The latest comprehensive revision includes all of the new features found in the X-H2, X-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.
8 years ago early 2014, Fujifilm released the groundbreaking X-T1. This was the world’s first fully weather sealed, fast autofocus, action-ready mirrorless cameras designed specifically for outdoor photographers.
With its incredible, innovative capabilities and small stylish, SLR-inspired body, this amazing camera took the world by storm and set the tone for everything that came afterward in the entire industry.
Designed with the same 40MP X-Trans HR BSI sensor and 5th gen X-Processor Pro 5 engine, the X-T5 has nearly the same specs and feature set as the X-H2. It has up to 7 stops of IBIS in-body stabilization, 15 fps mechanical shutter, up to 20 fps ES, the new ultra-fast Subject Detect AF system, the new Pixel Shift Multi Shot feature, and 6.2K/30p video capabilities with up to 13+ stops of dynamic range.
And it retains the same classic styling that so many people have come to love on the X-T series.
In many ways the X-T5 is nearly identical to the X-H2, but there are a few differences.I have just uploaded my X-T5 launch day video analysis, where I preview the new camera and discuss the main specs and features, and let you know how it compares to the X-H2.
40 Megapixel X-Trans CMOS 5 HR BSI Imaging Sensor
15 Frames per second in Mechanical Shutter
Up to 7 stops of Internal Body Image Stabilization (IBIS)
New shutter 500,000 snaps.
160MP pixel shift multi shot
New subject detect AF
Nostalgic Neg film sim
1/180,000 Max Shutter Speed in Electronic Shutter
0.8x Magnification, 3.69 Mil Dots EVF
Externally Record Apple ProRes Raw or Blackmagic RAW
Up to 13+ stops of dynamic range with F-Log2
6K/30P 10-bit 4:2:2 Video
This is a very exciting day indeed!!! Enjoy the video, and be sure to leave a comment and let m know what you think or if you have any questions.
Finally, you can preorder the X-T5 here at B&H Photo and Amazon. It starts shipping in two weeks, on November 17.
Eight years ago, I got to test a new camera that hadn’t even been announced yet. It was the Fujifilm X-T1, and with its high performance and small, rugged form factor, it was the world’s first weather-sealed, fast action capable outdoor-ready mirrorless camera.
Instantly falling in love with the X-T1, my entire photography life was transformed, and with the successive X-T2, X-T3 an X-T4, I had a front row seat as the X Series cameras came of age over the next few years.
This week, the next chapter began in my X Series life when I snagged the last X-T5 in stock at my local store. As soon as I opened the box and put the camera in my hands, my X Series love was rekindled once again with this new hot-rodded fifth generation model. And with the regular 3-way tilt LCD screen, it felt like home again.
With the radically upgraded 5th gen features and specs that were introduced earlier this fall with the X-H2 and X-H2S, the X-T5 brings almost all of that into the traditional SLR style “X-T” body that so many of us love.
Winter scenics around Anchorage, Alaska
Being “magic hoar frost” season here in Anchorage right now, I immediately slapped a lens on it, (the XF70-300mm), bundled up and took it for a short walk around my neighborhood in the clear, cold -10F degree air. Over the next 53 minutes, I shot a collection of photos that I feel perfectly show of what I’ve always loved about the X Series.
All of these are straight JPEGs, right out of the camera. Most were shot with the Velvia film simulation, although the last photo in this post was made with the new Nostalgic NEG film sim.
I’ll definitely be posting more images and doing some review posts and videos for the X-T5 after the new year. For now, enjoy these snowy photos and have a great holiday season!
If you want to grab an X-T5 for yourself and support my site, you can order one at B&H Photo.
Also, if you do get one, my bestselling Fuji guide, X SERIES UNLIMITED, has been fully updated with all the relevant X-T5 info.
Winter scenics around Anchorage, AlaskaWinter scenics around Anchorage, AlaskaWinter scenics around Anchorage, AlaskaWinter scenics around Anchorage, AlaskaWinter scenics around Anchorage, AlaskaWinter scenics around Anchorage, AlaskaWinter scenics around Anchorage, AlaskaWinter scenics around Anchorage, Alaska. Shot with Nostalgic NEG film sim
I’m excited to announce my brand new online course, MASTERING THE FUJIFILM AUTOFOCUS SYSTEM. It just went live this week, and it’s already getting great reviews from people who have enrolled.
“Great course on Fujifilm Autofocus Dan! I ran through all the video without even picking up my camera, now I will go back and watch all the videos again with camera in hand to insure I understand all the settings.”
“Everyone with a Fuji camera should watch this course.
Thanks very much, keep up the good work!”
—————–
-Neil M.
In my new course, I’ll walk you through the entire Fujifilm AF/MF system, show you all the features, setting and controls, teach you how to use them, and I’ll even share invaluable shooting tips I’ve learned from my 26+ years as a pro outdoor action and adventure photographer.
Whether you shoot still or moving subjects, sports, birds, wildlife, kids, pets, adventure, or any other kind of real-life scene, knowing how to navigate the X Series focus system, and knowing how to work around its limitations, will make you a better all around photographer.
LEARN PRO SKILLS FOR SHOOTING ACTION
APPLIES TO ANY X SERIES MODEL CAMERA
I also cover what I feel are the essential Fujifilm settings that can help ensure even more success when shooting action and moving subjects.
I’ll show you how to customize your camera so that it’s ready for action, and teach give you tips on how to capture more dynamic & visually stunning photos with your X Series camera.
I also cover what I feel are the essential Fujifilm settings that can help ensure even more success when shooting action and moving subjects.
I’ll show you how to customize your camera so that it’s ready for action, and teach give you tips on how to capture more dynamic & visually stunning photos with your X Series camera.
With the tips and techniques I share with you in this course, you are guaranteed to increase your skills and confidence when photographing things that move. I even show you tips that are specifically designed for the new 5th Gen Fuji cameras, like the X-H2, X-H2S and X-T5.
ALMOST TWO HOURS OF FOCUSED CONTENT
LEARN HOW TO DO MANUAL FOCUS OVERRIDE
BECOME AN AUTOFOCUS MASTER
This course is the product of my many years of experience shooting a wide range of subject matter, so it’s your chance to take advantage of my 26+ years as a working pro shooter, in an area where I feel I’m an expert. If you want to be better at focusing, no matter what you like to shoot, then I promise, this will be a very helpful resrouce.
I’m a little embarrassed to say that this is my first blog post since June 2023. What can I say, I’ve had a lot of personal stuff and other interests take priority over writing blog posts. I’ve always been a proponent of following your heart and doing what you want at any given time in your live, and after recovering from shoulder surgery last summer, I was way more into riding my mountain bike than sitting at my desk writing blog posts.
However, I’ve missed it. I actually love writing, and while I’ve been doing other types of creative writing during the past year, I have missed this regular creative and mental outlet that has satisfied a huge part of my live during the past 15 plus years.
So, I’m back at it today with some brand new photos. I recently spent three weeks in upstate New York, which kicked off with a day trip to Niagra Falls. I visited this place once before when I was a kid, and even then it was a spectacular sight. Imagine the same kid 50 years later, but with a camera.
Walking around all day, on both the American and Canadian side, I shot hundreds of photos the Fujifilm X-T50 body that a friend loaned me, and three lenses, the 16m f/2.8, 35mm f2 and 70-300mm. I loved using the X-T50, (here’s my first look review of the X-T50), especially the dedicated “film simulation dial,” and that trio of lenses was a perfect combo. I often say that for any trip or photography outing, as long as you have wide, middle and long, then you’re covered for just about anything. No need to carry more than you need, right?
However, when you’re at a place like Niagra Falls with tens of thousands of other people, and you have very few unique vantage points, and there are already millions of pictures of the falls, how do you come up with something unique, or at least intriguing to your own eyes and creative brain?
This is where long lenses really shine. Aside from letting you eliminate all the other tourists and buildings in your photos, you can zoom in and compose on specific elements of the falls. One of my favorite compositional methods in photography is the concept of abbreviation, where you pick out bits and pieces of the main subject that suggest the larger scene. This approach worked really well here, and I’m pleased with the photos I was able to capture.
I also enjoyed playing around with the different film sims, which also adds a great deal of unique creativity to your images. The photo above was shot with Classic Neg film sim, while this one below was ACROS black and white. Overall, this is a very monochromatic scene, but the different color palettes add a slight unique quality to each photo.
I’m fascinated by the geological aspect of the of the falls, and of the entire Finger Lakes area, where we spent most of our vacation. When the massive ice sheets that once covered this area retreated about 10,000 years ago, the left behind a landscape filled with mountains, steep gorges and numerous large lakes, including the Great Lakes themselves, which comprise 20% of the world’s fresh water, all of which flows over Niagra Falls at a rate of over three thousand tons of water per second.
Living here in Alaska, we have glaciers just a few miles away from our doorstep, and I explore them as often as I can with my little Cessna bush plane. Of course, even with increasingly warmer temps every year, it’s still going to take a very long time for all of our glaciers to melt, but when they have finished carving up the landscape up here, what will it look like? Interesting things to ponder…
One of the most memorable aspect about this day was shooting photos of other people enjoying their visit to the falls. After watching one couple awkwardly trying to take a selfie, I offered my services, which began a fifteen minute session of me shooting portraits of people and couples with their phones, some at my own offering, and a few others who watched form the side before garnering up the courage to ask me for their turn. It was fun to share my skills in this way, knowing that theses strangers will go home with a great photo of themselves in front of this amazing natural wonder.
Anyway, I hope you enjoy these photos. Thanks for reading and for your understanding during my long absence from the blog. I promise I won’t let that much time pass again before my next post.
We thought the Sony a1 was an impressive camera, but the image-making company has just topped it with its latest release. The main highlight of the newly released a9 III is its global shutter, the world’s first for a full-frame mirrorless camera. The unique shutter design, along with a powerful Bionz XR processor, allows for a host of impressive specs, including 120 fps, 1/80,000 max shutter speed, and flash sync at any shutter speed. Additionally, the company also announced the FE 300mm F2.8 G Master OSS lens, which offers superb reach and performance in a relatively compact body.
Global sensor exposes and reads every pixel at the same time
120 fps blackout-free burst shooting
Improved ergonomics
1/80,000 maximum shutter speed
Flash sync at any shutter speed
759 AF points with more sizes of focus area spots
8-stops of optical in-body image stabilization
6K oversampling for 4K 60p movies
4K 120p video without cropping
Weighs 1.4 pounds
Available in spring 2024 for $5,999
What is a global shutter?
The star of the show for the a9 III is, by far, its global shutter. Global shutter technology isn’t new, with a handful of cinema cameras utilizing it over the past few years. But the Sony a9 III is the first full-frame mirrorless camera to jump on board. So, why does that even matter? What is a global shutter?
Currently, most cameras rely on a rolling shutter. With the rolling shutter design, the camera’s sensor receives and reads information line by line from top to bottom. This means that there is a delay between the first line of data and the last. That delay can cause problems when capturing fast-moving subjects in photos or videos, resulting in warping and distortion. You likely have seen this in helicopter rotor blades. In photos, those blades can appear curved or bent when in reality, they are straight.
The global shutter design solves this problem by exposing and reading every single pixel on the sensor at the exact same time. That means that the Sony a9 III will benefit from zero distortion in stills and video, which is a significant advantage for those shooting action. It also allows for a range of other benefits, including the ability to work with flash at any shutter speed, including the camera’s max shutter speed of 1/80,000 (no, that’s not an extra zero). This unlimited flash sync even works with third-party flashes. Additionally, there will be no banding from artificial lights or displays. To aid in this, Sony has also employed an Anti-Flicker mode that automatically syncs the shutter with the brightest point in the light’s cycle to keep the exposure consistent in photos and videos.
Along with the camera, Sony has released a new vertical grip that offers the same ergonomics as the new camera. Sony
Sony a9 III details
There are plenty of other things to swoon about in the a9 III beyond the global shutter, though many are dependent on that feature. Sony built the new camera around a 24.6-megapixel full-frame stacked CMOS sensor and Bionz XR processor, which results in eight times the processing power as the a9 II. the five-axis optical in-body image stabilization system allows for eight stops of compensation with the camera alone. You’ll get even more stabilization if using a stabilized lens as well.
On top of fancy guts, the a9 III features a redesigned body with better ergonomics. Sony says the grip is improved to make the camera easier to hold in the palm of the hand, even when using a telephoto lens. It says that it also moved the shutter button up slightly to be in a more natural, comfortable position. It features a four-axis multi-angle LCD touchscreen (the same as the a7R V) and 9.44 million-dot Quad XGA OLED electronic viewfinder. And as we’d expect from a pro-level Sony camera, it is dust and moisture-resistant.
To pair with the pro-level features of the a9 III, Sony is also releasing a new vertical grip—the VG-C5— that offers the same ergonomic design as the new camera. That includes the same shutter button placement and a new custom button (C5) in the same position so that it feels the exact same when switching between horizontal and vertical shooting. The new battery also pulls parallel power instead of drawing from one source and then switching to the other. Sony says that this allows for 15 percent more battery life.
Sony
Burst shooting
One of the main selling points of the a9 III is its absurd burst shooting capabilities. This alone will earn it a top spot as one of the best Sony cameras. It is able to shoot 120 fps blackout-free with real-time recognition AF and auto exposure. The fast burst shooting even works with 14-bit raw. Shooting fast bursts is only one piece of the puzzle when documenting action, though. You also have to get the timing right in the first place. To help ensure you get the shot, Sony has added a Pre-Capture function. This new setting allows the camera to continuously record (also up to 120 fps) for up to one second before the shutter is released.
Even when shooting action, you don’t always want your fastest fps setting. Sony has found a clever way to get around that with the Speed Boost function and a newly added a new custom button (C5) on the front of the camera. The new button allows you to instantly switch to a faster, preset speed at any time and then go back to a more reasonable fps just as quickly.
Image selection of 120 fps with Pre-Capture can be massively overwhelming. Sony even considered this when developing the a9 III. It has added a new playback image filter that allows you to select a large number of images at once, along with a function menu that can be used during image playback. The camera also plays back bursts as a video, so you can mark the shots you want without individually pressing through images.
Autofocus
As with other recent Sony releases, the a9 III features a dedicated AI processing unit to support its advanced phase detection autofocus system. It offers Real-time Recognition AF and Real-time Tracking and can detect a wide range of subjects, including humans, cats, dogs, planes, and more. The system can even detect an eye even when the subject is wearing goggles or helmets, is small in the frame, or moving fast. Sony also expanded the sizes of its focus areas to include XS and XL for more control over your focus points.
Sony a9 III video specs & features
Sony emphasized still photography during its announcement with a tagline of “the power of one frame.” But the company certainly didn’t leave video out of the mix in its new camera. The global shutter definitely benefits video shooters since rolling shutter has been a pain point. The a9 III is capable of 4K 60p video oversampled from 6K. It can also shoot 4K 120p without cropping, which is a first for an Alpha series camera. It offers the S-Cinetone profile, S-Log3, 10-bit 4:2:2 capture, and 16-bit raw video over HDMI.
Sony a9 III pricing & availability
Of course, with such an advanced, pro-level camera, we should expect a pro-level price. And indeed, the Sony a9 III is priced at $5,999. It is available for pre-order now and will begin shipping in the spring of 2024.
The 300mm f/2.8 GM OSS lens is an advanced, compact telephoto prime lens for pros. Sony
FE 300mm F2.8 G Master OSS lens details
In case the groundbreaking camera wasn’t enough, Sony has also announced a new lens. Like the camera, the FE 300mm F2.8 G Master OSS lens is also a pro-level piece of equipment geared towards serious sports and wildlife photographers, as is evident in its matching $5,999 price.
As a G Master lens, the new 300mm offering will provide superb resolution and edge-to-edge sharpness. The optical design includes three Super ED (Extra-low Dispersion) glass elements and one ED glass element to reduce chromatic aberration and improve contrast across the frame. The 11-blade circular aperture results in beautiful smooth bokeh. And two XD linear motors drive focus that is fast, precise, and silent. It’s also able to keep up with the fast burst shooting of the a9 III.
Beyond image quality, the best feature of the 300mm f/2.8 GM is its size. The lens weighs just 3.2 pounds, which makes it the lightest lens of its class. For context, it is 40 percent lighter than the 400mm f/2.8 GM and roughly the same weight as the original 70-200mm GM. Sony was also very intentional about how the lens balances, designing it with optimum balance for smooth panning and easier handheld shooting.
The new 300mm telephoto prime lens is compatible with Sony’s 1.4x and 2.0x teleconverters. It offers a function ring to instantly engage the APS-C crop, providing a 420mm view. It is dust and moisture-resistant with magnesium alloy inside and out for a durable, rugged build.
Sony FE 300mm F2.8 G Master OSS pricing & availability
Like the new camera, the FE 300mm F2.8 G Master OSS lens is available for pre-order now for $5,999. It will begin shipping in the spring of 2024.
Years ago, I took my battered Land Rover Defender (that’s Jessie in the picture above) to the Racetrack Playa in Death Valley. I’m sure you’ve seen photographs of the playa: rocks sitting on parched earth and cracked mud, long trails behind them as if they’ve moved on their own. This fascinating phenomenon of what are called “sailing stones” is explained by thin sheets of melting ice and powerful winter winds, though that makes it no less mysterious to me. I was there for two nights, taking advantage of that time to feel out the scene, get a sense of the possibilities of the place, and make a photograph or two.
That first evening we were alone, just me and my friend Corwin. Or so we thought. With my tripod set up for an hour or so, I’d found the composition that most intrigued me, and while waiting for twilight, I felt something press against my shoulder. Thinking it was Corwin (and knowing how oblivious I can get to my surroundings when photographing), I turned to say hi. But it wasn’t Corwin; it was a random tourist who’d made the long trek out to the playa and, having no better ideas of his own, rested his camera (I’m not making this up) on my shoulder and pressed the shutter.
Click.
The tourist checked the back of his camera and proudly proclaimed, “This might be the best shot I’ve taken!” Satisfied, he vanished into the dark, and I returned to my work, feeling surreal about the whole thing.
I have admittedly looked over the shoulders of other photographers, though never quite so literally. I have observed them through their social media, online portfolios, and books. I’ve compared myself and my work to theirs. I’ve envied their successes, and on my better days, I’ve celebrated them, learned from them, and become better at what I do because of them.
Others have looked over my shoulder, too, and I feel their breath when I’m shooting. I hear their silent questions when I take a chance with an unconventional choice or creative risk. I wonder if those imaginary people will like what I’m making or understand my choices. Some days, this is all brushed aside so quickly, pushed to the back of my mind as I get into that state of grace when it’s all flowing well. On other days, it’s harder, and I can’t decide which is worse: when the imagined voices chatter loudly or when I can’t hear them at all and wonder, “What if no one cares?”
What if no one cares about the work you are making? What if you never find acclaim or leave a legacy? What if no one ever looks over your shoulder or cares enough to chance it?
When I think about those questions long enough, I find myself surprised by the answers that bubble up: what a relief it would be to work in that silent space without the (perceived) chattering expectations of others. What freedom I would find if I could make my many hundreds of sketch images with no one’s preferences to consider but my own. Would I find myself holding my breath as often? And how much more joy would I find in the process? How much more present and less rigid would I be in the making of this work? And how much better (or at least how much more truly my own) would the work itself be?
One day, I want my work to have a wider audience. I would like it if others found something meaningful in what I made. And once I’m through the complex process of making something so simple as a photograph, how wonderful it would be if others felt the same wonder I did in the presence of wildness. How many others—the size of that audience—is unimportant. Perhaps it’s only you. That would be enough for me. An audience for my work would be nice, but not for my working.
I can only really pay attention to one thing at a time. I can only have interesting perceptions about one thing at a time, and those are hard enough to come by. I can only make photographs about one thing at a time. I don’t have the capacity to simultaneously consider you and what you might think about my work. Hell, I don’t even know what I think of the work yet. How focused can any of us be when we make work in consideration of others before giving our own thoughts and preferences some serious thought and completing all the experimenting it takes to make a single image or a body of work?
Your audience, however small, will one day thrill to see what you make. But you must not make it for them. Not first for them.
You must make your work for yourself, neither looking over the shoulders of others nor paying attention to those looking over yours. When you work, your focus must be on that work. The thoughts. The what-ifs and the speculations about what all your choices might produce. Those are yours alone. And only once you’re unapologetically—and yes, even selfishly—absorbed in those reflections and explorations will you make the work that then deserves its audience.
Audience is a by-product of work that thrills you first, or conjures something from deep within you, or answers to the reasons you picked up the camera in the first place. That’s where your gaze needs to be. When the muse arrives, she needs to find you getting your hands dirty, using the camera to make photographs from the interesting perceptions you’ve had because you’ve been looking at the object of those perceptions, not the people you believe are waiting for what you create.
As you engage in this process, you do not have the bandwidth for me or anyone else to look over your shoulder. Your process is yours alone, and—forgive the pun—you’re not alone if you find photography a more rewarding and productive pursuit when it’s solitary, when it’s quiet and free of distractions such as other people’s opinions.
The creative process, even a single creative thought, is fragile; it needs to be held somewhat gently as it comes into being. It needs to be coaxed out. I’ve only ever found the best of those thoughts shy in the presence of others; they tend to retreat when conflicting tastes and preferences demand our photographs be one thing or another before we’re even sure of what we hope for them.
That the guy looking over my shoulder at Death Valley even happened at all amuses me. If that’s how he needs to make a photograph, then let him have it. But I wasn’t about to ask him his opinion and alter my work because of it, and that’s the danger of having an audience of any size, even an audience of one, that is not yourself first. It’s hard enough to find your way to your vision or voice without others clamouring for it to be this or that, even when that clamouring is only imagined. Maybe especially when those voices are imagined because, unlike Death Valley guy, they rarely give up and take their leave so quickly; they have a persistence that’s hard to ignore. But they must be ignored because caring more about the voices of others than about finding and giving expression to your voice is moving in the wrong direction, away from what makes you and your work truly your own. It dilutes your personality in the final product and steals the joy of discovering that rare, hidden element in the very best of that work: yourself.
For the Love of the Photograph, David
PS – The essay above is chapter 18 from my latest book, Light, Space & Time. It’s a book about the reality that our greatest challenges as photographers are not primarily technical but creative and human, and it explores the barriers we encounter when endeavouring to make photographs that are not only good but truly our own. It’s a book that will change not only how you make your photographs, but how much you love and enjoy the process. Check it out on Amazon through the link below, or at your favourite bookseller.
The biggest challenges for most photographers are not technical but creative.They are not so much what goes on in the camera but what goes on in the mind of the person wielding it. Light, Space & Time is a book about thinking and feeling your way through making photographs that are not only good, but truly your own. It would make an amazing gift for the photographer in your life, especially if that’s you. Find out more on Amazon.
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.
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;
