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  • Nauticam Announces Housing for the Canon PowerShot V1

    Nauticam Announces Housing for the Canon PowerShot V1

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    Nauticam has unveiled its latest housing, the NA-CV1, designed to accommodate Canon’s new point-and-shoot, the PowerShot V1, released in February 2025. The compact (aka vlogging) camera features a 22.3-megapixel 1.4-inch sensor (which is similar in size to Micro four Thirds, but with a 3:2 aspect ratio), a DIGIC X image processor, and a fixed zoom lens with a focal length range equivalent to 16–50mm f/2.8–4.5. Boasting Canon’s Dual Pixel AF II autofocus system, the PowerShot V1 can record uncropped 4K/30p video oversampled from 5.7K and achieves 15fps burst shooting with its mechanical shutter.

    For the NA-CV1, Nauticam has opted to use their N50 port system but ship the housing with the N50 3.5-inch acrylic dome port, which allows the full 16–50mm zoom range out of the box. Switching to their N50 Short Port 25 gives users the opportunity to mount various Nauticam water-contact optics, such as the WWL-C (FOV: 130°–71°), WWL-1B (FOV: 130–80º) and SMC/CMC (via Nauticam’s bayonet mount adaptor). Like Nauticam’s other housings for compact cameras, users have the option of adding a tray and handles, an LCD magnifier, and a vacuum valve (via the housing’s M16 port)—the vacuum monitoring and leak detection system is pre-installed.

    The NA-CV1 housing is priced at $2,000 and is available now 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

    INTRODUCING NA-CV1 FOR CANON POWERSHOT V1 DIGITAL CAMERA

    The Canon PowerShot V1 Camera

    Key Camera Specifications

    • 22.3MP 1.4″ CMOS Sensor

    • 16–50mm Equivalent f/2.8–4.5 Lens

    • Full-Width 4K 30p; 4K 60p with 1.4x Crop

    • 10-bit Recording; Canon Log 3

    • Dual Pixel AF II for PowerShot

    • Optical Stabilization; 3-Stop ND Filter

    • Active Cooling Extends Shooting Times

    The Nauticam NA-CV1 Housing

    NA-CV1 is the latest iteration in a lineup of advanced housings for very capable compact cameras supported by Nauticam. Many features found on professional DSLR systems have been integrated into this system, and the result is an underwater housing that allows the user to harness the full potential of this advanced compact camera in the water.

    The basic functions and ergonomic enhancements that Nauticam users have grown to know and love are incorporated in NA-CV1. The housing is machined from a solid block of aluminum, then hard anodized to seal out corrosive salt water. It is closed via a simple, yet secure locking rotary latch. The right side of the housing is sculpted to fit the palm of the user’s hand, and Nauticam’s two-stage shutter release lever provides clear differentiation between the half press and full press shutter release positions. All functions are clearly labeled.

    The Nauticam leak alarm and vacuum monitoring system is installed as standard equipment. This system provides an audible and visual alert to any water entry in the housing, and when combined with an optional accessory M16 Vacuum Valve II (25625) the watertight integrity of the system can be tested before ever entering the water and monitored during every dive.

    Expert product design, modern manufacturing techniques, top quality materials backed by a two-year warranty, and a critical focus on the user experience combine to produce the premier system for Canon Powershot V1.


    The N50 Port System

    The NA-CV1 ships with the N50 3.5″ Acrylic Dome Port that allows the full 16–50mm zoom range, but other ports are available from the N50 system. When combined with the 38703 N50 Short Port 25, you can add on the 83203 WWL-C for a converted FOV of 130 degrees to 71 degrees.  

    What’s in the Box?

    • NA-CV1 housing

    • N50 3.5″ Acrylic Port

    • Spare main housing O-ring (90131)

    • O-ring remover

    • CR2032 battery (for moisture alarm)

    • Lubricant

    • Set of Allen keys

    • Padded Housing Bag

    • Set of handle brackets with shutter release trigger

    Recommended Accessories

    • 25625 M16 Vacuum Valve II (Pushbutton Release)

    • 25131 LCD Magnifier attachment Rails

    • 25106 LCD Magnifier with Dioptric Adjustment

    • 71206 Easitray II with left handle (with 2pcs 1/4” screws)

    • 71207 Flexitray II with left handle (with 2pcs 1/4” screws)

    • 71208 Adjustable right handle II (for Easitray II & Flexitray II)

    • 38703 N50 Short Port with Bayonet Mount (To use with WWL-C or WWL-1B)

    • 83203 Wet Wide Lens for Compact Cameras (WWL-C)

    • 83202 Wet Wide Lens 1 (WWL-1B) 130 deg. FOV with compatible 28mm Lenses

    • 83214 Bayonet Mount Adaptor for SMC/CMC

    • 81301 Compact Macro Convertor 1 (CMC-1, 4.5X Magnification)

    • 81302 Compact Macro Convertor 2 (CMC-2, 2.8X Magnification)

    N50 Port Chart

    1. N50 3.5” acrylic dome port, Zoom Range 16–50mm (*The minimun focus distance at Wide 16mm is 25mm, and at Tele 50mm is 530mm)

    2. 38703 N50 Short Port 25 + 83203 WWL-C, Lens FOV 84–46º, Converted FOV 130–71º, Zoom Range 24–50mm (*Slight vignetting at 24mm)

    3. 38703 N50 Short Port 25 + 83202 WWL-1B, Lens FOV 75–46º, Converted FOV 130–80º, Zoom Range 28–50mm

    4. 38703 + 83214 Bayonet Mount Adaptor for SMC/CMC with MFO-1, CMC-2/1

     








    *Test at focal range 50mm Smallest Subject Size Working Distance
    without diopter 105 x 70 mm 175–∞
    with 81501 MFO-1 89 x 59.3 mm 116–1150 mm
    with 81302 CMC-2 48 x 32 mm 55–125 mm
    with 81301 CMC-1 38 x 25.4 mm 37–74 mm

    Technical Specifications

    • Dimensions: 165mm(W) x 139mm(H) x 128mm(D)

    • Weight in Air: TBD

    • Buoyancy in Water: TBD

    • Depth Rating: 100m

    • Port Mount: N50

    • Accessory Ports: Front M16 x 1, M10 x1 on Top



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  • Sony and Canon Tease Upcoming Camera Announcements

    Sony and Canon Tease Upcoming Camera Announcements

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    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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  • Canon Developing 3D Dual-Pixel Technology

    Canon Developing 3D Dual-Pixel Technology

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    By Joe Tepper, March 24, 2025 @ 04:00 PM (EST)
    Source: PetaPixel


    Canon is working on a new technology that utilizes their CMOS Dual Pixel sensors to seamlessly generate 3D images, according to PetaPixel.com.

    The project is coded as “3D photo technology” and aims to transform current tech familiar to Canon shooters: Dual Pixel. In essence, the sensor divides each sensor into two photodiodes (traditionally used to simultaneously achieve autofocus and image capture).

    In the case of this new tech, the Dual Pixel sensors capture two of the same images from slightly different positions. Combined with Canon’s current RAW software and upcoming 3D photo tech, users can view an almost VR photo map of an entire scene—all from a single shot.

    There are some kinks to workout—apparently, mirrored surfaces and transparent objects present challenges—but check out the impressive demonstration from the recent CP+ show as shared with PetaPixel.

    Read more about it here.

     



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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

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    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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  • Canon RF 10-20mm f/4 L IS STM REVIEW

    Canon RF 10-20mm f/4 L IS STM REVIEW

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    In this post I’ll be reviewing the new Canon RF 10-20mm f/4 L IS STM made for Canon RF mount cameras like the EOS R5 that I’ll be using to test the lens with.

    Overall, this is a great little lens. I really enjoyed shooting with it so read on to see my impressions including (just a couple) of the negatives…

    Physical Aspects

    Physically this lens is much smaller and lighter than past FULL FRAME ultra-wide-angle lenses with an f/4 aperture.

    Here is chart showing the physical size and weight of this new RF lens compared to older EF equivalents.

    Canon RF 10-20mm f/4 L IS STM Sigma 12-24mm f/4 Art Canon EF 11-24mm f/4 L USM
    Weight .57 kg 1.15 kg 1.18 kg
    Length 11.2 cm 13.2 cm 13.2 cm
    Width 8.4 cm 10.2 cm 10.8 cm
    Stabilization YES NO NO

    Clearly, the new Canon RF 10-20mm f/4 L is saving a lot of weight which is going to make it a lot nicer to carry around on hikes or to keep in your bag in case you need an ultra-wide lens.

    Handling & Usage

    Being relatively light means that carrying and using this lens is pretty painless. It balances well on the camera and would be a good option for someone who has wrist pain who still wants to shoot full frame with a lens like this.

    The lens is easy to use although the focus ring and the control ring are a little too close together. It’s very easy to accidentally turn one by accident when trying to turn the other. The zoom ring is smooth and easy to turn. All the rings are tightly fitted with no play in them.

    One downside of this lens is that it won’t take a front filter. This isn’t a huge problem, but it does mean being more careful with the lens and keeping a dust cloth handy to do spot cleans here and there. Instead of a front filter there is a slot in the back where a rear filter can be inserted.

    Speaking of cleaning the lens, it is one of the most difficult to clean lenses I have used as the front element is a bit of a dust magnet. And it’s necessary to keep the lens sparkling clean to achieve maximum image quality from the lens as it is very sensitive to oil and dust.

    This lens has a unique lens cap which fully covers the lens hood and locks in using threads on the inside of the built-in lens hood. While the lens hood is nice and has a design which works better than some other lenses with large front elements like this, it is still an odd lens cap because it is more than an inch thick which is a big difference from most lens caps which are less than a quarter of an inch thick. It’s minor but it makes sticking the lens cap in a pants pocket pretty annoying.

    There is also a button on the lens that can be assigned a specific function. I don’t know if that is camera body specific or if the lens keeps the assigned function from body to body.

    Optical Image Stabilization

    The RF 10-20mm f/4 L IS STM also has built in optical image stabilization.

    The stabilization for stills is good but not quite exceptional on my R5. I have found that around a 1/4th of a second I have to take 3-5 shots to get a sharp one. But that was with mechanical shutter. With electronic shutter it seemed like I was getting sharp photos in 1-3 shots. The problem for me is that on the R5 the electronic shutter is limited to a max time of 1/2 a second. Shooting with a 1/2 second exposure is still impressive though and makes handheld shooting in almost total darkness a possibility.

    Shooting video, the stabilization is pretty solid but if you want really smooth footage a gimbal or camera cage with handles is still necessary. This is probably the best I have used for just straight up handheld video though. I think it might even be slightly better than the RF 24-240mm which is tripod like at 24mm.

    Zoom Range

    The zoom range of this lens is 10-20mm, which may be limiting to some users who want to be able to shoot ultra-wide and zoom in to 24mm or even 35mm. It is truly an “ultra-wide zoom”.

    Even though it may seem limiting to be stuck with just 10-20mm, the resolution at 20mm is high enough that cropping is not an issue. And the center of frame performance should make this lens a great performer on APS-C.

    Bottom line, if you absolutely must have more magnification then using this lens on an APS-C will give you that. It’s not the perfect solution but it’s worth considering as APS-C cameras are getting better and better.

    Focusing

    Focusing is ok with this lens. It’s fast enough for most stills and quieter than most lenses too. It is reliable but does seem to just barely pull focus a lot especially when focusing center of frame. I did not extensively test tracking AF on my R5 but it is able to pick out a human subject even when at 10mm. The focus is not as snappy as most USM lenses, so it is a little slow to rack focus. I noticed a couple of times it focused behind a moving subject when I was using face tracking. Video shooters won’t care as much about snappy focus pulls so this lens should meet their expectations.

    Distortion

    Optically the lens is a good performer with some caveats. The first being that it has a lot of distortion at 10mm. To be fair, its less distortion, and more just not fully covering the sensor. This means the lens has to have digital corrections enabled for the image to be full 35mm frame size. Again, it’s one of those things that they have sacrificed to make the lens smaller, lighter, and probably, the price that it is. The good news is that the lens only exhibits barrel distortion, so the distortion correction is going to be simpler since there is no crossover from barrel into pincushion as many zoom lenses tend to have.

    Below is an interactive example showing only the distortion correction at 10mm.

    As you can see, the distortion correction is pretty substantial. Sharpness is visibly affected by the stretching required but only large prints will show obvious losses in resolution.

    If you are shooting video the distortion correction will always be activated.

    The reality is that despite the corrections this lens still manages to hang with the old EF 11-24mm f/4 L for about $700 less money.

    Sharpness

    I noticed some very slight sharpness inconsistency across the frame on the R5. To be fair, if I got lucky with focus the sharpness is good everywhere, but if the focus is ever so slightly off, I did notice some areas of softness here and there in the frame.

    The problem with this is it’s very, very hard to see the focus is slightly off by looking through the viewfinder. What I found is that I typically want to focus to the left side of the frame rather than the center of the frame. I don’t know why that is, it could be how I hold the camera or how I tend to move when pressing the shutter button.

    At higher shutter speeds it does seem to look sharper across the frame, so I think this is probably more of a stabilization issue.

    Conclusion

    This is a good lens that performs well and is lightweight. It is not that expensive for what it can do in the form factor that it has. Remember, this is a full frame lens that is similar in size to many APS-C lenses of the same type. Overall image quality is good but not flawless. It’s a nice lens to own if you’re willing to plunk down the money for it. Videographers in the market for an ultra-wide for Canon should like this one. It performed well for that purpose in the testing I did.

    Image Samples

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  • 10 settings to boost your Canon EOS R5 to the max!

    10 settings to boost your Canon EOS R5 to the max!

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    Did you just get a new R5 or R5 mk II? Here are 5 helpful settings that can help you get more out of your R5 mk II.

    Tip #1: Make sure IBIS (In Body Image Stabilization) is turned on.

    Both version of the R5 have IBIS. Make sure IBIS is on so you can get more sharp pictures with less camera shake.

    Tip #2: Turn your EVF and rear display up to the max!

    Set your display to use 120 hz pro motion for the best result. When looking at your screens it will look smoother and better, especially when there’s things moving.

    On the same menu you’ll see a setting called “Suppress lower frame rate”. To maximize performance, turn this off as well.

    Please enjoy the use of your camera.

    Tip #3: “Lower” the image quality to get more on your cards.

    The EOS R5 mk II can record with a variety of different file formats and compression algorithms to help you fit more data onto your memory card. This can be especially useful for 4k video and higher resolutions.

    Tip #4: You can use EF lenses on your R5 mk II with an EF to RF adapter.

    Canon was very nice to design an adapter that will let you use an EF lens with your RF camera. Simply buy Canon’s adapter and attach it to the back of your EF lens, then you can attach the lens to your R5 mk II just like any other RF lens. By do this, you can save money and still have a Canon lens. (Very nice.)

    Tip #5: Use the joystick to control your focus point.

    The R5 mk II has a joystick on the back of it that you can use to move your focus point around. By using the joystick, you can easily select where you want your camera to focus on the frame.

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