Photo / Video News & Reviews
Scubaverse Underwater Photographer Interview: Thomas Ozanne
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 Thomas Ozanne.
Nick and Caroline speak to Thomas Ozanne after meeting him at the DEMA show in Las Vegas in 2016.
N/C: How did your underwater photography start?
TO: I went on holiday and needed to do something to fill the time so I thought I’d try diving. Fell in love with it immediately. Ended up sticking around much longer than I intended and did my Divemaster course. Almost immediately I landed a job working for the resort I trained with and fairly quickly realised I wasn’t cut out for working the resort reception or taking scuba reviews in the pool. I needed something that could keep me in the water on my own terms and the people I saw around me that had that were making videos, so I took up videography. From there I managed to blag my way in to a job on board a Liveaboard with absolutely no idea what I was doing. After a successful season of shooting videos I realised that it was far too much work (6am till midnight 4 days out of 5 for 6 months) so in the off season I decided to concentrate on shooting stills with my compact camera. I ended up buying an Inon fisheye and close up lenses and a strobe and quickly started getting results I was pleased with. Before too long I realised I hit the limits of the gear I had so decided to sell my video rig and bite the bullet and buy a DSLR set up. After that I took myself off to Sipadan and Palau and shot like crazy. Again with no clue, making it up as I went along. I then made it back to my old Liveaboard and managed to convince the owner to let me shoot photos instead of videos. And based on that I built up a ton of experience diving and shooting. And I think that’s what allowed me to develop my skills and do the kind of work I love to do.
N/C: What is your favourite u/w camera equipment (past & present) & Why?
TO: Probably top of the list is my Inon 45 degree viewfinder. I had to dive without it once and I was the worst dive of my life. If you buy a DSLR you need to get yourself a magnifying viewfinder of some sort. Craning your neck and squinting through a tiny viewfinder is not going to get you very far.
Secondly I‘d have to say my Tokina 10-17mm fisheye lens. It’s perfect for the way I like to shoot, up close and personal. Super fast to focus and has never missed a beat after being poorly treated for years.
And last but not least would have to be my Subal housings, past and present. They are built like a tanks and just work. No messing around. Thousands of dives and no problems. (Apart from that one time where I wasn’t paying attention during set up and had a slight leak, but that’s totally on me.)
N/C: What would be your advice to anyone new to underwater photography?
TO: Be the best diver you can be. Don’t rush in prioritising the photography if you haven’t nailed your diving, particularly your buoyancy. You’ll stress yourself out, you’ll put yourself and the environment at risk and you will struggle to fully embrace the photography if the diving isn’t second nature to you. That’s it.
Actually there’s more to it than that. Build up lots of diving experience first and then apply the photography. Unfortunately this isn’t always easy, as doing this requires a lot of diving experience that you might not be able to build up if you only dive a handful of times a year. Understandably people want to get on with shooting and maximise every minute of their time under water but I think time spent becoming a good diver will benefit you more in the long run. And without exaggerating too much it could even be the difference between life and death. Diving isn’t an activity to be taken lightly and sadly I see far too many photographers diving like they are invincible. That’s going to bite you in the arse one day.
N/C: What, or who, has been your single biggest inspiration for your underwater photography?
TO: Alex Mustard’s work is a continuing inspiration. He is in a league of his own. Technically and artistically there aren’t many who come close, at least not with his consistency. And Martin Edge’s book was my bible when I started out – I think he owes me some commission for the number of copies I have convinced people they should buy over the years!
N/C: What are your boundaries on post-editing image manipulation?
TO: I have come to realise that less is more. I never add, and only remove and then only within reason. I don’t use Photoshop, but I think there is a place for it to really polish an image with more control than Lightroom offers. I’m not averse to tweaking the colour of the water column and using dodge and burn techniques with gradients and brushes. And I will not shy away from the spot heal tool to clean up the water column and any of that pesky backscatter, but you are better off learning how to control your lighting than you are spending time clicking away at thousands of sots.
One thing I would say is images need to look natural and balanced. When you are new to post production it’s easy to be a bit heavy handed with your adjustments. I know I was guilty of that when I started. As I have progressed I find myself doing less and less to my images, and I feel this is really the ultimate aim for my photography, to get the shot as best I can in camera and then use the post production to add a final polish to an image. If you spend more time editing images than shooting I think that’s a little back to front. But saying that, skilled use of software to finalise an image is an integral aspect of photography that needs to be embraced. Just be critical of every element of your final image.
N/C: Where is your favourite dive location, and is it for the photography?
TO: The best diving I have done was in Papua New Guinea. Hands down. Way out in the Coral Sea is an atoll called Easter Fields. It had everything: incredible visibility, amazing pristine corals, huge numbers of schooling fish, and more sharks than I have seen anywhere else (sadly that’s an indictment of the impact humanity has had on sharks more than anything else, in all my diving in Asia I have seen hardly any sharks). And a close joint second comes Palau, Raja Ampat, and Komodo. All incredible places.
N/C: What are you views on marine life manipulation, moving subjects?
TO: Honestly I can’t say that I haven’t encouraged a few creatures to move slightly using a finger or a poker in the past, never actually touching, just corralling gently, but even that is something I have come to feel is unacceptable. I don’t think manipulation has a place in wildlife photography. We are representing nature, and nature doesn’t exist for our convenience. I regularly see shots that most reasonable people could tell are not natural and couldn’t have been achieved without interference. We know the shot must have been gotten with dubious methods, and so does the person that took it, and they have to live with themselves. But then that’s one of the problems isn’t it? Those kind of people just don’t care. They’ll lap up the praise regardless and continue to exploit nature for their own ego.
Over time I have come to realise that my photography is opportunistic. I shoot things that happen in front of me. I don’t want a shot in my portfolio that would never have happened without deliberately interfering with a creature.
That people proudly display such images and even win awards for them occasionally is a shame, and I’m glad that often judges of competitions are hard on an image when this kind of behaviour is suspected. But saying that, some still slip through the net.
N/C: What do you look for when you are making your images?
TO: A nice composition. More than anything else a well composed and structured image is what I look to get. Having complete control of your buoyancy allows you to position yourself in the water column and a decent viewfinder on your housing will allow you to consider every square mm of the frame. One thing that stuck with me from an old teacher of mine was the idea that if something isn’t adding to an image it is taking away. He was referring to design in general but I find is a great thing to keep in mind when shooting images. Everything in your image should be there for a reason. Consider the foreground and the background. Of course there is the subject to consider but don’t forget the horizon, the sun’s position, Snell’s window, the blue gradient of the water, the clouds in the sky, the silhouette of the reef…. all of these elements are yours to control with your positioning in the water. At least for wide-angle they are. For macro it’s all about the subject and a clean or interesting background as something to aim for.
N/C: What motivates you to take u/w photos?
TO: New experiences, and continuously striving to improve my photography. I really enjoy getting wows out of people. And the shots that seem to have that effect are shots that were taken when I myself was thinking “wow, this is so cool”. I love the adventure of diving and the beauty of nature and the skill of good diving and photography and I love that there is always something new to see, something new to learn, and more amazing images to be captured with improved technique.
N/C: If you could photograph any one thing/place what or where would that be?
TO: High on my list is more big stuff, and I guess the ultimate would be whales. A trip to Tonga to meet the humpbacks is calling to me. That and working more with models. I have had some great experiences shooting free divers and intend to do more. I love the sport of free diving and there are some very cool images to be made with the right collaborations.
I just re-read the question and see that you said “any one thing”, so I guess I’ll have to choose. It’s going to have to be whales, isn’t it?
See more of Thomas’ work at www.arewedreaming.com. Find him on Instagram at @arewedreaming
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.
News
Introducing the Nauticam Super Macro Converter 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 |
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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