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  • Keldan Announces Video 4XR and Video 8XR Lights, and RC2 Remote Control

    Keldan Announces Video 4XR and Video 8XR Lights, and RC2 Remote Control


    Known for their high-end—but not especially compact—video lights, Keldan is addressing the demand for travel-friendly gear with the release of three significant products: the RC2, a diminutive version of their RC1 wireless remote control; and two handy remote-controllable lights, the Video 4XR and the Video 8XR.

    Like its bigger sibling, the RC2 works wirelessly underwater but is shorter range: 2–3 meters (6.5–10 feet) as opposed to the 50-meter (165-feet) range of the RC1. As such, it is designed for lights mounted on the camera rig or placed within a short distance from the remote. Like the RC1, the new model has two independent brightness channels, each of which can address any number of lights simultaneously, and works with all lights in Keldan’s “XR” series.

    With the new Video 4XR, Keldan hasn’t just upgraded their popular Video 4X light with a remote receiver; the new version also has a higher lumen output—11,000 lumens rather than 10,000 lumens. While the 4XR replaces the 4X in Keldan’s lineup, the previous version of the 8XR—which boasts a 20,000-lumen output and a color rendering index (CRI) of 86—sits alongside the new 8XR, which has a slightly lower output of 17,000 lumens but a significantly higher CRI of 96. According to Keldan, the high CRI makes the new 8XR the perfect light for shooting macro.

    Available soon from retailers such as Backscatter, the RC2, Video 4XR 11000lm CRI86, and Video 8XR 17000lm CRI96 are priced at $640, $1,970, and $2,650, respectively. There are also now various bundles available, such as dual Video 4XR and RC2 for $4,280, and dual Video 8XR 17000lm CRI96 and RC2 for $5,640.

     


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


    PRESS RELEASE

    Remote Control RC2

    Our pioneer Remote Control RC1 has now a little brother, called RC2. The RC2 is smaller, runs on a single button cell and it is designd for short range use (Lights mounted on the camera or in proximity to the camera).

     

    Wireless remote control

    The KELDAN RC2 is a wireless Remote Control based on ultrasonic technology. It is available for Video 4XR / 8XR /18XR / 24XR series lights.

    Outstanding features

    • Range of 2m

    • Control brightness individually on 2 channels

    • Each Channel can address an unlimited number of lights

    • Each Channel has a separate ID to avoid interference when multiple controllers are used at the same dive site

    • Remote Control works with all “XR” series lights

    • Easy mounting with M4 screw holes or with an optional Ball adapter

    Many advantages when using a remote control

    • No more swimming back and forth to adjust lighting

    • Fast and easy control of your lighting

    • Place the lights wherever you want

    • Allows for new and more creative ways of shooting

    • Works around the corner and through walls

    • Saves battery life

    4XR 11000lm CRI86

    The popular Video 4X is now available as a remote controllable Video 4XR 11000lm CRI86. Even more powerful, containing superb 11000lm with an enhanced color rendering index of CRI 86. This is the perfect light for small and handy rigs.

    Ready for wireless Remote Control

    The Video 4XR light is ready for our wireless Remote Control, either the RC1 or RC2.

    USB-C charge adapter

    With the 4XR light we include a very travel friendly, small and lightweight USB-C charge adapater which allows to charge the Li-Ion battery from an USB-C charger with min. 30Watt output. Attention: The light is supplied with the USB-C adapter only but not with the USB-C charger.

    LED technology with outstanding efficiency

    The Video 4XR 11000 lm CRI 86 is equiped with an LED of the latest generation with a color temperature of 5600 Kelvin. The spectral power distibution is very even, resulting a color rendering index of 86 CRI (Ra). A unique feature is the variable power with 9 settings with a brightness range of 1:50.

    Soft 110° beam

    The light has a very soft and speckle free beam of 110° in water (120° in air).

    Self-contained

    The self contained design makes this light very easy to use. There is no need for special mountings for the battery canister. The included bracket with ball mount allows easy mounting on standard arm systems.

    Small and lightweight

    The design is optimized for very small dimensions and light weight. The complete set ads only 0.63kg (0.20kg in water) to your gear.

    Tough Design

    The LED can not break and has almost unlimited lifetime. The integrated overtemperature protection allows safe use of the light in air. The protection circuit controls the housing temperature and the power will be limited to keep the temperature within a safe range.

    Travel Safe Li-Ion Battery

    The battery passed successfully the mandatory UN38.3 safety test as required by IATA and it is therefore certified for air transport. The capacity of this battery is below the maximum allowed capacity of 100Wh. It contains an integrated protection circuit against harmful conditions like over discharge, deep discharge, over current and short circuit. 

    Charge Display

    The green charge level indicator displays the available relative charge. The two digit display shows the remaining time. While the battery is discharging, the display shows the remaining runtime in minutes (e.g.”18” = 18 minutes). When connected to the charger, the display shows the remaining charge time in units of 10 minutes (e.g.”18” = 180 minutes).


    8XR 17000lm CRI96

    We have added a high CRI version to our 8XR series lights. With its outstanding color rendering index of CRI 96, the Video 8XR 17000 Lumen is the perfect light for shooting macro. Of course it is ready for the RC1 and RC2 Remote Control.

    Ready for wireless Remote Control

    The Video 8XR light is ready for our wireless Remote Control RC1 + RC2.

    LED technology with outstanding efficiency

    The Video 8XR 17000 lm CRI 96 is equipped with a LED of the latest generation with a color temperature of 5600 Kelvin. The spectral power distribution is very even, resulting in a color rendering index of 96 CRI (Ra). A unique feature is the variable power with 9 settings with a brightness range of 1:80.

    Soft 110° beam

    The light has a very soft and speckle free beam of 110° in water (120° in air).

     


    Self-contained

    The self contained design makes this light very easy to use. There is no need for special mountings for the battery canister. The included bracket with ball mount allows easy mounting on standard arm systems.

    Small and lightweight

    The design is optimized for very small dimensions and light weight. The complete set ads only 0.87kg (0.30kg in water) to your gear.

    Tough Design

    The LED can not break and has almost unlimited lifetime. The integrated overtemperature protection allows safe use of the light in air. The protection circuit controls the housing temperature and the power will be limited to keep the temperature within a safe range.

    Travel Safe Li-Ion Battery

    The battery passed successfully the mandatory UN38.3 safety test as required by IATA and it is therefore certified for air transport. The capacity of this battery is below the maximum allowed capacity of 100Wh. It contains an integrated protection circuit against harmful conditions like over discharge, deep discharge, over current and short circuit. 

    Charge Display

    The green charge level indicator displays the available relative charge. The two digit display shows the remaining time. While the battery is discharging, the display shows the remaining runtime in minutes (e.g.”18” = 18 minutes). When connected to the charger, the display shows the remaining charge time in units of 10 minutes (e.g.”18” = 180 minutes).


    Bundles with RC2   

    With the 4XR and 8XR series, we are offering bundles including two lights and a RC2 remote control. KELDAN does not promote this bundles on the KELDAN website but they can be ordered from a KELDAN dealer.


    USB-C Charger 16.8V/1A

    Does it sometimes annoy you when you need to pack a whole lot of chargers on a trip? Certainly no more with this one. The travel friendly USB-C Charge adapter is just what you need to travel. It connects to an USB-C charger with 30W or higher. With a weight of only 63 grams, it provides an output of 16.8V/1A and can charge all batteries of the 4 and 8 series.

    Travel friendly, super small and lightweight USB-C charge adapter

    Can be connected to a USB-C charger with minimum 30Watt output. It provides an output of 16.8V/1A. This charger is suitable for the following Li-Ion batteries:

    • Battery4 Li-Ion 49Wh (Art. 1212) used with the Video 4X/4XR series lights, Charge time approx. 4 hours

    • Battery8 Li-Ion 99Wh (Art. 1211) used with the Video 8X/XR series lights, Charge time approx. 8 hours





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  • Panasonic Announces Lumix S1RII with 8K Video

    Panasonic Announces Lumix S1RII with 8K Video


    It’s been more than five years since Panasonic launched their Lumix S1R and Lumix S1 full-frame mirrorless cameras with an emphasis on photography and video, respectively. Now the follow-up photo-centric model—the Lumix S1RII—has finally landed, and there are few similarities between the old and new cameras. Built around a new 44.3-megapixel BSI CMOS image sensor and L² image processing engine, the S1RII is significantly smaller and lighter than its predecessor—so we can expect a slew of new underwater housings.

    Promising the “best photos” of any Lumix camera, Panasonic says the new sensor offers a stop better noise performance as well as improved color rendering. Like other recent Panasonic cameras, the S1RII boasts Phase Hybrid AF featuring 779 phase-detect AF points as well as AI-powered subject detection and tracking. Using the mechanical shutter, you get an impressive 10fps burst shooting with continuous autofocus, while the electronic shutter offers 40fps. Another significant improvement is the in-body image stabilization, which delivers up to eight stops of shake reduction with shorter lenses or seven stops with compatible telephoto lenses. It’s worth noting that the camera’s maximum flash sync speed is now 1/250s, which is—unfortunately—inferior to its predecessor’s 1/320s.

    On the video side, the specs are equally impressive: The S1RII is the first Lumix camera to record 8K/30p 10-bit video with 14 stops of dynamic range. The camera can also record internal Apple ProRes RAW HQ/ProRes RAW 5.8K to a CFexpress Type B card (albeit with an APS-C crop)—another first for the Lumix S series. Other recording options include (oversampled) 6.4K open-gate video for flexible cropping and reframing, and (subsampled) 4K/120p slow-motion capture. Serious videographers will also appreciate the advanced video assist tools, including waveforms and vector scopes for exposure and color monitoring, and real-time LUTs.

    To round things off, the S1RII has dual card slots (CFexpress Type B, UHS-II SD), support for external recording to an SSD, a 5.76M-dot OLED EVF (0.78x magnification) and a 1.83M-dot 3-inch vari-angle rear LCD. The camera uses the same battery as the S5II/S5IIX.

    Available now from retailers such as Backscatter, the Panasonic Lumix S1RII is priced at $3,300.

     


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


    PRESS RELEASE

    Panasonic Announces New LUMIX S1RII Full-Frame Mirrorless Camera

    Newark, N.J. (February 25, 2025) – Panasonic is proud to introduce the new LUMIX S1RII – the latest high- resolution model of the Full-Frame mirrorless LUMIX S Series.

    The LUMIX S1RII features a newly developed 44.3MP BSI CMOS sensor and high-performance engine with L2 Technology that work together to deliver impressive stills and videos with LUMIX’s esteemed natural color science. The high-resolution mode, allowing for handheld shooting at approximately 177MP, enables users to enjoy the presence and detail of subjects. With revolutionary video performance, it is the first LUMIX camera to realize 8K video recording at 14 stops1 of dynamic range, broadening the possibilities of video creation. The popular Open Gate feature has been enhanced, allowing to shoot in 6.4K, and even up to 8.1K/7.2K2 with a future firmware update. Furthermore, as a first for the LUMIX S series, it supports internal recording of 5.8K Apple ProRes RAW HQ/ProRes RAW3 to a CFexpress Type B card. This makes it possible to record high- quality video data with minimal setup and without using external devices or cables, providing greater mobility for one-man operations and small-scale shoots.

    Evolved real-time recognition Phase Hybrid AF, now with AI tracking, quickly and precisely detects human eyes and faces and follows a subject’s movements smoothly. With high-speed continuous shooting at approximately 40 fps4 and AF tracking, dynamic subjects can be captured accurately and effortlessly. The SH pre-burst mode even starts taking pictures before the shutter is fully pressed, ensuring you never miss a shot.

    Our widely acclaimed image stabilization system continues to improve, with the LUMIX S1RII achieving 8.0-stop shutter speed compensation5 with in-body stabilization, and 7.0-stop6 even in the telephoto range with Dual I.S. 2. The advanced video image stabilization features cropless E.I.S. video distortion correction, reducing peripheral distortion while preserving the original angle of view. This allows for greater flexibility in handheld wide-angle shooting. The newly designed compact body and the tilt and free-angle monitor are adaptable to any shooting style, making it an excellent companion for those seeking both mobility and creative flexibility.

    The LUMIX S1RII will be compatible with the “LUMIX Lab” smart phone application, enabling you to load LUTs directly into the camera. This streamlines the post-production process, allowing for smoother client deliveries and giving you more time to focus on creativity. A new “LUMIX Flow” app will be launched to enhance production workflows across various scenarios, such as short films, documentaries, music videos, and corporate promotional videos. This app offers a range of features, from storyboard creation and shooting to file organization. The LUMIX S1RII integrates with third party software such as “Frame.io” for more efficient postproduction and collaboration. For the first time in LUMIX history, the LUMIX S1RII supports tethering via “Capture One,” assisting a diverse range of creators across various production scenarios.

    Guided by our philosophy of creating technology that fuels creative passion, the LUMIX S1RII is a next-generation mirrorless camera built for creators who want to bring their own unique vision to life.

    Main Features

    • High resolution and high image quality for both stills and videos with a newly developed sensor and next-generation engine

      • Utilizes a newly developed approximately 44.3MP full-frame BSI CMOS image sensor.

      • Features a 177MP (approx.) handheld high-resolution mode that captures the immersive presence and details of subjects with precision.

      • Offers high-resolution recording that captures the texture and fine details of subjects and supports LUMIX’s first 8K 30p video recording (*2) with 14 stops (*1) of dynamic range.

      • Supports 5.8K Apple ProRes RAW HQ / ProRes RAW internal recording to a CFexpress Type B card.

    • Enhanced core performance that unlocks new creative possibilities

      • Redefined real-time recognition Phase Hybrid AF with improved eye and face detection and AI-driven tracking accuracy for people.

      • Enhanced 8.0-stop (*3) in-body image stabilization (B.I.S.) and newly developed cropless E.I.S. video distortion correction, which stabilizes without cropping the angle of view.

      • High resolution and high-speed continuous shooting, offering approximately 40 fps (*2) with the electronic shutter “SH” mode, and an extended continuous shooting “H+ (High Speed Plus)” mode of approximately 10 fps (*2) with a mechanical shutter, allowing you to experience post

        view blackout-free shooting.

    • Powerful apps that seamlessly support the production workflow

      • Compatible with “Capture One,” making it the first LUMIX camera to work seamlessly with the widely used editing software in professional studio photography.

      • Compatible with “Frame.io,” enabling smooth progression from shooting to editing, as well as cloud sharing and collaboration.

      • Supports “LUMIX Lab,” simplifying the transfer, editing, and color personalization of photos and videos for seamless smartphone integration and social media sharing.

      • Supports new “LUMIX Flow,” which assists with storyboard creation, on-site checks during filming, and automatic data organization after shooting to support the video production workflow.

      • LUMIX mode: Assists with storyboard creation, on-site checks during filming, and automatic data organization after shooting to support the video production workflow.

        ■ Smartphone mode: Experience the joy of video creation, such as scripting and editing a short drama, documentary video or dance video, with just a smartphone.

        ■ External monitor: Use a smartphone as an external monitor while shooting, allowing you to swiftly change and adjust the camera settings on the mobile device.

    DMW-BG2

    Panasonic is pleased to introduce the new DMW-BG2 battery grip, designed to match the feel of the S1RII when holding the camera vertically. The battery in the battery grip can be exchanged while the camera is on, and the grip also supports providing power to the camera for shooting in certain extensive modes.

    Price and availability

    The new LUMIX S1RII will be available in late March for $3299.99 at valued channel partners.

    1 When Dynamic Range Expansion (Log) is enabled.

    2 8.1K/7.2K Open Gate recording will be available in the firmware update scheduled for 2025.

    3 8.1K / 7.2K RAW HDMI output will be available in the firmware update scheduled for 2025.

    4 The continuous burst shooting speed may decrease depending on various conditions such as the lens used, aperture and shutter speed.

    5 Center: 8.0-stop; Periphery: 7.0-stop. Based on the CIPA 2024 standard [Yaw/Pitch/Roll direction: focusing distance f=60mm when S-R2060 is used. 5-axis.]

    6 Center: 7.0-stop; Periphery: 7.0-stop. Based on the CIPA 2024 standard [Yaw/Pitch/Roll direction: focusing distance f=105mm when S-R24105 is used. 5-axis.]





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  • SUBNOX SUB10KEF 10,000-Lumen Pro Video Light Launched

    SUBNOX SUB10KEF 10,000-Lumen Pro Video Light Launched


    Unveiled at DEMA Show 2024, the SUBNOX brand was founded by professional underwater cameraman Kay Burn Lim, with the aim of creating advanced underwater lighting products designed to meet the needs of working videographers. Now, the new company has put the finishing touches to its first offering—the SUB10KEF, a 10,000-lumen wide-angle video light with some innovative features.  

    The powerful but compact video light is equipped with a specially designed light head and COB LED that produces three different light outputs. One mode is “traditional” light with a CRI of 93 and a color temperature of 5600K, equivalent to daylight. In the other two “Ambient Blue” modes, the light output is equivalent to ambient light at 6–13 meters (20–43 feet) and ambient light at 13–20 meters (43–66 feet).

    As depth increases and water absorbs colors from the light spectrum, white balance controls or red filters are used to restore natural colors, but this causes subjects illuminated by regular (daylight) video lights to appear overly red. Blue filters on video lights results in more natural-looking footage by helping to balance the foreground subject illuminated by the lights and the bluish background. However, the downside is that such filters reduce light intensity significantly.

    With its built-in ambient light options, the SUB10KEF provides ambient water color illumination approximately 2.5 times brighter than using physical blue filters. By covering two depth ranges—6–13 meters (20–43 feet) and 13–20 meters (43–66 feet)—at the twist of the rear dial, the SUB10KEF can be used in a variety of daytime lighting conditions as well as at night, when the 5600K (daylight) mode can be used.

    The SUB10KEF features an ergonomic 11-step (0–10) magnetic power control ring at the rear, and a rear-mounted LED display showing the brightness level as you turn the power control ring. After setting the brightness level, the display defaults, after five seconds, to the remaining burn time in minutes for the selected brightness level. The video light’s air-travel safe 72Wh battery pack can be charged from 0–80% in two hours and to 100% in three hours.

    Shipping late May, the SUBNOX SUB10KEF is priced at $800.

     


    PRODUCT INFORMATION

    SUB10KEF Wide Angle Video Light – 10,000 Lumens With Daylight 5600K & Ambient (BLUE) Water Colour

    $800.00 USD

    The SUB10KEF is a compact 10,000 lumens (93 CRI) wide angle video light with the patented ability to switch between a daylight colour (5600K), and ambient water colours for 6–13m or 13–20m.

    Patented Light Head

    With the patented specially designed light head and COB, It does not require any physical blue filters to achieve this specially tuned ambient water colour illumination. This allows the torch to be used at various depths and lighting conditions night or day. (Ambient blue is not required for night dives).


    Power Control Ring

    The SUBNOX SUB10KEF utilizes a large 11 step (0-10) magnetic power control ring ergonomically located at the rear of the torch. This allows for smooth, effortless and intuitive control over the brightness level.

    The rear mounted power control ring is designed for one handed use in a single motion over a 180 degree turn of the ring. It is designed for easy use even with thick gloves. No more reaching over your torch to press buttons, or fiddling with tiny control knobs. Just grab and twist!

    Light Colour Selector & Power Switch

    The rear knob below the LED display allows users to switch between the 3 light options:

    • 5600 Kelvin (Daylight)

    • Ambient Blue (6–13m)

    • Ambient Blue (13–20m)

    The button at the center of this knob functions as the master switch for powering the SUB10KEF On or Off.


    LED Display

    The rear mounted LED display shows the brightness level as you turn the power control ring.

    Once the brightness level is set, the display will default after 5 seconds to the remaining burn time (battery level in minutes) for the brightness intensity chosen. A simple 4 bar battery icon is also displayed for all settings.

    3 different LED indicators display the current colour settings. 5600K, Ambient Blue (6–13m), Ambient Blue (13–20m).

    USB-C Rechargeable Battery

    The Battery pack for the SUB10KEF utilizes a fast charging USB-C controller that allows the battery to be charged from 0–80% within 2 hours (full charge from empty requires 2 hours 45 minutes) and is rated at an air-travel safe 72Wh.

    Each battery pack provides enough power for 35 minutes of continuous use at maximum brightness for the 5600K light setting, or 1 hour at 70% brightness settings.

    The battery pack will last for 55 minutes at 100% brightness when used with the ambient water colour settings.

    For maximum charging speeds. Please use a high quality 40W USB-C charger (Not included). A high speed USB-A to USB-C cable is included.

    All batteries come with silicone protective cases for travel and protection of battery contact terminals when not in use.


    Specifications

    • Lumens (5600K LED): 10,000

    • Beam Angle: 128 degrees underwater

    • CRI (5600K LED): 93Ra

    • Ambient Water Colours Built in: Ambient Blue 6–13m, Ambient Blue 12–20m

    • Power Control: Magnetic Switch Ring

    • Battery: USB-C Charging, 14.4V, 5000mAh, 72Wh

    • Dimensions: 183mm × 74mm

    • Weight (On Land with Battery): 813g

    • Underwater Weight (Without Mounting Bracket): 294g (seawater)

     





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  • YouTube Trying Out AI-Generated Video Search Results

    YouTube Trying Out AI-Generated Video Search Results


    YouTube is pioneering a novel way to search video uploads and it could fundamentally change how we use the platform.

    turned on iMac and Apple Magic Keyboard and mouse on table
    Turned on iMac and Apple Magic Keyboard and mouse on table. Photo by Jakob Owens

    And, naturally, it involves everyone’s favorite buzzword these days: AI. 

    Described by PetaPixel in much the same way that Google provides previews for search engine results, Alphabet’s YouTube is looking into having AI specifically take clips from videos that match your search results in a similar preview format. 

    In other words, it will help you cut to the chase and find exactly what you’re looking for, where, and when in a YouTube video. No more searching, waiting, and going through multiple advertisements to get what you need.

    It sounds like a pretty neat feature and, initially, it’s going to be limited to a few niche subjects such as travel and shopping, the website quotes YouTube brass. 

    That makes sense because those are both very lucrative areas for companies and content creators and it is also one where very specific, timely information makes the most sense. 

    If it works out here, we could see it expanding to other search results.

    One thing that comes to mind, however, is that often you will find yourself watching ads and various other monetization clips when digging through YouTube videos to find what you need. While that is a pain, it helps the creators of the content make money and, ostensibly, create more useful content. How will that system fare once everything is being quick clipped by AI remains to be seen but, if anything, hopefully it eliminates the overly long content that does nothing but generate clicks. 

    Any thoughts you might have on this somewhat novel idea are welcome in the comments. 

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





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  • Backscatter Introduces Excitation Filters for Fluorescence Photography and Video

    Backscatter Introduces Excitation Filters for Fluorescence Photography and Video


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

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

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

     

    Left: Backscatter Hybrid Flash with Fluorescence Excitation Filter.

    Right: Backscatter Macro Wide 4300 with Fluorescence Excitation Filter

     

    Left: Fluorescence Excitation Filter for Backscatter Hybrid Flash.

    Right: Fluorescence Excitation Filter for Backscatter Macro Wide 4300

     

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

    Right: FLIP Fluorescence Barrier Filter for GoPro

     


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





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  • This vintage video shows what it was like to be a pro photographer in 1946

    This vintage video shows what it was like to be a pro photographer in 1946


    While we spend most of our time here at PopPhoto nerding out about the latest and greatest photography gear, we’re also suckers for truly old-school photo content. This fascinating video outlines what it was like to be a professional photographer in 1946.

    Obviously, the industry, technology, and, well, pretty much everything has changed quite a bit back then. But some things do sound familiar. For instance, it’s weird to hear that there was an abundance of people in the profession even back then. The tools were obviously much less accessible than they are now, but even back then, people wanted to get in on the pro photography game.

    Videos like this are truly a time capsule, and I have to wonder what it will feel like for people in 2100 to look back on the state of the industry in 2023. Our precious megapixels will likely feel so quaint.





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  • How to Make a Music Video with Final Cut Pro X


    https://www.youtube.com/watch?v=Ns27LLNfobc

    I’ve got something a little different today. Call it a slight expansion of my teaching skills. Teaching to my passions, if you will. Or you can just think of it as little bit of Friday fun and entertainment.

    In my latest YouTube tutorial, I show you how to make a music video. That’s right. Having grown up in the golden age of MTV, and having made a handful of them with my own original recorded songs, I decided to share my knowledge of how to create a classic-style music video using the Multicam feature in Apple’s Final Cut Pro software. 

    Specifically, I show you the steps needed to shoot and edit a handful of clips, so that they’re all in sync with the music. Final Cut Pro makes this really easy, but if you don’t know where to look in the software, it’s hard to figure this out. To illustrate, I use the video clips from my own song and music video, A Very Cozy Christmas, which I released back in 2020.

    https://www.youtube.com/watch?v=zf8xUpiH2PM

    Now, I realize, that a lot of my readers probably don’t use Final Cut Pro, or have any intention of every making a music video for that matter, but who doesn’t love a good music video? The classic ones have such cultural significance in our lives. Or at least they once did.

    With that in mind,  it might just be fun to watch this video, just to see how they’re made, and to support my efforts. If you enjoy my teaching style, this is a great way to help me expand my audience, which helps me continue to make more photography tutorials. So, even if you’re not a Final Cut Pro user, or a music producer, please consider watching and leaving a comment, just for that reason. 

    So whether you were raised on videos like Thriller, Jump, Every Breath You Take, Hungry Like the Wolf and Sledgehammer, or not, thanks so much for your support and have a great weekend, and I promise, I’ll get back to making some more photography tutorials very soon!

    https://www.youtube.com/watch?v=Ns27LLNfobc



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  • Make Photo & Video Editing Faster

    Make Photo & Video Editing Faster


    Programs like Adobe Lightroom, Adobe Photoshop, Adobe Premier, and other video editing programs such as DaVinci Resolve, can all run slow for a variety of reasons. In this post I will discuss some of the possible causes of computer slowness and the solutions to those problems.

    The first possibility is that your computer does not have enough RAM. A good place to start for photo and video editing is at 16GB of memory for your computer. 16GB should allow enough memory to do basic video editing and normal photo editing, as well as most of the other tasks computers are used for such as email, video conferencing, and all that.

    Having more memory never hurts but the law of diminishing returns kicks in very quickly with memory. Many people assume that if you have say 64GB of memory its going to make everything faster. Well, it won’t make everything faster but it will make some things faster. More memory will allow you to do more multi-tasking on your system, and it may also allow you to work with larger files more fluidly, but its not going to get the data off of your hard disk drive or solid state drive any faster.

    SSD’s are the newest storage technology and they’re getting bigger, faster, and more affordable every year. I highly recommend photo editors and video editor buy at least 1 SSD for their computer to put their working files on.

    Working files are the files in your current project. If you have several projects going on at once, well, you might want to consider reducing your workload, but, barring that, you can always buy a larger SSD. SSD’s can now be purchased at up to 8 Terabytes for around $400-$500. I have seen 4 TB drives going for around $200. I know that most photographers aren’t going to fill up a 4TB drive with their working files very quickly unless they are shooting 150 Megapixel images by the thousands.

    If your computer can take a second SSD for your working files, you’re good! Many laptops have a slot in them for an extra SSD which means all you need to do is get that second SSD, install it, and follow the rest of the instructions in this post.

    The Problem with 1 SSD or HDD

    The basic problem, or so I have been led to believe, is that when all these programs and processes are trying to use the same HDD or SSD, they start to incur penalties due to something called latency. Basically, Lightroom is writing data from one place to another on the same drive. And these duplicated writes all have their own latency. Latency is where one process has to wait a fraction of a second for another to finish its use of the HDD before it can then begin using the HDD.

    Over tens of thousands of reads and writes those fractions of a second add up to sitting there and staring at your computer for minutes on end.

    Because the HDD or SSD are a lot slower than main system memory, accessing the page file slows down Lightroom or any other program that has to put working data into the page file.

    The problem with Lightroom specifically goes beyond the page file and revolves around the catalog itself.

    Far be it from me to speculate how it works, but here is what I think the computer is doing. Imagine that your page file and your catalog file are on the same slow HDD. You start up Lightroom and it needs to load data into main memory, but, main memory is full, so, it is writing catalog data to the page file. However, the page file is on the same HDD as the catalog data. This means that the HDD is bottlenecked with itself. It is literally reading and writing the same data to itself into a different folder. Duplicating data like this onto the same HDD is one of the slowest operations a computer can perform.

    So, the solution is to make sure that your page file and your catalog file are on SEPARATE HDDs or SSDs.

    Once you are able to separate out the page file and the catalog files you should see a huge performance increase in loading and working with large Lightroom Catalogs.

    If your computer doesn’t have 2 drives in it for you to use, then you really should install a second drive into your computer just for your Lightroom Catalogs.

    Now, it’s as simple as copying all your catalogs to the new dedicated catalog drive and every time you open a catalog it should load and run a lot faster!

    The really great thing is that now you shouldn’t notice too much of a performance difference even with larger catalogs. Eventually the catalog will get so big that it will slow down again but that limit will be substantially higher because of this system architecture. (Specific numbers will be determined by your system specifications).

    If you are doing video editing, you’ll want to keep your working source videos and/or proxies on their own SSD. Doing this will give the CPU/GPU a direct line of access to those files and no other program is going to interfere with that direct line of access. That means you can easily play back your video at 4k or even 8k as the case may be. The keyword here is WORKING videos, that is, only the videos you’re using for a current project. You’re not going to store video on this drive, it is only for WORKING copies/proxies.

    Good luck and thanks for reading!



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