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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. 

    [table id=34 /]

    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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  • My Bestselling Fujifilm Guide Now Covers the X-H2 and X-H2S

    My Bestselling Fujifilm Guide Now Covers the X-H2 and X-H2S


    I’m excited to announce that my bestselling Fujifilm guide, X SERIES UNLIMITED has just been updated will full coverage of the new 5th generation X-H2 and X-H2S cameras. You can grab the latest 2022 Edition here.

    The latest comprehensive revision includes all of the new features found in the X-H2X-H2S, and revised/expanded information about all of the other current X Series models, including the X-T4, X-T3, X-Pro 3, X-E4, X-S10, X-T30/30 II, X100V and the X-T100. 

    If you’re a Fujifilm shooter, then this is the most definitive guide to the X Series cameras you can get. It explains every single feature and every single function, and it does so with clear descriptions, real world examples and a very easy-to-follow format.

    X SERIES UNLIMITED – October 2022 Edition

    It teaches you everything you need to know in order to become a better, more proficient, more creative photographer with your Fuji camera.

    It has full coverage of all current and past models, all the way back to the 1st generation X Series cameras, and if you purchase the book, you’ll be entitled to free updates in the future when Fujifilm releases new models and firmware updates. 

    Click here to see what other people have said about the guide, and then let me help you get the most from your Fuji camera. Join thousands of other Fuji users around the world who have downloaded the guide and benefitted from the vast amount of knowledge and expertise I’ve put into it. 

    If you’re on the fence. rest assured; it comes with a 100% money back guarantee. If you don’t like the book for any reason, I’ll refund your purchase.



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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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  • Canon adds three new lenses and a Power Zoom accessory to its RF lineup

    Canon adds three new lenses and a Power Zoom accessory to its RF lineup


    Canon is offering up some holiday treats as we head into winter. The company has announced two new full-frame RF lenses, one APS-C RF lens, a Power Zoom Adapter, and firmware updates for the EOS C70 and EOS R5 C cameras. The three new lenses cover everything from wide-angle to ultra-telephoto, offering a bit of something for everyone. They include the RF-S10-18mm F4.5-6.3 IS STM, the RF24-105mm F2.8 L IS USM Z, and the RF200-800mm F6.3-9 IS USM. There’s lots to unpack here, so let’s get into it.

    Canon RF24-105mm F2.8 L IS USM Z

    We are especially excited to see the RF24-105mm F2.8 L IS USM Z. This lens is the world’s first 24-105mm focal length lens with a consistent f/2.8 maximum aperture. Canon designed the RF24-105mm as a hybrid lens, tailoring it to high-level video content creators and video production individuals or firms. It did specify that this is not a cinema lens but does approach that category with new features.

    Though it offers many video-centric features, it should also be a superb still photography lens. The 24-70mm has long been the workhorse lens for many photographers, but we could see this extended range becoming the new go-to for many. The fast and constant f/2.8 aperture will offer excellent low-light performance, adding to its versatility. It will be ideal for a vast number of applications, including portraits, weddings and events, fashion, photojournalism, sports, wildlife, and more.

    RF24-105mm F2.8 L IS USM Z build & design features

    Canon’s RF24-105mm offers a constant overall length when zooming and focusing, which is a big advantage for videographers. It also offers a stepless manual aperture ring for video use. Canon optimized the optical design for high-end video, with excellent focus breathing performance and superb image quality. The image stabilization results in 5.5 stops of optical IS or eight stops of coordinated IS.

    The lens can focus as close as 1.5 feet at all focal lengths and offers a maximum magnification of 0.29x at 105mm. Two Nano USM focus motors drive the autofocus system, resulting in fast and accurate focusing abilities. Its 11 aperture blades provide beautifully smooth bokeh.

    The RF24-105mm weighs 2.9 pounds and is 7.8 inches long. It offers an 82mm filter thread.

    Power Zoom Adapters

    For videographers, one of the most exciting aspects of this new lens is the option to use a newly developed Power Zoom Adapter. This new optional accessory will connect to the side of the RF24-105mm without any tools required. It enables super-smooth zoom control when recording video. Zooming will look more natural, and it will make control easier for solo creators.

    Canon is making two different versions of the Power Zoom Adapter. You can opt for a standard version (PZ-E2) with only a USB port or a 20-pin port version (PZ-E2B) to support zoom and focus demands. It’s important to note that, as of now, the Power Zoom Adapter is only compatible with the RF24-105mm.

    Pricing & availability

    The Canon RF24-105mm F2.8 L IS USM Z will be available in December, though is available for pre-order now for $2,999.00.

    Both versions of the Power Zoom Adapter won’t be available until the spring of 2024, but you can already pre-order both. The standard version (PZ-E2) is priced at $999.00, while the 20-pin port version (PZ-E2B) is $1,299.00.

    The Canon RF200-800mm telephoto lens is placed against a white background.
    Canon

    Canon RF200-800mm F6.3-9 IS USM

    For those who need ultimate telephoto reach, the RF200-800 F6.3-9 IS USM should fit the bill. This lens is impressive for many reasons, most notably the range it offers. There are not many zoom lenses that offer a maximum focal length of 800mm, with most topping out at 600mm. And at $1,899, it’s very reasonably priced for what it provides. For context, Nikon’s new NIKKOR Z 180-600mm f/5.6-6.3 VR lens is $1,696.95, so you’ll get 200mm more reach for roughly $200 more.

    Its long reach makes it perfect for photojournalism, wildlife, outdoor sports, and dramatic landscapes. Should you need even more zoom power, it’s compatible with the Canon RF 1.4x and 2x tele extenders, which will get you up to a whopping 1600mm.

    The maximum aperture varies from f/6.3 at the wide end to f/9 when zoomed in, so its low-light capabilities are slightly limited. But as we would expect on such a lens, it offers image stabilization to assist with obtaining sharp images even when handholding the lens. You’ll get 5.5 stops of correction at 800mm, and 7.5 stops at 200mm. It also offers automatic panning detection.

    RF200-800mm F6.3-9 IS USM design & features

    The RF200-800mm uses an extending lens design, meaning it gets longer when you zoom in. Even though this lens isn’t in Canon’s pro-level L-series, it did apply weather sealing, meaning it is still durable and protected against the elements despite the extending design. The lens is surprisingly lightweight for what it is, weighing just 4.5 pounds. It should be feasible to shoot handheld for at least short durations. A rotating tripod mount on the lens makes it easy to attach to a tripod as well.

    Canon pointed out that even though the lens RF200-800m is white, it is not the IR reflective surface found on the latest L-series lenses. A single, compact Nano USM motor drives the autofocus system, which is fast and quiet. It is a varifocal lens, meaning it won’t stay in focus as you zoom in. But Canon promised superb image quality thanks to an optimized optical design.

    Pricing & availability

    The Canon RF200-800mm F6.3-9 IS USM will be available in December, but you can pre-order it now for $1,899.00.

    The Canon RF-S10-18mm lens is placed against a white background.
    Canon

    Canon RF-S10-18mm F4.5-6.3 IS STM

    The third lens of the new trio is a beginner-friendly APS-C lens. And at just $329, it is extremely budget-friendly as well. The RF-S10-18mm F4.5-6.3 IS STM lens offers a full-frame equivalent view of 16-29mm. Canon designed this lens for video and vlog creators as well as amateur photographers. The wide-angle perspective is ideal for selfie videos, travel videos, and landscape, travel, or architectural photography. For many, this could be the only lens they use on their camera because of its versatility and size. It would pair well with cameras like the R100, R50, or R7.

    RF-S10-18mm F4.5-6.3 IS STM design & features

    Canon created an entirely new optical design lens for the RF-S10-18mm, one that isn’t based on any current Canon lenses. It is absolutely tiny, weighing only 5.3 ounces. It utilizes a collapsible design to maximize its compact size for travel, meaning you’ll need to extend it out in order to start shooting. But when collapsed down, it is a measly 1.8 inches.

    Surprisingly, Canon included image stabilization on the RF-S10-18mm. You’ll get four stops of optical IS and six stops of coordinated IS with your camera’s in-body image stabilization. For video users, this can also be combined with Movie Digital IS for added stability, but that will result in a crop. Canon also mentioned that the focus breathing is very well handled with this lens. There is some present, but it is minimal, and some cameras offer focus breathing correction in-camera to improve it even more.

    A stepping motor drives the autofocus, and it offers close focusing abilities of 5.5 inches with autofocus at all focal lengths or 3.4 inches at 10mm with manual focus. Unsurprisingly for such a compact, budget-friendly lens, there is no focus switch on the lens, so you’ll need to change between manual focus and autofocus in your camera’s menus.

    Pricing & availability

    As with the other two lenses, the Canon RF-S10-18mm F4.5-6.3 IS STM lens will be available in December (just in time for you to pick it up as a Christmas gift for a photographer in your life) and is available for pre-order now for $329.00.





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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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