Each month, we explain a recent cost estimate, contract, or purchase order in the form of a Pricing & Negotiating article. By redacting the names of the photographer and the client, we can share useful information that would otherwise be confidential. You can read more about our Pricing & Negotiating services on the Consulting Services page of our website.
Concept: Portraits of business owners, and images of them interacting with products at a manufacturing facility Licensing: Unlimited use of up to 30 images for five years from first use Photographer: Portraiture specialist Client: Beverage brand
Summary
I recently helped a portrait photographer create an estimate and negotiate a project for a beverage brand. The client was launching a new product within a larger portfolio of beverage companies and wanted to capture portraits of business owners interacting with their products at a manufacturing facility. The images would help tell the story of the product’s origins and the people behind it.
The shoot took place over a single day and focused on five main setups with variations on the same themes. The photographer and crew worked to capture 30 final images. Although the client initially requested unlimited use across all media, based on the creative brief and our discussions, the images were primarily intended for use on their website and social media. While they were not willing to restrict media use, we did convince them to limit the duration of use to five years.
Fees
Traditionally, photographers in this market have undervalued usage, and local clients, such as this one, were accustomed to more conservative rates compared to other major markets. I priced each of the five main setups at $1,500, totaling $7,500, and added a creative fee of $2,500, bringing the total fee to $10,000.
Crew
We kept the crew lean, including a first assistant for both the scout and shoot days and a Digitech for the shoot day, all at rates appropriate for this market.
Styling
After a call with the agency, they asked that we include light prop styling in our bid, with a dictated prop budget of $750. We factored in a prop stylist for both prep and return time, in addition to the shoot day, and detailed the prop budget as instructed, while noting that the final amount would depend on the creative direction. We also added a hair and makeup stylist and noted in the “client provisions” section at the top of the estimate that the client would be handling their own wardrobe.
Equipment
We allocated $1,000 for the rental of the photographer’s own gear as part of the production.
Misc.
We allocated $750 to cover mileage, parking, meals, and any other unforeseen expenses on the shoot day.
Post-Production
We allocated a few hundred dollars for the photographer’s time to create a web gallery for the client and set a rate of $100 per image for retouching, allowing up to one hour per image for each of the 30 images they would select.
Feedback
The estimate was received well, but they asked if we’d be willing to reconsider the time limitation and grant perpetual usage. I suggested that we at least double the photographer’s fee, but we ultimately included an extra $5,000, bringing the total creative/licensing fee to $15,000. While I would have preferred a higher fee, I think the shelf life of these images would likely have been around three years.
AOI has announced its new housing for the Sony a7 Mark IV—the latest version of the Japanese company’s entry-level full-frame mirrorless camera. The Mark IV is built around a 33MP BSI-CMOS sensor and the Bionz XR processing engine, offering 10fps continuous shooting with AF/AE tracking and 4K/30p 10-bit 4:2:2 video with no crop. The UH-A7IV housing represents exciting new territory for AOI, which has previously only supported Micro Four Thirds cameras from Olympus and OM System, and makes sense given the newly released UIS-P1 strobe offering compatibility with Sony TTL.
The new housing is clearly designed to offer a compelling alternative to sophisticated but pricey aluminum housings or polycarbonate housings with only basic functionality. Controls are ergonomically positioned around integrated handles, there’s a built-in vacuum check and moisture detection system, and the non-proprietary AX port system means that ports and extensions for a variety of lenses are readily available. The housing features two fiber-optic ports and ships with an LED flash trigger supporting manual mode and Sony TTL (TTL, HSS TTL) with AOI’s UIS-P1 strobe as well as Backscatter’s Hybrid Flash.
A unique feature that sets the housing apart is the “Smart Multi Control Device,” which allows the user to switch between manual and TTL flash modes and features a miniature display that offers useful at-a-glance information about the flash modes and from the water depth monitor and the Vacuum Analyzation and Wet Detection System (VWS). The device uses a built-in rechargeable lithium polymer battery that takes 90 minutes to charge and allows for 18 hours of continuous operation.
Available now from retailers such as Backscatter, the AOI UH-A7IV is priced at $1,400.
When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.
PRESS RELEASE
New AOI UH-A7IV, Harnessing the Alpha Advantage Filling the Gap
For many users, the biggest hurdle in underwater photography is the extravagant cost of underwater housings for high-performance cameras, often priced at two to three times the cost of the cameras themselves. On the other hand, affordable housings available in the market frequently lack the reliability and features that inspire confidence. This leaves users with difficult choices: delay their plans, compromise on their ideal setups, or settle for less-than-optimal systems.
AOI has successfully carved a niche by offering high-performance underwater housings that combine user-friendly design, full functionality, and affordability for OM System cameras. Now, AOI aims to bring the same excitement and value to Sony camera users.
The Sony A7IV, though a few years old, remains a smart choice for many photographers. Known for its versatility, the camera boasts a high-resolution sensor, fast and reliable autofocus, and excellent dynamic range—all at a reasonable price in the full frame mirrorless segment. These qualities made it one of the most popular full-frame mirrorless cameras on the market, and it continues to hold its own against newer competitors.
Introducing the NEW AOI UH-A7IV Underwater Housing
The new AOI UH-A7IV underwater housing bridges the gap in the market for Sony A7IV users who find current options either too expensive, too basic, or both.
Accessing the Alpha Advantage
Camera manufacturers invest heavily in innovation, crafting modern cameras to meet diverse user needs. AOI’s design philosophy complements this vision by ensuring that its underwater housings are more than just waterproof enclosures—they are extensions of the cameras themselves.
The 3C’s of AOI’s design philosophy—Creative, Compatible, and Consumer-Centric—shine in the UH-A7IV.
Creative
Rechargeable Smart Multi Control Device with Mini Display: Clear instructions and status updates for various operations, including flash modes (manual and TTL), depth mode, VWS mode, alerts, control device battery status and depth indicator. To improve reliability and connectivity between the camera’s hot shoe and the housing’s Control Device, AOI has upgraded a cable-less connector.
Sony TTL and HSS Compatibility: Seamless integration with the AOI UIS-P1 strobe and Backscatter’s Hybrid Flash.
Improved VWS: The Vacuum Analyzation and Wet Detection System now incorporates an over-ride mechanism, to ensure proper vacuum sealing is conducted to prevent errors.
Built-in Ergonomic Handles: Easy access to buttons and effortless handling.
Compatibility
Non-Proprietary Port System: By utilizing a popular port system, a wide range of ports and extensions for different lenses are readily available.
Standardized Mounts: Compatible with aftermarket and AOI accessories including plug type ports for fiber optic connectivity.
Service-Friendly Design: Uniform buttons and O-rings simplify maintenance.
Consumer-Centric
Full Camera Functionality: Provides access to all key camera features.
Affordable Pricing: Lowers the barrier to entry for underwater photography for a full frame mirrorless camera.
User-Focused Engineering: Lightweight, travel-friendly, and easy to maintain.
Crafting an underwater housing is both an art and a science. AOI’s UH-A7IV embodies this harmony, balancing the capabilities of the Sony A7IV with the practical needs of photographers. The result is one of the most complete and user-friendly housings AOI has ever produced.
Red housing for a RED camera? Yup, in a surprising move, Isotta has unveiled its first housing for a pro cinema camera—the top-of-the-line V-Raptor X. Featuring the flagship DSMC3 modular body, the V-Raptor boasts an 8K VV 35.4-megapixel global shutter sensor offering 8K/120p and 4K/240p recording and 17+ stops of dynamic range. Previously sporting an adaptable Canon RF lens mount, the camera is now also available with Nikon’s Z mount for even more lens flexibility. (Remember this?)
Hewn from aluminum, anodized and painted signature red, the Isotta housing for the RED V-Raptor X looks to be an impressive piece of kit. Sporting Isotta’s classic single-handed open/close knob and built around the company’s B120 port system, the housing features a back that is entirely detachable from the front, and a lockable tray, allowing for easy insertion of the camera. All buttons and removable parts have double O-ring seals, and there’s a moisture sensor with LED indicator fitted as standard. As well as three M16 ports, there are two M24 ports, allowing straightforward connection of a monitor such as the Atomos Ninja V+. There’s also a full complement of M6 holes for attaching brackets, tripods, handles, etc.
Available now from retailers such as Backscatter, the Isotta housing for the RED V-Raptor X is priced at $8,965.
When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.
PRODUCT INFORMATION
RED V-RAPTOR [X]
Technical Data
Red color anodized aluminum body;
Ergonomic side handles, adjustable (via optional accessory);
Three M16 holes, one M24 hole and one M24 hole for using accessories such as vacuum systems, monitors;
Back housing completely detachable from the front housing;
Tray with lock for the easy insertion of the camera;
Single-hand closing knob for the back of the housing;
Aluminum buttons at the buttons with window for viewing the menu display;
Magnetic buttons and levers in aluminum for electronic control of the V-Raptor [X];
Double O-Ring seals on all buttons and removable parts;
Moisture sensor with LED indicator (replaceable battery);
Removable port B120 bayonet;
Safety lock on the porthole to prevent accidental opening;
Wide, rubber covered feet for solid footing on boat floors or sea floor;
Upper and rear M6 hole grid to apply various accessories (spotlight, spheres, handle, etc.);
Four M6 holes located on housing bottom side for different accessories such as brackets or tripods
Four pairs of M5 holes per side for attaching balls with plate;
Prepared for ISOTTA vacuum system (not included);
Working depth: 100 meters;
Commands
ON/OFF lever of the RED V-Raptor [X];
Ergonomic mechanical lever for movie shooting button, easy to use even with gloves;
My first camera had no battery. Its metering was done by a selenium cell that produced its own power when the light fell on it. Even by the standards of the time, it was as basic as it came.
This was in the early 1980s, and state-of-the-art then would have been cameras with shutter and aperture priority and perhaps a center-weighted metering system powered by a small coin-sized battery. Often, the shutter mechanism would also be powered by this, so if it ran out, the camera would not work.
All of this, in a roundabout way, leads me to say that I have seen a lot of technological advances in cameras and photography in general.
I am also aware that those technological advances come in peaks and troughs. I think that at the moment we are entering one of those troughs. Let me explain why.
Camera Revolutions I Have Seen
The first big photographic revolution that I witnessed was the introduction of autofocus. It was both pretty amazing and pretty slow. This innovation by Minolta led to most of the other manufacturers scrambling around trying to create their own autofocus systems. There were some odd attempts to build autofocus into lenses to save people from buying new cameras, but over a period of a few years, focusing developed into pretty much what we see today.
Perhaps the next revolution was the integration of CPUs into cameras. This allowed for more advanced metering and exposure modes and made life significantly easier for photographers.
The big one, of course, was the move from film to digital. This was, perhaps, the greatest single advance in the history of photography. It revolutionized and democratized photography.
The advent of sensors and CPUs has allowed camera manufacturers to push the boundaries of camera capabilities. The first digital cameras were basic compacts, but soon moved to the more familiar SLR, renamed DSLR. We moved from CCD to CMOS sensors, we entered a megapixel race, we saw the introduction of stabilization, first in lenses, then in camera bodies.
In 200,7 Steve Jobs stood on stage and showed us an iPhone. Little did we know then that it and its rivals would effectively kill the compact camera market and at the same time bring an entirely new generation to photography.
Just as smartphone cameras were becoming mainstream, mirrorless cameras arrived, signaling the long, slow, drawn-out death of the DSLR.
All of these were great leaps in camera technology. Yet none of them happened in the last decade.
It seems that at the moment, we are on a treadmill of yearly camera updates, each with incremental improvements but no revolutionary new features.
Two of my recent cameras demonstrate this. The Fuji X-H2 moved from a 26MP to a 40MP sensor and had better video codecs compared to the previous generation Fujis. Nice, but nothing special.
My Sony a7RV used the same sensor and better processing power as its predecessor. Again, it made it a significantly better camera but without being leaps and bounds ahead of the previous generation.
It feels like the camera manufacturers are trying to feed our FOMO by pushing out frequent new models offering “amazing” new features that actually offer the photographer very little in practical terms.
I suspect that whilst camera manufacturers have the ability to innovate, at the moment, there are some aspects that are holding them back. Chief amongst them is the way we view images.
The vast majority of images these days are seen on the screen of a smartphone. Some will be seen on a decent-sized monitor, and very few will be printed.
Pretty much any camera produced in the last 10 years is capable of way more quality than even computer monitors can display. This has effectively slowed down the megapixel race, as for the vast majority, huge megapixel counts are not needed.
Innovation in areas like autofocus and video output still continues but there is nothing revolutionary. It’s step by step, incremental improvements. Even Sony’s AI autofocus, whilst excellent, is not exactly a game-changing feature.
The fact is that modern cameras are “good enough” for the vast majority of photographers, and any new features tend to be overhyped in order to maintain sales of newer models.
There is one area where I think we will soon be seeing a technological advance, however, and we can see it happening already.
Computational photography is not a new thing. It has been an integral part of smartphone photography for many years now. It uses the power of a processor and programming to overcome the physical limitations of the smaller sensors and lenses found on phones.
Using this technology, smartphones are able to produce better images in low light and create shots with a shallow depth of field despite tiny sensors and wide angles.
This technology is ripe for modern mirrorless cameras. There is one area in particular, I think we will soon see advances – lenses. Fast, large-aperture lenses are both expensive to make and heavy to use. The advances in computational photography will allow manufacturers to produce smaller, slower lenses that are much lighter and use processors to improve low-light performance and give a shallow depth of field. Lenses already communicate a lot of information to the camera, and computational photography can use that data to create similar effects that we see in smartphones.
Purists will, of course, balk at this idea, but I am pretty confident we will be seeing it fairly soon. The profit margins on these lighter, more sophisticated lenses will be higher than on bigger glass. I suspect that in 10 years time we could well see a point where multiple focal lengths will not be needed, instead, the power of a processor combined with AI will enable us to zoom in, even after the fact. Rather than a simple sensor crop, these will be full-resolution zooms that maintain the correct perspective and compression, all from a single focal length.
For now, I suspect the cost of the processors is the main factor holding back mainstream camera manufacturers. That’s why, for me, at the moment, it feels like we are very much in a technological trough when it comes to cameras. When I moved from Fujifilm to Sony, it was more about quality control issues than camera technology. Both systems are great,t but neither offers anything revolutionary over the other.
I suspect it will be a few years of incremental improvement in technology. That will end when one of the major manufacturers has a big bang moment and puts powerful computational photography into a mainstream camera. My money is on Sony, let’s meet up in a few years to see if I am right.
There’s a lot of debate over the impact of social media, good or ill, on society.
Red curtain near brown wooden chairs in court room setting. Photo by Jackie Hope
But there are rarely any real measures launched to combat it and this might be in part due to how lucrative it is.
That’s all about to change, at least in the state of Texas in the USA.
A recent proposed law will ban social media accounts for users under 18 in a measure that is somewhat akin to the prohibition against purchasing tobacco that many states have in place.
Is social media as dangerous to the health of young Texans as tobacco? It would seem so, and there’s more than just anecdotal evidence to underpin this.
But back to this being a big industry: It remains to be seen whether or not this survives the Texas Senate. The state would not be unique in a ban of some form but would pioneer new avenues in terms of age. Currently, Florida bans social media accounts for users under 14, PetaPixel reports.
As we have documented on this blog multiple times, social media does not promote the best behavior or choices. Even so, it is a massive industry that has made many people, some younger creators included, very rich. Perhaps a ban is too extreme but a viable middle ground isn’t really forthcoming. Part of this might be a lack of imagination on all our parts, but a large part of it is probably just due to the inertia of how things are. We can’t imagine a world without it, but we also need a world where it is a little more under control than it is now. How to thread that line is a question for the future.
Any thoughts you might have on the influence of social media on society are welcome in the comments.
Check out some other photography news at this link.
Each month, we explain a recent cost estimate, contract, or purchase order in the form of a Pricing & Negotiating article. By redacting the names of the photographer and the client, we can share useful information that would otherwise be confidential. You can read more about our Pricing & Negotiating services on the Consulting Services page of our website.
Concept: 1 day of Food/Drink, Still Life/Product Photography Licensing: Perpetual Exclusive use of 10 images for two parties and Web Collateral use of 10 images for five years for a third party Photographer: Food/Drink and Still Life specialist Clients: Global Financial Services Brand and Restaurant Group
Summary
I recently helped an East Coast photographer create an estimate and negotiate a project for a prominent financial services company. The client was partnering with a well-known restaurant group on a cross-promotion. The client’s creative brief called for “carefully curated overhead and detail shots of plated food and drink, paired with the financial company’s branded items.”
The shoot was scheduled to take place on a single shoot day at the restaurant group’s test kitchen, conveniently located in the same city as the photographer. The original shot list included multiple food and drink setups, and the photographer planned to create two sets with different lighting styles, moving between them throughout the day. The client would provide the food, food styling, props, hair stylist, makeup, wardrobe, and wardrobe stylist.
The deliverables specified 10 final images. The client requested exclusive, perpetual, unlimited use of the images to promote their services across various platforms. The intended use included web ads, OOH placement in three East Coast cities, and large-scale wall ads in several airports. Additionally, the client wanted the company supplying the plates and glasses to be able to use the images on their social media for 5 years.
Fees
We allocated $23,500 for combined Creative/Licensing Fees. Based on the scope of work and the client’s intended use, we felt that a $2,500 Creative Fee and $21,000 for licensing the 10 images was appropriate, though likely at the higher end of the client’s expectations. We also offered the option to license additional images for $2,500 each, including up to two hours of retouching.
For the five-year web collateral license for the plate and glassware company, we budgeted $1,750 for the 10 images. We knew that charging $175 per image was pretty low, but the photographer wanted to extend this courtesy to the client. It was important for the photographer to impress the tableware company and work to build a good relationship for the future. Additionally, the photographer did not charge separately for their tech scout day and simply bundled it into their Creative Fee.
Crew
We included a first assistant at $650/day and a Digitech at $900/day. These rates were consistent with rates in this city and aligned with what the photographer had previously paid their crew.
Equipment
We allocated $2,200 for camera, lenses, lighting, and grip rentals. The photographer planned to use their own cameras, lenses, and lights while renting additional specialty modifiers, grip equipment, and a few surfaces they had in mind for the project. We also included $700 for the Digitech workstation and $320 for a couple of hard drives.
Misc
Although there are times when we bill separately for liability and worker’s comp insurance, in this instance, we chose to bundle that cost into the Creative/Licensing fees (though we kept the line item to show the client that coverage was being provided).
Post-Production
We budgeted $500 for the photographer to perform a first-round edit with basic color & contrast curves and $3,000 for retouching the 10 images, including up to 2 hours per image. The photographer would handle the retouching themselves.
Results
We heard back from the client the same day, saying that the estimate was accepted and they wanted to move forward. We scheduled a creative call for the following day. During the call, the client requested an updated estimate for 16 final images. While the shot list remained the same, they wanted a few additional images from some of the scenes. We knew the “hero” images hadn’t changed — they simply wanted more variations and angles from each scene to use as support imagery. We took this into account and submitted a revised estimate. The only adjustments we made were to the Fees and Post-Production sections, outlined below.
Fees
We allocated $32,000 for combined Creative/Licensing Fees, considering that these were not new scenes but additional support images around the hero shots. The increase of $8,500 for the six additional images felt fair to both me and the photographer. We also updated the five-year web collateral license for the plate and glassware company to include the six extra images at the previously established per-image rate.
Post-Production
We updated the retouching fees to $4,800 to cover the six additional images.
Update
The client reached out to let us know they still wanted to move forward, but the new total exceeded their project budget. They requested that we bring it closer to $35,000. They also wanted us to reduce the third-party plates and glassware company’s use to two years and limit it to five images. Since the adjustments would only involve the fees, I suggested to the client that we could reduce the costs if we could lower the use duration to three years and remove the exclusivity. The client didn’t confirm whether this was possible but asked to see an updated estimate. This third estimate included adjustments to the licensing description, Licensing Options, and Fees sections, while all other line items remained unchanged.
Fees
We allocated $23,500 for combined Creative/Licensing Fees, which would cover unlimited use of up to 16 images for three years, and removed the previous exclusivity provision. We updated the web collateral license for the plate and glassware company to $625 to cover two years and up to five images.
Results
The client accepted the estimate, and the project took place a few days later. The photographer called me that night, saying, “It was awesome, man. Everyone was great and appreciative.” After the shoot, the client expressed their gratitude, saying, “Thank you for an incredibly fun partnership on the shoot earlier this week. It was a pleasure to collaborate with you and the team as we begin to bring this experience to life!”
Shortly after, the client submitted an image order nearly three times larger than what was included in the original estimate. We reminded them that the additional fees would be $1,600 per image, as outlined in the estimate. In response, the client reduced their order to 16 images. Although this was a bit disappointing for the photographer, they were still very pleased with the outcome. The final retouched images turned out beautifully and the client launched their campaign in December 2024 ahead of holiday season travel.
This is the Big One, folks! Once-in-a-lifetime opportunity? Nah, we’re in DREAM JOB territory here! The lovely people at Lembeh Resort need a new manager for their Backscatter Authorized Photo Center.
Lembeh Strait needs no introduction, of course. As any macro photographer knows, this narrow strip of volcanic sand is home to some of the best muck diving on the planet and an endless parade of the ocean’s weirdest and most wonderful tiny creatures. (It’s a macro mecca to most, but you can also find spectacular corals, caves and wrecks here.)
Lembeh Resort takes the needs of visiting underwater photographers very seriously, with comprehensive photo/video facilities, and dive guides with exceptional spotting skills well-versed in what shooters want. It goes without saying, the Photo Center Manager plays an integral role, teaching courses, running workshops, helping solve camera equipment issues, and generally helping guests achieve their best images during their stay.
If you’re an accomplished shooter with proven teaching experience and you think you have what it takes to be the next Photo Center Manager at Lembeh Resort, check out the information below.
PRESS RELEASE
Join Our Team as the Photo Center Manager at Lembeh Resort
Are you passionate about underwater photography and videography, and eager to share your expertise? Lembeh Resort, a premier boutique dive destination in Indonesia, is seeking a dedicated Photo Center Manager to lead our esteemed facility.
Position Overview:
The Photo Center Manager will be instrumental in enhancing our guests’ photography experiences. Key responsibilities include:
Providing expert guidance, coaching, and troubleshooting to guests on underwater photography and videography techniques and equipment;
Managing office tasks and daily operations at the Photo Center, including equipment maintenance, sales, photo editing, organization of photo library, and inventory management;
Conducting photography and videography workshops and courses in our state-of-the-art classroom;
Collaborating with our team of marine biologists and dive professionals to ensure a seamless and enriching experience for our guests;
Interacting with guests to ensure they receive a welcoming, informative, and comprehensive service throughout their stay;
Helping to devise and implement Lembeh Resort marketing efforts; and
Creating topside and underwater content for the promotion of Lembeh Resort through social media and other channels.
Qualifications:
Proven experience in underwater photography and videography, with a robust portfolio.
Strong teaching and coaching abilities, with prior experience leading workshops or courses.
Excellent organizational and managerial skills.
A passion for marine life and conservation.
In addition to underwater photography and videography experience, topside knowledge would also be beneficial.
A willingness to learn and continuously develop your skills.
Possession of personal camera equipment (and professional familiarity with other makes and models), including lenses and underwater housing, is essential.
What We Offer:
A competitive salary, complemented by commissions.
Comprehensive living package, including accommodation, all meals, and a beverage allowance.
Visa and work permit from the Government of Indonesia, holiday entitlements, and assistance with relocation expenses.
Opportunities to collaborate with leading industry partners and personalities.
Regular opportunities to explore and document one of Indonesia’s premier dive locations—the Lembeh Strait—home to world-class muck diving sites and an incredible array of critters.
Application Process:
The position is available immediately, following a thorough selection process to ensure the right fit. Interested candidates are invited to submit:
A comprehensive CV.
A cover letter detailing your suitability for the role.
A link to your photography & videography portfolio.
Please send your application to: gm@lembehresort.com with a subject line “Photo Center Manager Application – [Your Name]”
About Lembeh Resort:
Nestled in the heart of the renowned Lembeh Strait, and celebrated globally for its unparalleled muck diving and vibrant reefs, Lembeh Resort offers guests exceptional service, luxury accommodation, and diverse diving experiences. Our Photo Center features extensive display areas, workbenches, an office space, and a classroom dedicated to photography and videography courses. Furthermore, we are the first Backscatter-authorized Photo Center in the region, underscoring our commitment to excellence and our position at the forefront of underwater imaging.
About North Sulawesi:
Living in North Sulawesi offers a unique blend of incredible diving, rich culture, and diverse activities. From morning dives in one of the most biodiverse regions of the world to afternoon treks through rainforests or volcano rims, the region provides endless opportunities for adventure. Manado’s modern airport offers convenient flights to destinations like Bali, Raja Ampat, Jakarta, Singapore, and more.
Shortlisted Applicants:
Shortlisted applicants will be contacted and asked to complete an application form, and participate in an online interview. Final candidates may be invited to visit Lembeh Resort as our guest (note: travel airfare at the candidate’s expense). Due to the time required for obtaining a work visa, the initial month will be considered a training period, with formal management duties commencing upon permit approval.
Join us at Lembeh Resort and immerse yourself in a role that blends passion with profession, in one of the world’s most captivating diving locales.
Panasonic may have only just announced the arrival of their flagship photo-centric full-frame mirrorless camera, the S1RII, but Nauticam has wasted no time engineering their matching housing, the NA-S1RII. Much smaller and lighter than its predecessor, the S1RII—arriving five years after its predecessor—boasts a new 44.3MP BSI CMOS image sensor and L² image processing engine, which combine to produce some impressive numbers: 10fps burst shooting with continuous AF using the manual shutter (and 40fps with the electronic shutter) plus 8K/30p 10-bit video recording with 14 stops of dynamic range.
The new NA-S1RII housing offers all of the features we’ve come to expect from Nauticam: a full complement of dials, levers and buttons ergonomically placed around integrated handles; an M24 bulkhead for attaching external monitors or recorders via HDMI 2.0; full compatibility with the company’s water-contact optics (such as the FCP and EMWL); and vacuum check and leak detection electronics as standard. Built-in fiber optic bulkheads mean it’s a breeze to add a Mini Flash Trigger for rapid-fire manual flash triggering.
Available now from retailers such as Backscatter, the NA-S1RII is priced at $5,184.
When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.
PRESS RELEASE
INTRODUCING NA-S1RII
The Panasonic S1RII
The Panasonic S1RII seems more of a redesign than an evolution, both in terms of capabilities as well as form factor. The new S1RII is built around a 44MP 8.1K sensor that allows for both high resolution stills capture as well as 8K video at up to 30p with low rolling shutter effect. The S1RII can also record ProRes RAW or 422 at selected resolutions and frame rates. Promising improved autofocus, more in-line with its peers, the S1RII features phase-detection and enhanced subject tracking.
In addition to an overall smaller footprint, the S1RII also has relocated ‘Movie” mode from the exposure mode dial to a dedicated switch below the drive mode dial. This frees up the exposure dial to have 5 custom mode positions which have discrete settings for stills and video mode.
In addition to the high-resolution video capture specs, the S1RII also features Panasonic’s dual-gain ISO. A new Dynamic Range Expansion mode can be enabled when shooting in V-Log to gain an additional stop of highlight information.The S1RII also adds a false-color overlay of pixel brightness to help both still and video shooters prevent clipping. Support for real-time LUTs and Open Gate Capture show the S1RII is really a full-featured hybrid camera.
The Nauticam NA-S1RII Underwater Housing
The Nauticam NA-S1RII is a professional aluminum underwater housing that delivers fast and intuitive access to all the essential controls of the Panasonic S1RII camera underwater. Pairing the NA-S1RII with Nauticam’s extensive line of Water Contact Optics and accessories further enhances the camera’s already impressive still and video capabilities.
Premium Professional Optics
As with the NA-S1R, the NA-S1RII is built around the N120 port system and allows for those moving from the NA-S1R to carry over their port and lens configurations unchanged. This large port opening also allows for a wide range of lenses to be used as well as extensive integration with Nauticam’s Water Contact Optics that offer the best possible underwater image quality.
Mission Control
The NA-S1RII allows for efficient camera control underwater with most essential functions placed within easy reach of the ergonomic handles. The S1RII moves the video/still mode selection to a dedicated switch which is now easily accessed with a lever located atop the NA-S1RII allowing for rapid switching underwater.
Thumb levers near the left and right side handles actuate the image review and AF-ON buttons while levers for Af-mode and switching between the EVF and LCD are also within easy reach.
HDMI Output
The NA-S1RII is equipped with the large M24 bulkhead that allows for the use of Nauticam’s HDMI system to attached optional external monitors or recorders. The 8 1/4″-20 holes atop the housing provide a solid base for mounting these or other larger accessories.
Flash Triggering
For rapid-fire manual flash triggering, the NA-S1RII is compatible with the Mini Flash Trigger (26305) which uses small LED units to trigger external flashes via Nauticam Universal Fiber Optic Cables (26216).
Vacuum Check and Leak Detection System
The Nauticam vacuum check and leak detection electronics are shipped with the NA-S1RII as standard equipment. Combined with an optional accessory vacuum valve (PN 25625) 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.
What’s in the box
NA-S1RII Housing
90137 Spare main housing o-ring
2x Plugs for Optical fiber cable mount
2x Handles with mounting balls
Panasonic CR-2032 Battery (for moisture alarm)
Set of Allen Keys
Padded housing bag and shoulder strap
Recommended Accessories
Vacuum Valve
25625 M16 Vacuum Valve II (Pushbutton Release)
Viewfinder
32212 Nauticam Full Frame Straight Viewfinder (40°/0.8:1)
32214 Nauticam Full Frame Angle Viewfinder (40°/0.8:1)
87213 Reverse Angled Viewfinder for EMWL (40°/0.8:1)
87214 Reverse Straight Viewfinder for EMWL (40°/0.8:1)
*32212/32214, 87213/87214 are preferred
Hand Strap
28130 Hand Strap for 28113
Optical Trigger
26305 mini Flash trigger Fujifilm/Canon/Panasonic
Housing Mount
25221 M10 strobe mounting ball for housing
25224 M10 strobe mounting ball for housing (with hole for using with lanyard)
17959 Housing Mounting ball with 1/4” screws
17960 Universal Quadra-Pod Plate for Nauticam Housings
25218 mounting ball set for tripod
Surface USB-PD Power Bank
26325 USB-C Bulkhead with USB-C Connector *Can be installed on either M24 or M16.
26326 M24-M16 Adaptor for use with 26325
*for use with M24 only
HDMI Output
1) Required accessories for HDMI 2.0 Cable System
25086 M24 adaptor for HDMI 2.0 cable (incl. tightening tool)
25099 M24A2R200-M28A1R170 HDMI 2.0 Cable (for NA-a1 to use with Ninja V housing)
Compatible HDMI 2.0 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 Atomos AtomX SDI Module
17926 Nauticam NA-Ultra5 Housing for SmallHD Ultra 5 Camera Monitor
2) Required accessories for HDMI 1.4 Cable System (can be installed on either the M24 or the M16 accessory port)
25033 Standard HDMI bulkhead with M16 thread (included in 17927)
26326 M24-M16 Adaptor for use with 26325
25075 HDMI (D-A) Cable in 190mm Length for NA-GH5/G9 (for internal connection from HDMI bulkhead to camera)
Compatible HDMI 1.4 Monitor Options
17927 NA-Shinobi II Housing for Atomos Shinobi II 5.2” HDMI Monitor
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 HDMI1.4 Cable for Ninja V Housing in 0.75m Length (for connection from Ninja V Housing to HDMI bulkhead) Required for use with 17922
Technical Specifications
Dimensions: 330mm(W) x 200mm (H) x 165mm (D)
Weight in air: 2.25kg
Buoyance in water: Positive 0.5kg (includes camera and battery)
DPG is pleased to announce the opening of the 12th annual Photo Competition for UN World Oceans Day, surrounding the 2025 theme, “Wonder: Sustaining What Sustains Us.” Complementing the UN’s World Oceans Day celebration preceding the UN Ocean Conference in Nice, France, this year’s competition draws on the power of the arts to expand our perspectives and appreciation for our blue planet, and ignite a wave of action towards necessary change.
The 2025 Photo Competition for UN World Oceans Day is a free and open-to-the-public competition coordinated in collaboration between the United Nations Division for Ocean Affairs and the Law of the Sea, DPG, Oceanic Global, the Intergovernmental Oceanographic Commission of UNESCO, and Nausicaá. The 12th annual competition presents a unique opportunity for photographers to showcase the immense breadth and depth of the ocean’s beauty as well as to shed light on the lesser-known promise and potential brimming beneath its waves. The following four categories are now open for submissions:
Wonder: Sustaining What Sustains Us
Big and Small Underwater Faces
Underwater Seascapes
Above Water Seascapes
Winners will be announced on UN World Oceans Day, June 8th—this year celebrated in Nice—hosted by the Division for Ocean Affairs and the Law of the Sea, in partnership with Oceanic Global, and published on DPG shortly afterwards.
Since its inception, the annual competition has been curated by underwater photographer Ellen Cuylaerts and judged by a jury of renowned photographers. This year is no exception, with the 2025 jury comprising underwater photographer Ipah Uid Lynn (Malaysia), underwater photographer William Tan (Singapore), wildlife photographer Vanessa Mignon (France), and underwater photographer Marcello Di Francesco (Italy). For further details about submissions, including category descriptions, contest rules, judges, and more, click below.
All entries must be submitted by April 6th, 2025 at 11:59pm Eastern Standard Time (EST).
About United Nations World Oceans Day
Since its inception in 2008, United Nations World Oceans Day (UN WOD) has celebrated the ocean and its importance to the planet and our lives, while raising awareness about the many threats it faces. As the challenges to the ocean continue to grow, so does the need to understand and mobilize globally. In celebration of the 2024 theme, “Awaken New Depths,” the United Nations is joining forces with decision makers, scientists, private sector executives, civil society representatives, indigenous communities, celebrities and youth activists and more, to put the ocean first. The annual UN World Oceans Day celebration is hosted by the Division for Ocean Affairs and the Law of the Sea, and has been made possible by the generous contribution of Oceanic Global since 2019. For more information visit www.UNWorldOceansDay.org.
Ask anyone what social media platform is built around imagery and the majority of replies will be Instagram. Instagram has been around a long time in social media terms, having arrived on the scene in 2010.
However, there are many different social platforms available to photographers these days, some more productive than others. Some are based around video sharing, some around news and events and a minority around sharing images.
The new kid on the block in terms of image sharing is Foto.It has been developed by photographers for photographers. Its scope is not that of social interaction but purely to display and react to good photography.
It is a relatively niche entry into a crowded market, another social media app that could be huge or may wither and die. Today we are going to take a look at the Foto App, what it is and how it stacks up against alternatives.
The Rise And Fall Of Instagram
Any new photography-based social media platform is obviously going to be judged against Instagram. In the case of Foto, that might be a little unfair as it does not intend to be a competitor to Meta’s giant.
However, it’s important to look at Instagram’s place in the photographic world in relation to where Foto might go.
Although perhaps not intended as a social media app for enthusiasts and professional photographers, in its early days, Instagram became just that. The primary driver of this was its simplicity. The upload format was pretty uniform, with images all being displayed in a square format at a resolution that was perfect for mobile phones of the day.
Instagram is no longer the app it used to be for photographers.
People could search for specific genres and topics using hashtags, allowing users to easily find and interact with the content they liked. As such it grew popular not only with the general public sharing snaps, but also more serious photographers who could gain large and engaged followings. This in turn allowed professionals to use it as a powerful marketing tool and build their businesses off of the back of Instagram.
That all changed fairly quickly. Instagram became much more algorithm driven, feeding more and more non-photographic content to users. Influencer learnt how to game the algorithm, meaning more reels and toes dipped into infinity pools rose to the top rather than solid, quality photography.
In the last few years, Instagram has become increasingly difficult as a place for photographers to grow their brand and market their work. Other platforms have taken up some of the slack, but none of them were built around imaging as a primary driver. So how does Foto fit in?
Foto Is Not Trying To Be Instagram
Foto is a platform that is designed from the outset to focus on photography. Its USP is as a platform to share photography to anyone who wishes to see it. The developers state that it’s not just about photographers but anyone who wants to share their photos.
The app has been in beta for quite a while and recently had their full public launch – February 2025. Whilst still basic, the developers have published a roadmap of interesting additions to the app. These include portfolios, scheduling, print fulfillment and cloud storage.
One of the main claims of Foto is that it will never be an advert based model. However, there is currently a subscription service which gives you access to some of the higher level features and I would imagine that a number of the items listed on the roadmap will be included as fee based.
As with any social media platform there has to be a core number of users to make the platform viable. It will be interesting to see how many users move or add Foto to their social media portfolio and indeed how many take up a subscription service. Clearly, without advertising, Foto will need a substantial core to sign up. For that they will need to make the app compelling to its users.
I have been a user of the Foto app since its beta. As of yet, I have not signed up for the paid Ambassador subscription, but what are my thoughts so far on using the app?
Foto is an app purely to share photography
Foto App In Action.
At the moment, the Foto app is available on both Apple IOS and Android, in the roadmap, they are also planning a desktop version in the near future. Once you sign up and log in, you will find a very clean and well-designed interface. Simplicity is certainly its strength, with photographs placed as the obvious centerpiece.
The app runs a chronological-based timeline from the Home button at the bottom, with a single row of large, clear images from contributors that you follow. To the right of the Home button is the search user function. Without searching, this displays a timeline of images only without the user name. If you tap on a photo, it will open with the user profile at the top.
Creating new posts is simple and you are restricted to three tags
Whilst you cannot search for specific text, you can search for tagged images. When you upload an image to the Foto app, you can apply up to three predefined, photography-based tags. These might be for example, Architecture, Landscape, and Long Exposure. This allows app users to filter the search section with specific genres of images. You can add up to three tags to your search.
The images are displayed well with a brief description and the three tags
The third of the five icons at the bottom is the upload button. This is, again, simple to use. When you upload, you can give your photo a description and add up to three tags. And that’s it, no faffing around trying to find suitable hashtags and labouring over a description that will trigger the algorithm.
The fourth icon is notifications, which will tell you if an image has been liked, commented and if someone has followed you. The last icon is your profile page and settings.
As a viewer, the app is as simple as a contributor. The only interactions you can make are to like and comment on a photo and to follow the photographer.
Whilst its simplicity makes it a really nice app to use both as a photographer and as a viewer, I wonder if the lack of deeper interaction will hamper its growth. That may well be something that is addressed in the future. For the moment, the Foto app feels very much like a modern version of early Flickr, a place to share and enjoy photos, but without any great interaction.
Will Fotos Succeed?
Personally, I hope so. I think with the decline of Instagram as a photography platform and the more generalised nature of other social media, there is certainly room for another image-based app. However, it will succeed or fail on its user base. In my opinion, users will need not only to get likes and comments on their images but some form of greater interaction. That may well be on the future roadmap, but for now, I am enjoying the Foto app without devoting a huge amount of my time to it.
