Photo / Video News & Reviews
How much is a photo worth?
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I originally wrote this article around three years ago, after a great Lembeh trip marred only by this particular event, and have decided that it’s a very topical issue with some of the luminaries of the underwater photography world now at loggerheads about this sadly on trend bad behaviour.
I must thank Alex Tattersall for a great talk about this at DIVE 2016 which I must fess up I didn’t see personally but enough of my friends did and reported back to me. He was also being brave enough to come clean about his own past indiscretions, and pointing out miscreants still directly doing this sort of thing, or allowing it to happen and thus condoning it.
On my first trip to Indonesia I was aware of the guides willingness to orchestrate the marine life for the benefit of the photographer, but to be totally honest I have never done this myself and have always called them out on it. That is if I was aware of it.
Looking back now, there was more than one occasion that I have had my attention alerted to the most incredibly positioned nudibranch, and now in retrospect I think that the murkier waters of the Lembeh Straits and those surrounding Manado have perhaps served the purpose of hiding this sort of thing in less than plain viz.
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I really do wonder now if all the wonderfully positioned nudibranchs that I’ve had pointed out to me really were in such great positions. Sadly all this manipulation talk has now made me doubt a lot of these shots, mine included.
Prime Witnesses
I wasn’t the only one to witness this event, and in the great scheme of things it amounts to very little.
Unfortunately though it does point to a worrying trend in the world of underwater photography that I feel strongly about.
Not all share my views, granted – so by all means let your own conscience guide you.
Because of the events behind the couple of pictures I took, I could never with good conscience post these pictures without also giving the backstory to them, which really changes things quite a lot for me.
It has made me wonder how many others would do the same, when presented with the opportunity, to get a fairly unusual and unique shot in similar circumstances.
And also, how many others have taken pictures that I have been inspired by and wondered at, that are now tainted with the doubt that all may not be quite as it seems?
Maybe I’m just incredibly naive, and this is my wake up and smell the coffee moment.
OK: Here’s the story
The dumping grounds that are the Lembeh Straits are famed for the diversity of marine life of all shapes and forms, and discarded bottles actually make great shelters and homes for lots of creatures.
Towards the end of a dive in the Lembeh Straits, famed for its incredible diversity of weird and wonderful marine life, myself and some friends and fellow work shoppers were pootling about in the shallows.
One of our guides – unfair to name him – signalled for our attention as they do by tapping on his tank with his pointer.
He was about 20m distance and invisible to us, as the visibility was less than 10m. Nevertheless we found him quickly.
He pointed triumphantly to a small Mantis Shrimp on the sand, completely exposed.
We saw no burrow and there was no obvious shelter for this creature. They have a tendency to be quite shy, but often also a little inquisitive, so seeing one completely out of its hole was odd, but still appeared quite a credible scenario.
Being photographers we felt lucky that this particular individual was in a great position to get a shot.
As I lined up for the picture I realised through the magnified screen image that it was clutching a mound of eggs.
Amazing I thought, what are the chances of that eh?
I had previously only encountered egg holding Mantis hiding under ledges, and always inaccessible to me in the past.
I had cause a few years earlier to actively prevent a guide from removing one from its mound by poking it out with his pointer stick, and upon admonishment post dive he said that if I wanted to guarantee a shot of one with eggs then this was a sure fire method, and worse still that he had done this dozens of times before for other photographers from all four corners of the globe… without any previous complaints!
Anyway, back to the current situation. I took a shot and my dive buddy Phil waved and pointed behind me – our guide had moved on.
Coming from a broken home
Behind me and a few metres from our transfixed shrimp was the fragments of a broken beer bottle, the neck and the base still intact, but the middle clearly broken with the contents of sand and fragments of shells and remains of small creatures now scattered around.
I have encountered Mantis shrimps living in glass bottles before, and I was lucky enough to get a shot of one living inside an intact bottle last year, which I was even more chuffed with because I’d found it myself without the help of a guide.
So I will regularly check the discarded beer bottles and other containers that make for a great des-res for marine life when diving the underwater dumping grounds that actually make Lembeh such a fascinating and contrary place to dive.
On closer inspection of the shards of broken glass, they looked very freshly broken to me with no dirt build up and very sharp clean edges.Putting two and two together a horrible possibility dawned upon me… that someone had actually broken this bottle and frightened the expectant creature out into the open.
Phil clearly thought the same signalling as such, and to underline this thought, the poor shrimp scuttled back into the neck of the bottle.
I took a shot of it in there with its eggs, and resolved to only publish the picture with this story attached, as my conscience wouldn’t let me do anything other.
Mantis Shrimp with eggs sheltering inside a bottle.
Bottle Half Empty
Phil gently pushed the rear of the neck of the bottle back into the sand affording her some protection from the rear, but now her home was a quarter of the size it was shortly before.
We left her be and returned sadly to the surface, where our guides were slowly making their way ahead of us back to the boat.
Now, bearing in mind I have absolutely no proof of our guide’s part in all this, I kept mum, and didn’t let my anger get in the way of rationale. I didn’t need to bring the subject up though, as the guide in question, with a big smile on his face, brought up the Mantis Shrimp find himself – almost triumphantly.
I asked him how he had found it, and he said it was just there resting on the sand. I mentioned finding the bottle and he said he hadn’t seen it, which I doubted in the circumstances. He then contradicted himself by saying that he had seen the broken bottle and it must have been broken by guides on the other boat moored close by.
I have no way of knowing for definite if he was or wasn’t telling the truth, but I am sure that this bottle, intact, had been her home very recently before we saw her out and exposed, and someone had broken the bottle; who, we will never know for sure. What is worse is that it was broken by parties unknown for the benefit of photographers.
Is any photograph worth the wanton destruction of any creature’s habitat? Whoever broke this bottle thought so.
Are photographers such needy and demanding clients that the guides deem it necessary to go to these lengths to please their relatively wealthy clients?
This is not an isolated incident; I have seen other incidents of marine life manipulation for the benefit of photographer clients – not always as bad as this one, but in light of this they are the thin edge of the wedge I fear.
The underwater photographic community at large needs to try and police ourselves and each other and show intolerance for manipulating marine life. We often give people a hard time for digitally manipulating the underwater realm, but surely pushing the pixels is a small crime by comparison?
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At the time the only possible solution that I could think of that was appropriate in the circumstances was to suggest that the ‘big guy’ watching over everything knew what had happened, as he sees everything.
I’m not in the slightest bit religious personally but am aware that in this part of Indonesia everyone is devoutly christian, so I thought it would maybe make them think a bit if they had done exactly what we thought they had. If they hadn’t then no harm done, they would have clear consciences – but I did notice a fearful look flash across one of their faces, so perhaps my impression was right.
As mentioned in the update at the start of this post, we have come along quite a way since I originally wrote this blog and it has now become the current hot topic, with not only underwater photographers being held to account but also a slew of on land photographers getting up to all sorts of tricks to, in most cases, win big money prizes for their tawdry efforts.
So I’m glad it’s in the public eye, and just like the diving community no longer tolerates manhandling turtles and big fish and dolphins, we will hopefully come to abhor all sorts of manipulation for short term photographic and often financial gain.
I would also say that I don’t blame the guides completely for these actions as there is a massive disparity in income between them and their comparatively rich clients, and in the intervening years I have heard of a well known Far Eastern photographer actually having laminated cards printed with prices in US dollars in tips for the production of differing creatures on dives. This surely puts the guides under a lot of pressure, as $50 is a lot of money to them, which was the amount being flaunted as up for grabs if a hairy octopus was produced in one particular case that I heard of.
And it’s not just Far Eastern photographers doing it; I’ve heard of more than one European behaving badly to gain photographic kudos. One had a guide bring up specimens for them to shoot from greater depths than they were allowed to go because of PFO induced depth restrictions. Really?
I think the solution is easy: I would personally discourage the habit of having lists of desirable creatures, and just shoot what’s there, without any pressure on the guides to deliver, and to also tip based on an overt absence of manipulation at the culmination of a trip.
What to do about competitions though, often with huge payouts and at the very least kudos aplenty? The organisers and judges need to be very very careful with what they reward based on their own experiences and familiarity of the underwater world, and if there is the slightest sniff of doubt then they perhaps shouldn’t place a picture. It’s a shame and perhaps unfairly penalises the honest, but what else do you suggest?
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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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