Photo / Video News & Reviews
Ghiannis D, Part 2- Exterior Views
In Part 1 of my Ghiannis D blog about the inside of the Ghiannis D I showed a couple of pictures to try and convey the drama and light of the insides of this picturesque Northern Red Sea wreck.
So this time I’m going to show a collection of shots of the exterior to try and show how you can get very different shots by simply moving a small amount in the water column, switching your strobes on and moving around the different areas of the wreck.
Before though I will say that I think the best light for shooting the exterior of the Ghiannis D is in the afternoon, when the sun has moved around, and you are not facing into the light whilst getting the classic external picture of her stern.
Another good reason to do this is to avoid other groups in the water, as on a normal schedule she will generally be dived as the first dive, and in the afternoon you will dive one of the other three wrecks at Abu Nuhas.
To shoot the classic angle of her, you are best quite shallow, looking down on her and simply using available light to capture her.
To shoot the classic angle of her, you are best quite shallow, looking down on her and simply using available light to capture her. There are a couple of alternative viewpoints to be had simply by moving around in an arc whilst staying at the same depth. From a technical viewpoint I’ve shot at an ISO of 200 at 1/50 sec at f6.3.
You need to be aware that with relatively slow shutter speeds like this there is a potential for micro shake, which is not normally visible on your camera’s LCD screen; and even though modern cameras have pretty good image stabilisers, this can still happen if you don’t concentrate and jab at your shutter release.
If you have a steady hand and good buoyancy you can get away with even slower speeds, but you will get a lower success rate as the speed drops.
Like in the previous shot, I’ve used a diver to add scale, and in this case I’ve composed horizontally or in landscape as it’s more commonly called.
Like in the previous shot, I’ve used a diver to add scale, and in this case I’ve composed horizontally or in landscape as it’s more commonly called. The above two pictures were taken three minutes apart, and I simply waited for the other diver to move into position. I also kept at the same depth but moved to the left a few metres.
I know a lot of people get annoyed with folk in their shots but I think seeing a diver connects us to the shot and can only heighten the drama and scale.
Neither of these two in these pictures were my buddies and in both cases I simply used them to make the shot, unbeknownst to them.
If you are working with a model and you can direct them, then all the better, however on a photo trip I try to avoid interfering with someone else too much, and usually just sneak shots like this. The technical settings are the same as with the previous shot.
If you keep moving around to your left another classic view will reveal itself. For this though you need to be a little deeper than for the previous pics.
If you keep moving around to your left another classic view will reveal itself. For this though you need to be a little deeper than for the previous pics. You need to properly plan and shoot a wreck dive, as it’s important to make sure you keep a good profile and avoid going up and down too much. If planned properly then you should avoid this. I like this angle as she appears to have slumped in resignation at her fate.
Like the previous pics the technical settings are pretty much the same as the light hasn’t changed over the course of these ten minutes. This doesn’t mean that this will be the same for you though, as the day we had was uncharacteristically overcast with a sandstorm that had blown over.
Being a little deeper now, myself and my buddy, who was lurking on the other side of the Wreck, decided to head off up towards the bow end.
She is separated quite distinctly bow and stern, and there is a section of the wreck which I always find quite graphically strong, so I try and get a little ahead of my buddy, so I can turn and frame them within this “V” shape.
I’ve scooted ahead to try and shoot my buddy coming across this section of the wreck, so I am now pointing back towards the stern area of the wreck.
I’ve scooted ahead to try and shoot my buddy coming across this section of the wreck, so I am now pointing back towards the stern area of the wreck. I am also still shooting just using available light at this point, so the technical settings are broadly similar, but very soon there is a good reason for me to turn on my strobes and mix things up a bit.
In amongst this section of the Wreck is an anemone and a couple of Clownfish; this though is buried well within the actual wreckage itself. So a whole new way of shooting needs to be adopted.
In amongst this section of the Wreck is an anemone and a couple of Clownfish; this though is buried well within the actual wreckage itself. So a whole new way of shooting needs to be adopted. Behind and around this anemone is very close jagged metal work, and definitely not enough room for my bulky frame, so to get this shot I have to shoot from the hip, with the front of my small dome one an inch or two from the body of the anemone.
There isn’t any room to see what’s on the screen or in the viewfinder, and I don’t have a right angle viewfinder… but to be honest it’s not that necessary once you get used to shooting from the hip.
Previous knowledge of this wreck has allowed me to pre-empt these shots, but on a photo week, these are things I’ll cover usually after the guide has given the regular dive briefing.
This shot required me to switch from available light to using my strobes, and the technical issues were getting my strobes in nice and close to the dome, but still back so as to avoid backscatter, and then gauging the correct exposure. I normally get my strobe exposure set on my hand before I move in for the actual shot, placing my hand in the position of the subject, or where I think it will be if I’m shooting from the hip like this.
I took a quick test shot of the subject to make sure I’d got the exposure right. I will also usually switch from autofocus to manual focus, as the camera, even with the huge depth of field of a fisheye lens, when this close can get the focus off a little.
All I had to do then was wait for my buddy Christian to swim where I think he would appear in the frame and take a couple of shots; this was the one where all the elements fell into place.
Phew! a bit of a logistical headache I agree, but worth it and the more you practice these techniques, and change from available light to strobes, then the easier these things will become.
Up at the the bow we were treated to a flickering shimmering lightship of silversides swirling around like millions of shards of glass, catching the light as they changed direction.
They are very reflective, so the flash exposure can be a bit hit and miss to be honest, and this shot was my personal favourite; but annoyingly I had placed Chris too far to the edge of the frame, so I moved him a tiny bit to the left using the Content Aware technology within Adobe Photoshop.
My buddy who I moved slightly to the left by “cheating” in software
Another shot above where I’ve mixed available and strobe light.
After spending a bit of time with the silversides watching them swirl about, we both took some shots of the actual bow itself. To be honest I didn’t get any great pictures on this occasion, so was happy that we were going to visit her again on this trip – another great reason why a specific photo itinerary is the best way to get the shots you want.
It was getting towards safety stop time so we moved shallower and headed back amidships, and there was a few more different angles that I like to shoot before finishing the dive.
I like the safety stop area of the Ghiannis D and there are lots of great unusual angles to be had.
I like the safety stop area of the Ghiannis D and there are lots of great unusual angles to be had whilst the last few minutes tick away, so rather than just twiddling my thumbs, I like to use the time productively – and in and around the shot line there are loads of picture opportunities.
You have to be a bit careful though as it can get quite swelly, so keep an eye on your depth and position. I like this more abstract angle of the funnel on the Ghiannis which leads the eye into the shot and back down towards the stern.
Being quite close to the funnel, I’ve also used a touch of strobe to bring out a bit of contrast and the colour of the Banner Fish using the top of the wreckage to shelter in. This also provides a splash of yellow contrasting against the duller wreckage to lead your eye in to the shot.
OK, I hope you’ve liked this particular photo tour around the Ghiannis D and it’s by no means the only way to shoot her, but all of these pictures were taken in the one dive. You might want to shoot over parts of her on another dive, but I hope these have given you some ideas.
The trick is to talk about the shots you want with the guide, your buddy or me if you’re on one of my trips… and make a plan and stick to it.
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Duxy is the in house photo-pro for UK-based dive tour operator Scuba Travel. To find out about availability on Scuba Travel’s underwater photography workshops hosted by Duxy click here.
News
Meet Insta360 Ace Pro 2: Redefining Action Cameras With Unrivaled 8K Image Quality & Smarter AI
Insta360 is thrilled to announce the latest addition to its Ace series, Insta360 Ace Pro 2. This groundbreaking wide-angle action camera delivers unparalleled image quality, smarter, easier capture powered by AI, upgraded audio, and an improved rugged design made for action at its most extreme.
Co-engineered with Leica, it delivers serious performance upgrades with the industry-first dual AI chip and state-of-the-art imaging courtesy of a new 1/1.3″ 8K sensor and Leica SUMMARIT lens with a 157º field of view. Creators can experience smoother videos with higher frame rates at 8K30fps and 4K60fps Active HDR, PureVideo for excellent low light performance, a bigger 2.5″ flip touchscreen and more.
The action camera utilizes Insta360’s advanced AI technology to offer a smarter experience from shooting to sharing. Innovative functions like the option to pause or cancel a recording, gesture and voice control, Auto Edit, and AI Highlights Assistant completely transform the experience for creators. With no more complex workflows, anyone can experience a simpler way to film and spend more time immersed in the moments they love.
Insta360 Ace Pro 2 significantly improves on its design, offering a more rugged, reliable action camera. Its waterproofing has increased to 39ft (12m), and it offers crystal-clear audio with an integrated Wind Guard and a removable Lens Guard to handle whatever you throw at it, providing full flexibility for action and sports enthusiasts.
“Our goal was to refine and enhance the groundbreaking features of the original Insta360 Ace Pro to deliver an unparalleled experience,” says JK Liu, founder of Insta360. “We are confident these upgrades establish a new industry standard. Not only do they bring significant advances in AI, they empower creators to capture what was always impossible with other action cameras, opening the door to unprecedented creative potential.”
Insta360 Ace Pro 2 is available to order today worldwide via Insta360.com, as well as trusted retailers and select authorized partners.
Unparalleled Image Quality, Day and Night
The Leica SUMMARIT lens immediately sets it apart from competitors with its state-of-the-art image quality. Combined with an upgraded 1/1.3″ 8K sensor offering 13.5 stops of dynamic range, Insta360 Ace Pro 2 delivers simply breathtaking visuals in situations other action cameras simply can’t handle.
Further contributing to its image quality and performance is the industry-leading dual-chip design. Insta360 Ace Pro 2 is the first action camera with a dedicated Pro Imaging Chip that handles image processing and noise reduction, while a separate 5nm AI Chip handles further image processing and overall camera performance, providing a smooth, seamless user experience. The dual chip also enables more shooting modes and higher specifications, such as 8K30fps video, 4K60fps Active HDR (High Dynamic Range), and upgraded PureVideo. Even in fast-moving motion and high-intensity action, creators can enjoy smooth, sharp videos thanks to the higher frame rates or slow it all the way down with crisp 4K120fps slow motion.
A complex, custom-trained AI neural network underpins PureVideo, a specialized shooting mode that drastically reduces noise and enhances details in real time for cleaner, brighter images, even in extreme low light. Whether it’s twilight strolls or evening rides, creators can record what they never could before. For the daytime, upgraded 4K60fps Active HDR brings out all the details in intense highlights and shadows for more vibrant footage. Meanwhile, a wider 157° lens FOV captures more of the surroundings, perfect for vlogging or when the scenery really matters.
Exclusive Leica-engineered color profiles infuse footage with their signature aesthetic, adding a touch of elegance to every shot. Insta360’s devotion to color accuracy is seen elsewhere with Insta360 Ace Pro 2’s ability to retain rich and precise colors, even underwater.
Ready for Action Anytime, Anywhere
The upgraded design proves to be even more rugged, ready for when you ramp up the action. Waterproofing has increased to 39 feet (12 meters) or 197 feet (60 meters) with the Dive Case, and it handles temperatures as low as -4ºF (-20ºC) with ease, perfect for winter sports and extreme climates.
The new, removable Lens Guard provides greater all-around protection, meaning creators can feel confident to push the limits further and capture the impossible, knowing their action cam is up to the challenge.
An all-new Wind Guard keeps wind and noise at a minimum during those peak moments, ready to snap on and off as you need. With refreshed audio algorithms bringing professional-grade clarity to your content, you can immerse your viewers like never before. What’s more, the magnetic mounting system lets you seamlessly switch between accessories. Less time spent unscrewing and screwing your camera and mounts, more time in the moment.
Insta360’s leading FlowState Stabilization technology ensures videos remain incredibly smooth no matter what, while 360º Horizon Lock, now applied automatically in-camera, keeps everything perfectly level. Prioritizing performance and convenience, Insta360 Ace Pro 2 sports a bigger 1800mAh battery and a new Endurance Mode that offers a 50% longer runtime at 4K30fps than Insta360 Ace Pro. Fast charging powers the battery to 80% in 18 minutes or 100% in 47 minutes, so you can get back to the action quicker.
Insta360 has expanded its compatibility with several top third-party sports accessories, allowing action and sports enthusiasts to add a new level of detail. For data-rich videos, overlay real-time stats from third-party sports brands, including Garmin, Apple, COROS, and more. Alternatively, users can add stats from their phone directly in the Insta360 app without any extra gear or use the GPS Preview Remote for easy live preview, remote control, and real-time GPS data. For moto vloggers, pair Insta360 Ace Pro 2 with your motorcycle helmet headset from Sena, Cardo, and more for clear dual-track audio and hands-free control every ride.
Made for those who demand the highest standard of action capture, Insta360 Ace Pro 2 offers the perfect combination of durability and high-quality performance to capture life’s thrills with confidence.
Smarter, Easier Capture & Editing
Insta360 Ace Pro’s flip touchscreen proved an essential and convenient tool for creators and has been further upgraded to 2.5 inches. With a 70% increase in pixel density, a 6% increase in brightness and a 100% increase in flip durability, it allows for perfect framing and easier preview for vlogging, selfies, and difficult angles, all while remaining visible under bright sunlight. Instead of guessing if your shot looks perfect, you can shoot with confidence, knowing it is.
Internally, Insta360 Ace Pro 2 offers innovative solutions to problems that have hindered action enthusiasts for years:
- 4K Clarity Zoom – Want a close-up but the image quality becomes too grainy? Zoom in and out 2x without losing quality.
- Pre-Recording – Never miss a moment with up to 120 seconds of footage saved before you even hit record.
- Gesture & Voice Control – Use quick hand signals or verbal commands to control the camera, such as start/stop recording or take a photo, ideal if it’s mounted out of reach.
- Pause/Resume Recording – Got time between shots? Hit pause and continue recording when you need to keep everything in one continuous file for easier file management and editing.
- Timecode – Seamlessly synchronizes multiple cameras for an efficient editing workflow.
Insta360’s revolutionary AI features demonstrate a commitment to making shooting and editing as accessible as possible. Anyone, regardless of their skill level, will be amazed at what they can create. For those who aren’t confident editing, AI Highlights Assistant automatically finds the best moments from a video and delivers the highlights for review, all in-camera. Creators can merge every thrilling moment into one incredible recap or choose the ones their favorites and delete any unwanted clips to save storage.
The Assistant also helps craft your next reel from your adventures and pushes it directly to your smartphone via the Insta360 app. Look back on all your Memories and share those unforgettable moments in seconds.
Acting as a full editing suite in your pocket, the Insta360 mobile app fully embraces the game-changing possibilities of AI with advanced Auto Editing, one-tap templates and creative Shot Lab effects. Instead of spending hours learning complex tools and editing workflows, AI does it all for you, bringing your clips to life with dynamic cuts and transitions. Creators can even achieve the infamous Invisible Selfie Stick effect with the AI Selfie Stick Eraser in the app for third-person views. Looking for a real twist? AI Warp uses preset or custom keywords to bring your wildest ideas to life.
Available Now
Insta360 Ace Pro 2 is available to purchase today worldwide via Insta360.com and select retailers. The Standard Bundle retails for US$399.99 and includes a Wind Guard, Battery, Standard Mount, Mic Cap, and USB-C Cable. The dual battery bundle includes the same accessories and two batteries for US$419.99.
The SMC-3
Nauticam is proud to introduce the SMC-3, the latest evolution in our line of water contact optics! Designed as a renewed version of the acclaimed SMC-1, the SMC-3 boasts a lightweight build—now only one-third the weight of its predecessor—without compromising on optical performance.
SMC-3 Specifications
| Dimensions | OD 70mm x H 32mm |
| Weight in Air | 307g |
| Weight in Water | 215g |
| Max Magnification (*1) | 2.4x (lens dependent) |
| Working Distance (*1) | 51-103mm |
| Lens Construction | 3 elements in 2 groups |
| Lens Coatings | Anti-reflection Coating |
| Mount Thread Diameter | M67 |
| Depth Rating |
100mm |
Tested with Nikon AF-S VR Micro-Nikkor 105mm f/2.8G IF-ED
Key Features
- Ultra-Lightweight Design: Weighing in at just one-third of the SMC-1, the SMC-3 offers unparalleled portability for on-the-go use.
- Superior Optical Performance: Enjoy the same exceptional clarity and precision you’ve come to expect from the SMC series.
- Increased Working Distance: The redesigned lens allows for a greater working distance, meaning it’s easier to use and provides enhanced versatility.
- Premium Materials: Crafted with advanced materials to enhance durability while minimizing weight.
- Cost-Effective: Slightly more affordable than the discontinued SMC-1, the SMC-3 delivers exceptional value.
Uncompromised Optical Quality
The Super Macro Converter 3 is constructed from lenses that are precision crafted of specially formulated low dispersion optical grade glass, ground to the most demanding standards. These exceptional measures, enhanced by broadband anti-refective coatings effectively reduce common optical issues such as chromatic aberrations, coma, spherical aberration, and field deformation associated with underwater macro photography using traditional magnifying lenses. These optics are assembled in a rugged hard anodized aluminum housing, and nitrogen purged during assembly to eliminate fogging.
Stunning Magnification
When combined with a full frame camera and a 100mm or 105mm macro lens, the device converts the optical system to provide a maximum of 2.4X magnification factor. In other words, a subject area of 15.6mm X 10.4mm will fill the whole frame of a 36mm X 24mm sensor.
Improved Sharpness and Contrast
As the Super Macro Converter 3 is optimized explicitly for using together with a macro lens underwater, images captured exhibit exceptional sharpness compared with conventional magnification lenses. Thanks to the broadband multi-layer anti-reflection coating on each surface of the lenses, images also exhibit higher contrast.
Superb Light Transmission
All the lens elements installed inside the SMC are optically optimized to appropriate diameters so as to provide maximum light transmission. The SMC doesn’t suffer from vignette issues under even the most extreme conditions. The broad band multi-layer anti-reflection coating on all surfaces also greatly improves light transmission.
Optimized for Autofocus
By utilizing a specially developed algorithm in the optimization process, the SMC renders superior image quality over the full focusing range of the camera lens (which becomes ~50 to ~100 mm in front of the SMC). Also benefitting from the high brightness and contrast of the image, the autofocus system of the camera usually works acceptably well within this range.
Ample Working Distance
Even at the maximum 2.3X magnification, there is still more than 50mm of working distance between the front element and the subject with 100/105mm macro lenses. This working distance is crucial when capturing behavior with skittish subjects.
Resolution
High resolution was a primary design goal of the SMC project. This has been achieved using computer aided optimization and high grade optical glasses with unique refractive and dispersion properties. Images taken with this new system exhibit very high resolution and quality. Results have exceeded expectations, and these images rival the quality of the macro lens in air.
Smooth Bokeh
The Converter retains the optical properties of the macro lens for the whole system underwater, resulting in a blurred (out of focus) background that has a pleasing smoothness and creamy look, without the normal purple and green fringing.
Avoiding Diffraction
Due to the overall superior optical performance of the SMC-3 it is possible to shoot larger apertures with excellent image quality. This avoids reaching the diffraction limit of high resolution sensors, and allows selective focus effects with narrow depth of field in super macro images.
For more information about the Nauticam Super Macro Converter 3, which ships in November, click here.
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