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Scubaverse Underwater Photographer Interview: Joe Daniels

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In an ongoing series, Scubaverse.com’s Underwater Photography Editors Nick and Caroline Robertson-Brown talk to underwater photographers from around the world that they admire.

This interview is with award-winning photographer Joe Daniels.

Thank you for asking me to participate in this interview! Originally I am from Suffolk, England and I am now based in South West France. For the past ten years I have been fortunate enough to work on various different marine conservation projects and diving operations around the world. Through diving and spending a lot of time underwater I developed a passion for underwater photography. Now I can’t bear to be in the water without a camera, whether it’s a murky pond or bustling coral reef.

My highest achieving image so far would probably be my Tunicate Shrimp which earnt gold in the Traditional Macro category in the Our World Underwater competition. I have also placed in Outdoor Photographer of the year twice, HIPA Life in Colour and World Oceans Day photo competition. A Whale Shark image of mine was used in BEIJING by Humane Society International and the Jane Goodall Institute. The exhibit, entitled “The Price Behind the Taste—Protect Sharks, Don’t Eat Shark Fins,” was to enlist public support for the protection of sharks. I was very proud to be included in this campaign.

So far in my career I have spent the majority of my time across two locations – The muck diving mecca of Ambon in eastern Indonesia and the idyllic Indian Ocean archipelago of Seychelles. The two locations could not be more different photographically which I think helps diversify my portfolio. I have also been to Raja Ampat twice in the past three years, the marine life there is astounding and is very hard to beat.


N/C: How did your underwater photography start?

JD: As soon as I left college I went and volunteered on a Marine Conservation Project in Seychelles. There I was involved in reef monitoring where we did 2 survey dives per day from Monday to Friday. This wasn’t enough in water time for me so I spent all my spare time and weekends snorkelling. One weekend I borrowed a small clear dry bag for my pentax point and shoot camera. After going out snorkelling with the camera and taking some terrible pictures of Turtles and various corals I was hooked.

N/C: What is your favourite u/w camera equipment (past & present) & why?

JD: I love to shoot cfwa images so my Nauticam mini dome and Tokina 10-17mm fisheye is a favourite set up of mine. I have also recently acquired a Trioplan 100mm f2.8 so I am looking forward to shooting and experimenting with that later this year.

N/C: What would be your advice to anyone new to underwater photography?

JD: Not to get obsessed buying the latest and greatest camera setup. Of course buy the best you can afford, but it’s not everything. Focus on subject selection, composition and light. It also makes a huge difference if you are a comfortable and competent underwater.

N/C: What, or who, has been your single biggest inspiration for your underwater photography?

JD: When I first started taking pictures underwater I loved to show people what I had seen whilst I was underwater, I still do. Now I like to show people things that they may have never seen before, or animals they know of but shown in a different way. I just want to share my enthusiasm for the underwater world and hopefully get others excited about it too. There are many photographers that inspire my work, notably Thomas Peschak his images continually amaze me. Alex Mustard’s images are a technical masterclass and are always a joy to behold. Eduardo Acevedo Fernandez, Laurent Ballesta and David Doubilet all produce jaw dropping images and all have large influences on my work.

N/C: Where is your favourite dive location, and is it for the photography?

JD: This is a tough question. I have favourite locations for differing reasons, and there are many places I have not had the chance to get to yet. For macro it has to be Ambon. The abundance of subjects there is endless. The thing I like most about diving in Ambon is that it’s not just macro. There are incredible jetty’s, caves, reefs and even a wreck. So photographically its fantastic. For wide angle I would have to say Misool in Raja Ampat. The health and diversity of the reef systems there are world class. It is also a massive conservation success story being protect by a patrolled no take zone which is twice the size of Singapore. The Yucatan Peninsular, Mexico also has some spectacular photographic opportunities with its Cenotes, Sailfish and Sharks. Finally Seychelles will always be a special place for me where I’ve had many special encounters.

N/C: What are you views on marine life manipulation, moving subjects?

JD: With regards to moving subjects especially in macro photography I am against it. Picking animals up and moving them just for a photo is not acceptable. I would be a hypocrite if I was to say that I didn’t have images where the animal had been coaxed a little to get a better image. I think there would be very few photographers that have never coaxed a critter to a different position for a better image, if they are honest. I think with the rise of social media it has got out of hand as macro photography is very competitive now, photographers are so focused on getting as many likes as possible their ethics go out of the window a bit. On the other hand I have been on dives with photographers that are very anti manipulation and will not tolerate it at all, but will then take hundreds of pictures of one subject then swim straight over the subject wiping it out in one fin kick and not even noticing.

Every time we enter the water we make an impact, it’s what we do to reduce this impact. Don’t forget those basic diving skills you learnt in your open water course and be specially aware. Talk to your dive guide and ask them just to show you, instead of positioning. They are just trying to please you when they move things as it usually increases their tip. The dive operations can also have a code of conduct for photographers to abide by whilst diving to reduce their impact. Marine life manipulation is not isolated to macro photography. Tiger Beach is a good example, the sharks are lured in front of photographers cameras with bait for sunset splits or a perfect pass. I’m not saying I’m against shark diving practices, quite the opposite. If we can make them financially profitable sharks are much less likely to be killed for their fins. I suppose what I am trying to say it that it’s not a Black & White issue. We have to be responsible in our actions and have some foresight to ensure these amazing creatures continue to thrive and photographers can continue to photograph them. So the less we poke and prod them the more likely they are to stick around.

N/C: What do you look for when you are making your images?

JD: It depends on what I’m shooting and in what conditions I am shooting in. For macro I am looking for a willing subject in a good position, generally raised up off the substrate if I want a black background. What I really like to shoot is a subject with an attractive background. If there is current or surge I will try and stay away from super macro and shallow DOF. For wide angle I am always looking for the best light, I can’t resist a Indonesian jetty with shafts of light streaming through the wooden slats. When the light is good I’m looking for a subject to fill the foreground and complete the image. I also love to incorporate the surface into my images, whether it’s a split image or incorporating Snell’s window. These are usually the images that stand out to people that are not divers or spend much time underwater. I think it gives the viewer something to relate to. No matter what technique I’m using I always shoot to the conditions. Whether that means streamlining my gear to catch up with speeding Sailfish or simplifying my images when there is current. When the conditions change so does my plan for making images, this is not necessarily a bad thing. Varying conditions may diversify your portfolio. One of my favourite images is a Turtle silhouette, instead of the classic sunbeams behind it (which I was initially after) it poured with rain so it has rain drops hitting the surface filling the rest of the frame. Shooting in those conditions created an image that stands out from the rest.

N/C: What motivates you to take u/w photos?

JD: Simply because I love it! I love the whole process of making pictures from deciding what set up to use, setting everything up and being underwater searching for a subject. I love that I can use my images to promote marine conservation issues and to just show to people how amazing the underwater world is. I’m constantly learning and driven to take better pictures.

N/C: If you could photograph any one thing/place what or where would that be?

JD: Although I have been to Raja Ampat twice I would love to go back and visit the Blue Water Mangroves of Misool. A shallow coral reef with over hanging Mangroves and shafts of light streaming through onto Barrel Sponges and Soft corals sounds incredible, everything I like to shoot all rolled into one dive site.

Follow the work of Joe Daniels at www.jldaniels.co.uk or on his Facebook page and instagram @j_l_daniels

Nick and Caroline (Frogfish Photography) are a married couple of conservation driven underwater photo-journalists and authors. Both have honours degrees from Manchester University, in Environmental Biology and Biology respectively, with Nick being a Fellow of the Royal Photographic Society, a former high school science teacher with a DipEd in Teaching Studies. Caroline has an MSc in Animal Behaviour specializing in Caribbean Ecology. They are multiple award-winning photographers and along with 4 published books, feature regularly in the diving, wildlife and international press They are the Underwater Photography and Deputy Editors at Scubaverse and Dive Travel Adventures. Winners of the Caribbean Tourism Organization Photo-journalist of the Year for a feature on Shark Diving in The Bahamas, and they have been placed in every year they have entered. Nick and Caroline regularly use their free time to visit schools, both in the UK and on their travels, to discuss the important issues of marine conservation, sharks and plastic pollution. They are ambassadors for Sharks4Kids and founders of SeaStraw. They are Dive Ambassadors for The Islands of The Bahamas and are supported by Mares, Paralenz, Nauticam and Olympus. To find out more visit www.frogfishphotography.com

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Meet Insta360 Ace Pro 2: Redefining Action Cameras With Unrivaled 8K Image Quality & Smarter AI

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insta360

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

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.

insta360

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.

www.insta360.com

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Introducing the Nauticam Super Macro Converter 3

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Nauticam SMC-3

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

Nauticam SMC-3

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.

Nauticam SMC-3

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.

www.nauticam.com

 

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