Photo / Video News & Reviews
Scubaverse Underwater Photographer Interview: Mario Vitalini
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 week’s interview is with UK-based tour operator Scuba Travel’s new resident underwater photo pro, Mario Vitalini.
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My name is Mario Vitalini, and photography is in my blood. I was born in Colombia some forty odd (cough) years ago. My father was a professional photographer and I grew up in his studio playing between tripods lights and large format cameras. I trained as graphic designer and worked as an art director for a few years, but the lure of the sea was too strong and I soon became a dive instructor and never looked back.
It was only a matter of time before I got hold of a Nikkonos camera and started taking photos underwater. As a dive instructor, I soon found myself working in Egypt where for some time I combined my job as a liveaboard guide with a video rig filming customers on the trips.
The passion for underwater photography was never far away and when together with my now wife we moved to the UK, and I found a job with one of the major underwater photography equipment retailers. This allowed me to get my hands on a huge range of equipment, which I tried on many trips, and helped pinpoint their strengths and weakness.
I left my job in retail some four years ago and started my own company teaching underwater photography on 1:1 basis to many enthusiastic divers. I decided to focus on 1:1 teaching as you get to see a real improvement in the students. There are no compromises as the course is totally focused on that individual. It’s really rewarding to see the speed at which people improve in a single day. Now I’m looking to take that ethos to a broader group. Think personalised content in a relaxed environment of fellow divers who are all looking to bring their own standard up.
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N&C: How did your underwater photography start?
MV: Seeing my lifelong passion for photography combine with my then newfound passion of diving (somewhere in the 80s). My father gave me a second hand Nikkonos camera when I was a relatively new diver. I first used it on a trip to Cocos. Stan Waterman happened to be on that trip – wow, what an inspiration to follow your dreams. Without any formal training , the results were not very good back then, but that only inspired me to learn the differences between shooting on land and underwater.
N&C: What is your favourite u/w camera equipment (past & present) & why?
MV: If we go back to film days, I have very good memories of my old Nikkonos 3. It’s simplicity and complete lack of electronics meant you had to learn to read the ambient light and to control your flashguns if you wanted to get any decent results. It also was in many ways flood resistant. If there was a leak, you just had to rinse it thoroughly and let it dry before loading another roll of film and carry on shooting.
Nowadays I’m a big fan of the mirrorless revolution. It’s exciting! These cameras are getting very close in image quality to what you can achieve with much, much more expensive, high end DSLR options. There are a few areas where there is still a noticeable difference but overall they are an excellent option. Low end and mid range DSLRs are like for like in terms of image quality. I currently use an Olympus OMD EM1 and love how practical it is to travel with a smaller, lighter set up.
N&C: What would be your advice to anyone new to underwater photography?
MV: There are a couple of things I would say to anyone looking to start to take pictures underwater. First of all, get your buoyancy spot on. When you are taking pictures underwater your focus is on the view finder, and you positioning should be second nature. Good buoyancy is the most important skill in underwater photography.
When it comes to choosing your kit, you should always ask yourself the question: Are you diving to take pictures or taking pictures while diving?
When you dive with a big photo set up (DSLR/Mirrorless, strobes, dome ports etc.) your get in the water to take pictures. If you enjoy diving and want to take pictures, a big system will only get in your way. You’ll save money in the long term by getting proper advice based on your personal goals.
Finally, remember that a great camera on land is not necessary a great camera underwater. The housing, accessories and ability to access functionality underwater all massively change the options. And few online review sites will cover these specific aspects.
N&C: What, or who, has been your single biggest inspiration for your underwater photography?
MV: I grew up watching Jacques Cousteau documentaries and I would say he is responsible for my love for the sea. Combined with my upbringing in a photographic environment I think it was only a matter of time before I got involved in underwater photography. Today I love what Keri Wilk does with macro and Alex Mustard and David Doubilet are both incredible masters of managing lighting. The colours are spectacular as well as creative images.
N&C: What are your boundaries on post-editing image manipulation?
MV: I do not have any problems with post processing. For me photography is an art form and as such it should not be restricted. However, I try to always show a real representation of the environment I’m photographing. Sometimes a great shot is ruined by a small element in the wrong place and then I do not have a problem retouching it. But when it comes to competitions it’s worth checking the rules and sticking to them. Some of the images I’m proudest of, and that have also done well in competitions, have had tonal manipulations. I love playing with black and whites, monotones and desaturations. These enhance an atmosphere that was there in the shot at the time, rather than adding or removing anything artificial.
RAW files require some amount of post processing and I do not think it’s realistic to completely ban photo editing. Tonal corrections and white balance, contrast and general exposure are necessary to get the most out of your RAW images. BUT: you should always aim to start with the best possible image.
N&C: Where is your favourite dive location, and is it for the photography?
MV: I’ve been asked that question many times and I do not think I have a straight answer. I have been lucky to visit many destinations and each one has its own attraction, from the crazy macro encounters of Lembeh or Dumaguete, straight to the mind blowing diversity of Komodo or the sharks of Socorro and Palau. I grew up diving in the Caribbean and I will always have a soft spot for it.
If I have to choose a single destination it would probably be the Red Sea. Its not by chance I spent more than 5 years working as a dive guide there – I’ve dived it from north to south and every inch of it captivates me. There is always something special regardless of the season: great wrecks, beautiful reefs, pelagics and reef dwellers, generally good underwater conditions and great weather year around… what’s not to love? No surprise the Red Sea is one of the top destinations for divers from all over the world.
N&C: What are you views on marine life manipulation, moving subjects?
MV: In very simple terms, NOT ACCEPTABLE. This issue has been in the spotlight for some time now and unfortunately in many parts of the world it is something that often happens. As underwater photographers we have a responsibility to correct this bad behaviour. I have to mention good buoyancy comes hand in hand here; no photo is worth harassing marine life or destroying the environment. Simply put, don’t be one of “those” photographers or as it’s known in my house “a selfish twat”.
N&C: What do you look for when you are making your images?
MV: When I get underwater with my camera system I’m open to whatever I can find. There is always something interesting to photograph. When I find a subject I always take a few shots “for the record”, but afterwards I tend to put my camera down and look at the subject trying to find a different way to photograph it, using the environment to enhance it or lighting and different techniques to isolate it. Always look for a different and unusual take. We’ve all taken fish ID shots. There’s nothing wrong with getting a few of those in the bag, but then push yourself to go a step further. It takes time for sure. But with the right guides and buddy, it’s not about how much of a site you see, rather what you do with what you find.
N&C: What motivates you to take u/w photos?
MV: As scuba divers we encounter incredible creatures and fantastic places. Photographing the journey is a way to share my passion for the sea and its secrets. I’m as much in love with the sea in all its challenging and miraculous ways as I was as a 6 year old watching Cousteau in my parent’s living room in Colombia. I’ve just never seen it all – or enough!
N&C: If you could photograph any one thing/place what or where would that be?
MV: Instead of getting smaller, my wish list grows every day. If I had to pick a single subject it would be a blue whale. These magnificent animals are so impressive and very rarely photographed underwater. It would be an absolute dream to have the chance to photograph one. And if I had to pick a location it would be a close call between Galapagos and Silfra fissure. Damn… that’s two. Well, you get the idea. The list never gets shorter!
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For more from Mario, visit www.fishinfocus.co.uk or www.facebook.com/fishinfocus.
To find out more about the liveaboard photo workshops that Mario runs for Scuba Travel 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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