’ three sections are extended, the tripod is extremely sturdy with limited flex.

    The Systematic Series is unique in that they do not include center columns, unlike other tripods. Center columns are not very sturdy when extended, so it makes sense to leave that out if you want the most stability. It does, of course, limit the height you can get from the tripod, but luckily Gitzo makes different heights in this line. 

    Like the 3 Legged Thing, Gitzo sells lots of accessories compatible with this tripod line. For example, should you want a center column, you can add a compatible one, as found on Gitzo’s website. You’ll also need to purchase a tripod head if you want more than the flat top plate. And there are also alternative types of feet available for better stability on different surfaces. 

    Best budget: Neewer 66 Inch Carbon Fiber Tripod

    Why it made the cut: At a much more affordable price, this budget carbon fiber tripod still offers support for up to 26.5 pounds and can convert into a monopod.

    Specs

    • Maximum height: 66 inches
    • Minimum height: 23.2 inches
    • Weight: 3.40 pounds
    • Weight capacity: 26.5 pounds
    • Folded length: 19.3 inches

    Pros

    • Can be broken down into a monopod
    • Affordable
    • Comes with a ball head
    • Center column can be inverted

    Cons

    • Does not go very low
    • Not as durable as other options

    Neewar is fairly well known for its affordable lighting and accessories. Like its other gear, its carbon fiber tripod is much more affordable than other brands but still offers a good amount of quality and features. Unlike more expensive options, it comes with a ball head, so you don’t need to purchase it separately. 

    It supports up to 26.5 pounds, so even somewhat heavy cameras and lenses will work. And it only weighs 3.4 pounds, so it won’t be too much trouble to pack with you on trips. You can break it down into a monopod, so it is multifunctional. And the center column can be inverted if you want low to the ground shots. The legs have three sections and are controlled via twist locks.

    Of course, with the budget price comes some downsides, though they are luckily minor. The included ball head isn’t all that stable, so you may want to invest in a better tripod head if you will be pushing the weight limit of this tripod. And some have had issues with pieces breaking after not all that much use. It may not last as long as more expensive options, but if you want to get started with a tripod without breaking the bank, this still is a great option.

    Things to consider before buying the best carbon fiber tripods

    Tripods, in general, aren’t exactly feature-packed, as they are pretty basic, straightforward pieces of equipment. But, that said, there are still some vital things to pay attention to before purchasing to ensure that it will fit your needs and work with your camera setup. 

    Weight

    Though carbon fiber tripods weigh less than their aluminum counterparts, their weight still varies across different brands and models. And while you may assume you need to find the lightest option, that won’t always be the best. Lightweight tripods lose stability unless you add weight to them. That could be via sandbags or a backpack hung from the center column. Without added weight, the tripod may be prone to getting blown over by strong winds or tipped over if bumped. So, if you are looking for a sturdy option and don’t want to fuss with adding weight, go with a heavier tripod.

    On the flip side, if you travel or like to have a tripod while hiking, be sure to go with a lightweight option. Tripods are never all that convenient to carry along, but if it weighs a lot, you definitely won’t want to bring it along. 

    Capacity

    Beyond the weight of the tripod itself, tripods will be able to support different sizes of cameras and lenses. For example, some tripods are only suitable for lightweight mirrorless setups with small lenses, whereas others can hold heavy medium-format cameras. 

    Before purchasing a tripod, be sure to do a rough calculation of what your heaviest setup will be. Look up the weight of your camera and largest lens to ensure that the tripod and tripod head you are considering is able to support that much weight.

    Maximum and minimum height

    All tripods will be able to extend only so far. Some will be able to go quite high with the help of a center column, while others won’t go beyond eye level, if that. If you like to get serious height with your tripod for unique perspectives, be sure to look for a tripod with a tall maximum height. 

    On the other side, some tripods can’t go lower than the closed length of the tripod. Some, however, allow you to bend the legs out, resulting in the camera sitting very low, sometimes just inches off the ground. This ability is ideal for landscape photographers who want dramatic angles or like to focus on things in the foreground. If you want more flexibility with angles, be sure to look for a tripod that can get low as well as high.

    FAQs

    Q: Are carbon fiber tripods worth it?

    Carbon fiber tripods are worth it for some people, but not all. Those who travel or hike a lot will want a compact and lightweight tripod, as heavy or bulky ones will be frustrating to carry around. Carbon fiber tripods are smaller and lighter than aluminum alternatives, and those weight savings can absolutely be worth it. But, if you need a sturdy tripod for a studio or other general-purpose setting, a carbon fiber tripod may not be worth the cost.

    Q: How much do carbon fiber tripods cost?

    Carbon fiber tripods will cost you anywhere from around $150 all the way up to $1,700 or so. Typically, the more expensive the tripod, the sturdier it will be and the more weight it can support. 
    While you may be tempted to go with the cheapest carbon fiber tripod you can find, keep in mind that all carbon fiber is not created equal. A cheap carbon fiber tripod may actually be less durable and sturdy than an aluminum tripod that costs the same amount.  

    Q: Which is better, carbon fiber or aluminum tripod?

    Whether carbon fiber or aluminum tripods are better depends on your needs and preferences. Carbon fiber tripods are stronger, more durable, and lighter, making them the better choice for photographers who travel or use a tripod in harsh conditions. But, they are more expensive, and because they are so lightweight, they may need weight added in order to have enough stability.
    Aluminum tripods are much more affordable than carbon fiber, making them better for beginners. And, for those using big, heavy cameras or needing extra stability without additional weight, aluminum may be the better choice.

    Q: Can you buy refurbished carbon fiber tripods?

    Yes, you can buy refurbished and used carbon fiber tripods. This can be an excellent way to get a quality carbon fiber tripod while saving some money. You’ll find plenty of options on sites like eBay or the B&H used section.

    Final thoughts on the best carbon fiber tripods

    Carbon fiber tripods are not cheap pieces of gear, especially good ones. They are an investment, to be sure. But for a bit of equipment that can keep your camera safe and potentially improve your images, it is worth spending a bit more to ensure you have a reliable tripod that will last for years.

    Why trust us

    PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

    We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.





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  • Best Tips And Tricks for Beginners

    Best Tips And Tricks for Beginners


    Volcano photography is an enriching hobby. Even though a lot of work goes into the process of capturing the best volcano pictures, the experience makes everything worth it. Yes, it’s risky but it’s an experience like no other.

    To photograph a volcano, you’ll need a quick shutter speed to freeze any motion. Set your speed to 1/1000th, then change your ISO and aperture as necessary. Shooting volcanoes from the air, ground, or sea captures dramatically different outcomes and a better view of the lava source. 

    Read on to learn the best tips on photographing volcanoes and how to do it safely. 

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    Best Ways to Locate Vantage Points

    Best-Ways-to-Locate-Vantage-Points
    guidetoiceland

    If you want to make the process a lot faster, you can ask a local to take you to the best vantage points. When photographing volcanoes, it’s not enough to see the areas in photographs or hear stories from other people. You’ll need to visit them and see them for yourself. Just don’t forget to take the appropriate lens for each possible viewpoint.

    When you go to an erupting volcano, take some time to observe the explosion from a safe distance. Determine the eruption’s strength and the direction in which the hot lava is moving for your safety. As we all know, it’s not safe to get near an erupting volcano.

    Photographing Tips During the Day

    You can catch the most powerful volcanic eruptions and ash clouds by shooting photos of volcanic explosions throughout the day. Shooting lava is an option as well. Your most probable lens will be a 24-105mm lens. A long lens is ideal if you are far away.

    You may either try to freeze the motion in daylight photography or create some motion blur.

    1. Freeze the motion: You will need quick shutter speeds to freeze falling lava bombs, or pyroclastic flows captured on camera. Set your speed to 1/1000th, then change your ISO and aperture as necessary. The ISO is probably at or over 1000. You should typically use an aperture of f/8 while taking landscape photography. You may need to use a bigger aperture as it grows darker.
    1. Motion blur: Slower shutter speeds, which may blur motion, are at the other extreme of the shutter speed continuum. Shutter speeds of 1/20th are required to capture the appearance of action. Use this with ash clouds if you can. Shutter speeds of one second or longer are perfect for recording lava movement. Use an ISO of 100 and a narrower aperture to obtain slower shutter speeds. Add a graded neutral density filter if necessary.

    Photographing Tips At Night

    Photographing-Tips-At-Night
    news18

    Nighttime is one of the loveliest periods to try taking photos of lava. You will be able to detect the glowing lava much better.

    The ideal time to take photos is during the late blue hour. You have a higher chance of detecting the volcano’s foreground features. The lava will seem brighter in the picture the later you go into the blue hour. The rocks will become shadows against the lava once wholly dark.

    For this reason, you need to try to take pictures while the moon is full. Bring a powerful flashlight so you can illuminate molten rock during the exposure. Look to expose for up to 10 seconds if you want to get the lava streaks. 

    ND filters are also valuable for blue-hour situations. You may shoot the volcano with prolonged exposure and six- to eight-stop neutral density filters.

    Use the same general procedures as when shooting a typical landscape. When feasible, bracket your shots and shoot in RAW. Exercise delicate processing to guarantee that the image you capture is as accurate as possible. Make sure your lava has a red and orange gradient and lessen the brightness. 

    Protecting Yourself and Your Gear

    You will need gear to protect yourself and your photography equipment before anything else.

    Safety Gear

    Volcanoes pose a wide range of hazards, particularly if you want to approach a volcano or lava flow up close. Most photographers covering volcanoes have a few specific things in their gear.

    • Helmet: Falling rock is one of the main risks around volcanoes (or lava bombs). 
    • Heat-resistant clothes: Wear heat-resistant clothes since it might be dangerous to approach the lava. 
    • Gas masks: The area surrounding volcanoes may contain deadly gases.

    Note: None of these items will shield you from pyroclastic flows. 

    Photography Gear

    The following are the camera gear you need for taking volcano pictures. 

    • Camera body: A must-have is a sturdy camera body and weather and dust-sealed. 
    • Lens: You must carry a wide-angle lens while taking landscape photos, especially for dormant volcanoes. Mid and long focal lengths are preferable for an active volcano. 
    • Tripod: Make sure the tripod is robust and heat-resistant.
    • UV filter: A UV filter protects from different debris present in an extreme environment. 
    • Camera blowers or towels for cleaning

    Hiking Gear

    Some volcanoes are located in very rugged terrain. That suggests you also need the following on top of the appropriate safety gear. 

    • Hiking boots 
    • Walking poles
    • Water and rations
    • Tent or sleeping gear
    • First aid kit 

    Dormant Volcanoes Photography

    Dormant-Volcanoes-Photography
    greatvaluevacations

    Even when they are not erupting, volcanoes are breathtakingly gorgeous. They are excellent photographic subjects because of their rough geology and features like crater rims. For times when the lava isn’t flowing, here are some other photographic locations:

    • Trekking up the volcano: It’s advantageous to climb a volcano when it’s dormant. Deep ravines and leaking gas will still provide challenges. Though even when it is not an active volcano, there are safety risks. 
    • Acid lakes: Acid lakes form when escaping sulfur gas combines with a crater lake. These lakes are highly picturesque and have an odd, otherworldly sense. 
    • Geysers: Geysers are nature’s fountains and make excellent picture subjects.
    • Sulfur mines: Sulfur mines also make for a compelling photo. 

    Photographing From The Ground

    Photographing from the ground is challenging and poses some particular difficulties. First, it takes a lot of frames and a little luck to get all parts to line up at once. 

    Don’t forget to get wide and detailed shots when shooting from the ground. Photograph between 14mm and 500mm, and be sure to have all your lenses on hand and keep an eye out for various compositions. 

    Examine several shutter speeds to determine which effect you like. A 1-second exposure often produces the most remarkable results. 

    When the blue hour is winding down, there is a perfect balance of light for 15 to 30 minutes. Because it moves quickly, you must be sure that you have chosen the best composition for the excursion at that point.

    It’s feasible for your tripod and camera equipment to melt while taking close-up photos with a wide-angle lens. Surprisingly far, lava flows transmit heat.

    Photographing From The Air

    Since many volcanoes are unreachable by land, it is better to have a broad notion of capturing the volcano and setting up your camera correctly in advance. 

    When the shutter speed is less than 1/500th of a second, vibrating aircraft like piston-engined helicopters tend to produce blurry images. If possible, set shutter speeds to 1/750th or even 1/1000th of a second; however, you may get away with 1/500th if your lenses have image stabilization. 

    Volcanoes Photographing From The Air
    @Icelandair

    A fast (f/2.8) lens is advantageous in this situation since you can often shoot wide open and still have everything in focus because the explosive eruptions are far away.

    ISO is the only setting you have to work with to get the proper exposure with a wide-open aperture and 1/750th of a second – this is where your camera’s “auto ISO” feature comes in useful. 

    The last factor is ensuring that the camera chooses the appropriate exposure for you. Use “highlight-weighted metering” if your DSLR has it. Volcanic photography in dark regions is easy to work in a frame with better exposure.

    For helicopter safety, do not switch lenses while the plane is in the air. In light of this, keep two camera bodies: one with a 24-70mm lens and the other with a 70-200mm or 80-400mm lens. Keep the camera’s strap connected, and wear them around your neck the whole trip. 

    Photographing From The Sea

    You should certainly see the lava from a boat to get a close-up view while it is entering the water. It is a fantastic view position that makes for a very immersive experience. 

    A 70-200mm lens (full frame) is ideal for capturing the hot lava trickling into the water in fine detail. A shutter speed of at least 1/250 second was necessary to freeze the motion due to the rocking boat and splashing waves. 

    Where Are the Best Volcanoes to Capture?

    Most of the world’s volcanoes are in tectonically active regions, such as in the country of New Zealand, the Philippines, Japan, Kamchatka, Alaska, and the western coasts of North and South America. 

    Indonesia, Italy, Iceland, Hawaii, and other places in Africa also have incredibly beautiful volcanoes. 

    Before going, look at the volcanic eruption history and ask locals about the actual eruption. Consider hiring a guide to accompany you as well.

    Find out whether the volcano generates potentially harmful pyroclastic flows. If so, find out which way they often travel.

    Conclusion

    Taking images of volcanoes is a ton of fun, and the results will blow you away! If you are interested in volcano photography, ensure you have the right gear and a good guide who knows the area well to get some great images. 

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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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