Got a TG-7 housing and wondering how to hook up your strobes? Don’t panic — the fix is simpler (and a little braver) than you think. Sometimes you just have to cut the cables — literally.

You Need an Adapter

The popular Olympus TG-6/7 housing isn’t born ready for fiber optic cables — it needs a little help.
The AOI FCA-01 adapter mounts neatly onto the housing, but here’s the catch: it gives you only one L-type hole for your cable.
That means you’ll need a split cable if you’re running two strobes.

Want More Flexibility?

A split cable works great for dual strobes — but what if you only want to dive with one (say, when you’re snooting)?
That’s where a quick 45° snip comes in. Cut your fiber optic cable at an angle, expose the inner fiber, and it’ll fit perfectly into your adapter for a clean, reliable flash setup.

Single or Double Studs

You can choose between single or double studs that slot into the L-type hole on the adapter.
If your housing has only one port, just use a double stud and plug both cables right into it — compact, sturdy, and ready for any lighting setup.

Ready, Set, Cut!

Once you’ve trimmed, fitted, and plugged in the new connector, your setup is dive-ready — no loose ends, no misfires, just sharp, beautifully lit underwater shots every time.

Sometimes the best upgrade is just a little courage… and a good pair of scissors.

Link to the AOI – FCA-01:
https://fotografit.eu/products/65-underwater-strobe-accessories/4098-fiber-cable-adapter-for-olympus-pt-056–pt-058-/

Link to fiber optic cables:
https://fotografit.eu/products/448-fiber-optic-flash-cables/

The post Got Only One Hole for Your Flash Cable? appeared first on The FOTOGRAFIT Blog.

Every year a Nudibranch Safari is held at the popular diving site Gulen in Norway.

The event is known to everyone with an interest in nudibranchs, but also by many underwater photographers, because even though Gulen is a cold-water diving destination, it is also a hot spot when it comes to underwater photography. In addition to being an ordinary diving resort, due to its good logistics, it has been used over the years for workshops, TV recordings, training and other events by underwater photographers from all over the world. I started doing workshops here myself almost 15 years ago, where I had Alex Mustard as a co-teacher.

Gulen is a really nice diving site, which has some of Norway’s best wreck dives in the immediate area, and at the same time it has a very easily accessible and usable house reef right in front of the center, which is known to house an extraordinary number of nudibranchs. Because the house reef offers exciting diving from a few meters deep to a good 40 meters without having to move much and because the fjord is over 100 meters deep just around the corner, the variety of wildlife is high.

Nudi for nerds

The nudibranch event at Gulen has existed since 2008 and was started by the well-known macro photographer Christian Skauge because there was a dive trip with bad weather, where you couldn’t sail out to the wrecks. It quickly became a success and after a few years they invited 2 associate professors from the Norwegian University of Science and Technology, Torkild Bakken and Jussi Evertsen. Both worked with nudibranch taxonomy and distribution for Norwegian waters since 1997, which brought the event to a completely different professional level.

The week is usually built around scientific collection, documentation and education about nudibranchs, giving participants the opportunity to learn where the animals are found, what they eat, the variation in the species and how to handle them when they are subsequently studied under a microscope. Every day there are lectures by some really talented guest lecturers on topics related to the biology of nudibranchs and between dives there is study in the field lab, where everything is recorded and documented.

Gulen is the place in Norway where the most different nudibranchs have been spotted and over the years 3 completely new species have also been found, all of which have been officially registered and named: Gulenia orjani, Gulenia monicae and Fjordia chriskaugei.

Photo and nudibranch?

This year, Ørjan Sandnes and Monica Bakkeli, who are the owners of the center, had the idea to shake things up and make the event a little different. Since the event and the participants all spend a lot of time photographing the nudies, there is always a good amount of talk about photography, but because the event has always been of a scientific nature and not a photography course, the photography part has been left alone. The couple had been aware of this for a long time and had decided to do something about it. They therefore contacted me and asked me to handle that part.

Not nudi-nerd

I have to be honest, I have previously had a very strained relationship with nudibranchs. Whether it is because in my younger days I was a wreck enthusiast and tech diver and therefore did not have an eye for these small biological wonders, I cannot quite agree with myself. I have always seen a lot of pictures of beautiful nudibranchs and that is precisely what I mean, beautiful nudibranchs. Because nudibranchs are incredibly beautiful in their nature, I have seen far too many bad pictures of beautiful nudibranchs, and since I have a hard time keeping my mouth shut when I see sloppy photography, it has resulted in many heated discussions. But that was back then. Now I love photographing nudibranchs. Maybe because I have been to so many nudibranch events that I have now learned to find them, which is an important part of getting a good picture.

Admittedly, I still don’t have much interest in the biology, but as a photographic object they are top.

Nudibranchs as a motif

I have a background as an advertising photographer, and for part of my apprenticeship I was at a studio that had a portrait department. It was during that time that we made black and white copies in the darkroom in the basement and then pressed them and edited them with a razor blade before we framed them. During that period I learned a lot about the composition of a face. For example, it means a lot to a good portrait image whether the eye is sharp, the corner of the mouth is relaxed in a smile, whether the lips are dry or shiny, whether the angle of the neck and head matches the turn of the face, as well as the focal length, shadows, exposure, backlight and background. Yes, photographing portraits is incredibly similar to doing macro photography underwater.

Phototechnical or scientific feedback

I had bought into Ørjan and Monica’s idea that it was possible for me to direct the evening’s photo review of the day’s finds. I can usually do that in the routine, because that’s exactly what I do when I hold photo events and workshops. Whether it would work at an event whose primary function was to study nudibranchs, I had no idea. Everything I know about photography falls to the ground if a photo has lost its scientific or documentary value. Was it a challenge that could be solved, so that the participants felt that my feedback was relevant or would I just be in the way?

The daily news

Each day, one or more photos were collected from the participants which I then reviewed in the evening. There was a lot of natural talk about nudibranchs and their findings, but the new element was that we also looked at the photographic technical aspect of the images. It basically worked well and it was clear that all the participants were equally interested in talking about the photographic technical aspect as the biological aspect. Since my biological knowledge of nudibranchs is not great and since many of the participants had a biology background or were just big nudibranch enthusiasts, there was quite a lot of feedback from the participants every evening. Often there was scientific input on a picture that changed both my and the photographer’s view on the choice of a photo angle or lighting. And sometimes there was a discussion about the technical value of the picture versus its scientific value, but it all happened on a both cheerful and a scientifically high level.

Who is right?

One evening there was a picture that really divided the waters. There were people who thought it was one of the best pictures taken of a nudibranch all week, and others couldn’t see the interesting thing in it. This is not an unfamiliar situation for me, because images depend on the eyes that see, and we all put a combination of our diving, life and photography experience into the evaluation of an image. My role was largely to illuminate the different ways in which one can see an image, as well as try to understand the photographer’s thoughts when he/she pressed the button. When I understand this myself, I have to try to convey it to the other participants, which can be both a difficult but also a very fun process.

I always start a photo session by reminding the participants that if the photographer can find joy in a given image, then it has a justification regardless of what the majority of the participants may otherwise think. And that is a good rule of thumb to follow.

Big vs. small?

Another fun discussion arose from a question from a young participant, who exclusively photographed with an Olympus TG-7 compact camera without a tray, but with a small video light in her hand. Her question was for all of us “established underwater photographers”. She asked: “Why do you choose to swim around and photograph with such a large camera equipment as you have, when the subject is so small… and why do you choose to limit your lighting to lights that are attached to an arm system?”

I LOVED that question. And she was absolutely right in her assumption. It is sometimes incredibly stupid and impractical with the large equipment we have, because it goes without saying that small subjects are easiest to photograph with a small camera setup, where it is easy to position yourself in relation to the composition and where it is easy to get a small lamp both close to the subject and placed at the right angle.

The fact that many people choose a large camera is mostly about the fact that you can use a camera with a large CMOS and thereby achieve a lot of detail in the final file, which in turn allows for a lot of post-processing options. And of course there is a big difference between photographing with two fast flashes or a small LED lamp – and she understood all of that very well. However, she was still not entirely convinced that the result was up to the equipment and I understand why. In reality, we all want the best possible quality and the best light, but in the smallest possible package. And it is often a combination that is full of compromises.

All that equipment

Since I make a living selling UV photo equipment, I have many different underwater housings myself. Fortunately, during the week of the safari, I also had the opportunity to play with them. I am always behind in testing new equipment from suppliers, so it is good to be away for several days. Changing equipment during a photo trip is not really something I recommend, because good photos are very much about being comfortable with your equipment and having all the buttons and functions completely under your skin. If you change equipment, you often get set back and have to rethink logitics and buoyancy. I am typically in Norway 2-3 times a year to dive and test, and one of these times is typically at Gulen, so this year I was able to combine business and pleasure. As always when I am out giving lectures or teaching, I had brought a lot of photo equipment with me for the participants to try, and it was popular. Many of the lamps and optics I had with me changed hands many times during the week.

Participant toys and testing

Most people know that creative macro photography is related to lighting, and many use a snoot to bring the subject into focus and exclude the background from the image. I love snoot photography and a nudibranch safari was the perfect place to play with snoots.

One of the most well-known snoots on the market is of course the Backscatters MF-2, which was developed for this purpose, but most flash manufacturers have made an optical or manual snoot unit for their flash. I myself use Marelux’ SOFT which has a built-in focus light and a built-in iris, but on Gulen’s house reef, I and the participants had plenty of time to play with one of my current favorite gadgets; Smart Torch from Weefine, which is an LED lamp with a small lens and a snoot. We put it together with an Olympus TG-7 camera and a small lamp. This allowed us to play with snooting, both with and without backlighting. The small compact cameras are very prone to overexposing, so sometimes it helps to soften the light a little and reduce the contrast in the image. Several of the participants made dives where they held the snoot lamp in their hands to be flexible.

Another light gadget that I brought was the new Ringlight from Weefine. The good thing about photographing nudibranchs with a ring light is that you are typically very close to the subject. And this is precisely where ring lights have their strength. Unfortunately, they work just as badly when you are a little further away from the subject, because they give a lot of backscatter. At Gulen we played around with the lamp for nudibranch photography a lot and it works well as a documentation light, which was the goal for many of the participants. Of course, you have to remember that you remove most shadows in the image and thus reduce the contrast in the subject.

If you want a little highlight or shadow in the image, you can advantageously combine the ring light with another lamp. It can either function as a side light or an effect backlight, there are many fun options.

The participants who used it found that it provided good and even light, which was very useful for identifying nudibranchs, but that it was necessary to give the images some contrast later in the editing.

The process was successful

The week progressed and many nudibranchs were documented. In fact, a record was set with no fewer than 61 different nudibranchs, which is a good thing since a total of 87 different species have been found on Gulen over the years. So there was great satisfaction among the research team with the effort. On the photo front, things also went well, because there were a lot of good photos taken and nice photo talks. The participants seemed satisfied with the feedback they received in the evening. As they got used to us reviewing images, they also remembered to put them on the memory chip for me during the day and to be on time so that we could start the presentation. The most important thing for me was that Ørjan and Monica were happy with their decision to invite me and asked if I would consider coming again next year.

The annual Nudibranch Safari takes place every year in March.
See more info: www.gulendiveresort.com

The post New article in UWP magazine appeared first on The FOTOGRAFIT Blog.

Introduction

Getting bright and real underwater videos with your GoPro can be hard because colors fade when light goes into the water. Luckily, flip filters are a good way to make your underwater videos and photos look better. In this guide, we’ll look at what flip filters are, how they work, and the advantages they provide for fixing colors in GoPro videos.

What are GoPro Color Correction Filters?

Flip filters are specialized filters to be attached to your GoPro’s housing or lens. They are designed in a way that you can easily flip them on and off. These filters correct the color balance in your video, mainly when shooting in blue or green water. They filter out some kinds of light so you can get better colors underwater.

Types of Flip Filters

Clear Filters:
Clear filters don’t affect color correction but can be used to protect your lens from scratches or damage. They can also enhance clarity in certain lighting conditions.

Red Flip Filters:
Red filters are ideal for use in blue water conditions, typically found in deeper ocean dives. They enhance the reds and oranges that are absorbed by water, restoring the natural colors of your subject.

Magenta Flip Filters:
Magenta filters are best suited for green water environments, such as lakes and rivers. They counteract the green tones and help bring back the reds and blues, resulting in more balanced footage.

Benefits of using Flip Filters

• Cost-Effective Solution: Compared to other color correction methods, such as post-editing in software, flip filters provide an immediate solution without the need for extensive editing.

• Improved Color Accuracy: Flip filters help restore lost colors, resulting in more natural-looking footage. This is especially important for capturing the vibrant colors of marine life and coral reefs.

• Ease of Use: With the flip mechanism, you can quickly switch between filtered and unfiltered modes without having to remove the filter completely. This flexibility allows you to adapt to changing conditions easily.

• Enhanced Visuals: By correcting color imbalances, flip filters can significantly enhance the overall visual appeal of your videos and photos, making them more captivating and professional-looking.

How to Use Flip Filters with Your GoPro

1. Choose the Right Filter: Select a red or magenta filter based on your diving environment. If you’re unsure, consider the water conditions—blue water for red filters and green water for magenta filters.
2. Attach the Filter: Following the manufacturer’s instructions, securely attach the flip filter to your GoPro housing. Ensure it’s aligned properly for optimal performance.
3. Test Your Shots: Before diving, take some test shots with and without the filter to see how it affects the color. This will help you understand the filter’s impact on your footage.
4. Flip as Needed: While underwater, you can flip the filter up or down as conditions change. If you find that the colors are looking off, simply adjust the filter without needing to pause your filming.
5. Review Footage: After your dive, review your footage to see the differences made by the flip filter. Compare shots taken with and without the filter to appreciate its impact.

Conclusion

GoPro color correction flip filters are a great way to bring out the true colors in your underwater photos and videos. With the right filter, you can capture the vibrant hues of marine life and underwater landscapes more accurately, giving your footage a lifelike quality. Understanding how and when to use these filters can make a noticeable difference, helping you create stunning visuals that reflect the beauty of your dives. Add a flip filter to your GoPro and see how it transforms your underwater captures!

Buy GoPro Flip Filters

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1. Heart Reef, Great Barrier Reef, Australia

Heart Reef, located within the iconic Great Barrier Reef, is a natural wonder perfect for underwater filming. This UNESCO-recognized reef, with its heart shape and diverse coral formations, offers filmmakers access to vibrant tropical fish, majestic sea turtles, and intricate coral gardens. The crystal-clear waters surrounding Heart Reef ensure exceptional visibility, providing opportunities for breathtaking footage. Conservation efforts in this protected area also allow filmmakers to capture the beauty of a thriving marine ecosystem, making Heart Reef a top choice for underwater storytelling.

2. The Great Blue Hole, Belize

The Great Blue Hole, a colossal marine sinkhole off the coast of Belize, continues to captivate divers and filmmakers alike. Known for its unique underwater landscape, steep rock formations, and diverse marine life, this natural wonder offers a one-of-a-kind filming environment. Descending into the depths reveals fascinating marine species such as sharks, large groupers, and colorful fish. The stunning contrast between the dark blue waters of the sinkhole and the shallow coral reefs nearby adds an eye-catching aesthetic to any project. The Great Blue Hole’s dramatic scenery and biodiversity make it a memorable backdrop for capturing the mysteries of the ocean.

3. Bonaire, Caribbean

Bonaire is celebrated worldwide as a premier diving destination, renowned for its clear waters and exceptionally healthy coral reefs. Filmmakers can easily access numerous dive spots around this Caribbean island, making it a convenient choice for stunning underwater footage. The island’s vibrant sea life—ranging from tropical fish and sea turtles to diverse coral species—provides ample material for creative underwater storytelling. Bonaire’s strong commitment to marine conservation ensures a pristine environment, allowing filmmakers to highlight the beauty and importance of ocean preservation in their work. Whether capturing wide coral reef shots or close-ups of colorful marine life, Bonaire’s waters promise a rich filming experience.

4. Palau, Micronesia

Palau offers an incredible array of underwater scenes, with diverse ecosystems, breathtaking underwater cliffs, and healthy coral reefs. Its drop-offs, underwater caves, and various marine habitats offer filmmakers a multitude of settings to explore. With warm, clear waters, Palau allows filmmakers to showcase marine life in its natural habitat. Iconic dive sites like the Blue Corner provide a chance to capture interactions with larger marine creatures, such as sharks and manta rays. The diversity of Palau’s marine life supports complex storytelling, allowing filmmakers to depict intricate relationships within ocean ecosystems.

5. Raja Ampat, Indonesia

Often hailed as the world’s most diverse marine ecosystem, Raja Ampat in Indonesia is a treasure trove for underwater filmmakers. This archipelago is home to more than 1,500 species of fish and 600 species of coral, creating a stunning variety for filmmakers to explore. The vibrant coral gardens, colorful sea life, and unique underwater formations offer an inspiring environment for capturing vivid underwater scenes. Raja Ampat’s commitment to sustainable tourism also ensures that this fragile ecosystem remains intact, making it a valuable destination for conservation-focused storytelling.

6. The Red Sea, Egypt

The Red Sea is globally renowned for underwater photography and videography. Its warm, clear waters and diverse marine life attract filmmakers from all over the world. With vibrant coral reefs, historic shipwrecks, and a range of dive sites, the Red Sea offers numerous filming opportunities. The interplay of light and color within the clear waters illuminates the marine life, from colorful fish and majestic sea turtles to dolphins on occasion. The variety of dive spots, including wreck dives and expansive reef scenes, provides exciting possibilities for underwater storytelling.

Conclusion

Each of these incredible locations—from the intricate coral formations of Heart Reef to the deep mysteries of the Great Blue Hole—offers a unique setting for underwater storytelling. Whether you’re a seasoned filmmaker or just starting out, these breathtaking underwater filming spots will spark creativity and help you bring captivating marine scenes to life. Dive into the vibrant world below the surface and let your camera capture the ocean’s splendor.

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Underwater micro photography offers an incredible view into the intricate ecosystems thriving in coral reefs. From vibrant polyps to the tiniest symbiotic fish, this niche in underwater photography reveals complex interactions in miniature, showing a side of ocean life that’s rarely seen. In this article, we’ll explore the art of underwater micro photography, offering tips to help you capture the intricate beauty and dynamic interactions within coral reefs.

Understanding Underwater Micro Photography in Coral Reefs

Underwater micro photography is focused on capturing small-scale interactions in vibrant, biodiverse settings like coral reefs. Unlike traditional underwater photography, micro photography zooms in on tiny “communities” of organisms living in close proximity, highlighting their relationships, survival tactics, and symbiotic partnerships. This approach not only requires specialized equipment but also a thoughtful understanding of marine life behavior, making each photo a unique snapshot of life within the reef.

Tips for Underwater Micro Photography in Coral Reefs

1. Prepare with Species Research and Location Scouting

Effective underwater micro photography starts with understanding your subjects. Research the specific coral species, small fish, and invertebrates that inhabit the reef you plan to explore. Knowing common behaviors, habitats, and interactions can help you identify moments worth capturing. For example, learning about the cleaner shrimp’s role in maintaining fish health can help you anticipate and photograph these interactions at cleaning stations in the reef.

2. Select the Right Equipment for Underwater Micro Photography

Capturing the intricate details of micro ecosystems requires specific gear. Here’s what you’ll need:

• Macro Lens: Essential for getting close and revealing the fine details, a macro lens allows you to photograph tiny reef organisms up close, capturing textures and subtle movements.
• Underwater Housing: A waterproof housing is critical for camera protection. Ensure compatibility with your chosen lens and add external controls if possible, to avoid needing to surface repeatedly for adjustments.
• Lighting Equipment: Good lighting is essential in underwater micro photography, as reef environments can be low in natural light. Consider underwater strobes or LED lights to highlight colors and details, while maintaining a natural look.

3. Optimize Your Camera Settings for Underwater Micro Shots

Micro photography requires precise adjustments to capture clear, vibrant images under water. To bring out the intricate details and vivid colors of coral and marine life, consider the following settings:

• Aperture: Use a small aperture (higher f-stop) to increase depth of field, ensuring that as much of the subject is in focus as possible.
• ISO: Set your ISO at a level that allows sufficient light without compromising image clarity. Higher ISO levels can introduce noise, so adjust carefully based on available light.
• Shutter Speed: Use a fast shutter speed to counteract the natural movement of water and keep your subjects sharp. Fast-moving fish or tiny crustaceans require speeds above 1/200 to prevent motion blur.

4. Composition: Framing Your Shots to Tell a Story

Strong composition is vital to capturing the essence of underwater micro ecosystems:

• Rule of Thirds: Place key subjects off-center to create a more dynamic frame. For example, positioning a small fish near the coral it inhabits can emphasize their interaction.
• Foreground and Background Layers: Underwater micro ecosystems often contain layers of life. Try to capture both foreground and background layers, such as tiny polyps in the foreground and fish in the background, to create a sense of depth.
• Symbiotic Relationships: Focus on interactions like clownfish nestled in anemones or cleaner shrimp grooming a larger fish. These relationships are essential in reef ecosystems and make for compelling shots.

5. Approach with Patience and Minimize Movements

The most captivating images often come from moments of patience. Tiny organisms are quick to hide, so approach calmly and limit your movement. Avoid sudden actions or large bubbles from exhalation, as this can disturb your subjects. Many photographers find success by hovering quietly, allowing curious organisms to emerge and resume natural behaviors.

6. Adjust Your Perspective and Angle for Unique Shots

Perspective is everything in underwater micro photography:

• Eye-Level Angles: Position yourself at the same level as your subject to create more intimate images. Getting eye-to-eye with a small fish or crustacean draws viewers in and captures the “personality” of your subject.
• Capture Motion: Tiny predators and prey are often on the move. Consider angles that allow you to capture the action, such as a shrimp snapping at an intruding fish or polyps expanding as water flows over them.

7. Respect the Reef

Preserving the reef ecosystem is critical. Coral reefs are sensitive to touch, and even slight contact can damage coral or stress animals. Keep a safe distance, avoid touching any part of the reef, and ensure your equipment does not brush against coral structures. Sustainable photography practices protect these delicate ecosystems for future exploration.

Optimize Your Underwater Micro Photography with Editing

Post-processing is essential to enhance and accurately represent underwater micro shots:

• Color Balance: Adjust the white balance to correct the blue and green hues that dominate underwater images. Proper color correction will restore natural colors, such as the warm reds and oranges in coral and fish.
• Sharpness and Clarity: Use sharpening tools to bring out intricate textures and emphasize fine details in subjects like coral polyps or shrimp.
• Contrast and Saturation: Slightly increase contrast and saturation to make colors pop, while keeping the image realistic and true to the underwater environment.

Why Documenting Coral Reef Micro Ecosystems is Important

Underwater micro photography does more than showcase beautiful scenes; it provides insight into the health and function of coral ecosystems. By capturing these intricate, small-scale communities, photographers can raise awareness about the fragility of coral reefs and the importance of conservation efforts. Photographic documentation also supports marine research, providing valuable visual data on species interactions, symbiotic relationships, and the impacts of climate change on coral reefs.

Conclusion

Underwater micro photography is a nice way to document and share the small complexities of coral reef ecosystems. With good equipment, camera settings, and approach, you can bring to life the fascinating relationships and balance that sustain these small underwater communities.

The post Underwater Micro Photography: The Hidden World in Coral Reefs appeared first on The FOTOGRAFIT Blog.

If you just have one wet lens and never take it off underwater, there is not much use for a lens holder.
But if you like to take it off sometimes and use your housing without the wet lense, then you need a place to store it… or you might risk losing the lens.

How many are needed?Also – if you have 2 wet lenses, then you need 2 holders.
The reason is, that you need a free place to mount the wetlens you take off – before you start removing the second lens from its holder and adding that to the port.
Trying to work with 2 wet lenses in open water is a certain way to lose it…

Consider a good and well-mounted wet lens holder as an insurance… and a help… like an extra arm.

 Check out our selection of wet lens holders: https://fotografit.eu/products/382-wet-lens-holders-for-arms-m67/

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Symbiosis SS-2
* Turn off the flash.
* Press and hold the TEST button.
* Turn on the flash again.
* An animated picture will show in the LED display.
* Now you can let go of the buttons again. (the animation will last for some time)

– now, make sure the cables are attached to both the housing and the Symbiosis.
(on the Symbiosis SS-2, make sure the flash cable is not sitting in the mount that is meant for the control cable… common mistake)

* Now you shoot a test picture with your camera. (make sure to see if the camera flash actually fires)
* If the Symbiosis can see the flash light it will turn from animation into an “OK”.

* Your Symbiosis has now been synchronised and you can take pictures with it.

Symbiosis SS-3
* Turn off the flash.
* Press and hold the FUNCTION button until the unit starts blinking both RED/GREEN.
* Now you can let go of the buttons again. (the blinking will last for some time)

– now, make sure the cables are attached to both the housing and the Symbiosis.

* Now you shoot a test picture with your camera. (make sure to see if the camera flash actually fires)
* If the Symbiosis can see the flash light it will turn from blinking into an even colour.

* Your Symbiosis has now been synchronised and you can take pictures with it.

Note:
* The sync will be stored in the unit, so you do not have to make this process again.
However, sometimes it is needed to do anyway, if you have synced the unit by mistake or had the battery out for longer time.

* Make sure the flash glimpse from your camera is lead through a straight and unbroken fiber optic cable.
So, check if the lights flows through the cable without being dimmed by a damaged cable.

* Some housings does not have the same amount of light through the holes, due to the position of the camera in the housing (particularly the cheaper acrylic housings)

* Some housings does not have an L-Type hole for a fiber cable – then you might have to use a velcro based fiber cable.
(contact FOTOGRAFIT.eu)

* Some cameras does not have internal flash. In this case you might be able to use a flash trigger, that is mounted in the flash-shoe of your camera.
If you camera does not have either, then you can not use the flash part of a Symbiosis.

The post Synchronising of your i-Divesite Symbiosis flash system appeared first on The FOTOGRAFIT Blog.

What Are Flash Strobes?

Flash strobes are powerful light sources used to illuminate your subject with a burst of light. Unlike continuous lighting, strobes provide a short, intense flash that can freeze motion and enhance detail in your images. They are particularly valuable in underwater photography, where ambient light diminishes with depth, and colors can become muted or distorted.

Why Use Flash Strobes in Underwater Photography?

Underwater environments pose unique challenges for lighting. As you descend, natural light fades rapidly, and colors can become washed out. Flash strobes help counteract these effects by:

• Enhancing Color: Strobes restore the vivid colors of your subject, which can otherwise be absorbed by the water.
• Improving Visibility: They brighten the scene, making it easier to capture sharp, detailed images.
• Creating Artistic Effects: Strobes can be used creatively to highlight textures and shapes, adding depth and interest to your photos.

Types of Flash Strobes

Flash strobes come in various models, each offering different features and benefits. Some popular options at Fotografit include:

• AOI Q1 RC Ultra Compact Underwater Strobe
• Features: Ultra-compact design, suitable for travel and compact camera setups. Provides powerful illumination in a small package.
• Weefine Strobe WFS-07 (with 3000 Lumen Video Light)
• Features: Combines strobe functionality with a 3000-lumen video light. Ideal for both stills and video, offering versatility in one unit.
• Marelux Apollo III Strobe
• Features: Patented design with high output. Offers robust performance and reliability, suitable for professional use.
• Sea & Sea YS-D3 DUO: DS-TTL / RC Mode
• Features: Advanced TTL (Through-The-Lens) metering and radio control mode. Provides precise lighting control and flexibility.
• Ikelite DS232 213Ws Strobe with 2500 Lumen Video Light
• Features: High power strobe combined with a powerful video light. Designed for demanding underwater conditions and professional applications.
• Backscatter Mini Flash 2 Underwater Strobe MF-2
• Features: Compact and lightweight, ideal for compact cameras and travel. Offers great performance in a small package.
• Backscatter Hybrid Flash HF-1
• Features: Hybrid design combining strobe and video light functionality. Versatile and efficient, suitable for various underwater shooting conditions.

Choosing the Right Strobe

When selecting a flash strobe, consider the following factors:

• Depth of Use: For deeper dives, opt for a strobe with higher power output to compensate for the reduced light.
• Size and Portability: If you travel frequently, a compact strobe might be more convenient.
• Versatility: Some strobes combine video lights, offering dual functionality for both still and video work.
• Control Features: Advanced strobes with TTL and remote control options provide greater flexibility and ease of use.

Conclusion

Flash strobes are indispensable for achieving stunning underwater photographs. Whether you’re a hobbyist or a professional, understanding the differences between various strobes will help you make an informed choice. From compact models to high-power units, each strobe has its unique strengths, making it essential to select one that aligns with your specific needs and shooting conditions.

Find flash strobes at our webshop: Flash Strobes Fotografit

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Imagine gliding through the crystal-clear waters, the sunlight dancing on the ocean floor, illuminating a world teeming with life. Schools of vibrant fish dart past, while a curious sea turtle meanders by. With the Ikelite 200DLM/E Underwater Housing for the Sony Alpha a6600 Mirrorless Camera, you can capture these mesmerizing moments in stunning detail, bringing the hidden beauty of the underwater world to the surface.

A Perfect Pairing: Ikelite Meets Sony Alpha a6600

The Sony Alpha a6600, known for its impeccable image quality, lightning-fast autofocus, and versatile capabilities, is a dream camera for any photography enthusiast. When paired with the Ikelite 200DLM/E underwater housing, it becomes an unstoppable force for underwater exploration. Designed with precision and crafted to endure the rigors of the deep, this housing ensures your camera is safe, secure, and ready to capture the wonders below.

Built for the Depths

1. Robust and Resilient Crafted from corrosion-resistant polycarbonate and ABS blend, the Ikelite 200DLM/E is built to last. Its transparent design not only looks sleek but also allows for easy monitoring of your camera and seals. Whether you’re diving in freshwater lakes or the salty ocean, this housing stands up to the challenge, providing peace of mind with every dive.

2. Dive Deep, Shoot Clear Rated for depths up to 200 feet (60 meters), the Ikelite 200DLM/E is perfect for divers who love to push boundaries. From shallow reefs brimming with life to the mysterious depths where few venture, this housing ensures your camera performs flawlessly, capturing every detail with crystal clarity.

3. Intuitive Design for Easy Use Diving can be an overwhelming experience, with so much to see and capture. The last thing you need is complicated gear. Ikelite’s ergonomic controls mirror the layout of the Sony Alpha a6600, ensuring that every button is within reach and easy to operate, even with gloves on. This thoughtful design lets you focus on what matters most: getting the perfect shot.

4. Versatility at its Best The housing features the innovative Dry Lock Micro (DLM) port system, compatible with a variety of lens ports. Whether you’re shooting wide-angle scenes or intricate macro shots, you can easily switch lenses to suit your creative vision. The secure, watertight seal of the DLM system means you can dive with confidence, knowing your gear is protected.

5. Light it Up with TTL Capturing the vibrant colors and dynamic scenes of the underwater world often requires a little extra light. The Ikelite 200DLM/E supports TTL (Through-The-Lens) strobe exposure with Ikelite DS strobes, ensuring your shots are perfectly lit every time. For those who prefer a hands-on approach, manual strobe control offers the flexibility to create your ideal lighting setup.

Making Waves with Your Photography

1. Preparation is Key Before you dive in, spend time getting to know your new setup on land. Familiarize yourself with the controls, practice changing settings, and ensure everything is functioning perfectly. This preparation will pay off underwater, allowing you to capture those fleeting moments with ease.

2. Plan Your Dive, Plan Your Shots Underwater photography requires forethought. Consider the environment, the lighting, and your subject. Are you aiming for wide-angle shots of coral reefs, or close-ups of delicate sea creatures? Planning ahead ensures you make the most of your dive time and your camera’s battery life.

3. Care and Maintenance Post-dive care is crucial. Rinse your housing thoroughly with fresh water to remove salt and debris, dry it completely before opening, and perform regular maintenance checks on the O-rings and seals. This routine ensures your gear remains in top condition, dive after dive.

Dive into Creativity

With the Ikelite 200DLM/E Underwater Housing for the Sony Alpha a6600, the ocean is your canvas. Whether you’re an aspiring underwater photographer or a seasoned pro, this housing transforms your camera into a tool for capturing the beauty, mystery, and magic of the underwater world. So, gear up, dive in, and let your creativity flow. The ocean is waiting to be explored, and with the right equipment, there are no limits to what you can capture.

The Ikelite 200DLM/E Underwater Housing for Sony Alpha a6600 Mirrorless Cameras is available here.

The post Dive Deeper: Exploring the Ocean with the Ikelite 200DLM/E and Sony Alpha a6600 appeared first on The FOTOGRAFIT Blog.

A great tool for you who is starting out underwater photography or just want a simple tool for snoot lighting.

Versatile for handheld or arm-mounted use, this package comes complete with a charger and battery, allowing you to seamlessly integrate it with your camera right out of the box. Its compact design makes it perfect for travel, ensuring you never miss capturing those special moments.

The light itself can be easily connected to your camera using a fiber optic cable, serving as a flash booster to enhance the power of your images. You have the option to use it either as a flash boost or as a reliable LED light source.

This comprehensive kit includes:

• WF079 Focus Light: boasting an impressive 1200 lumens
• WFA61 Snoot Lens for WF068

With this kit, your light not only serves as a snoot light but also doubles as a focus light, ensuring versatility and convenience for your photography needs.

The Smart Torch is really a system of accessories to a 1200 lumen focus light. The idea is to use the lens in front of the snoot or the filters and by that, getting a powerful beam.

 

Lars, FOTOGRAFIT.eu

The Weefine snoot system consists of:

• WF079 Smart Torch (Focus Light 1200 Lumen) – Base Light (LINK)
• WFA61 Snoot Lens for WF068 – The Powerful Lens & Snoot (LINK)
• WFA62 Mulitcolor Filter and Snoot System – Filter system can be used with or without the Lens. (LINK)

 

We have already made some fixed kits for you:

The most popular. Light, lens, and snoot.

Can be used handheld or mounted on an arm.
The package is delivered with a charger and battery and can be used along with your camera straight away. This combination snoot kit is compact and travel-friendly.

LINK: You can find the link for this product here.

Great for creative colors – include a small snoot.

WF095 Weefine Smart Torch with Snoot & Filter Kit
This combination of a snoot kit features everything from snoot lens, color filters, and snoot. The Light itself can be connected to the camera via a fiber optic cable and act as a flash booster but also just as a focus light.

LINK: You can find the link for this product her

The post WFK95 Weefine Smart Torch and Snoot Kit appeared first on The FOTOGRAFIT Blog.

Housing

The bayonet can be mounted on to close to any housing with M52 or M67 thread on the port, both Fantasea, Nauticam, Seafrogs, AOI, Olympus and others.

Here we are using it on the Seafrog SO-3/SO-10 for the Olympus TG-6/7 camera. As you can see in the video, we had to remove the small plugs that normally fit into the slot of the port, but as the Seafrogs housing does not have that, we removed them.

There is an extra tool in the Package to screw the bayonet in safely. Turn it clockwise to set it tight. It is recommended to have the white dot in an easily findable location, preferably between 10-12 o’clock. To be aware of where to mount the rest.

Lens

AIS has its new lenses updated with the new QRS system already, but any of the older models can change their adaptor so they fit in the same location. This would require the adaptor to come off by unscrewing with a star screwdriver and changing it accordingly. Again, look at the dot and place it on the same spot to make it easy to attach.

If the shade is not set up straight when the lens is mounted on the camera, there is a couple of small screws to set it up evenly.

Extra Features

Lens holder is an extra system to put it away safely. It can easily be mounted on the arms. The lens holders all has the QRS system.

Watch the video here!

More on our website! Fotografit If you need help finding which one fits for you feel free to ask!

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Some of you might already have noticed: IKELITE products have recently been added to our shop!

We are proud and very happy to announce that FOTOGRAFIT took over the sale and distribution of Ikelite products at the end of last year.

At the same time, we would like to thank Ole Skjærbæk (Danish Divers) for the great cooperation over the years. He also was an amazing support in commissioning the products.

A large variety of products awaits you!

The Ikelite product portfolio currently includes more than 600 product numbers. That means that it will take a while until we have entered and processed everything in our shop. There will also be sets and various product combinations that we can gradually offer. You will soon find them on our website!

Of course, we do everything we can to ensure that you can find all Ikelite products in our Fotografit shop as quickly as possible.

We know the products very well!

We are happy to work with Ikelite and, of course, the products are very well known to us. Over the years we have had several Ikelite housings and we know most of the products very well. In terms of quality and handling, Ikelite is a very reliable brand.

We are looking forward to helping old as well as new customers with questions about Ikelite!

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