Photo / Video News & Reviews
Scuba Diving Made Me An “Artist”
I never took a photo until I went underwater. And when I did, it was a last minute decision. I was on my way to LAX about three hours before my flight to Nadi, Fiji eight years ago, when I stopped by Samy’s Camera in Los Angeles to purchase a camera, but for taking landscape and people photos. I had finally decided that maybe I should take some photos to show people where I was going because the dive destinations were exceptionally beautiful and different. My sales guy made some suggestions based on my initial intentions. Then I offhandedly remarked that I wanted a camera that I could get an underwater housing for…some day. I really was not thinking about buying one at that moment. He immediately changed tack and suggested another camera all together. Then I thought well I am on my way to Fiji, to scuba dive in fact, maybe I should get the housing? It was kind of one of those “no duh” moments. I bought the housing, and it was the best use of 600 USD ever.
I had no clue what I was doing, and my first trip photos underwater were pretty terrible-blue and blurry. Some were good enough though to impress my family who were skeptical about scuba diving in general. “Really, you see that stuff under water?” I started to pay attention to underwater photos in magazines and wherever I could look. And then I started to do a little better. On my first trip to Indonesia, we had a small contest on the boat and my cleaner shrimp photo won! Based on what I saw and read, I started to think that I wanted a real machine, a DSLR. On a layover in Singapore just before another diving trip, I got some terrific underwater photography advice from the shop owner of ScubaCam. He told me that I had limited knowledge about how to use any camera let alone one underwater so he suggested that I stick with my mini-set up but add a strobe. The man opted not to sell me an expensive rig and instead spent 1.5 hours showing me how to set up just the strobe and arms.
The strobe alone, an Inon Z240, made a spectacular difference. All I had was a compact Canon. It was your basic point and shoot-nothing fancy and not a lot of pixels (from 2006!). Ironically, one of my favorite photos ever is one that I took on my first day shooting with the strobe. But there were no manual options on my camera. Frankly, I had not really considered manual options before going to ScubaCam, but the owner had suggested that I stick with my simple camera for underwater and purchase a good DSLR to use topside in order to become familiar with photographic technique. This strategy was a good one because I started to learn about aperture, shutter speed, ISO, and composition.
It took the impetus of another imminent trip to push me to upgrade my equipment. There I was again in a shop deciding, maybe a week beforehand this time, to buy a Canon G10. A point and shoot with manual functions, raw files, and great optics, but it was small so it was easy to travel and dive with. It was a rush, but the Canon underwater housing arrived just before I took off.
I was somewhat frustrated learning to use this new camera (and very nervous to take it underwater the first time – I did take the empty housing down on the first dive), but I managed with the help of a cruise director who was also a photographer. Once I figured out what some of the nuances of the camera were, I was shooting all over the place. She sat with me each night to throw out the bad photos and tell me why the good ones were good. She mentioned that my strobe was top of the line, so that when I was ready to graduate to a fancier rig (or anything), I could keep it.
I still have that camera with the original housing. The problem with the Canon housings is that although they work fine as long as you take care of them and change the o-ring periodically, eventually the springs for the buttons no longer spring anymore, especially under pressure. You will find yourself at 20 meters, and after taking a photo, the button will not release. You have to ascend a bit then to release the pressure on the button in order to take more photos. Probably springs become less springy even in the best of housings, but Canon considers these housings to be disposable so at some point you might have to chuck the whole rig, just because you can no longer get a housing for your “old” camera.
That digital cameras become quickly outdated is a source of stress with underwater photography. Cameras change exceedingly rapidly so that your new camera is really pretty old within a few months even. It takes time for underwater housings to catch up to newer models as it is, but then once the next model in the series comes out, the housings are no longer produced. Replacing one or the other then is time sensitive. My last trip with my G10 after four years was in Bali where the black sand is very fine. It became lodged under the o-rings of the buttons. It is not possible to have it removed so I was forced to purchase not only a new housing but a new camera as well. I still felt that I had a lot to learn, so I bought the Canon G15, but invested in a good housing. I also decided to get a second strobe. I am able to change manual functions more easily with the Nauticam housing, and its construction also protects the o-ring from sand a bazillion times better, so overall it is an easier set up to use than the less expensive Canon housings.
Although technically my photos are reasonably good, I am still working on composition. Composition is the toughest part of underwater photography – making a photo that is not only technically correct but artistic as well. Inspiration is everywhere underwater even if you thought you had absolutely no right brain activity whatsoever. But there are additional considerations.
Underwater photography is like a whole other sport. You need buoyancy control like you never thought before. Time is a factor, and animals move and so do you. As I read and looked at photos in magazines and on websites, I started to see what people could do with the kind of equipment that I had. I learned about wet lenses. A wet lens is added to the outside of a housing in order to magnify your macro subjects. These lenses can be stacked, i.e. one screwed into another, so that you can get super macro photos. I now have two. There are wide-angle wet lens options. I have tried one, but got poor results with it.
Personally I think you can take a great photo with any compact now, especially if you have a strobe, because the resolution and focusing capabilities get better and better with advancing technology. But there are some frustrating aspects. The main one is that there is a significant shutter lag. Clicking to take the photo is not in sync with when the shutter actually opens. So a fish that is moving is particularly difficult to photograph. Furthermore there is a lag for when the photo is transferred/saved to the card so that the camera is slow to take a subsequent photo.
The second dilemma is that you have to be physically extremely close to animals to get good macro shots. It is sort of a rule of macro photography, but with a dedicated macro lens you can be close but not so close so as to disturb the animal. Finally, the focus resolution is great with many of these cameras, but it can never reach the level of a DSLR. The main advantage, however, is that all of the equipment packs up into my backpack.
A couple of other equipment unrelated strategies will help to improve your skills. One is that you do not have to take a photo of every creature that you see. One photographer told me to try to focus on a few specific subjects during a dive – not many all at once. If you focus on a few subjects, you can test different angles, exposures, or lighting techniques so that one might give a desirable result. You start to become a photographer, not just a tourist underwater.
When you are first learning, practice on anything. Nudibranchs are easy, and even some of the more common ones can give striking photos if you become acquainted with some simple techniques. Tunicates, corals, and sponges are all great subjects because of colors and textures, so that when you do have a more challenging subject, you will be prepared. I can still be slow, but I stick with my three to five shots rule if others are waiting and move on or go to the back of the line. Sometimes circumstances prohibit any chance of a good photo anyway so just have a look. I remind myself constantly that it is most important to see the critters.
With a compact camera, it does take more effort sometimes. I have found it to be more time consuming to set up for the photo especially if something is a little off with your first shot, and you are under pressure to move on because of other divers or decompression. Muck diving is a type of diving that offers rewarding photographic opportunities everywhere. There are always creatures to see so that even if the guide spots something really rare, you can spend your time photographing something else while you wait your turn to see it.
As an underwater photographer, I am exceedingly conscious of where my body is underwater. I have seen very nice people, who were good photographers even, but completely ignorant of their location underwater. If I can not take the photo without banging into or moving something, I do not. It is a privilege to see these animals and be in their world. A few good photos are better than a lot of poor ones which you will get regardless because of the nature of the “sport”.
Sometimes I have mixed feelings about underwater photography because you may spend more time photographing than looking around you! Once I missed a whale shark that did a “swim-by” because I was behind taking photos. I have also felt frustration because others may seem to hog time in front of critters. The last time I felt that I thought if that happens again then the whole rig goes in the garbage because diving is for removing yourself from the conventional world. If you have a philosophical view, there will be no poor feelings underwater. I have since become more focused on the process and not necessarily the end product.
I still have not figured out how to take time to create an artistic photo and keep up with the guide. It must be terribly tedious for them to watch someone taking photos, and a buddy once without a camera expressed deep anger in not wanting to hang around while I did that. The most obvious dilemma that is unique to the sport is that I cannot be underwater all of the time. It truly helps to photograph subjects topside, however. Composition for example is a universal principle.
Scuba diving is a reason to travel, to be physically active, and to create art. Sometimes I get a desirable result, sometimes unexpectedly, but mostly I have the kind of peace that taking up an art form can give you, and I discovered it through scuba diving.
©2014 Janice Marie Nigro/janikiInk.com
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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