Photo / Video News & Reviews
Underwater Photography: Getting Started
I was talking to a friend the other day, a very experienced diver, and he told me that he really wants to improve his photography and asked for some advice, which of course I offered. I also pointed out that there were numerous people writing about the subject both on-line and in print. He said that he always gave up reading articles as he disliked the way in which they were written; either too geeky or too much me, me, me. So although not the first time this has been done, I thought I’d write a very straightforward piece about getting started in underwater photography.
I started out as a regular photographer, wildlife was my thing and I was fortunate enough to work alongside some pretty serious photographers, and I learnt a great deal. So when I started diving in the late 90’s my first thoughts were how I couldn’t wait to get my camera into the water. You can’t imagine my disappointment when I repeatedly produced rubbish, rubbish and more rubbish. All the stuff I’d learnt about photography over the years all of a sudden accounted for…nothing. You see underwater photography is more about diving skills and know how than it is about traditional photo technique. It is in fact, surprisingly, all about the water. On land you can plant your feet firmly on the ground, accurately compose your image and shoot. In the constantly moving underwater world this is not so easy. Additionally you’re shooting through one big murky filter – the water itself, which presents the biggest obstacles of all… and that is exactly what we’re going to discuss in this feature.
Diving Skills
First things first; before you even take a camera underwater you need to have a reasonable level of control over yourself in the water. It is very hard to compose an image if you’re drifting about all over the place, banging into the reef and your fellow divers. Many underwater photographic workshops even insist that you have a minimum number of dives before you can enrol on the course. Even the most experienced diver will experience difficulties when diving with a camera for the first time, especially larger cameras.
To help with this most dive clubs and shops offer courses to improve your buoyancy control. PADI, which is the largest of the diving organisations, offer a course called the PPB, which stands for Peak Performance Buoyancy. This tuition helps you maintain your position in the water and will massively help your photography and make you a better diver.
Of course there is no substitute for experience so practice, practice and more practice is the best route to better photos.
Basics
There are two key elements to underwater photography that make the difference between mediocrity and wow, look at that photo.
The first is wide angle lenses, and I don’t mean 28mm, I’m talking super wide. The second is colour correction; anybody who has taken a blue washed out underwater photo will know exactly what I mean. These are two cornerstones of UW photography and we’ll be looking at them in depth (forgiving the pun) later on, but it’s important to pick the right camera in the first place as many excellent cameras topside are limited down under.
The majority of compact cameras nowadays have much longer zoom lenses than before. This is great for general use but for underwater work it presents a problem. Longer zooms are physically bigger than shorter ones, and that means that the housing to encompass them must also be that much bigger and more specifically wider so the camera does not see the edge of the housing around the lens and cause vigneting. This makes fitting an accessory wide angle lens very difficult, if not impossible. We’ll talk about this more in a while.
The other major consideration when choosing a camera for UW use is custom or manual white balance. This is little used in general photography, most people opting for the AWB (auto white balance) setting, but for a diver, manual white balance is a godsend. It enables you very easily to add back in the colour lost underwater – and without further ado, let’s discuss that in more detail.
Manual White Balance
Daylight is a mixture of different coloured light. Cameras ‘see’ light differently to the way we do. We don’t tend to notice the way light appears differently indoors to out, or how different a fluorescent tube looks to an old fashioned light bulb; but the colour of their light varies, and it’s called colour temperature. Take a shot indoors without flash and the picture will look warm. Using a flash, which is essentially the same colour as daylight, corrects this tint. Thankfully digital cameras have onboard firmware that corrects these different colour temperatures. This feature is called AWB – auto white balance, and it’s the default setting on pretty much all cameras nowadays. OK, OK, I’m getting there, honest – what has this got to do with UW photography? As you submerge deeper and deeper underwater, red light is progressively absorbed, and photos look bluer and bluer. Enter manual white balance. This camera function is a godsend for divers. It enables us to add back in the red light lost at depth, and it does it very accurately. Additionally, as you manually set it, it is accurate for the depth you are at. Most cameras capable of being housed have an underwater mode; why not just use this? This mode only adds back in a set amount of red, which only correctly works at one specific depth, normally around ten metres. Above this depth it is adding too much red and below not enough. The manual or custom mode lets you set the white balance for your precise depth ensuring your pictures always look colourful.
Wide Angle Lenses.
The other cornerstone of UW photography that we talked about right at the beginning is the use of wide lenses. As I mentioned previously, it’s the water itself that is the biggest problem we encounter. Whatever camera you use whilst underwater you still have to take photos through the water, and the less water you shoot through the sharper and clearer the end result will be. For this reason it is very important when choosing a camera to accompany you on your sub-sea adventures that you pick one that will enable an accessory lens to be fitted, so check availability of accessories before you commit to purchase.
Depending on the camera’s lens – 24, 28 or 35mm on the back end – a typical add on lens will convert this to around about 16mm. Accessory lenses for UW use are normally measured in terms of field of view and measured loosely in degrees. For example, Inon’s UWL-H100 lens has a field of view of about 100°. What this means in real terms is that with a suitable compact camera, even a large subject (a wreck for example) can be photographed in its entirety from only a few metres away as opposed to tens of metres away without the add on lens, and therefore shooting through much less water, which makes for a cleaner, sharper and more colourful image. This also applies for smaller subjects, but this is where your buoyancy control comes in; you need fine control to manoeuvre very close to a small fast moving subject like an anemone fish.
Combine the use of wide angle lenses with custom white balance and you’ve got a very good basic understanding of underwater photography.
Of course this is only really rippling the surface of this field; we haven’t talked about macro, strobes, filters, locations and a wealth of other topics. We’ll talk about some of these another time.
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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