When people think about creating lighting technique for underwater photography a few things come to mind and usually it is about tools. Snoots for example have become very popular and help the underwater photographer to increase separation of the subject from the background. I have seen some people jumping in the water with a black slate to create an artificial black background, clearly is much easier to do that for macro as everything is at end and typically the subjects are not fast moving or the diver is not fast moving.
Then of course there is strobe positioning, classic, inward, crossed, rabbit ears, backlighting etcetera here goes a long list of options.
At the end however some pictures just seem to “pop” more than others, and this usually has to do with the colours and the contrast and with the blue.
It is not a coincidence that the term Mustard Blue is what has made some shots from Alex Mustard re-known and if you read his underwater photography masterclass there is a whole section ‘The sea is blue’ where Dr. Mustard goes on about the importance of exposure and background blue.
His suggestions are to:
Dial in an underexposure (for the water) around -2/3 to -1 1/3 Ev
Using warm strobes
It is worth stressing out that the primary reason why the camera gets fooled by the conditions underwater is because colours gets absorbed and blue lights gets scattered instead creating that milky glare at times when the water has lots of suspended particles.
If shoot an auto mode with exposure compensation at zero your pictures will for most part come out washed out and lacking contrast underwater and this is one the primary reasons photographer like Dr Mustard do not follow the expose to the right rules.
Underexposure for the water is obtained by keeping the aperture and ISO constant as they are aligned to the strobes and changing the shutter speed accordingly. Obviously if you are shooting video your shutter speed is most likely fixed so you need to find alternative ways to get your blue as you want it but generally you would still underexpose probably not as much.
With regards to warm strobes this is a fairly subtle point linked to the camera auto white balance mechanism.
Most flash strobes have colour temperatures between 5500 and 6500 K and therefore are not at all particularly warm.
Inon has developed warming diffusers for their Z240 range and I believe also for the most recent Z330 range. They are available in 4600K and 4900K temperature. I definitely recommend the 4600K version over the 4900K as it has a stronger effect.
So how does a warm strobe work in order to get a richer blue?
When we shoot with strobes the camera is set to auto white balance, and will average for most the subject we hit with our strobes to calculate the average colour temperature and tint.
The camera auto white balance operates between 2500K and 7500K typically so a warm strobe is likely to set the colour to 4600K instead of the typical 5500K the ‘extra’ 900K do not really do anything to the subject that will anyway we white balance but give an extra kick to the blue background. Underwater colour temperature is usually higher than 9000K and easily reaches 14000K (purple tone in the water) at depth. So the warm strobes are particularly effective in shallower and clearer water as they push the blue to a darker tint like in this example taken around 12 meters.
You can see how deep is the blue other example taken on the Barge at less than 10 meters.
So what happens if you don’t have a warm strobe or if there aren’t warm diffusers for the strobe you have, or maybe you don’t want to spend the money for them?
Amazon comes to the rescue
If your strobe is around 5250 with diffusers (like Sea and Sea YS-D2 or Inon S2000/Z240/D200) get a 1/8 CTO
Be careful not to exceed with this technique or subject will turn too warm.
An alternative and perhaps counterintuitive approach is to use cooling filters.
In this case the strobe light will become colder to emulate the water colour and the camera will need to be set to custom white balance.
In almost all cameras except Olympus that reach 14000K colour temperatures are limited to 10000K however they can be further enhanced to reach 11000K if you have an adjustment panel like the Panasonic or Sony cameras. Pushing the adjustment to the A gives extra 1K. This technique with a bare lens has however a limitation as when the custom white balance caps the colours go completely off.
In order to see what can the colour temperature setting do we can compare a normal grey card shot with one where the colour temp is 11000K and magenta is pushed to the max.
In order to cool down the strobes you need a cyan filter, the custom white balance can correct up to 2 stops Cyan but no more. You can trim a sheet of Rosco 4360 to fit into your diffuser as below. This takes around 1 stop Ev off the strobe.
It important to stress that the predominant colour in blue and blue water is cyan not blue and this is what gives the washed out scattering. We want to keep the deep blues and get rid of light blue and green which ultimately is cyan the colour of water.
So the strobe will emulate the water and the camera custom white balance will set the colour restoring what was lost and giving us a full correct spectrum. This however only works until the water colour temperature gets to 11000K and this is not as deep as you may think it could be a low as 9-10 meters. A cyan 60 filter is approximately 9500K. You can see the colour in the image below.
In this technique the strobe is not used to give colour but to eliminate shadows the custom white balance is going to give a deep colour that penetrates the whole frame so any subject in the distance will be colourful as well.
The benefit of this technique is that you may use wider apertures and even slower shutter speeds like in this 1/60 example here.
You can clearly see the orange colours of the anthias far behind in the frame.
The ultimate stretch of this technique is to combine a filter like the magic filter this can be used with both a Cyan 2 stops and also a Cyan 3 stops in deeper water. This technique is taxing on exposure as your strobes are half power and your exposure has 1 2/3 stops less however this is easily recovered as you tend to shoot at slower shutter speeds of 1/30 to 1/60 instead of 1/125 to 1/200 because the filter will give you the deeper blues.
The magic filter adds around 3000K to you camera custom white balance ability reaching the 14000K where the water starts turning purple blue. To that regards due to the amount of red I do not recommend going to deep with the magic and keep it to a max of 13 meters as recommended on their website.
The magic filter is almost a perfect match for the Cyan 60 filter if you overlap them over the lens you get almost a neutral grey card the temperature is only 150K off while the tint is around 5 notches toward green in Lightroom.
This cave shot I believe gives an idea and is taken with filter on lens and strobes.
I have also tried the magic filter with Cyan 90 however there are some side effect to consider. Firstly you get Cyan cast on the image at shallower depths. Second the magic filter has a tendency to turn purple below a certain depth so I recommend to use the magic with the Cyan 60 as you are certain that the foreground subject and the strobe filter will give you a neutral colour. If you are in deeper water and the temperature is above 10000K this will only result in a deeper blue and a warmer light on the subject that once RAW corrected will look just fine.
In this post I have tried to give you some tips on how to use gels to give deeper blue or richer colours to your wide angle. I would recommend to start with warming diffusers and then move to cyan filters and finally to magic filter and cyan filter in combination.
A final word for video shooters. I am not aware of any add on warming diffusers for video lights and generally I have not seen LED warmer than 5000K therefore unless you shoot at 60p 1/125 it will be very hard to get deep blue at shallow depths without a lens filter.
It is possible to buy a larger card such as the reference that is 7.5″x10″ however this is cumbersome and I found the Studio version to work well with the Panasonic GH5 as it only uses the central part of the frame for white balance.
Going back to our GH5 instruction manual you can also see that the camera white balance is limited to 10,000K which is the colour of blue sky.
Underwater due to light absorption at longer wavelengths red and orange disappear at depth and blue tends to scatter over suspended particles. So the colour temperature of water tends to be higher than 10,000K and also the blue is somewhat washed out by scattering.
This is the reason filters are essential because reduce the amount of blue or to say better cyan and bring the camera into a range where custom white balance works again.
I have already posted a whole range of observations on filters in a previous post so am not repeating here.
With the right filter for the water colour I dive in and with the appropriate white balance card you can get some pretty decent results with custom white balance.
To help the colour accuracy I have experimented with the Leeming Luts and I want to thank Paul Leeming for answering my obscure questions. Obviously you do not have to use the LUTs and you can design them yourself however I found that using the Cinelike D LUT I have a very good starting point for colour correction.
The starting point is a CineLike D profile with saturation, noise reduction and sharpness set to -5 all other settings to default as suggested by Paul, there is no need to lower the contrast as CineLike D is already a flat curve.
*Noise and sharpness have actually nothing to do with grading but are set to -5 as the GH5 applies sharpening and noise reduction even at -5 setting. Sharpening has generally a negative effect all around while noise reduction if required is better performed in the editor.
Looking at imaging resource tests of the GH5 we can appreciate that the camera colours are oversaturated by default.
The GH5 tends to push deep colour and wash out cyan and yellow. This becomes apparent when we look at a white balanced clip uncorrected.
The Leeming Lut helps rebalancing the camera distorted colours and when you apply the camera LUT, provided you have followed the exposure instructions and applied the profile as described, the improvement is immediate.
From here onwards it is possible to perform a better grading and work to improve the footage further.
One other thing that I believe it is interesting is that while generally for ambient light or balanced light shots I do not actually trust the camera exposure and go -1/3 to -2/3 for close up shots exposing to the right greatly helps highlights recovery
In the two frames you can see the difference the LUT brings restoring the correct balance to the head of the turtle.
To be clear the turtle detail has been white balanced in water on the whibal card while using a Keldan Spectrum filter -2, then in fcpx automatic balancing is applied. The LUT brings out a better dynamic range from the same frames.
Obviously you are free to avoid lens filters and LUTs and to some extent it is possible to get similar results however the quality I obtain using automatic settings I believe is quite impressive.
I found myself most times correcting my own wrong exposures or wanting to increase contrast in scene where I had little however this only happens in sever circumstances where white balance and filters are at the limits.
There are many paths to get the right colours for your GH5 underwater videos in my opinion there are four essential ingredients to make your life easier and give your footage a jump start:
Take a custom white balance using a professional grade white balance card
Set the right picture profile and exposure when shooting
(Recommended) Use appropriate filters for the water conditions
Apply the appropriate LUT to eliminate the errors in the GH5 colour rendering in post processing
With the following settings producing a video like this is very simple and all your efforts are in the actual cutting of the clip.
Please note some of the scenes that look off are shot beyond the working conditions of filters and white balance at around 25 meters…
I see many posts on line debating which macro lens is best for your micro four third system.
If I refer to the Nauticam system we have 4 macro lenses:
For the purpose of this article I will skip the Olympus 30mm as the Panasonic lens is known to be sharper and will focus on the other 3 lenses.
DxOMark is a popular tool for comparison as it gives you the results on one page. I have run it for the Oly 60 and the Pana 30 and 45 on the 20 Mpix OMD E-M1 MKII
Surprisingly the much more expensive Leica performs worse than the other cheaper models, this is confirmed on all internet sites running other type of tests.
What we can see is that there is little difference between the Panasonic 30mm and Olympus 60mm when it comes to image quality so whichever lens you choose your subject at the same level of magnification and aperture will have more or less the same detail.
Common Misconception: Shorter focal length give more depth of field
Many people think that using a longer lens is harder because there is less depth of field this is actually incorrect conceptually.
Enter for the Panasonic GH5 the following parameters
Circle of confusion: 0.015 mm
Focal length 30mm
Distance 10.5 cm (minimum distance of the 30mm Macro)
Result Total depth of field 0.3cm
Focal Length 60mm
Distance 21 cm (as it achieves the same magnification)
Result Total depth of field 0.3cm
So depth of field is not a consideration when choosing a macro lens…
Shooting a subject close to the background
In the following 3 shots am taking an image of a widget at f/11 at 29-44-60 mm on a Leica 12-60 (it is just easier it makes no difference to the outcomes)
At the same aperture you can clearly see that there are no difference whatsoever in the detail and actually overall in the picture you don’t notice anything.
Shooting a subject far from the background
For the second shot I have moved the widget away from the wall.
Again there is no difference in the level of detail of the widget however looking at the background we can see that
The 60mm shot reveals one brick and less than one quarter
The 44mm shot reveals one brick and a half
The 29mm shot reveals two bricks
So while the subject is exactly the same as the 60mm lens has a narrower field of view we see much less of the background.
This means that if you are shooting a nudibranch on the sand or something flat on a rock you won’t notice anything however if there is space behind the subject you will capture much more of that resulting in less subject isolation.
Underwater Comparison 30 vs 60 mm
In the first shot the Rhinopia is taken with a 60mm lens
In the second shot the same Rhinopia with the 30mm (in a different place to be fair)
I have marked up with red the areas that with a longer focal length would have been minimised.
Which Lens to choose?
Now that we have clarified that depth of field is not a consideration and as each macro lens will have the same magnification there are only two factors that matter:
Isolation from background
The 60 mm will have a longer working distance and at the same magnification will isolate the subject better from busy backgrounds, the 60 mm is also better for skittish subject because of the longer working distance. I have this lens and I have borrowed the 30mm in couple of occasions but do not have the 30mm yet.
There are however situations where longer working distance is not a benefit, specifically when the visibility is poor and there are suspended particles or the subject is really large.
In the example below I was at one meter from the two frogfish, a 30mm would have been better however the shot came OK.
I believe the Olympus 60mm is a must lens to have. To date I have not felt the need for the Panasonic 30mm that is indeed a very sharp lens because I have always managed to pull out the shots. However for someone diving in murky water and focussing on nudibranches or subject laying flat on the seabed the Panasonic 30mm could be a better choice. I also want to say that using the 14-42mm at 42mm for me is actually a better choice for portraits and with a close up lens works very well with small subject not super macro and therefore as I already own the 14-42mm and various diopter for me the 30mm is not on the shopping list.
There is no doubt that the Panasonic GH5 is a very capable camera and in given conditions the video performance you can get is truly impressive.
Broadly speaking a video clip needs to be:
Those 4 characteristics are tightly related to:
Today everyone shoots 4K and after all resolution is well supported by almost any camera, broadly is unaffected by other factors and unless the noise is really high sharpness of your frame is not going to be a real issue shooting at 4K.
In normal conditions and not underwater a camera can resolve many colors. However underwater due to the diffraction of light and selective absorption of colours the starting point is very different from land. So generally is not the camera that cannot resolve the colors but the colors that are missing to start with. This post will focus specifically on this aspect. The Panasonic GH5 can resolve 23.8 bits in RAW and therefore technically has less than 8 bits color depth – do not confuse this with the 8 or 10 bit recording setting.
Underwater scenes tend to have limited dynamic range, with the exception of sunbursts or shooting against the light this is going to be an issue only in specific circumstances of very bright scenes with shadows. In all scenes taken with video lights dynamic range is not an issue at all. The GH5 has 13 stops of dynamic range but rarely this is an important consideration.
Noise is an important consideration as when the noise goes up the camera looses the other characteristics, color, dynamic range and resolution will be affected when the camera is outside the sweet spot. Broadly speaking the Panasonic GH5 does not do well once you pass the ISO 1600 setting and I tend to cap the ISO in video at 800 in most cases.
To understand how those variables play we can see how the same set up reacts very differently in scene where there is less light and therefore the camera uses high ISO like this one.
The same camera with exactly the same equipment in brighter water produces this
So the reason for the above is that with less light there are less colours and the clip looks what it is really.
OK moving on to the main subject of this post how do I get the colors right? It is a combination of techniques and the trick is to use the right one in the right conditions.
Generally every site has specific conditions that change depending on weather, time of the day, visibility and other factors. So in broad terms a site will have more or less light and therefore more or less colours. It is therefore impossible to categorically define what to do at a given depth but is more about typical values. With this in mind we have typically 3 scenarios:
Ambient light shots
Artificial light shots
Balanced light shots
Close up Shots
In general close up shots especially of small subject fall within the scenario 2 for which a video light with high color rendering is important as this will define the colours you see. With a lot of power it is possible to extend artificial lighting to larger subjects but eventually you run out of power due to distance or size of the subject.
Wide angle shots and seascapes
True wide angle shots are generally ambient light shots which also means when it gets too dark the colors will be missing and it will look blue not matter the equipment.
In order to make the most of ambient light shots for wide angle it is essential to balance the colours in water even when you use a RAW format on a still image because RAW files are not as RAW as you think and are actually compressed.
Custom White Balance
Using Custom White balance with a grey card it is possible to obtain decent results until the camera hits the maximum color temperature in the case of the Panasonic GH5 this is 9900K. Depending on conditions you may get to 10-12 meters and this still works, in darker water this stops working much sooner.
Color filters push the limit of custom white balance further down. Some add more or less 4 meters others up to 6-8 meters at the expense of an overall loss of light. Filters are useful when there is a lot of light because also help to keep the Panasonic Gh5 in the best aperture range (not smaller than f/11)
Right now there are predominantly 3 filters on the market:
All those filters will improve the performance and color rendering of your footage, under the conditions that the loss of light is not pushing the camera above reasonable ISO values.
In terms of depth range the magic filter and the Keldan Spectrum -2 version can be pushed to 15 meters depth on a bright day in clear water. The URPRO is capable of getting a few meters more down to around 17-18 meters although it does generate an orange cast (as there is no red left) it is still workable.
Typical Max Depth
1 2/3 Ev
Keldan Spectrum -2
2 stop (WWL)
1 2/3 Ev
This image gives an idea of the 3 filters as you can see they are very different one from the other.
Balanced Wide Angle Shots
This is an entirely new technique that has started with the Keldan Ambient light filters. I wrote a whole piece on wetpixel
The principle is to use custom white balance with or without filter to obtain color rendering and then put filters on the video light so that the color of the light emulates the ambient light and therefore it only gives texture not color.
Keldan has developed a whole range of filters for various situation that match their light and therefore are not applicable to any other light.
As I do not own a set of Keldan I have done some tests and found that a gel of Cyan filter 2 or 3 stops makes my divepro G18+ practically ambient light in the conditions I dive into.
The above value are based on my experience use at your own risk especially with different lights.
To give an idea I overlapped the filter to my iPhone lens
This is the shot without any filters
This example shows that the two filters cancel themselves the result is almost daylight with no cast which means in water if you use a video light or a strobe you will not see a red or orange spots on the image.
For those taking pictures the same combination remains true with Inon Z240 and Sea and Sea YS-D2
Example picture here
One thing to take into account is that you need to find a way to hold the gel on the video light or the strobes. The flat surface strobe diffusers make this process easy, finding something you can use with your video lights is not easy and also the gels may melt after continuous use.
It comes a point and a depth where filters stop working, this could be as shallow as 8 meters in green water. As the scene is dark using lights is what is required. There is nothing specific about this technique except making sure you don’t get burned highlights or backscatter. As it happens in photography using long arms (maybe not as long as for stills) is key to get good lighting on your subject.
My Camera Settings
I use CineLike D with saturation, sharpness and noise reduction to -5. I shoot at 24/25p AVCI 400 mbps and follow the 180 rules, it is entirely possible to shoot at 1/100 if you like more crisp look.
Clearly there are people out there that do not like filters and think white balance is best etc but I think a good read on magic filters explains it all.
Diving for images or video can be frustrating at times. I find this less so for macro and super macro where you are resort based and you can hire a guide with super sharp eyes that will help you find the right subjects. For wide angle it is a totally different story. Land based may preclude the best access to certain destinations whilst if you are on a liveaboard with divers there is a conflict of interest. The boat will typically run a fixed itinerary cruise and the result is that you will visit many times so more memorable than others and typically just once. The single dive you do may not be at the right time of the day and the ambient light may not be the best for what you trying to do.
I am self taught and I like to read books and experiment myself however some years ago I was invited by Nauticam to a Red Sea workshop with Alex Mustard.
What I really liked about that workshop was the ability to steer the boat to the right sites, to be able to dive at the right time of the day and also to repeat dives on the best sites and omit the areas that were not promising. For me this had great value on its own.
Of course Dr Alex Mustard tuition was also superb however I have now done this workshop 3 times and I believe that element has become less interesting. I also happened to work in Sharm El Sheikh as resident instructor at the Marriot Hotel so all dive sites were already known to me as a diver at least.
On those workshops I found very useful the fact that you could see the work of others and learn from the group, I also like the fact that there was no competition so everybody was encouraged to share.
Needless to say that after years of diving the same sites I still find the Northern Wreck and reefs of the Red Sea one of the best imaging destination in the world so I thought how do I have the same experience without the workshop part and the related high costs – it costs almost double a standard diving trip to book Alex workshop and they are fully booked almost immediately.
A further issue that has occurred in time is that there are no flights to Sharm El Sheikh from UK and now majority of boats live from Hurghada. This seriously limits the workshop as you have a lot more navigation.
So my ideal requirements for such a trip would be:
Boat to live from Sharm El Sheikh not Hurghada. I rather have indirect flights and burn land time vs consuming cruise time in transfers
Need to be able to have full control of the itinerary
Dive as a photographer with a loose buddy concept
Have a good boat and logistics
Have small number of people in the water – I think 20 is too much so I have set my target to 8 min 12 max
I reconnected with my old network and after looking around I have found a boat and a company that can help with this.
King Snefro is the only liveaboard fleet currently departing from Sharm El Sheikh and the boat of choice is the Snefro Pearl
Cruise Dates: 1-8 August 2020
Price: €1250 per Pax in twin cabin includes:
12 Liter tanks
3 meals, snacks and soft drinks, tea and coffee
Special imaging orientated dive briefing to make the most of the sites
Group image debrief – optional participation
Arrival on Saturday 1st August – check in commences at 1800
Check out Saturday 8th August – 1200 latest
For those whose flight leaves much later possibility of a stop gap in a beach resort before final departure
You need to be a PADI Advanced Open Water Diver or equivalent and 30 logged dives are required for this safari. All dives, especially some more demanding wreck dives, are subject to diver’s qualification and experience.
EAN or other Nitrox certification required if not training will be provided on the boat at a charge.
Extra Hotel arrangements if you are coming the day before or leaving the day after
Halfboard in Single Room = 50 € per night per person Soft All in per in Single room = 60 € per night per person
Halfboard in Double Room = 35 € per night per person Soft All in Double room = 45 € per night per person
Halfboard in Triple Room = 30 € per night per person Soft All in Triple room = 40 € per night per person
Service Charge & taxes included, Transfer Airport to Hotel/ Hotel to Airport is included (Check in starts from 14:00 H, Check out till 12:00 H, in combination with safari booking early check in or late check out will be arranged free of charge)
On to the dive sites:
Wrecks of Abu Nuhas
Ras Za’tar (Optional site for sunbursts)
Jackfish Alley – Optional site for caves
Ras Mohammed where at that time of the year you can have various shoals of fish
Instead of night dives we will do snorkelling session for split shots or sunset dives
I will be glad to help with ideas for the sites or the shots to take however this is not for beginners so if you don’t know even how to work out your camera works maybe it is not for you. The trip is open to photographers and videographers I will shoot both and will provide assistance as required. Below little sample of the video opportunity in Shark Reef
Please use the form to book a space. In case the cruise it is sold out I will operate strictly a first come first serve basis at time of writing there are five space left so hurry up. In case of cancellation I will also run a wait list. Please inquiry for any other details as well
It has been almost 4 years since my first review of the Nauticam WWL-1 wet wide angle lens and a few accessories later this lens is definitely my all time favourite for underwater video with my GH5.
I do not want to repeat myself and beat to death the topic of sharpness in corners I would rather recap on the other benefits of this lens that really make it unique for underwater video. Obviously this lens is very valid also for still images because of the ability to zoom through but this is not the focus of this post.
So let’s have a look at the three killer features of this lens that make it really special
Field of view
The WWL-1 once combined with the Panasonic 14-42mm MKII (the best lens to combine with the WWL-1 in my view) offers a field of view of 130 degrees diagonal. But what does that really mean?
First the WWL-1 does not compare with a rectilinear lens in fact it is almost a fisheye lens as we can see from those shots of a pool wall.
The barrel distortion is evident correcting the image in lightroom gives an idea although not 100% correct of what is the real field of view of the lens.
What is interesting to see is that the WWL-1 like a fisheye lens offers a much wider diagonal field of view than on the other dimensions.
I have compared the WWL-1 with other rectilinear lenses and with the 8mm fisheye.
Linear Ratio to FE
The table I have prepared uses the equisolid equation for a fisheye lens to map the WWL-1 I have verified the values and I can confirm the WWL-1 is somehow equivalent to 10.06mm fisheye lens.
There are two things that are worth noting, the first is that on the horizontal and vertical axis the WWL-1 is not wider than the Panasonic 7-14mm at 7mm. The other consideration is that with the WWL-1 the 4:3 format frame starts to become a classic 3:2 as the ration width/height is 1.56.
When we work in video at 16:9 we crop out most of the diagonal part leaving the rest of the field of view intact this means that in video mode the lens is much more rectilinear and the barrel distortion more contained.
If we look at a frame at 25mm we can see that at 4:3 the level of distortion is reduced but still present.
.The corrected frame shows the residual distortion.
The level of residual distortion in video mode is pretty negligible at 25mm. At 35mm even in 4:3 mode the WWL-1 is practically straight.
The benefit of the distortion of the WWL-1 is such that if you are shooting large sharks for example the barrel distortion makes those sharks look large in the centre of the frame and when they go out of the frame you don’t have the pull effect of a classic rectilinear lens behind a dome. At the same time if you need to shoot some divers or lines that are straight you can zoom in and still cover a pretty wide field of view.
The other benefit of the WWL-1 is that allows you to use lenses that are stabilised, today any lens at the 7-8mm range on micro four third has no stabilisation which means you need to use the in body stabiliser if available with your camera. For the GH5 this means that choosing a lens like the 14-42 MkII gives you access to Dual IS combining body and lens stabiliser and IS lock that really is useful when finning around. I just want to make sure that I am clear I am talking of this lens
The Panasonic 14-42PZ power zoom is NOT compatible with dual IS so if you use this lens you either have in body or lens stabiliser not both. Obviously if you have a camera without stabilisation like the GH5s or the BMPCC 4K all of this is less relevant but still you can have some stabilisation instead of nothing.
I have not shot a comparative Dual IS vs Lens IS vs nothing in the pool but I am planning to do that soon. I can only say once you have dual IS with IS lock you don’t want to go back.
Personally I think that any dive down to 18 meters in tropical or subtropical water will benefit from a filter but I also believe that conditions may change and in some cases you want to take the filter off. Now most of the rectilinear lenses for the GH5 do not even take a filter but also consider that once you fit one in dome port you are stuck with it for the dive. With the WWL-1 and the Keldan filter if you feel there is too little light and you want to get rid of the filter you can.
I managed to get hold of a pair of DivePro G18 Plus samples last week to use for my wide angle video hereby my thoughts on this product that I believe could be interesting for many video shooters.
Construction and technical data: solid anodised aluminium smoothly finished. Jaunt has decided to expose the battery that screws into the light head as oppose to house the battery itself into the light a more conventional design. The light features a Cree CXB3590 LED with a color temperature of 5000K and a CRI of 92 with declared output of 18,000 Lumens and a 95 degree beam angle. The battery delivers 14.4V with a total capacity of 6800 mAh giving an autonomy of 52 minutes at full power of 105 minutes at half power. The technical specifications of Creed LED give full details of the light used https://www.cree.com/led-components/media/documents/ds-CXB3590.pdf
When you look at page 14 performance group EB you see 15000 lumens nominal per bin, take into account that the array has an efficiency of 120% so this gives you the nominal lumens. In terms of viewing angle the nominal beam in air is 115 degrees and this in water gives you 100 degrees according to my calculations am not sure how Jaunt worked out 95 degrees. Looking at page 10 you can see that even at CRI=90 there is a spike in the navy blue colour this is most likely to show in water when combined with close up lenses as blue fringing and should be completely irrelevant at wide angle.
The provided chargers delivery only 1A with a declared charging time of 8 hours that frankly is totally unacceptable for a video light.
I recommend getting a spare battery the code is DivePro B06. The light has a color indication for the charge level around the switch button that is simple and effective at the same time although you don’t get your residual time in minutes as you do from some other products.
Ergonomics: the light feels very much like a torch and when attached to the included ball mount is very bottom heavy. The fresh water weight is 350 grams and becomes 370 grams with the mount. The light feels very well built, smooth and rugged.
The light switch system allows for 100% 50% and any intensity from 1% to full power however this is slightly difficult to use, there is also an SOS feature. Generally the light feels well designed with few small niggles, the ball attachment is quite long this is not an issue except the light is already heavy on the bottom whilst the attachment to the arm is in the front part this creates a significant torque especially on land. Use of a bespoke underwater float is advised. Another minor issue of the ball mount is that it is not actually 1” but 2.65 cm. 1mm may seem little but it does bring the clamp off balance making it easier to loose grip. I recommend changing the o-rings with normal buna rings to reduce the size and improve grip if you use Ultralight, Inon or Nauticam arm systems. Another small issue of the switch system is that at rest on land the button may hit the floor. Previous version of the light switch on immediately at button press now Jaunt has changed the logic of the switch on to a long 2 second press to avoid accidentally switching on the light.
As the light overheats outside water this will prevent LED burnout. I had the latest version of the light, other copies on the market may still have the old logic check carefully yours.
Field test: Testing the light in a tank confirms the beam angle and the battery life as per specification more detailed testing is only possible in the pool.
I tested the lights in a pool with a 5 meters deep end. Pools have controlled conditions to check how the lights fall off and what is the real life coverage of the lights for your lens. It is not possible to provide a real test of the geometry of a light in the sea unless you know exactly the dimensions of what you are shooting and you have flat surfaces. I have some diving end of April in the Mediterranean will provide an update later on open water performance especially in terms of color rendering that I have not checked in the pool.
Beam angle: I took a series of stills at 80, 100, 150 from the axis of the lights using arms 28” long to which you need to add the length of the tray to determine where the light beams will meet.
As expected at 80 cm you see two separate circles of light, this become an elliptical shape at 100 cm and fill the frame at 125 cm with small fall off at the edges.
This pool shot gives an idea of the coverage only the edges are dark and the light is very nicely distributed. I have removed the reflections of the lights on the wall as they are distracting.
In order to understand the light falloff I ran the stills into a monitor equipped with false colour you can see the results here the lights are in my opinion very convincing and still deliver at 1.5 meters distance although you may need to pump up the ISO.
I would think that with this angle of coverage a distance of 30” between the two lights is ideal with my rig this means two 8” segments however this may create ergonomic issues so I settled at 5 + 8 this gives an arm length of 21” and with the GH5 26” from centre. Considering a WWL-1 set up with the front of the lens 6” ahead this means shooting distances up to 1 meters from the front of the lens covering a frame width of around 3.5×2.0 m that is a huge surface.
After the pool test I noticed a number of scratches in the paint clearly the coating is not the same quality of more expensive lights.
Overall the lights have great performance in terms of power, beam distribution and are very well built with excellent autonomy. Issues to note and suggested remediation:
The chargers that come with the lights are inadequate. A 2A charger would be better and would halve the charge time without damaging the battery pack, here some links for third party 16.8V/2A chargers:
The clamp position creates an issue of pitch in water obviously if you manage to have some floatation system for the individual light this is no longer a problem.
The light intensity adjustment is not effective and you can’t really tell if the two lights are set the same. Obviously this is only an issue if you need less than 9000 lumens for example for close shots. There is no easy solution to this problem other than controlling the two lights simultaneously.
Considering the price point and the quality this light competes with the Gates GT14 and the Keldan 8X and when it comes to power, CRI, autonomy and price beats them both in terms of durability and ergonomics they appear to be a level down but they are also less expensive.
Jaunt is setting up relationships with distributors in major markets and in UK there is already one so everybody should be able to get a set of lights. Depending on location, duties and import regulations the price will change but generally I have seen it remain competitive.
Broadly speaking with the GH5 as well as with any other camera you have four categories of close up work:
Close-up – frame size 10 cm or 4″ and wider typically hand held
Super close-up – frame size 5cm or 2″ preferably on tripod
Macro – frame size below 2″ only on tripod
Super macro – frame size below 1″
For still images a typical choice is the Olympus 60mm, this lens however is very narrow so for any subject that is not too small and for the first category of close up you end up having working distances well above one foot. This in turns means more water to go through and makes it virtually impossible to cover larger subjects.
If you make that choice is because you have skittish subjects that do not like proximity and are very small. Furthermore the Olympus 60mm has not stabilisation and therefore with our GH5 will only use in-body stabilisation. Another side effect of using this lens is that it is impossible to take shots of divers or anything else at medium range so the videos end up being a collection of very close shots that may please someone but result fairly boring.
Of course you can make this kind of video exciting to an extent like here
But at the end for me something like this is more fun although of course the quality is very different (I shot this years ago with a Panasonic LX7 and edited in iMovie)
The difference between the stunning video of Dustin and the basic video of mine is that you only have very close shots in the first one and frankly a slideshow of still images would be equally nice. There is no description of any sort of where is the fish what are the conditions or anything at all. You may argue that the stuff to see is not that nice but at the end this gives you a real idea of the diving where you go which is the purpose of my videos and majority of non Pro people. Furthermore medium size subjects that move like octopus, squids, crabs will almost always exhibit some kind of behaviour.
My macro video rig is built around the Panasonic 14-42 MKII which is the same lens I use for wide angle video with the Nauticam WWL-1. In effect am running video like a compact set up.
Ergonomics and lens
The field of view with at 42mm is only 23 degrees horizontal and 13 degrees height this is ideal for portrait type of work
I still use my old Sola 1200 video lights that can be used with a 20 degree beam creating a snoot like effect to better isolate your subject. It can be argued that color rendering index of newer lights is better but I think the narrow coverage of the lights is more important. Consider that at wide end the field of view is less than 60 degrees anyway with the flat port at 18mm
I use two close-up lenses with a Saga dual flip diopter
The rig as described is heavy in water more than 700 grams negative to ensure the required stability
The tripod base has 2x 3″ segments and 1x 5″ segment to be as close as possible to the bottom this creates issue if you do not have a monitor as you need to have your face in the sand however once the shot is framed all is good
I use two close up lenses with this rig as the 14-42mm as a working distance in water around 26cm and a minimum frame size around 9cm that is pretty wide.
The SubSee 5 is in the sweet spot for the 14-42mm lens because it starts working pretty much when the 14-42mm can-t focus anymore and down to around 10-12 cm working distance. Minimum frame size is 46 mm
Using the Ex-Tele feature in video means we can get to 33mm which is below the 36mm classic DSLR 1:1
When this is insufficient and the subjects are really tiny the next lens is the Nauticam CMC-2
The CMC-2 gives a frame size of 32mm as in this image
Using Ex-tele this becomes 23mm which is the same you get with the CMC-1 without ex-tele and is plenty for any purpose. It is theoretically possible to stack the two close up lenses but is not really necessary and the working distance too small. The CMC-2 works around 6-7 cm so you have still space for lights etc.
Is there any use for this lens? Of course there is in case you want to capture a frame smaller than 23mm with the 60mm you can get down to 17mm with the bare lens to 12mm with the Ex tele, 9 mm with the CMC-1 and 6 mm with CMC-1 and ex tele. Will you be able to focus and work with the CMC-2 at 22mm from the subject is another discussion however for skittish subjects it gives you more working distance and this may be needed. I would recommend taking this lens with you for those cases but for video I do not see how you can really use the CMC-1. Please note the CMC-2 is useless with the 60mm as the working distance improvement is minimal to none.
Disclaimer: there are many USB chargers out there and not all of them have performance level adequate to support your underwater photography needs. Make sure that each USB-Type A outlet is at least 10W and that the total power equals 10xnumber of outlets as a minimum or your USB charging will be slow. If you get an USB-C charger make sure that the power allocated to the USB-A outlets is enough or your laptop will charge very fast but your batteries will take forever. The product I am suggesting here have been researched and I have tested them on the field I do not take responsibility if you get something different because it looks cheaper or newer. In case of doubt happy to take questions.
Few months ago I booked a shark diving trip. Looking at the boat specs I realised the vessel was smaller than those I have travelled in the past and therefore I was concerned that with many photographers on boat it would have really been a struggle to have all my chargers especially as there were only shared cabins. Furthermore many boats do not allow anymore to charge batteries in your cabin to reduce the risk of fires,
I put my items on a scale and I realised how much this whole set up weights
I contacted the boat that told me strips were available for power but of course US format so not good for me. 1.8 Kg for a single AA battery fast charger, laptop power supply, phone charger, camera batteries charger. 1.8 Kg without even including the back up AA charger in the image below. Of course I can find a lighter strip or have a number of US adapters but you can see this is not heading in the right direction.
I recently bought a new MacBook Pro that only has USB C ports this has made me realised how powerful USB has now become with USB C you can deliver power to charge a large laptop as well as transfer at light speed images and especially videos. I will write another post on how to make your physical media management more effective but for now let’s focus on power.
At the same time in our home there is competition for charging tablets, phones and all sorts of other portable equipment by USB.
I thought would not be nice to have a multi USB charger? Do they even exist and the answer is yes. See below a product I bought for home and travel use that can power up to 4 devices.
£15.99 to end all our struggles seemed a great deal. You can directly click the image above to buy it on amazon.
In US this is $16.99 so even cheaper
From there I started thinking is there a way to charge AA batteries using USB after all the current requirements are quite low?
So I found this other product that did the job and can charge 4 AA or AAA batteries for £14.99 on Amazon. Note that despite the misleading description the two chargers are identical except one has micro USB and the other also USB-C. The USB-C version is slightly bigger (70x90x23 mm USB version vs 97x114x34mm USB C)
Links to Amazon.com
From there I moved to camera batteries and I found another product that allows to charge two batteries at the same time as battery consumption for video is huge. £8.49 seems a bargain click and see for yourself!
When you hit the page you can also buy compatible batteries this is not recommended please buy original batteries there is a whole world of difference.
At this stage my travel charger was using 2 ports for AA batteries 1 for camera dual battery charger with one spare for the phone or other devices.
I though is there a charger that also has a UBC charging port so I can also get rid of the laptop charger and there is £27.99 on amazon click on the image to go directly there.
At this point streamlining was complete. As additional benefit the desktop charger has a removable power plug so you can get your cable for EU or US or any other country the device will work anywhere. The only item still to be worked on are video lights but with batteries of 99 Wh this is not yet possible.
I put all on the scale well it speaks for itself 1 KG less
Of course many people do not have USB C powered laptops yet but this is changing so I would recommend getting a charger with USB C however if you don’t want or need that there is also a charger without with 4 or 6 ports
Of course you have put all eggs in one basket now but frankly it was the same also before if one of the charger would fail and besides you will find USB chargers on a resort or a boat as anybody as a phone. Worst case you can bring two power suppliers however this looks unnecessary to me.
I hope you find this useful feel free to share this page with your friends and use the links on here. I have looked into products in details those are the best ones that have the features you need (2.4A current at least 45W USC B won’t bore you with details but trust me this is what you need).