I have now had the housing in my hands, and what stands out is not simply that Nauticam has made an underwater housing for the FX5. The interesting part is how the controls, mounting points, connectivity and ergonomics have been arranged around the way a video shooter actually works underwater.

A cinema camera that finally fits into a compact underwater system

The FX5 uses a full-frame Exmor RS CMOS sensor and Sony’s BIONZ XR2 processing engine. It offers 15+ stops of latitude in S-Log3, internal X-OCN recording, 3:2 Open Gate, 5K recording up to 60 fps and 4K up to 120 fps. Sony has also given the camera three base ISO settings — 800, 4000 and 12800 — together with Dual Gain Shooting.

Those specifications matter underwater because available light changes rapidly with depth, direction and water conditions. A camera that can work cleanly across several useful sensitivity levels gives the underwater filmmaker more flexibility before artificial light becomes the only realistic option.

The body is also compact enough that Nauticam can build a housing that remains manageable rather than turning the complete rig into a small submarine.

The Sony FX5 underwater housing is built around video operation

The NA-FX5 is machined from aluminium, depth rated to 100 metres and uses Nauticam’s N100 port system. With the camera and battery installed, Nauticam specifies the housing at approximately 0.3 kg negative in water.

But the more interesting part is the control layout. Video work is often about changing exposure, white balance, recording settings and focus behaviour while continuing to follow a moving subject. That means the most important controls need to be available without constantly taking your hands away from the handles.

Direct access to Iris, White Balance and ISO

One of the clearest examples is the group of controls for Iris, White Balance and ISO. These are not buried in a generic menu operation. Nauticam has provided dedicated external controls around the FX5’s own layout, together with joystick access.

For underwater video this makes sense. Iris, white balance and ISO are three settings that may genuinely change during a dive as you move from open water to a wreck, from ambient light to video lights, or from a shallow scene into deeper water.

Menu, Back, Home, User and rear dial

The rear of the housing gives direct access to the FX5’s menu navigation and custom functions, including Back, Menu, Home, User and the rear dial. This is an important difference between a housing that merely makes the camera usable and one that is designed to let you operate it properly.

The multifunction dial retains its click function, which means it can be used for changing values and navigating the camera in a way that remains close to normal topside operation.

A dedicated CLIPS control

The separate CLIPS button is another small detail that tells you what kind of camera this is. The FX5 is designed for motion-picture workflow, and the housing gives access to that workflow rather than trying to simplify everything into a still-camera style control set.

A genuinely useful rear viewing window

The rear window is large, giving a clear view of the camera display and the information surrounding it. For video this matters more than it may first appear. Exposure tools, focus confirmation, recording status, codec information and other overlays are part of the normal shooting process, and a cramped or poorly positioned viewing window quickly becomes irritating underwater.

Lots of room for monitors, lights and accessories

Nauticam has given the NA-FX5 twenty 1/4″-20 threaded mounting points plus an M10 mounting point. That is a lot of flexibility for a housing of this size.

This is particularly relevant for cinema-style use, where the housing may carry a monitor, video lights, an action camera, a top handle, buoyancy arms, tripod hardware or other accessories. Instead of forcing everything onto one or two fixed mounting points, the housing gives the operator freedom to build the rig around the job.

The upper section of the housing also provides multiple accessory mounting positions, making it straightforward to add hardware without having to improvise brackets.

M24 and M16 accessory ports

The housing has an M24 port and an M16 port on the front, plus an additional M16 port on the rear. These are not decorative extras. They are what make the NA-FX5 suitable for a serious video configuration.

The M24 port can be used for Nauticam’s HDMI systems, allowing an external monitor or recorder to be connected. An M16 port can be used for the optional Vacuum Valve II, while USB-C power delivery can also be configured through the available accessory ports.

This means HDMI monitoring and external power solutions can become part of the housing.

N100 port mount — and access to Nauticam’s optical system

The NA-FX5 uses the N100 port mount. That immediately opens the door to Nauticam’s established Sony full-frame port system, including conventional dome and macro ports as well as water-contact optics.

For existing Nauticam Sony users, that is particularly useful because much of an existing optical system can potentially move across to the FX5 setup rather than starting again from zero. N100-to-N120 adaptors are also available when an N120 configuration is required.

Inside: more mechanical engineering than electronics

Opening the housing makes the control philosophy much easier to understand. The FX5 controls are translated through a substantial mechanical system of levers, gears and linkages. The result is that almost all camera functions remain available externally.

Nauticam states that every camera function is accessible from outside the housing except the front Fn6 and front REC buttons. For a video housing, that level of control access is significant.

The red port-lock lever

Nauticam’s familiar port-locking system is retained. The red lever releases the port lock, while the port itself mounts without the threaded twisting action used by some housing systems.

It is a small feature until you start changing ports regularly. Then speed, a clear locked/unlocked state and reduced risk of cross-threading become rather attractive.

The handle and base construction

The handle system is reinforced with stainless-steel brackets, which is particularly relevant once the housing is carrying heavy video lights or a monitor. A video rig puts much more leverage on its handles than a minimal still-photo setup.

The underside also provides several threaded mounting points for tripod plates and other support hardware. That matters if the housing is used for static sequences, macro video, remote work or simply as part of a larger cinema rig.

It even fits neatly into the supplied padded bag

The complete housing is still compact enough to sit neatly in the supplied padded carrying bag with the handles attached. That may sound like a minor point, but travel and transport become important very quickly once a video setup grows into lights, monitor, arms, optics, batteries and chargers.

My first impression

The Sony FX5 and Nauticam NA-FX5 make sense as a pair. The camera is designed around video, and the housing does not try to turn it into something else.

The dedicated exposure controls, extensive custom-button access, large viewing window, large number of mounting points and proper HDMI/USB-C connectivity all point in the same direction: this is a housing intended to be built into a working underwater video system.

For a diver coming from a hybrid mirrorless camera, the biggest difference is not necessarily image quality alone. It is workflow. The FX5 offers a much more cinema-oriented way of working, and the NA-FX5 preserves that workflow surprisingly well underwater.

NA-FX5 key specifications

• Housing: Nauticam NA-FX5
• Nauticam SKU: 17441
• Compatible camera: Sony FX5
• Port system: N100
• Depth rating: 100 m
• Dimensions: 320 × 184 × 124 mm
• Weight in air: approximately 2.1 kg
• Buoyancy: approximately 0.3 kg negative in water with camera and battery
• Accessory ports: front M24 × 1, front M16 × 1, rear M16 × 1
• Mounting points: twenty 1/4″-20 plus one M10
• HDMI support: HDMI 2.0 / 1.4
• Vacuum and leak detection electronics: included; optional M16 Vacuum Valve II required to create the vacuum

Camera and housing specifications referenced from Sony and Nauticam. Hands-on observations and photographs by Lars Kirkegaard / FOTOGRAFIT.

The post Sony FX5 Underwater: A First Look at the New Nauticam NA-FX5 Housing appeared first on The FOTOGRAFIT Blog.

For many underwater photographers, the Olympus / OM SYSTEM TG series is the obvious place to start. A TG-6 or TG-7 is small, simple, rugged and capable of producing surprisingly good underwater images. But sooner or later many photographers reach the same point: they want more manual control, better image quality, faster autofocus and access to real interchangeable lenses — without immediately ending up with a large and heavy camera system.

That is exactly where the new OM SYSTEM PEN becomes interesting.

On paper it looks like a stylish compact everyday camera. Underneath, however, it is a serious Micro Four Thirds camera with interchangeable lenses, full manual exposure, two command dials, 121-point phase-detection autofocus, 5-axis stabilisation and a dedicated AF-ON button. That makes it particularly relevant to underwater photographers — and especially to TG-7 users who want to take the next step without giving up the compact-camera philosophy completely.

So the important question for me is not simply whether the new PEN is a good camera. It is: could this be the natural upgrade from a TG-7 without becoming a super expensive system?

Why TG-7 photographers should look at the PEN

If you are coming from a TG-7, the strength of the PEN is not simply that it is “better”. The interesting part is how it is better.

The TG-7 is attractive because it is easy to travel with, quick to use and simple to build into a compact underwater system. But it is still a compact camera with a fixed lens and a comparatively small sensor. With the PEN you move into a true camera system: a larger Micro Four Thirds sensor, interchangeable lenses, RAW files with more latitude, faster and more configurable autofocus, and much more direct control over exposure and focusing.

Underwater, that opens a different set of possibilities. Instead of asking one fixed lens to do everything, you can build the camera around the job: macro, super-macro, fisheye, rectilinear wide angle or a versatile travel setup. That is the real step up from a TG-7… OR… you could just keep the 14-42mm kit lens and use wetlenses.

A new PEN — not simply an updated E-P7

OM Digital Solutions announced the new OM SYSTEM PEN in September 2026 as the first PEN-series camera to carry the OM SYSTEM name. It follows the original PEN idea from 1959: a camera compact enough to carry every day, but capable of serious photography.

The new model uses a 20.4-megapixel Live MOS Micro Four Thirds sensor with the TruePic IX processor. Autofocus combines on-sensor phase detection and contrast detection across 121 all-cross-type AF points. OM SYSTEM also adds AI-based Human and Dog/Cat subject detection…. hmmm… wonder if it has fish detection too? 😉

Built-in 5-axis image stabilisation is rated at up to 5.5 stops, and for the first time in the PEN line the body is dust- and splash-resistant, with IPX1-rated splash protection. The camera has an eye-level 2.36-million-dot OLED electronic viewfinder and a fully articulating 3-inch touch screen.

Yes — it has proper manual exposure control

This is one of the most important points for me. The PEN is not limited to automatic or semi-automatic exposure. The mode dial provides Program, Aperture Priority, Shutter Priority and full Manual exposure, together with Bulb/Live Bulb/Live Time/Live Composite and custom modes.

Manual ISO is available from approximately ISO 64/100 through ISO 25,600. The mechanical shutter reaches 1/4000 sec, while the electronic shutter can reach 1/32,000 sec. RAW capture is 12-bit, and RAW+JPEG can be recorded together, should you like that. (I don´t)

For practical operation, the important detail is that the camera has front and rear command dials. In Manual mode that means aperture and shutter speed can be handled independently without diving into menus. The dial functions can also be customised.

Full manual control – the part that matters underwater

This is where the PEN starts to become genuinely interesting in an underwater context. Good underwater handling is not about attractive menus and certainly not touch controls. It is about how quickly and intuitively you can change the things you actually use on a dive: aperture, shutter speed, ISO and focus mode.

The PEN looks promising because it does not merely offer an M setting in a menu. It has two command dials, a physical mode dial and a dedicated AF-ON button. In other words, it appears to be a camera that can actually be worked manually, rather than one that simply happens to include manual exposure.

That distinction becomes much more important underwater. The controls have to remain usable through a housing while wearing gloves, managing buoyancy, current, strobes and a subject that may disappear in seconds.

The control layout matters

Although the body is small, OM SYSTEM has not stripped away the physical controls. The top plate carries the main mode dial and a large command dial around the shutter area. On the rear is another command dial plus a conventional four-way controller, OK button, MENU and INFO buttons.

There is no dedicated autofocus joystick. On land, the AF point can be moved using the four-way controller or the touch screen. In an underwater housing, the touch screen will normally not be available, so access to the directional controls becomes especially relevant.

The camera also has a dedicated CP button for Computational Photography functions. This gives direct access to High Res Shot, Live ND, Focus Stacking, HDR and Multiple Exposure. OM SYSTEM specifies five computational modes through this button. All exciting, but not too relevant for underwater photographers.

And importantly: a dedicated AF-ON button

This may be the most interesting physical control for photographers who like to separate focusing from taking the picture. The new PEN has a clearly labelled AF-ON button on the rear, positioned to the right of the screen and below the upper rear controls.

Can the OM SYSTEM PEN use back-button focus?

Everything points to yes. The camera has a dedicated AF-ON button that activates autofocus independently, and the launch documentation describes programmable button functions and separate still/movie control maps. That gives us the hardware and menu structure needed for back-button focusing.

Out of the box, half-pressing the shutter still activates autofocus, as you would expect. For true back-button-only focus, shutter AF also has to be separated from focus activation. The launch manual documents configurable AF/button behaviour, so the camera appears to support that workflow. (I would still verify the exact menu path on a retail production body before treating a step-by-step setup as final.)

For underwater photography this is particularly interesting. Back-button focus can be useful for macro work, super-macro and situations where you want to establish focus independently and then concentrate on timing the exposure. Whether it becomes genuinely comfortable underwater will of course depend on where a future housing manufacturer places the corresponding control. But from my experience, they will take this into account.

Back-button focus is more relevant underwater than it sounds

For many casual photographers, AF-ON is simply another button. Underwater it can be one of the most useful controls on the camera.

With macro and especially super-macro, you may want to establish focus independently and then concentrate on composition and timing. It can also help when autofocus is tempted by the wrong part of a busy subject — an eye, antenna, rhinophore or another tiny detail surrounded by high-contrast background structure.

That is why the dedicated AF-ON button matters. The remaining question is not whether the button exists, but whether a future housing gives it a good, ergonomic control. If AF-ON falls naturally under the thumb, the PEN could offer a genuinely useful back-button-focus workflow underwater.

Autofocus is a major step forward

The PEN offers S-AF, S-AF+MF, C-AF, C-AF+MF, C-AF+Tracking, manual focus, preset MF, Starry Sky AF and Super Spot AF. Focus peaking and magnified focusing are available for manual focusing.

The 121-point AF layout can be used as all-area, single point, small point and several grouped areas, including custom AF areas. Human and Dog/Cat detection are available for still photography. For subjects outside those categories, the normal AF-area and tracking options remain available.

This is relevant underwater because I am not dependent on face or animal detection. I can still place a small or custom AF area exactly where I want it and move the housing around, but keeping the focus spot-on.

Speed and shooting modes

The electronic shutter supports high-speed sequential shooting up to approximately 30 frames per second in selected modes, and the camera also includes Pro Capture. For most underwater photography I rarely need that kind of speed — unless I am shooting fast-moving subjects such as sharks, where a short burst can make sense.

Focus bracketing and in-camera focus stacking are also available, but underwater I honestly do not see much practical need for them. What interests me more is what these features say about the camera itself: it appears to be able to process a lot of image data very quickly. That is potentially more important underwater than the stacking function itself — and I am especially curious to see whether that processing speed remains just as responsive in cold water.

Video: more capable than the body suggests

Video recording includes 4K up to 30p, Cinema 4K at 24p and Full HD options including higher frame rates. The camera supports S&Q recording up to 120 fps, vertical video and OM-Log400 together with OM-Cinema1 and OM-Cinema2 profiles.

A 3.5 mm microphone input is built in, which makes the PEN more useful as a compact hybrid camera than many earlier small PEN bodies. The 5-axis stabilisation also operates during video.

Small body, but a complete Micro Four Thirds system

The body measures approximately 125.8 × 74.5 × 43.3 mm. OM SYSTEM lists the body at 344 g and approximately 393 g in ready-to-shoot configuration depending on the specification used. It uses the Micro Four Thirds mount, giving access to more than 30 M.Zuiko lenses as well as lenses from other Micro Four Thirds manufacturers.

That lens choice is arguably more important than the compact body itself. The PEN can be paired with tiny travel lenses, bright primes, fisheyes or dedicated macro lenses without changing camera system.

The real test: can somebody keep the housing genuinely compact?

There is a useful precedent here. The earlier Olympus PEN E-PL9/E-PL10 could be used in the compact AOI UH-EPL10 housing. That is the system I had in mind: a small mirrorless camera in a relatively compact polycarbonate housing with access to the camera’s essential controls.

That system sat in an interesting position between a TG-style compact setup and a larger interchangeable-lens housing. Contemporary underwater reviews even described the E-PL10 housing system as only roughly one size larger than a TG-6 setup. The UH-EPL10 also provided housing controls for the mode dial, Fn button, menu, info, arrow pad and other essential camera functions.

This is where the new PEN will really be tested. If Nauticam, AOI, Ikelite or another manufacturer can build a housing that preserves access to the mode dial, both command controls, AF-ON and the directional controls without turning the system into a large conventional mirrorless rig, then the new PEN could occupy a very attractive middle ground: substantially more capable than a TG-7, while still remaining compact enough to travel and dive with easily.

Does it shoot macro as well as the TG-7?

No — not in the same way. The TG-7 is a compact camera with a fixed lens, and one of its great strengths is how close it can focus straight out of the box. The PEN is a mirrorless interchangeable-lens camera, so macro is built around the lens you choose.

If I want a dedicated macro setup, I can fit a true macro lens such as the 60mm Macro or the newer 90mm Macro. That gives me a more traditional interchangeable-lens macro system, with the optical quality and working distance determined by the lens itself.

But there is another route that is especially interesting underwater: use the compact 14–42mm kit lens behind a suitable port and add an external wet close-up lens in front. That is the same basic principle used on many larger underwater systems. The advantage is flexibility — I can choose how much magnification I want simply by changing the wet lens.

With a moderate close-up lens such as the AOI UCL-09PRO (+12.5), I can add useful macro capability while keeping the setup relatively versatile. If I want substantially more magnification for very small subjects, the AOI UCL-90PRO Underwater (+18.5) pushes the system much further — hence the nickname “The Nudi Killer.”

So compared with the TG-7, the PEN does not give me the same ready-made macro solution. Instead, it gives me a much more modular one: dedicated macro lenses when I want maximum optical performance, or a 14–42mm travel lens combined with interchangeable wet macro optics when I want flexibility underwater.

And what about wide angle?

Of course, I will most likely be able to use lenses such as Olympus’ 8mm fisheye or the 7–14mm wide-angle zoom with the right port setup. But for me, the more interesting option is actually to keep the compact 14–42mm kit lens on the camera and add a really good wet wide-angle lens when I need it.

A lens such as the AOI UWL-09 is a good example. It is a 0.45× underwater wide-angle conversion lens that gives up to approximately 130° diagonal field of view with a 28mm equivalent lens. It uses an M67 mount, is rated to 100 metres, and can focus all the way to the front dome. AOI also lists the 14–42mm EZ among the compatible PEN-system combinations for the UWL-09. That means one compact kit lens can potentially cover normal shooting, macro with a wet close-up lens, and wide angle simply by changing the wet optic underwater.

What makes it interesting for underwater photographers?

Hopefully… THE PRICE..!!!
The TG-7 is a great system where you get a lot of underwater camera for little money.
The PEN will surely be more expensive, and the housings likewise. But hopefully it’s at the cheaper end of the scale.
If you look at other OM-models, there are also cheap solutions for camera + housing. Particularly the: E-M10 Mark IV, where the camera is cheaper than the new PEN. But PEN is recent technology and with a cheap AOI housing, it will be among the strongest candidates for an underwater photographer who is looking to update.

But will it be a good system, then?
I have not yet tested the PEN underwater, and housing availability will ultimately decide how relevant it becomes for diving. But on paper, several things stand out to me: full manual exposure, RAW, two command dials, a dedicated AF-ON button, selectable AF areas, focus peaking, a compact Micro Four Thirds body and access to a very mature lens system.

For me, the AF-ON button is particularly important. Small cameras are often attractive underwater because they allow smaller housings, but the compromise can be reduced physical control. The new PEN goes in the opposite direction: the body is compact, yet OM SYSTEM has retained the controls experienced photographers actually use.

The next question is therefore not whether the camera can be handled manually. It can. The real question is what Nauticam, AOI, Ikelite and the other housing manufacturers decide to build around it — and whether all of those useful controls can be reached comfortably underwater.

Key specifications

Here are the specifications if you are looking at the PEN.

Conclusion

The new OM SYSTEM PEN is easy to dismiss as a stylish travel camera, but when I look at it as an underwater photographer, the specifications tell a different story. It combines a compact body with the controls I normally expect from a much more serious enthusiast camera. And hopefully not with a high price tag.

For a TG-7 user, you can of course dream about a future TG-8, with manual focus.
But to think that it would have a larger sensor, interchangeable lenses, full manual exposure, RAW, two command dials, a modern phase-detection AF system and — yes — a dedicated AF-ON button that makes back-button focus a realistic workflow, I would say… keep on dreaming.
The TG-7 is a low-end compact system, meant to be cheap and entry-level, and it will never bite into the larger models by having some of the features you´d be paying for at a larger system.
But if the housing manufacturers support the PEN with the right housing – it could become one of the most interesting next-step cameras for divers moving beyond the TG-series.

Sources

Technical information is based primarily on OM SYSTEM’s official 2026 PEN product page, technical specifications and launch information. Camera-control observations were cross-checked against the launch manual and current production-body photographs.

OM SYSTEM PEN – official product page
OM SYSTEM PEN – official specifications
OM Digital Solutions – official launch release, 9 September 2026

The post New OM SYSTEM PEN (2026): Compact Camera, Serious Manual Control — and Back-Button Focus appeared first on The FOTOGRAFIT Blog.

It combines very high output, extremely fast recycling, advanced burst-shooting modes and a powerful built-in video/target light in a single unit.

For photographers working with fast-moving subjects, high frame rates or demanding wide-angle scenes, that combination is particularly interesting.

GN44 output with a wide 120° beam

The Apollo III 3.0 is rated at GN44 and produces a broad 120° beam.

The goal is not just maximum output, but strong and even coverage across the frame – especially useful for wide-angle and fisheye photography where edge illumination matters as much as raw power.

Marelux uses a relative guide-number measurement method, comparing reference strobes and the Apollo under the same controlled conditions with a Sekonic light meter. That makes the GN figure primarily useful as a comparative indication of output.

0.6 second full-power recycle time

One of the most impressive specifications is the recycle time.

At full power, the Apollo III 3.0 is ready again in just 0.6 seconds.

That is exceptionally fast for a strobe in this power class and makes a real difference when shooting action, schooling fish, fast-moving marine life or repeated close-focus wide-angle sequences.

MTL mode – up to 20fps

The dedicated MTL mode is designed for high-speed shooting.

In this mode, the Apollo can fire at up to 20 frames per second at approximately GN22, with a recycle time of around 0.05 seconds.

This opens up possibilities that traditional high-power underwater strobes simply cannot match, especially with modern mirrorless cameras capable of very high burst rates.

PRE-M mode for compact cameras

The Apollo III 3.0 also includes PRE-M mode, designed to handle compact-camera pre-flash behaviour.

Instead of being confused by the camera’s initial pre-flash, the strobe can identify the correct trigger sequence and deliver consistent flash output.

This makes the Apollo much more versatile across different camera systems and triggering methods.

Broad compatibility and multiple flash modes

The main mode dial includes:

• OFF
• TEST
• MANUAL
• TTL
• HSS
• RC
• PRE-M
• MTL

That gives the Apollo III 3.0 broad compatibility with both traditional optical triggering and more advanced electronic control systems.

3,000-lumen target and video light

The built-in light is significantly more capable than the small focus lights found on many strobes.

It produces up to 3,000 lumens, with CRI 95 and a colour temperature of approximately 5500K.

That makes it useful not only as a target light, but also as a practical short-duration video or modelling light.

Triple-tube flash design

The Apollo III 3.0 uses a triple flash-tube design behind a beaded dome lens.

The flash tubes are designed for durability and have been tested to approximately one million flashes.

The combination of multiple tubes and the diffuser design is intended to produce a broad, even beam while maintaining high output.

High-drain 18650 batteries

Another feature we like is the battery system.

The Apollo III 3.0 uses three high-drain 18650 lithium-ion batteries rather than a proprietary battery pack. These are not ordinary low-current 18650 cells: the Apollo series requires high-current batteries capable of supplying the discharge current needed for its fast recycle times and high-speed burst modes. For our own Apollo setups, we use the Nitecore IMR18650 3100mAh high-drain batteries. They are rated for 20A continuous discharge and up to 35A pulse discharge, making them suitable for the high current demands of the Apollo strobes.

For travelling underwater photographers, that is a significant practical advantage. Spare batteries are easy to source, easy to replace and much easier to manage on longer trips.

Encrypted wireless triggering

Marelux has also built in encrypted wireless triggering with a stated range of up to 15 metres.

This can be useful for off-camera lighting setups, remote strobes and more creative lighting configurations where traditional optical triggering becomes limiting.

Designed for fast modern cameras

The most interesting thing about the Apollo III 3.0 is not one individual specification, but the combination of them.

GN44 output, 0.6-second full-power recycling, 20fps burst capability, multiple trigger modes, 3,000-lumen continuous light and high-drain 18650 batteries put it in a very different category from a conventional underwater strobe.

Modern mirrorless cameras are getting faster and faster. Until now, the strobe has often been the limiting factor.

The Apollo III 3.0 is clearly designed to reduce that limitation.

Who is the Apollo III 3.0 for?

This strobe is particularly interesting for:

• Wide-angle and fisheye photographers who need high output and broad coverage
• Fast-action photographers shooting marine life in bursts
• Photographers using high-frame-rate mirrorless cameras
• Users who want both a powerful strobe and a capable target/video light
• Travelling photographers who prefer replaceable high-drain 18650 batteries

Our first impression

The Marelux Apollo III 3.0 looks like a very serious step forward.

It is not simply about more flash power. The combination of speed, flexibility and practical battery design is what makes it interesting.

For photographers who regularly miss a shot because their strobes cannot recycle quickly enough, or who want to take advantage of the high burst rates of modern cameras, the Apollo III 3.0 could be one of the most interesting new strobes on the market.

More information and ordering:
Marelux Apollo III 3.0 Strobe at FOTOGRAFIT.eu

The post Marelux Apollo III 3.0 – A New Benchmark in Underwater Strobes appeared first on The FOTOGRAFIT Blog.

For underwater photographers, this is a particularly interesting lens. At 14mm it gives a 180° diagonal fisheye view, while at 8mm it produces a full circular 180° fisheye image.

But the part that makes it especially attractive underwater is the size.

The lens is only 83mm long, 63mm in diameter and weighs 314g. It uses internal zooming and focuses as close as 15cm throughout the zoom range. That combination makes it a very promising candidate for compact close-focus wide-angle setups behind a relatively small glass dome.

Why this lens is interesting underwater

Fisheye lenses remain one of the most useful tools for underwater wide-angle photography because they allow us to get extremely close to the subject while still including a very wide background.

The new Sony 8–14mm adds something Sony full-frame users have not had natively before: a fisheye zoom that moves from a conventional 180° diagonal fisheye at 14mm all the way to a circular fisheye at 8mm.

Combined with the short minimum focusing distance and compact dimensions, it could make for a very versatile underwater setup.

Sony FE 8–14mm F3.5 Fisheye G – key specifications

• Full-frame Sony E-mount
• 8–14mm fisheye zoom
• Constant F3.5 aperture
• 180° field of view
• 15cm minimum focusing distance
• Internal zoom
• 314g
• Expected availability: October 2026

Nauticam support: two different routes

Nauticam has confirmed support for the lens, and there are now two clearly different ways to build the system: an N120 solution using existing Nauticam dome-port architecture, or a new, more compact N100 solution based around a dedicated 140mm glass fisheye port.

The two approaches are not identical, so it is worth understanding the differences before choosing.

Option 1: N120 – the existing and more flexible solution

For Nauticam housings using the N120 port system, the Sony 8–14mm is supported with #37305 in combination with #18802 / #18811 / #18812.

These are the three compatible N120 dome-port options:

This is the more flexible solution, especially if you want to retain manual focus control.

Nauticam has also introduced two dedicated gears for the lens:

• #37185 SFE814-Z – Zoom Gear for Sony FE 3.5/8-14G
• #37186 SFE814-F – Focus Gear for Sony FE 3.5/8-14G

Important when using 8mm circular fisheye

At 8mm, the lens produces a circular fisheye image. To avoid the dome shade appearing in the frame, the shade must be removed before the dive.

Using the 230mm glass dome

With the 230mm glass dome port #18812, Nauticam notes that the standard focus knob on #37305 may interfere with the dome body.

To solve this, Nauticam offers a smaller replacement focus knob:

#95171 Smaller Focus Knob for 37305 to use with 18812

This allows smooth focus control while keeping the larger N120 dome setup.

In practical terms, the N120 route is the better choice if you already own compatible N120 dome ports, want maximum flexibility, or specifically want access to manual focus underwater.

Option 2: N100 – the new compact 140mm glass fisheye solution

For the N100 port system, Nauticam has created a completely new dedicated port:

#37188 N100 140mm Glass Fisheye Port with Removable Shade II

This is probably the solution that will attract the most attention from photographers who want to keep the whole setup as compact as possible.

The port uses a quick-removable shade similar to the shade system used on Nauticam’s FCP. This is particularly useful with the 8–14mm because the shade needs to be removed when shooting the circular fisheye view at 8mm.

The big advantage is obvious: a small lens combined with a dedicated 140mm glass fisheye dome makes for a much more compact full-frame underwater wide-angle setup than the traditional large-dome approach.

The important limitation: no focus control

The compact N100 solution does have one important limitation.

Due to the limited space available around the lens and port, manual focus control is not supported with the N100 #37188 configuration.

Zoom control is supported, but if you specifically want access to manual focus underwater, Nauticam recommends the N120 solution instead.

N100 or N120 – which one makes most sense?

Choose the N100 #37188 solution if:

• You want the smallest and most compact setup possible
• You like the idea of a dedicated 140mm glass fisheye dome
• You mainly rely on autofocus
• You want a quick-removable shade for switching to 8mm circular fisheye

Choose the N120 solution if:

• You already own compatible N120 ports
• You want more flexibility in dome choice
• You want manual focus control underwater
• You prefer to build the new lens into an existing N120 system

One important incompatibility

Nauticam has specifically confirmed that the newer #18816 140mm optical glass fisheye port with integrated ER 20 is not compatible with the Sony 8–14mm.

The reason is vignetting across the 8–14mm range.

So for a compact 140mm solution, the correct choice is the new N100 #37188, not #18816.

A very interesting new Sony underwater lens

The Sony FE 8–14mm F3.5 Fisheye G could become one of the most interesting new wide-angle lenses for Sony full-frame underwater photographers.

The compact dimensions, 15cm minimum focusing distance and unusual 8–14mm zoom range are already attractive. The fact that Nauticam is supporting it with both an existing N120 route and a new dedicated 140mm N100 glass dome makes it even more interesting.

For photographers who want the smallest possible system, the N100 solution is particularly appealing. For photographers who want full flexibility and manual focus control, N120 remains the stronger option.

We will update this article as soon as Nauticam releases the final port chart and more detailed compatibility information.

Relevant Nauticam port options at FOTOGRAFIT

Nauticam 230mm Optical Glass Fisheye Dome Port II #18812
One of the N120 dome options discussed above for the Sony FE 8–14mm F3.5 Fisheye G setup.

See all Nauticam ports and adapters at FOTOGRAFIT.eu

The post Sony FE 8–14mm F3.5 Fisheye G Underwater – Nauticam N100 vs N120 Port Options appeared first on The FOTOGRAFIT Blog.

When Nauticam releases a new set of optics, I pay attention. Few brands have refined underwater imaging tools with such precision and purpose. Their 2025 lineup of close-up lenses — from the iconic Super Macro Converters (SMC) and Compact Macro Converters (CMC) to the new Mid-range Focus Optimizers (MFO) — feels like a complete ecosystem built for photographers who live for the fine details beneath the surface.

This isn’t just a spec refresh. It’s a rethink of how we approach macro and mid-range imaging underwater — balancing magnification, working distance, and optical sharpness in a way that gives each lens a clear personality.

The Super Macro Converters: SMC-3 and SMC-2

The SMC-3, Nauticam’s latest evolution in its flagship macro series, is a compact powerhouse. Smaller and lighter than its predecessor, it manages to deliver even more sharpness and contrast while extending the working distance a bit — a subtle but crucial benefit when you’re face to face with delicate marine life.

Its bokeh rendering is beautifully smooth, and shooting at wider apertures feels newly rewarding. As Alex Tattersall put it, “The SMC-3 is sharpness, contrast and detail in a small package… its smaller size allows greater working distance from your subject.”

The SMC-2, meanwhile, is the specialist’s tool — built purely for magnification and micro-detail. It’s about revealing what the eye can’t see. Shooting with the SMC-2 is a bit like peering through a microscope at the ocean’s artwork.

Both SMC lenses are engineered for full-frame systems and promise uncompromising optical performance — making them a go-to for serious macro photographers who push their gear as far as it will go.

The Compact Macro Converters: CMC-1 and CMC-2

For travel shooters and mirrorless compact setups, the CMC series continues to impress. The CMC-1 and CMC-2 provide serious magnification with surprisingly light and compact builds, making them ideal companions for smaller rigs like the Olympus EM10ii or Sony A6700.

Where the SMCs are about raw macro power, the CMCs are about versatility. I’ve used the CMC-2 on compact and APS-C systems where portability matters, and it’s consistently produced sharp, vibrant images. Nauticam’s optical coating and precise curvature give it a clarity you rarely see in add-on wet lenses.

Even compact camera users (think Canon G7X shooters) will appreciate how these converters unlock a completely new realm of close-up possibilities without compromising autofocus speed or handling.

Mid-Range Focus Optimizers: MFO-1 and MFO-3

If there’s a true revolution in the 2025 lineup, it’s here. The Mid-range Focus Optimizers — MFO-1 and MFO-3 — redefine what’s possible between macro and mid-range shooting.

These lenses effectively transform the behavior of standard 90mm or 105mm macro lenses, allowing photographers to focus closer, faster, and with greater depth of field. They minimize focus hunting (a common frustration underwater) while maintaining beautiful color reproduction and contrast.

The MFO-1 sits elegantly on a 105mm and quietly improves nearly everything: color fidelity, image sharpness, and focus speed. As Alex Tattersall described, “It sits unassumingly on the front of my 105mm most of the time, improving image quality, reducing hunting and offering some magnification.”

The MFO-3, on the other hand, is the star of the show. It brings a wide, almost cinematic field of view to traditional macro systems — something that both Dr. Alex Mustard and Mike Bartick have praised. Mustard notes, “The MFO-3 basically converts the Canon 100mm into a 60mm macro, and the Sony 90mm into a 50mm — while keeping the fast AF and high-quality optics.”

For underwater photographers working in challenging visibility, the MFO-3 is a dream. It gives you the ability to fill the frame with larger subjects — seahorses, frogfish, or even morays — without backing off into the blue.

In the Field: Voices from the Deep on the MFO-3

The testimonials in Nauticam’s material read like the collective experience of shooters who’ve tested these optics in every condition imaginable.

Mike Bartick describes using the MFO-3 on a Nikon Z8:

“When photographing behavior, quality is paramount… the MFO-3 significantly improved my focus and overall image quality.”

Alex Mustard echoes this:

“Such shorter focal length macro lenses are very valuable for those that dive in poor visibility or shoot larger macro subjects… It’s impressively sharp across the frame.”

And from Yazid El Shaari, who tested the MFO-3 prototype on a Sony A7RV:

“Its wide field of view gave me the leverage to stay close while still framing the full head of a large honeycomb moray cleanly.”

Hearing that kind of praise from multiple respected shooters tells me this lineup isn’t just about specs — it’s about usability, balance, and creative freedom.

Final Thoughts

With this new generation of close-up optics, Nauticam has built something rare — a cohesive system that lets you choose your macro mood. Whether you’re chasing pygmy seahorses with the SMC-2, experimenting with soft bokeh on the SMC-3, or exploring wide-angle macro with the MFO-3, every lens in this lineup feels purpose-built and optically refined.

For me, that’s what defines great gear: tools that don’t just perform, but inspire you to dive again.

See the Nauticam macro optics

Nauticam wet lenses and macro optics at FOTOGRAFIT.eu
See the current Nauticam close-up range, including SMC, CMC and MFO optics, together with the other Nauticam wet-lens options.

The post Exploring Nauticam’s Close-Up Lens Lineup: Precision, Clarity, and Creative Freedom Underwater appeared first on The FOTOGRAFIT Blog.

When faced with the challenge of choosing a travel-friendly, lightweight camera system, the options may seem overwhelming. Recently, a customer reached out to me seeking guidance after considering the popular Sony RX100 Mark VII. As a devoted Sony user enchanted by the RX100 series, I found myself recommending two compelling alternatives: the Nikon Z 50 Mark II and the Canon R50. Here’s why these might be worth considering:

The Charm of the RX100

The Sony RX100 series boasts a compact, elegant design that many photographers, including myself, find irresistible. However, with the ever-evolving camera market, new contenders have emerged. Nikon and Canon have presented options that not only mirror the professional appeal of the RX100 but also offer enhancements in several aspects.

Alternative Options

**Nikon Z 50 Mark II and Canon R50**: Both these cameras come with a robust setup, resembling pro versions. The portability of these systems is similar to the RX100; however, they introduce some enticing advantages. The fixed bare lens system and port in these cameras mean you’ll have to utilize specific lenses—Nikon’s 16-50mm or Canon’s 18-45mm lenses. This setup yields great versatility, allowing the use of wide-angle and macro lenses effectively.

Picture sensor is APS-C (large and sensitive)

One of the standout features of the Nikon and Canon systems is their larger APS-C sensor, which is significantly more light-sensitive compared to the one-inch sensor in the RX100. This leads to better low-light performance and improved focus capabilities, making these systems suitable for underwater photographers who often work in dim environments.

The advanced autofocus systems utilize roughly 90% of the image area, ensuring better subject tracking across varying conditions—an upgrade over the RX100’s performance.

Practical Considerations

**Design and Build**: The Nikon system is slightly thicker and more expensive, and it lacks a built-in vacuum system, which comes standard with the Canon. On the other hand, the Canon system offers the convenience of an integrated vacuum, eliminating the need for additional purchases.

**Video Capabilities**: Both systems offer superior video features, including higher bitrate codecs, reduced rolling shutter, focus peaking, and the option to shoot in C-Log on Canon, which is advantageous for capturing high-quality video footage underwater.

**Weight and Cost**: In terms of weight, the differences are marginal—both camera systems are relatively heavier than the RX100, but not so much that it would deter portability. Costs are comparable when the necessary lens and housing are factored in, making these systems competitively priced alongside the RX100.

Final Thoughts

Ultimately, the decision between these camera systems will depend on personal preferences and past experiences. A recent conversation with a customer revealed that he opted for the Nikon system, influenced by his history as a Nikon photographer. Both the Nikon Z 50 Mark II and the Canon R50 offer compelling reasons to reconsider staying within the Sony ecosystem. For those exploring new avenues, these alternatives provide an intriguing future for underwater photography.

Whether you’re drawn to the familiarity of Sony, the established legacy of Nikon, or the innovative edge of Canon, investing in a camera system is a personalized journey where versatility, performance, and ergonomics should guide your choice.

Contact & links:
We at FOTOGRAFIT are always ready to help with offers, prices and information about new housing systems.
So do not hesitate to contact us.
www.fotografit.eu

Nauticam housing for Canon R50:
https://fotografit.eu/products/461-nauticam-underwater-housings/5889-nauticam-na-r50-housing-pro-package/

Nauticam housing for Nikon Z50-II
https://fotografit.eu/products/461-nauticam-underwater-housings/6402-nauticam-na-z50ii-housing-for-nikon-z50-ii-/

The post Choosing an Underwater Camera System: Exploring Alternatives to the Sony RX100 Mark VII appeared first on The FOTOGRAFIT Blog.

Testing Your Rig’s Buoyancy if you have to add floats to arms

1. Assemble Your Full Setup
   Start by putting together your entire underwater system – camera, housing, arms, lights, and any accessories you plan to use during your dive. Attach everything securely, just as you would for an actual dive.
   
   
2. Tie on a Long String
   Secure a long, strong string to the rig. You’ll use this to lower it into the water and measure the buoyancy.
   
   
3. Lower the Rig into Water
   Head to a location with easy water access – a dock, pool, or calm shore will do. Gently lower the rig into the water using the string.
   
   
4. Attach a Luggage Scale
   Tie the free end of the string to a luggage scale. With the rig fully submerged and hanging freely, read the weight shown on the scale. This is how much negative buoyancy (in grams) your rig has underwater. Example: If the scale reads 1250g, your setup is pulling downward with that much force.
   
   
5. Calculate Required Floatation
   To make your rig neutrally buoyant, you’ll need to add floats that provide 1250g of lift. For example, StiX Jumbo floats offer 190g of lift each, so: 1250÷190≈6.5 floats.
   In real-world terms, that means 3 floats on each side of your rig should get you very close to neutral.
   
   

Proceedure if you want to exchange some of your existing arms with new ones.

1. If you already have arms, that you want to exchange, you need to weigh the system without them.
   
   
2. Set your system up, but remove the arms you do not want to use anymore.
   In short – you put everything else together, incl the clamps that are to be used.
   (Yes, the system can not be put together correctly, since there are now too many clamps, but you can add them to the system with cable ties, as you NEED to know their weight too)
   
   
3. Now you put the setup (without the old arms) in the water, and see how much the scale reads.
   This will equal the nett-lift of the new arms you have to add.
   
   
4. All our arms are mentioned on our website with nett-lift, and this will allow you to decide what arms you like and shall use.
   
   
5. So, if you are two arms short, and have a nett-negative lift of 1500g, then you know that the two new arms need to have a nett-lift of 750 g each.
   

Final Tips

• Aim for slight negative buoyancy as a system too buoyant is not comfortable.
• Consider trimming your setup in a pool or on a confined test dive before open water use.
• Remember, water types can affect buoyancy slightly. (more or less salt)
  

Need help choosing the right floats for your system?
Feel free to contact us – we’re happy to help!

Buoyancy options at FOTOGRAFIT

AOI Float Arms
Buoyancy arms in several sizes and lift capacities for replacing or upgrading standard arm sections.

StiX Floats
Modular foam floats that can be added to existing arms or macro ports to fine-tune buoyancy.

Universal FAX Floats (FAXS / FAXM)
Universal buoyancy floats for aluminium arms, available in different sizes for adding lift without replacing the arm system.

Here you can see a system put together and ready to be measured.

The post How to Find the Right Buoyancy for Your Underwater Camera Rig appeared first on The FOTOGRAFIT Blog.

On a recent dive in the crisp Norwegian waters, I finally got the chance to really test out the Weefine WF079 Smart Torch. Until then I have had it in local waters and one trip to the Red Sea, but never had time to do an intense test.
And wow, what a versatile little light! Whether you’re after razor-sharp macro shots or a dreamy snoot effect to isolate your subject, this compact powerhouse does it all.

I mainly used the TG-7 camera from Olympus. So I was able to get really close to things without much hassle, and I often combine the light with the new Weefine Ring Light 3000 (WFRL3000). The reason I did this was that the snoot is really bright, and if I were not able to measure the light exactly in the spot, the exposure could go off, and the snoot beam over-exposed.
So with the Ring Light, I could lighten the shadows and even out the contrast.
It also had the effect that the background was not completely black, but only subtle… which gave a great effect.

More than just a small light

The Smart Torch isn’t just a great focus light (1200 lumen strong, mind you), it doubles beautifully as a video light or focus light and—here’s the best part—a fantastic snoot setup. Using the WFA61 Snoot Lens, I was able to create dramatic spot lighting that brought out details in my subjects like never before.

It is also possible to add the WFA62 Multicolor Filter and Snoot System into the mix, and you’re set for some real creative play—colored highlights, textured lighting, and complete control over how your scene is lit… I did not use this on this trip, but it is something that I look forward digging into.

This is SO easy to travel with

Another win? It’s super travel-friendly. Lightweight, compact, and runs on a single 21700 battery (included, of course), this kit was ready to go right out of the box.

And if you’re into flash photography, the Smart Torch even supports a flash boost function via fiber optic connection—ideal when you need a little extra pop in your frame.

Fixed with a flexarm

Let me be clear… I am not the biggest fan of flexarms. But I wanted to keep this setup lite… so I just added a single flexarm to hold the snoot. I could also have held it in my hands, but with the small pictures I was making, it was important that I could keep the light very still… so it was a good solution.

So, from handheld snoot experiments to mounted setups, this light gave me all the flexibility I needed to make the shooting I wanted. And yes, a flash will always freeze the moment and keep your images sharp, but they also tend to take up more room and make it harder to get that special shot.
The pictures in this post are just a small taste of what’s possible when tech meets creativity below the surface.

Whether you’re shooting critters, textures, or just playing with beams of light in the dark—this snoot kit is absolutely worth a spot in your dive bag.

What do you need?

If you wish a light of your own, the base light is the Smart Torch (WF079)

But it also comes as a KIT, with the lens and the snoot (WFA61)

The extended KIT with both lens, large snoot, and filter/snoot kit is called: (WF095)

Get help and overview

You can get the full overview of Underwater Snoot Lights in our webshop, and you are always welcome to contact us for more info and good advice on how to mount the snoot.

The post Shooting with the Weefine Smart Torch Snoot appeared first on The FOTOGRAFIT Blog.

When it comes to capturing the perfect shot, lighting can make or break your vision. The AOI Ultra InTeLi Strobe – Performance 1 is not just another piece of gear; it’s a game-changer for photographers and videographers who demand precision, reliability, and innovation. Designed for underwater photography, high-speed imaging, and advanced studio setups, this strobe is the ultimate lighting solution.

Let’s dive into what makes the AOI Ultra InTeLi Strobe – Performance 1 an amazing strobe your toolkit.

Why the AOI Ultra InTeLi Strobe Stands Out

Lighting isn’t just about brightness—it’s about balance, accuracy, and adaptability. The AOI Ultra InTeLi Strobe delivers exceptional results, no matter the setting, thanks to its innovative design and performance-driven features.

Exceptional Illumination

Ever struggled with uneven lighting or washed-out colors? Those days are over. The AOI Ultra InTeLi Strobe boasts advanced optical technology that ensures bright, even illumination with unmatched color accuracy. Whether you’re shooting vibrant coral reefs or dynamic studio portraits, your images will burst with life.

Compact and Lightweight Design

Big on performance doesn’t have to mean big in size. The AOI Ultra InTeLi Strobe is:

• Compact: Easily fits into your gear bag.
• Lightweight: Designed for long shoots without causing fatigue.
• Ergonomic: Its user-friendly design makes handling a breeze.

This makes it perfect for photographers who are always on the go, from rugged outdoor shoots to underwater adventures.

Energy Efficiency

Nothing ruins a creative streak like running out of power mid-session. With cutting-edge energy-saving technology, this strobe maximizes battery life without compromising on output. Pair that with 2x 21700 Li-Ion batteries, and you’re set for extended shooting sessions.

High-Speed Performance

Fast-paced action demands a strobe that keeps up. The AOI Ultra InTeLi Strobe’s high-speed performance ensures:

• Fast recycle times (< 2 seconds) for continuous shooting.
• Consistent output, capturing split-second moments with precision.

From high-speed sports photography to underwater action, you’ll never miss a moment.

User-Friendly Controls

Let’s face it—nobody likes fiddling with complicated settings during a shoot. The AOI Ultra InTeLi Strobe is equipped with:

• Intuitive controls for quick adjustments.
• A color status and setting display to keep things simple and efficient.

This means more time focusing on your craft and less time worrying about your equipment.

Durability and Versatility

Built to withstand tough conditions, the AOI Ultra InTeLi Strobe is made from high-quality materials that resist wear and tear. It’s versatile enough to handle:

• Underwater photography, withstanding pressure and saltwater.
• Rugged outdoor environments, enduring dust and impact.
• Studio setups, delivering consistent, high-quality lighting.

Key Specifications

• Ring Flash Tube: Super wide-angle flash beam for comprehensive coverage.
• Guide Number (GN): 28 for powerful light output.
• Recycle Time: Less than 2 seconds at full power.
• 3,000 Lumens COB: For brilliant, continuous lighting.
• Built-in Switchable TTL Systems: Compatible with OMDS RC-TTL and Sony TTL systems.
• Color Display: Keeps settings clear and accessible.

Who Should Use the AOI Ultra InTeLi Strobe?

This strobe is ideal for:

• Underwater photographers: Its durability and wide-angle flash beam make it perfect for capturing underwater wonders.
• High-speed imaging enthusiasts: With quick recycle times and consistent output, action shots have never been sharper.
• Studio professionals: Achieve stunning portraits and product shots with precision lighting.
• Adventurous hobbyists: Its compact and robust design suits those who love taking their gear off the beaten path.

Tips for Getting the Most Out of Your AOI Ultra InTeLi Strobe

1. Experiment with TTL settings: The built-in OMDS RC-TTL and Sony TTL systems make adjusting to different lighting conditions a breeze.
2. Use it underwater: Pair it with a waterproof housing to capture breathtaking underwater shots.
3. Keep spare batteries handy: Although the strobe is energy-efficient, having a backup ensures uninterrupted shooting.

FAQs

Conclusion

The AOI Ultra InTeLi Strobe – Performance 1 is a great investment in your creative vision. From underwater expeditions to fast-paced action and studio perfection, this strobe delivers on every front. If you’re ready to elevate your photography or videography game, the AOI Ultra InTeLi Strobe is the lighting solution you’ve been waiting for.

The post AOI Ultra InTeLi Strobe – Performance 1: Lighting Redefined for Professionals and Enthusiasts appeared first on The FOTOGRAFIT Blog.

If you’re diving with a camera, the Backscatter Macro Wide 4300 might just become your new favorite gear. This light is all about flexibility: it has a super-bright 4300-lumen wide beam for lighting up big scenes and a tight 1400-lumen beam for close-up shots, so you get the best of both worlds in one compact, rugged package.

Simple Controls and Easy Switching

The light’s wide beam is fantastic for capturing those sweeping underwater landscapes or big reef scenes—it’s bright enough to fill your shot without harsh shadows. Then, when you want to zero in on small details, like a shy fish or intricate coral patterns, just switch to the macro mode. Swapping between modes is surprisingly smooth, even underwater. It has a straightforward push-button control to change brightness settings (high, medium, low, and an SOS flash). The buttons are easy to press even with gloves on, which is great if you’re focused on getting the shot rather than fiddling with settings.

Battery Life That Lasts

Nothing kills the mood faster than a dying light mid-dive. Thankfully, the MW-4300 runs for about 90 minutes at full power—plenty of time to capture everything you need in a single dive or even across a couple of shorter ones. And if you don’t need the full blast of light, using it at lower brightness levels helps it last even longer.

True Colors, Less Editing

One of the best perks of the MW-4300 is how well it captures colors. Anyone who’s taken underwater photos knows that water absorbs light, especially red, and can leave your photos looking washed out. But this light is designed to bring those colors back to life, so your shots actually look as vibrant as the scenes you saw. If you’re not a fan of spending hours editing to fix dull colors, this light will be a huge help.

The Bottom Line

The Backscatter MW-4300 is a game-changer for anyone serious about underwater photography. It’s powerful, easy to use, and built like a tank. If you want a light that can handle everything from wide-angle reef shots to close-up macro details, this one does it all. Dive in, light it up, and get ready to capture the underwater world in vivid, true-to-life colors. This light just might be the best thing in your dive bag!

Buy the Backscatter Macro Wide 4300 Underwater Video Light

The post Backscatter Macro Wide 4300 Underwater Video Light MW-4300 | Quick Review appeared first on The FOTOGRAFIT Blog.

AOI Q1 Ultra Compact Strobe

If you’re on the lookout for a compact, versatile strobe that won’t weigh you down but still delivers on performance, the AOI Q1 Ultra Compact Strobe could be just the thing. Designed with underwater photographers in mind, this little powerhouse combines a strong light output, intuitive controls, and a truly travel-friendly design. Let’s take a closer look at why the Q1 is getting a lot of love in the underwater photography community.

Powerful Light Output in a Small Package

One of the biggest reasons the AOI Q1 stands out is its impressive light output. With a guide number of 22, this strobe offers the kind of brightness you’d expect from much larger models. This high guide number really helps when you’re dealing with low-light underwater conditions, where you want enough light to bring out vibrant colors and details. For macro photographers, that precise and powerful light is a huge benefit. Even in wider shots, the Q1’s light adds the right contrast to enhance depth.

A User-Friendly Strobe That’s Easy to Handle

Many strobes out there can feel complicated, especially for those new to underwater photography. But the AOI Q1 keeps things simple, with straightforward controls that make it easy to adjust light intensity even while you’re underwater. The design doesn’t overwhelm with too many settings, so you can get professional-looking results without spending a ton of time fiddling with controls. Plus, the Q1 has a fast recycling time, so you’re always ready to capture the next shot.

Perfectly Portable with Long-Lasting Battery Life

If you’re often on the move or want a streamlined setup, you’ll appreciate the compact design of the AOI Q1. This strobe is lightweight and easy to carry, even when you’re already loaded with diving gear. For photographers who like to travel light, it’s a solid choice. And the built-in rechargeable battery is a big plus—you won’t need to constantly swap batteries or worry about running out of power halfway through a dive. A full charge is typically enough for multiple dives, and recharging between sessions is quick and easy.

Flexible Mounting for Any Setup

Another great feature of the Q1 is its versatile mounting options. Whether you’re using a compact camera or a mirrorless system, the Q1 adapts well to various setups, making it ideal for photographers with a range of gear. This flexibility also means the Q1 can grow with you if you decide to upgrade your camera system down the line. For many photographers, having a strobe that fits into different rigs is a huge advantage.

Real-World Performance

In the field, the AOI Q1 Ultra Compact Strobe does exactly what it promises. It provides bright, even lighting that brings out the vibrancy of underwater scenes, saving you time on post-processing. The strobe’s strong, compact light is especially handy for macro shots, where every small detail matters. Its quick recycling time means you’re not stuck waiting between shots—ideal for capturing those quick, unmissable moments.

Final Takeaway

Overall, the AOI Q1 Ultra Compact Strobe is a well-rounded choice for underwater photographers who want a reliable, easy-to-use strobe without lugging around bulky gear. While it may lack some of the extra features of larger strobes, it hits the sweet spot for power, portability, and simplicity, making it a great pick for both travel and daily use.

If you’re looking for a compact strobe that delivers on light output and ease of use, the AOI Q1 could be a perfect fit. It’s beginner-friendly but high-quality enough for seasoned photographers, so it’s a worthwhile investment for anyone aiming to level up their underwater photography setup.

Buy the AOI Q1 Ultra Compact Strobe

The post AOI Q1 Ultra Compact Strobe: A Travel-Friendly Powerhouse for Underwater Photography appeared first on The FOTOGRAFIT Blog.

In this guide, we’ll go over basic steps to your maintaining underwater photography equipment, including daily cleaning and long-term storage. You’ll find practical tips to prevent corrosion, avoid damage, and keep your camera and accessories in good condition for clear, consistent images.

Introduction to Underwater Photography Gear

For underwater photography, you need some pretty specific gear to capture clear images in the water. This usually includes things like waterproof camera housings, special lenses, strobes or underwater lights, and other add-ons like wet lenses and port covers. Each part needs regular care and attention to handle underwater conditions, like exposure to saltwater and the pressure changes that come with diving.

Why Maintenance is Important

It takes some of your precious time to maintain your gear underwater, but the results will pay off in better shots and a longer-lasting setup. Easy routines to get into at the end of every dive include rinsing, lubricating O-rings, and storing correctly to ensure that your equipment is always ready for the next dive. Being consistent with them will provide years with your gadget at peak performance.

Basic Tools for Maintenance

To maintain your underwater photography equipment effectively, you’ll need a set of basic tools and cleaning materials. Here’s a quick list:

• Freshwater rinse container: Large enough to soak and rinse equipment post-dive.
• Soft microfiber cloths: For gently wiping lenses and screens.
• Air blower: Handy for drying hard-to-reach areas without scratching surfaces.
• Lens cleaning solution: Alcohol-free to prevent residue on optics.
• Silicone grease: Essential for lubricating O-rings without damaging rubber.
• Protective case: For safe storage and transport of delicate parts.

Having these on hand will simplify maintenance, ensuring you can clean, dry, and inspect your gear after every dive.

Pre-Dive Preparation

Before heading out on a dive, it’s essential to inspect and prepare your gear meticulously.

Inspect and Assemble
Check for any apparent damage to your housing, the ports, and other parts. Pay extra attention to the O-rings; those are your main seals and guards against leakage. When everything seems okay, begin to assemble your camera and equipment, following instructions from the manufacturer closely.

Test Waterproof Seals
Make sure every latch is closed and tightly fastened. You can even dunk the housing (without a camera inside) in freshwater to check that everything is waterproof. This small test generally gives one confidence in confirmation that seals work right, so you will be diving confidently.

Daily Cleaning Routine

After each dive, cleaning your equipment is the most important step in maintaining it. Salt, sand, and other particles can build up and damage your gear if left unattended.

Rinse with Freshwater
Freshwater rinse your gear immediately after a dive. If time allows, let it soak for several minutes as this will allow any remaining salt to dissolve. The longer the dive, or the saltier the environment, the longer the soak will be to more adequately remove all of the particulate.

Clean Optical Components
After rinsing, gently wipe down lenses, ports, and screens with a microfiber cloth. Steer clear of abrasive materials, as they can scratch the glass or damage any coatings.

Preventing and Managing Corrosion

Saltwater exposure is the most common cause of corrosion, which can quickly degrade even the best underwater photography gear. To prevent this, follow these practices:

• Regular freshwater rinsing: Never allow saltwater to dry on your equipment.
• Dry thoroughly: Use an air blower to dry crevices and joints.
• Avoid harsh cleaners: Chemicals may damage coatings and O-rings.

Lens and Port Maintenance

Lenses and ports are critical to image quality, so extra care is needed.

Cleaning Lenses and Ports
Use a soft microfiber cloth to clean the lens and port surfaces, ensuring they remain free from smudges and residue. Avoid direct handling with bare hands to prevent fingerprints.

Protecting Glass and Acrylic Ports
If you are not using your equipment, a port cover can be set on the port. In terms of cleaning, for glass ports special cleaning solutions are appropriate while acrylic ports should be treated more carefully to avoid scratches.

Handling Seals and O-Rings

O-rings are the linchpin of underwater equipment. A faulty or dry O-ring can lead to catastrophic leaks.

Inspecting and Lubricating O-Rings
Before every dive, check the O-rings for nicks or debris. Apply a small amount of silicone grease to keep them supple and effective, but avoid over-greasing as this can attract particles.

Avoiding Common O-Ring Mistakes
Using the wrong grease or neglecting to clean O-rings properly are common mistakes. Follow your gear’s specific guidelines to avoid these errors and keep your O-rings in top condition.

Battery Care and Management

Battery care is essential for reliable performance underwater.

Choosing the Right Battery Type
Use manufacturer-recommended batteries to ensure optimal performance and battery life. Avoid low-quality batteries that might swell or leak under pressure.

Battery Compartment Maintenance
Keep battery compartments clean and dry. Before inserting, wipe down batteries to remove any particles, and always check for a tight seal after closing the compartment.

Storage Practices for Longevity

Proper storage can significantly extend the life of your underwater photography equipment.

Store in Cool, Dry Places
Humidity can damage electronic components, so store your gear in a cool, dry place. A desiccant packet inside the storage container can help manage moisture.

Avoiding Extreme Temperatures
Extreme heat can affect battery life and damage seals, while extreme cold may cause condensation. Try to maintain moderate storage conditions.

Travel Tips for Underwater Gear

Traveling with underwater equipment requires special care.

Packing Tips for Safe Travel
Padded cases are for sensitive components. Separate batteries and other sensitive parts against the impact caused by bad roads and vibrations when packing.

Flying with Batteries
Airlines may have restrictions in terms of type and number of batteries in carry-on baggage. Always verify ahead of time if there are any new regulations. Lithium-ion batteries are often restricted and must be properly packaged to prevent short circuits.

Troubleshooting Common Issues

Knowing how to troubleshoot issues can save time and prevent permanent damage to your equipment.

Leaks and Condensation
If you notice leaks, stop using the equipment immediately. Remove the camera, dry it thoroughly, and inspect all seals. For condensation, check for any temperature differences or humid environments in your setup.

Fixing Fogged Lenses
Fogged lenses are usually due to temperature differences. Try using anti-fog inserts inside the housing to prevent this issue from affecting your photos.

Conclusion and Final Tips

Keeping your underwater photography gear in good shape may take some time, but it’s worth it for better shots and a longer-lasting setup. Simple routines like rinsing after each dive, lubricating O-rings, and storing everything properly help make sure your equipment is always ready for the next dive. Sticking with these habits will help you get the most out of your gear for years.

Maintenance Products

NOVUS Polish 2oz Bottle Set
This polish set is great for keeping your acrylic dome and flat ports in top shape. It includes three different polishes and a lens cloth to help remove light scratches and scuffs, so your gear stays clear and scratch-free.

Anti-Fog Inserts for GoPro
These inserts are a simple fix for foggy lenses in cold or humid conditions. Just drop them in your GoPro housing, and they’ll help keep your lens clear, so you always get sharp, fog-free shots. Plus, they’re reusable!

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