Photo / Video News & Reviews
More on scuba diving and being an artist…
As a diver and a photographer, I think it is simple, if you are looking for something “new” to photograph, to take a look underwater.
So now you have the underwater camera equipment, what exactly do you do with it? There are of course a lot of technical articles with technical words (ISO, shutter speed, aperture) on how to take underwater photos or photos in general, but what kind will you take?
Like photography topside, you photograph what moves you to take photographs. One difference though is that it takes some physical skill to take photos of anything underwater. If you do take even the most common of underwater photographs, most people on land will have no clue what they are looking at, so your photos are always “new”, even though they may be of some of the most primitive or oldest living creatures on earth.
I am not sure when I transitioned into taking aesthetically pleasing photographs underwater (or wanting to do so) from just being an underwater tourist – “Oh yeah, this is what we saw…blah blah blah” to “Your photographs light up our dark Norwegian winter days.” It probably happened once I got a strobe, and once I started to look at professional underwater photographs. The thing is, although I love to try to take the kind of prize-winning photographs that others manage to do, even with the kind of basic equipment that I have, I find that most of all I like to take photographs that are just, well, pleasing to me…
It’s hard to say how I started to know how I wanted to take photos or what I want to take photos of except that I simply experiment… a lot. I do not think that my photographs take much technical skill; perhaps sometimes, but often I find myself gravitating towards unusual colors, textures, and patterns because they are unlike anything you will see on land. So when everyone else is focused on the pygmy seahorse, I want to take an odd photo of a beautifully colored anemone or a sponge with unique textures (or maybe it is a consequence of being at 25 meters and potentially left behind among other issues). It started out as a game in part to test the rules of physics, and occasionally something really interesting happened. I then started to be more deliberate about my photographs and to look specifically for the kinds of textures or colors for example that I was interested in and ways to show them off, like a goby in the middle of nowhere on a bubble coral. Probably this photo is a classic but it always works for me.
I suppose it boils down to why you want to take the photographs in the first place. I am not exactly sure what land photographers feel like when they nail a photograph, but because scuba diving is a sport, so is underwater photography. When you get that clear photo of a pygmy seahorse looking right at you (frankly anything in focus), it is as if you have made a shot from the three-point line in basketball. So maybe it is cool to do it. There are more altruistic reasons, like you can show the world something special, and we should take care of it. It is part of it, but probably I take underwater photos more to amaze myself than anyone else. Not everyone will appreciate finding even the smallest, oddest creatures, like a tiger shrimp, that you may never hang on your wall, near Indonesian families swimming and picnicking on a Sunday afternoon in Lembeh Strait. It is most incredible to me that these animals live so close to shore.
It’s usually like some kind of an accident. I take a photo because I’m curious, and it seems as if something else entirely has happened. I have seen a lot of photos of pygmy seahorses, but not so many of an odd looking anemone that turns out looking like a kiss. It is one of my favorite photos ever, and it was taken in the Philippines in a place that is entirely easy to reach, but I cannot imagine who else might take a photo of such a creature. Some creatures (I think they are animals), I have no idea what they really are, but I was just struck by their unique pattern or positioning. On a relaxing afternoon dive in Gangga (just me and a dive guide) I found this “thing”. I am guessing that it is a closed basket sea star, but I was attracted to the pattern of the interwoven arms. I have never seen arms this big though, nor have I seen this color. But I love this photograph. I took a couple of lazy shots and still had to catch up with my dive guide. Afterwards of course I wish I had tried harder because there is no color that I don’t like this photo in.
I realize that my photos will probably never win a contest. But I also realized I was onto something recently when a dive guide said very candidly, “Your photos are the kind that I would actually hang on the walls in my house.” In fact, some friends do have my photos hanging in their house. I once transformed a photograph of honeycomb coral into black and white. I did not think anyone was paying attention to it until two of my friends asked for it. It is like a photographic mystery, and it is an example of having photographs that not many other people may even recognize. One of my friends has a poster size photo of the honeycomb coral hanging in their bedroom, and honestly it could be interpreted to be a lot of things. I am always curious as to what other visitors say when they see it. What is it? Or that is beautiful?
My favorite odd things to take photos of are sponges. Sponges amaze me underwater and are most commonly shot with wide-angle lenses. Sometimes sponges almost look ghoulish, but it is truly fascinating to me how they grow. I feel that they tend to be ignored, and we forget that they are multicellular organisms just like the critters we search for that live among them. I love to photograph sponges alone because of their different textures, colors, and yes, sometimes even their expressions. I play a bit just to see the “real” colors, and sometimes something happens that I do not expect. One of the best dive sites for sponges is the Golden Passage in Komodo. Everywhere I looked, other-worldly sponges were everywhere, growing out of the floor of the ocean.
I find humor in my photographs as well and links to iconic images on the surface. One of my photographs of a beautiful bubble anemone has an impossible to get rid of spot of sand on it. I call this photograph the Cindy Crawford mole. A lot of my anemone photos come out looking like gigantic Georgia O’Keefe paintings, which always seem ambiguous to me. Although, she often really was painting the sex organs of the flowers. The same could be said for some of the bubble anemones – while I love these photos I am not quite sure what someone might think if I were to give them one. A beautiful open tubeworm, I like to call “Marilyn Monroe dress”. And one sponge looked to me like a giant version of “The Scream” by the Norwegian artist, Edvard Munch. A friend of mine suffering from publication rejection felt like the stargazer buried up to his eyeballs in sand. I was glad to give her a new way to express her frustration.
One of my favorite humor filled photos are my attempts to photograph mantis shrimp. They are simply too fast for me, but if I ever catch one, they always look as if they have photo-bombed the picture. In fact, what could be a better meme to put on sophisticated photos from land.
I photograph anemones a lot because I love their movement in the water. Same with tube worms, although I still have not managed to take exactly the kind of photo I envision in my head in black and white. Anemones seem unlimited in textures and colors. And there are plenty of animals within to photograph. Close-ups are sort of the standard rule, but sometimes I like to “stand back” and get a perspective shot. A professional photographer once told me that a photo of an anemone and anemonefish that I had taken broke all of the rules, but he loved it.
Some photographs can be transformed when you turn them into black and white. It is obvious to see the drama in a photo of a manta ray for example, but what about when you are taking a photo of an anemone or a nudibranch? It seems odd to transform your photos into black and white as part of the reason for photographing underwater is for the spectacular colors. Nevertheless, I once could not think of what to do with a common but gigantic nudibranch. So I spent time photographing the gills because they looked like a flower. The current was somewhat strong so the gills were blowing all around like in a wind machine. I made it black and white, and frankly more people look at that photo than my xeno crabs, which take infinitely more skill – physical as well as technical anyway.
It is probably an old style of underwater photography in a time when people are looking for something new to always add to their underwater portfolio. In part, I believe that I developed this style of photography because I am using a compact camera; high end compact with wet lenses. It is possible to get quite good photographs of really small creatures; at the same time I have always spent a lot of time practicing on strange subjects underwater, like sponges – just to practice. Or maybe it is the scientist in me, to see what everyone else has seen and to think what no one else has thought (Albert Szent-Gyorgi).
I say add something old and primitive and “unseen” to your portfolio.
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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