Underwater Photography Article Center

Over the years many customers have asked for some sort of combination of video light and strobe. With most new cameras also shooting excellent video, this need has increased. However mounting both types of lights at the same type is bulky and heavy, and they're also hard to travel with. The Symbiosis Lighting System SS-2 and SS-1 are a well thought out implementation of the combination strobe/light idea.
We just received our first Nauticam NA-6300 housing for the Sony a6300 camera. We noticed quite a few refinements and small additions over their older NA-6000 housing that we thought we’d report on.
Optical Ocean's Margo Cavis has finished up her Red Sea Aggressor Trip Video! We spent a week on this great liveaboard on the southern route to St. John's Reef.
I recently had the opportunity to try out the Light & Motion Sola Video Pro 8000 Lights while diving in the Red Sea. These 8000 lumen video lights are very close in size to a good set of strobes – bigger than the other video lights I have used – but still fairly compact for an 8000 lumen light.
The last time I saw the Egyptian Pyramids was 18 years ago. A lot has changed, and a lot hasn’t, having already all ready lasted 5,000 years. One of the things that was new is the lack of tourists, mostly due to misplaced fear.

Congratulations on buying a great underwater compact camera package! We've written these instructions to help you get started.

Ultra-wide fisheye lenses are the preferred wide angle lens underwater due to their close focusing ability, sharp corners and wide field of view. Divers can usually get very close to their subjects with them, filling the frame, eliminating water which makes their photos lack sharpness, color and definition.

But there is a drawback to fisheye lenses; when shooting the straight lines, commonly of a pier or wreck, or models or other similar subjects, optical distortion is introduced.

When I first saw the WWL-1 lens at DEMA, I was intrigued to see if it would work with a less expensive Olympus PEN E-PL7 camera and carbonate PT-EP12 housing that came out a year or so ago. Would the WWL/CMC system be versatile enough to work on a 3rd party housing?

By Margo Cavis

So, after a year of waiting and researching, I finally decided to get the Panasonic GH4 (even though it had already been out for quite some time), since I had started doing more video than photography, but still wanted the option to do both. I also liked the idea of being able to shoot 4K video...

Shortly before heading to the Philippines, customer Tor Trygstad decided to upgrade his Nauticam Sony RX100 compact system to the new, full-frame Sony a7rII MILC in a NA-A7II Nauticam housing. Although he really likes shooting macro, and housing the Zeiss 90mm macro lens was his first lens choice, he was impressed with the new Nauticam WWL-1 “Wet Wide Angle” lens system that works with the Sony 28mm f/2.0 lens.
“It was less expensive and much smaller than housing the Zeiss 16-35mm lens,” Tor said, “and having that ultra-fast Sony f/2.0 lens, coupled with the low-light capabilities of the Sony a7II sealed the deal.”
By Margo Cavis When deciding on a lens for my new Panasonic Lumix GH4 camera body, I chose the Olympus M. Zuiko Digital ED 7-14mm f2.8 PRO lens over a Panasonic lens, and I have been extremely happy with my decision. I just recently started shooting Mirrorless and after years of using only high quality Canon lenses, I was a little concerned about finding mirrorless lenses that would measure up. This lens sure does!

By Margo Cavis. After years of using older and less powerful lights, or relying on filters and manual white balance, I had the pleasure to test out the new iTorch Venom c92 video lights. The results were undeniably improved, with clean, vibrant colors and far more detail. So... I will never go without good quality video lights again.