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.

But there is honestly not much satisfaction in selling you the exact same piece of equipment twice, simply because the first one is now lying somewhere on the seabed. It is much more fun to sell you something new.

Good underwater camera gear safety is simple: secure your gear. Anything that can fall off should have a backup.

Why underwater camera gear gets lost at the surface

People often imagine that equipment gets lost during the dive. In reality, a lot of it disappears at the surface.

Underwater, your equipment is partly supported by buoyancy. But when it is lifted out of the water, handled in waves, passed to a boat or moved around at the surface, the full weight suddenly comes back onto the system. That is when something can twist, loosen or drop off — often without you noticing.

For scuba divers this is annoying, but often manageable: if something falls to the bottom, you may already be close enough to retrieve it.

For freedivers, it is a very different story. A dropped light, lens or accessory may suddenly be several metres below you, and you have to dive all the way down from the surface to get it back. Sometimes that simply is not practical.

1. Secure your underwater camera system

The first level of security is the complete housing and rig.

Use a shockline or coiled lanyard, connect it to a solid D-ring on your BCD or harness, and use a proper bolt snap.

The idea is simple: if you let go of the camera for a moment — in waves, during entry or exit, or while handling other equipment — the entire system stays attached to you.

It is cheap insurance for expensive gear.

2. Secure small underwater camera accessories

The second level is all the smaller accessories attached to the rig:

• wet lenses
• video lights and focus lights
• cold shoe mounts
• small adapters and brackets
• anything that is screwed onto the system and can therefore also unscrew itself

If it can be screwed on, it can in principle also come loose again.

Cold shoe safety – retaining wings add extra security

Many underwater cold shoe mounts have small “wings” or retaining tabs on the mounting foot. These extend over the edges of the cold shoe base on the housing.

That means that even if the mount starts to loosen, it cannot simply slide straight out of the cold shoe. The wings act as a mechanical stop and give you an extra level of security.

It is still a good idea to check that the mount is properly tightened before every dive — but this small design detail can make the difference between a loose accessory and a lost one.

Why arm balls and clamps are usually secure

A properly mounted arm ball in a well-functioning clamp does not simply fall out during a dive.

The reason is mechanical: the ball cannot physically pass through a correctly tightened clamp. If the clamp is working properly and is tightened correctly, the ball stays where it belongs.

What can come loose is usually the accessory attached to the arm system — a light, cold shoe, adapter, wet lens holder or another part that is screwed onto something else.

Keep your clamps clean, rinse them after every dive and use a small amount of suitable grease where appropriate. They will work better, last longer — and they will not squeak and howl when you assemble your rig.

Use safety lines and lanyards as a backup

Even when the main mounting is solid, small accessories can still loosen.

That is why many strobes, lights, mounts and wet lenses have a small eye or attachment point. It is there for a reason.

Use a thin safety string or lanyard as a secondary connection. If the main attachment fails, the accessory remains attached to the rig instead of disappearing into the water.

Think of it this way:

• Primary attachment: the normal mechanical mount
• Secondary attachment: a safety string or lanyard

It costs almost nothing and can save you from losing expensive equipment.

Recommended safety accessories

FOTOGRAFIT Shock Line
A practical coiled safety line for securing the complete underwater camera system to your BCD or harness while still giving you freedom of movement.

Lanyard with Double Snap Bolt – 32 cm
A compact lanyard with double snap bolts, useful for securing camera gear and accessories when you want a simple, fixed-length connection.

Underwater camera gear safety: in short

Secure the complete camera system to yourself with a shockline, D-ring and bolt snap. Then secure the smaller accessories separately with a safety string wherever possible.

It is always more satisfying to spend money on new equipment that gives you new possibilities — rather than buying the same thing again because the first one disappeared.

Secure your gear before the sea keeps it.

The post Hold on to your gear – so you don’t have to buy it twice appeared first on The FOTOGRAFIT Blog.

GN44 output with a wide 120° beam

0.6 second full-power recycle time

MTL mode – up to 20fps

PRE-M mode for compact cameras

Broad compatibility and multiple flash modes

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

3,000-lumen target and video light

Triple-tube flash design

High-drain 18650 batteries

Encrypted wireless triggering

Designed for fast modern cameras

Who is the Apollo III 3.0 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 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.

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.

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.

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.