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INTRODUCTION
Getting good colours in underwater footage, especially when shooting in ambient light, has been a challenge since the early days of underwater cinematography, and action cameras are no exception.
As divers learn in their certification course, water absorbs light unevenly, with longer wavelengths like reds and oranges fading quickly as depth increases, leaving underwater scenes dominated by blues and greens unless corrected (here's a little video illustrating water's filtration effect at depth).
With action cam manufacturers releasing new models every six months, and online talking heads pitching each one as the miracle solution for underwater video, it might seem like the issue has long been solved by 2025.
Apps, mods, and camera software all promise one-button perfection: minimal effort, high reward, and content ready for instant sharing.
On recent action cameras, the most common approach is to leave white balance and colour corrections to the camera's software, to tweak settings and hope for the best...
Examples of typical results for ambient light footage shot at depth with auto-settings on recent action cameras and an iPhone16 :
(source)
But step off the marketing carousel for a moment and take a look at recent underwater clips, do the colours actually look... Good? Natural? Pleasing?
Those are very subjective words, of course, and the devil is in the details.
And yet some of us are not entirely convinced by what we’re seeing, despite all the technological advances, and started to question this in-camera, software-driven approach to the underwater colour problem, especially on action cameras, paradoxically the crown jewels of the one-button, auto-settings, shoot-and-forget philosophy.
Compare the above to Nick Hope's 2007 (!) almost "prehistoric" tests of underwater manual white-balance with a filter :
(note the cast on the auto WB test)
(source)
This is where this tutorial comes in.
It offers a user-based, more manual alternative to letting the camera try to solve the colour issue through automation, which we believe is really beneficial for action cams.
What follows is a simple, experience-based workflow for shooting underwater video in ambient light on action cameras – or any camera that struggles with manual white balance at depth.
The core idea is to take back control of white balance and colour processing by setting the white balance point manually in post-production, just as you would, at depth, with a camera that allows manual WB adjustment.
We believe that this manual approach, when done correctly, usually yields better, more flexible results than current in-camera software solutions, and helps you get the most out of your gear—especially older or less advanced models.
Capture from personal footage shot at roughly 10m on the GoPro 4 in a flat profile with a UR-Pro Cyan filter (Richelieu Rock, 2018)
Early personal raw clip shot at roughly 15m on a GoPro 4, in flat with a UR-Pro filter, rebalanced in post (2016, Mike's Point, Raja Ampat)
Other selected video clip examples shot in flat with a filter on various action cameras are visible here
WHO IS THIS WORKFLOW TUTORIAL FOR
Let’s be clear: this approach probably isn’t for everyone.
That’s not elitism, just practicality, especially given the phone-and-app-based social-media sharing ecosystem underwater video has evolved into.
This workflow is best suited for videographers who:
Work on their clips in post-production, including colour grading and editing
Use video editing software that allows manual white balance adjustment (some phone-based apps may not support this)
Shoot with cameras where in-camera processing can be limited or turned off, especially auto white-balance handling and colour corrections
THE IDEA BEHIND THIS UNDERWATER SHOOTING WORKFLOW
This approach is designed to help you get the best out of your footage by regaining some manual control over colour and white balance, which are set during post-production rather than left to in-camera software.
To be clear, this is not a method for getting the best results straight out of camera (SOOC).
It is not a software-driven workflow that delivers instantly shareable clips, which is often the focus of many action cam discussions today.
However, we believe that when used correctly and in the right conditions, this approach to ambient light video can produce better, more flexible results than in-camera correction, and help you get the most out of your gear.
It is especially effective on action cameras, and with older camera models that lack advanced colour correction or built-in underwater modes.
WHAT SHOOTING SITUATIONS DOES THIS WORKFLOW APPLY TO
This workflow applies to the following underwater video scenarios:
Full ambient light video, where you're shooting at depth using sunlight as the only light source. It also applies to mixed lighting setups, where natural sunlight is combined with artificial light that has been filtered to match the colour spectrum of sunlight at depth. This is often referred to as ambient-filtered mixed lighting.
Shooting in the ambient light "Goldilocks zone" – not too shallow and not too deep. This is the depth range where there is enough natural light to work with, while the colour loss from seawater remains manageable.
The exact range depends on local conditions, but in areas with strong sunlight it generally falls between 5 and 20 metres, with a sweet spot around 8 to 15 metres depth. In some cases it can extend a bit deeper, or be quite shallower. Using a filter on the camera lens also affects this workable range, as you lose 1 to 2.5 stops of light, and compensating with higher ISO has limited effectiveness on action cameras, as it quickly degrades the image and introduces noise.
Capture from GoPro7 footage, ambient light at 10m, flat profile with a filter, rebalanced and quickly graded in post (Okinawa, 2025)
AMBIENT LIGHT VIDEO SHOOTING WORKFLOW
CAMERA SETUP
1. Set your camera to shoot in a “flat” or flat-ish profile
The goal here is actually to limit what the camera does in terms of in-camera white balance and software colour correction.
This is an essential step for effectively rebalancing and grading your video footage later.
Shooting flat avoids the unnatural hues often introduced by "underwater modes" or automatic white balance settings, which typically boost the red channel in ways that degrade image quality and make post-production white point and colour balancing more difficult.
Another common issue is inconsistency in colour treatment within a sequence, especially when the camera is making adjustments on the fly. This isn't a problem for still images, but it is a major issue for video.
This will vary with camera brand (GoPro, DJI, Ace360, etc.), but the logic remains the same: limit what your camera does in terms of automatic white balance, colour, contrast and exposure adjustment at depth, and aim for a more neutral - yet information-rich - profile.
In our camera settings, rather than trusting the camera, we're aiming to record footage in a neutral, information-rich way, so we have the maximum flexibility for correcting white balance and colours.
Flat profiles, log, and similar settings all serve the same purpose: capturing the necessary information in a neutral form, with a wider dynamic range and more information, so you can work efficiently on the footage in post. The idea is similar to shooting RAW in still photography.
Be careful with ISO settings - using a filter on the camera lens means losing 1 to 2.5 stops of light - however, it's best to clock the max ISO on action cameras, as image quality typically degrades above 800 to 1600 ISO, depending on models, camera capacities and local conditions.
Example of basic GoPro camera settings:
Enable Protune
Set colour to Flat
Set white balance to Native
Set max ISO to 800 (or a little higher if your camera can handle it without too much noise)
Leave shutter speed on Auto (seems to work better than the 180° rule of shutter on action cams)
Typical GoPro 7 "flat" profile settings
2. Use a well-designed filter on the camera lens (if possible)
If you can, use a well-designed filter on your camera lens.
In blue water, a good filter helps correct the seawater’s colour distortion by cutting excessive cyans and greens while allowing deeper blues through.
This warms up the image hitting the sensor, helping the camera handle white balance more effectively -whether manually at depth or during post-production.
The goal is to restore a more natural colour balance by compensating for the way sunlight is filtered by the water column.
In green water, a different filter is needed, usually with more magenta tones, to account for the different spectral loss.
Keldan 7m compensation Spectrum Filter transmission data, blue water filter (left) and green water filter (right)
(source)
Well-designed filters typically have a fluorofilter-like spectral curve.
Examples include the now-discontinued UR-Pro, Keldan Spectrum filters, and Magic Filters, or fluorofilter profiles (see the section below and this thread here for more detailed discussion on filters)
Be aware that many so-called "red" filters on the market are poorly engineered. Slapping red plastic on a lens doesn’t magically fix underwater colours. The filter must target specific wavelengths, not just “warm up” the image.
LEE 008 Dark Salmon filter gel, next to the UR-Pro Cyan filter on a GoPro SRP adapter
If you're using a filter (and you should if possible), make sure to:
Compensate for the light loss by adjusting your exposure or EV settings
Stay within the filter’s optimal depth range
Avoid pushing ISO too high - action cams often get noisy above ISO 800 or 1600 underwater
When shooting in a mixed-lighting setup that combines ambient sunlight with artificial lights, make sure to use ambient filters on your lights, not just on your lens.
These filters adjust the colour temperature of your artificial light to match the filtered sunlight at depth, helping maintain consistent colour balance in your footage.
And let's not forget the most important point of this workflow: shoot in flat, and set your white-balance point manually.
Don't let the camera decide!
Captures from footage shot on a GoPro12 with a filter, but in auto settings.
This illustrates the importance of taking control and rebalancing the footage in post. While it's difficult to predict the exact outcome, the colour palette would likely appear more natural, with fewer “day-glo” hues and a milder cast if shot in flat and WB set in post
(source)
IN WATER
Shoot Within the Ambient Light “Goldilocks Zone”
When shooting in ambient light, make sure to stay within the optimal depth range where ambient light still works and colour can be recovered in post.
This "Goldilocks zone" is deep enough for water to filter sunlight and create colour loss, but not so deep that the camera struggles to capture usable information.
The exact range depends on location and conditions, but in strong sunlight areas like the tropics, it typically begins below 5 metres (shallower than that, there's not enough filtration for the technique to matter) and extends to around 20 metres. In very clear, well-lit water, it may stretch to 25 or even 30 metres. The sweet spot is usually between 8 and 15 metres.
Keep in mind that filters reduce light reaching the camera sensor by 1 to 2.5 stops. This is a significant tradeoff, but one that pays off if you stay within the right depth and lighting conditions.
Beyond 20 metres, results often begin to deteriorate due to reduced light (causing noise and loss of contrast) and stronger water filtration (reducing the colour information the sensor can capture).
Always adjust your shooting depth based on the day’s local light and visibility conditions.
(source)
IN POST-PRODUCTION
1. Start by resetting the white balance point in your footage
The first step with action-cam footage is to reset the white balance during post-production.
This mimics what you would do at depth when using a camera that supports manual white balance, and is the most important step in this workflow.
If using a filter (you should...) your footage will have a warm cast from the filter, which is actually desirable because it will help rebalance the image.
Since you shot with a flat profile and minimal in-camera adjustments, the footage will have little to no colour correction or white balance applied.
Which means using a filter and shooting flat on cameras without manual white balance is not a good way to get great results straight out of camera (SOOC).
You will need to rebalance the footage (set the white balance point) in post at the very minimum.
This differs from cameras that allow manual white balance at depth, where the SOOC result is already balanced and ready to use. With action cams, rebalancing in post is a crucial part of the workflow.
The good news is that your footage contains all the colour information needed, usually with a higher dynamic range, and will be far easier to grade than footage with in-camera software corrections baked in.
This is where the magic happens—you turn what looks like lead into gold.
Most video good editing software lets you set the white balance point either manually or automatically, which sometimes works fine.
Some reliable targets for white balance include sand, bleached or dead coral, divers’ tanks, exhaled bubbles, and marine life with clear white or grey areas.
Experiment with different targets and methods to see what works best for each clip.
Setting the white-balance in Final Cut Pro X
(source)
2. Grade and edit your footage to taste
You now have a well-balanced base to work with, offering good dynamic range and colour data since you shot with a flat(ish) profile.
Play with curves and saturation levels to see how much colour information has actually made it to your sensor.
This process will vary based on your editing software and personal preferences, but most major platforms (DaVinci Resolve, Final Cut ProX, Adobe Premiere, Sony Vegas...) can handle it very well. I’ve only worked with older-model action cams, and I’d love to see what data the new 10-bit colour models are capable of capturing!
3. Example of my action-cam post-production workflow, in Final Cut Pro X (FCPX)
The following clips were shot in a flat profiles on a GoPro 7 with a filter gel on the lens, in Okinawa (blue water, average visibility, the center-left blur is caused by a water droplet on the wide angle lens)
Unbalanced footage shot at 10m depth in flat on the GoPro7, with a cast from the filter (in this case, a Lee fluorofilter gel), as imported
The same footage, rebalanced after manually setting the white-balance point with the dropper tool
Same footage, after a little colour grading
Unbalanced footage shot at 10m depth in flat on the GoPro7, with a cast from the filter (in this case, a Lee fluorofilter gel), as imported
The same footage, rebalanced after manually setting the white-balance point with the dropper tool
Same footage, after a little colour grading
A more saturated grading option (what some would call taking it to 11, to show what we have to work with ˆˆ)
Exported video clip example (first grade option)
CONCLUSION
To conclude, letting camera software handle underwater ambient light colour correction is like trying to shoot on land with coloured lighting and expecting the camera to fix everything digitally.
On land, beyond setting the colour temperature to match your light source, if your light has a strong colour cast, you’d typically add a lighting gel or change the light itself rather than relying on the camera’s software to correct the cast.
This is exactly what a physical filter does underwater in ambient light. Our primary light source - the sun - is filtered by water and has a colour cast.
Most modern cameras can handle mild casts near the surface.
But when dealing with strong blue, green, or cyan casts, such as at around 10 metres depth, it is still best - even in 2025 - to physically correct the light with a filter and to manually set the white balance point rather than relying on the camera to try do this automatically.
In a complex environment like underwater ambient light, it’s still better to manually set the white balance at depth - or, if that’s not possible, shoot in a flat profile and reset it in post-production - rather than relying on camera software to handle it.
In both cases, using a well-designed filter on the lens helps rebalance colours by compensating for the colour cast caused by water's filtering effect on ambient light.
This approach delivers more workable footage in post and generally better results overall. It can also help you get the most out of your camera, especially if you’re using an older model with limited software capabilities (see for yourself in the examples above what a GoPro 7 is still capable of…)
Voilà. Thanks for making it to the end.
I hope others find this approach useful, even if it is seen as outdated or old-fashioned.
Just try it yourself and do it right. Understand filters, and trust manual white-balance. It works.
Cheers, happy bubbles, and most of lovely colours to you all!
Ben
GOING DEEPER (further discussion)
WHY DOES THIS APPROACH WORK
When used within the right parameters, this workflow of shooting flat ambient light footage with a filter delivers excellent, workable results.
It often outperforms unfiltered, in-camera corrected footage, especially on action cams that cannot manually set white balance at depth.
Let’s dig into the reasons why this is the case.
1. The problem with in-camera software-based white-balance and colour correction
We live in a time when cameras have powerful software corrections capable of amazing things.
So why – despite claims that software will solve everything and that filters are a thing of the past – does filtered footage shot in flat profile give end results which generally still look better than in-camera software-corrected footage, especially when it comes to colour balance?
And why is filter-use still common in blue-chip professional productions (mostly shot on cinecams) but seen as outdated in amateur and semi-pro circles?
Putting aside cameras like those from Canon, which can produce very pleasing (though not always the most accurate) results when performing manual white balance at depth, automatic in-camera white balance and colour correction generally do not work well at typical ambient-light diving depths.
And it's important to note that if yo work with in-camera software-corrected footage and attempt to fine-tune white balance or simply grade the footage by setting the white balance point in post on an easy white or grey target (like sand, a diver’s tank, bubbles, or bleached coral), you’ll often end up with odd reds or magenta peaks and strange colour balance.
I’ve done this many times. Editing unfiltered, non-flat GoPro footage from colleagues in various locations simply does not work well, or has a very limited reach.
Rebalancing white balance causes colour balance to break down, leaving you stuck with limited adjustment options.
This happens mainly because the camera software boosts the red channels to compensate for the underwater blue cast on ambient light.
This creates two main problems:
• The camera artificially boosts red channels, which degrades image quality.
• A strong colour cast often remains - usually cyan, green, or blue - and if it doesn’t (for example, in “underwater mode”), the resulting palette tends to look unnatural and unbalanced.
When you set white balance at depth or in post, you are telling the software “this area should be gray or white,” which should cancel out the blue and cyan cast.
But if the reds have already been over-boosted by the in-camera software, the result becomes unnatural, producing all kinds of strange magenta tones and other colour distortions.
A typical example of footage shot with auto-settings on recent action cameras, and colour-corrected in post, showing a residual cast
(source)
2. Why shooting flat and using a filter generally works better than auto in ambient light
Just to be clear, the most important point in this workflow is to set the white balance manually. This is standard procedure when shooting underwater ambient light video, and shooting in a flat colour profile while adjusting white balance in post is simply a workaround for action cameras that lack crucial manual white balance control at depth.
If footage is shot in a flat colour profile, as opposed to in-camera auto-colour correction, the reds are not artificially boosted.
This allows for cleaner white balance correction and colour grading without magenta distortions, and also captures a greater dynamic range.
These advantages are well understood in still photography, where shooting in RAW mode is standard.
A flat or flat-ish profile lets you manually adjust recorded reds and magentas in post without dealing with baked-in colour corrections that vary across frames.
Even better, using a well-designed physical warming filter on the camera - such as the UR-Pro or equivalent - acts on ambient light before it reaches the sensor.
This means:
• The sensor records a warmer image, reducing the need for software correction.
• A good filter that lets deep blues pass through (for example, one with a fluorofilter-like spectral profile) results, after white balance reset, in a warmer, more neutral, and more accurately balanced image.
Deep blues in the background remain intact while the foreground gains accurate tones, producing a more natural and balanced look.
GoPro7 footage shot in flat with a good filter, before and after setting the white-balance point in post
Setting underwater white balance is essentially about how much you need to "stretch" colour channels to counter seawater’s filtering of ambient light
The more stretching required, the greater the image degradation.
Using a physical filter on the lens reduces the amount of stretching needed to rebalance the image.
In short, filters physically warm the ambient light before it reaches the sensor, helping to reduce the green/cyan cast.
This:
• Enables better manual white balance control at depth or in post
• Avoids baked-in in-camera software corrections that are difficult to work with in post
• Preserves depth in colour by extending the filter’s effect deeper into the scene, resulting in less drastic background colour loss than software correction
The main downside is the inevitable loss of stops of light caused by the filter, which can be a dealbreaker in some shooting conditions.
In contrast, in-camera software colour correction:
• Manipulates individual colour channels, with results that can vary widely
• Often produces baked-in artefacts and uneven colour palettes, and does not fully correct the colour cast
• Degrades footage, making it difficult to grade in post
• Can be unstable and vary within a sequence, which is problematic for consistent grading
GoPro7 Supersuit housing with AOI wide lens adapter and a fluorofilter gel
3. Limits of manual white-balance setting (at depth or in post-production) and of filter use
As mentioned earlier, the following limitations will happen, even when using a good filter:
• In clear, well-lit waters like the tropics, a filter’s effect typically breaks down beyond 20 to 30 metres depth in good conditions.
• You can still set white balance, but the colour cast becomes too strong and the image balance collapses. You would need a stronger filter, but then you lose too much ambient light, which itself becomes scarce with depth - a true catch-22 situation.
• After a certain point, ambient light is insufficient and seawater’s filtering effect becomes too strong.
Setting white balance in these conditions, whether at depth or in post, stretches colour channels too much, causing distortion similar to shooting without a filter.
In these situations, it’s best to accept the colour cast or rely on artificial light.
• In shallow water, such as snorkeling depths, the filtering effect on sunlight is mild. Working on filtered footage here means you are actually cancelling out the filter’s effects to set white balance. It’s possible, but there is little reason to use a filter in shallows since the required hue corrections degrade image quality.
• Available ambient light is crucial. Using a filter means losing stops of light. In some sea conditions, there simply isn’t enough ambient light to use a filter effectively. Like at depth, it’s best to accept the colour cast or use artificial lighting. As previously mentioned, boosting ISOs can only go so far on action cameras.
• Filter design versus seawater qualities / conditions. Most filters are made for blue or cyan water - which is ideal for ambient light shooting - but not for greener waters.
Cyan-cutting filters reduce green tones, which can result in unnatural colours and poor balance compared to filters designed specifically for green water.
The UR-Pro and Keldan brands, for example, offer, or offered, green water filters (which are typically magenta)
These require experimentation, but since greener waters are usually darker, the light-related limits mentioned above often apply.
Depth limits: ribbontail ray swimming at 25m (seafloor is + 40m plus), GoPro7 footage capture, flat profile with a filter
A WORD ON FILTERS
As previously mentioned, not all lens / camera filters are well designed or adequate for our purposes.
Unfortunately, many commercially available filters are really not designed by people having looked into filtering characteristics and are just very bad (<cough> PolarPro...</cough> ), and also used by people not shooting in flat and rebalancing the footage in post, but using auto-settings instead, which tended to give filters a bad-name because of strange hues this generated...
Yet as explained above, to get good consistent results when using a filter, it is always best to shoot in a flat profile and set the white balance point manually, either at depth if the camera allows it, or in post, on cameras like action cams.
A filter like the beloved, proven UR-Pro, or others with a similar profile and a good warming effect really works best for this approach, especially on action cams, which are still quite limited in their handling of underwater white balance issues, despite all the marketing hype.
Historically, the UR-Pro company developped, in the 1980s, a very efficient filter for shooting at depth in blue water.
This filter works very well on cameras ranging from cinecams (Gates sold UR-Pro filters for their housings...) to DSLRs, mirroless and, until a few years back, action cameras. Unfortunately, the company no longer exists, and UR-Pro filters are now very difficult to find.
The UR-Pro hold a special place for me as I've started using them on GoPro4 action cams, and kept at it because it just works really well.
And recent gear addition such as wide angle conversion lenses for action cameras (by AOI / Backscatter / Inon) sent me on a quest to retro-engineer my beloved UR-Pro filter, which you can read about here: https://waterpixels.net/forums/topic/1414-ur-pro-filters-info
I came up with the following recreation of the UR-Pro Cyan's spectrum transmission curve:
Recreation of the UR-Pro Cyan spectrum transmission curve
For other cameras, high quality alternatives exist, primarily Dr. Mustard's Magic Filters (primarily designed for ambient still photography, first marketed in 2006) and especially Keldan's Spectrum Filters.
It's best for you to experiment with what works best for you with your camera setup.
On my Lumix LX10 compact, I actually prefer the Keldan Spectrum -1.5 filter gel (ambient light test reel here), which is not as strong as the UR-Pro Cyan and more accurate, but got good results with UR-Pro, Magic Filters and Keldan.
On the GoPro however, the Keldan and Magic don't work as well, as this type of camera seems to require a slightly stronger filter to get good results in post.
Warming isn't everything, but based on tests, the UR-Pro Cyan offers the strongest warming effect (around 3000–3100 K at –1.6 EV), more than the Original Magic (≈ 2400 K) and the Keldan SF-1.5 (≈ 2350 K)
As an example, here is a side-by-side, flat and unbalanced, then lightly graded comparison of UR-Pro and Magic filters on Gopro7 action cameras, highlighting the marked differences between the two filters on action cameras. This quick test was done on breath-hold in east Bali (Jemeluk), with the AOI wide lens on one camera.
GoPro7, Magic Filter and UR-Pro Cy filter, unbalanced, flat footage
GoPro7, Magic Filter and UR-Pro Cy filter, rebalanced in post and lightly graded
But as this test example show, even a weaker filter like the Magic Filter gel is still workeable on action cameras, but the spectrum is slightly different.
When rebalancing, only the Magic filter requires boosting magenta in white balance, while UR-Pro and Keldan require reducing it, which is a significant difference.
The main idea to take home from research on the UR-Pro cyan filter spectrum profile is that is basically that of a fluorofilter (aka fluorescent filter).
Fluorofilters were a type of filter designed to "Convert U.S. Cool White or Daylight type fluorescent lamps to 3200K photographic tungsten and remove the excess green." to quote filter maker Rosco, ie. to convert a light source that is overly green and cool, such as fluorescent lighting.
A fluorofilter profile like the Rosco 3310's is very close to the UR-Pro's original profile, in fact almost identical.
UR-Pro spectral transmission curve, vs. Rosco 3310 Fluorofilter gel curve
The issue these days is that fluorescent lights have been phased out by LED lights, rendering fluorofilters obsolete in the lighting world, and thus also very hard to find!
Despite the difficulties, there are interesting commercially available alternatives in lighting gels—it is mostly a matter of matching similar spectrum transmission curves.
The Lee 166 Pale Red and the Lee 08 Dark Salmon (LDS) are both good practical alternatives for example.
Unfortunately, the Lee Pale Red has also been discontinued, and also had a general light transmission that was a little too low for action cams, resulting in an ISO boost.
Which leaves us with the Lee Dark Salmon (LDS).
The LDS was actually already tested in water and works fine, but with some caveats: As I wrote in the UR-Pro thread after the side by side comparison, it is stronger / darker (and a bit warmer) than the UR-Pro - meaning a little more loss of light / ev, and also a slightly deeper tint in the reds - this is visible when looking at the camera's ISO sensor data, with a higher ISO on the LDS, and also the resulting SOOC footage:
GoPro7, UR-Pro Cy filter and LDS, unbalanced, flat footage
GoPro7, UR-Pro Cy filter and LDS, results rebalanced in post and lightly graded
Yet what this also means is that, as expected, the Lee gel actually works somewhat better than the UR-Pro when going deeper, but this is really give and take, as it means a greater loss of light - which could be fine in the tropics, less so elsewhere. Handling of the blues is also a little different, as seen in the curves.
There are probably other fluorofilter-type gels still available somewhere, as well as others with similar profiles.
The key is to find one with a curve as close as possible to that of the UR-Pro cyan filter's fluorofilter style curve.
The logic is straightforward: seawater filters sunlight and creates a cooling effect, adding green/cyan. A fluorofilter is specifically designed to counter this.
But as you can also see on the UR-Pro spectrum graph - and this is where a fluorofilter differs from a simple green-cutting filter - it still lets deeper blues through (resulting in a pleasing seawater blue). This characteristic is harder to find in standard lighting gels.
Possible UR-Pro cyan alternatives in the Lee range
It would also be interesting to test Keldan's stronger spectrum filter gel on action cameras, as I only tested the SF-1.5 gel.
The hunt is on!
MIXED LIGHTING SCENARIOS
Regarding the complex but fascinating issue of mixed-lighting scenarios, which combine ambient light with filtered artificial light, Swiss manufacturer and concept pioneer has published and collaborated on good introductory videos on the subject:
The Keldan Ambient Filter Concept
Understanding the Ambient Filter
BTM - Filters for Underwater Videography (Red Filter, Magenta Filter, Ambient Light Filter)
Recent Keldan light models include integrated LED-based ambient filtering, eliminating the need for an actual physical filter on the lights.
When it comes to empirical research on ambient filter creation and filter matching, I'd strongly recommend looking into the following thread by fellow Waterpixeler Dreifish https://waterpixels.net/forums/topic/1413-red-filters-and-blue-ambient-light-filters-for-mixed-light-shooting/
as well as Interceptor121's similar but more ancient research here: https://interceptor121.com/2019/11/25/matching-filters-techniques/
Mixed lighting shooting scenario, filter on the cameras lens and on the video lights
(source)
FURTHER READING / LINKS
Related threads
https://waterpixels.net/forums/topic/1380-shooting-action-cams-with-a-red-filter-in-flat-profile-and-manually-white-balancing-in-post-production/
https://waterpixels.net/forums/topic/1414-ur-pro-filters-info
https://waterpixels.net/forums/topic/1413-red-filters-and-blue-ambient-light-filters-for-mixed-light-shooting/
Camera lens filters and white balance
https://waterpixels.net/forums/topic/1414-ur-pro-filters-info
https://www.youtube.com/watch?v=Zn4NRQgl2tw
https://www.youtube.com/watch?v=COxalutbD38
https://wetpixel.com/articles/ur-pro-shallow-water-filter-review
https://www.bubblevision.com/underwater-video/white-balance.htm
https://interceptor121.com/2013/01/13/underwater-video-tips-polar-pro-red-filter-for-gopro/
https://xray-mag.com/pdfs/articles/Photography_UsingFilters_15.pdf
https://wetpixel.com/articles/filters-and-ambient-light-photography/
http://www.magic-filters.com/download/UWP26a.pdf
https://wetpixel.com/articles/complementary-filters-and-wide-angle-underwater-photography
http://web.archive.org/web/20191209011451/http://www.urprofilters.com/content.do?region=FilterInstructions#tips
https://wetpixel.com/articles/ur-pro-shallow-water-filter-review
https://www.youtube.com/watch?v=8mMb-FcWQz8
https://wetpixel.com/forums/index.php?/topic/16970-expodisc-white-balance-filter/
https://www.cambridgeincolour.com/tutorials/white-balance.htm
Mixed-lighting / ambient filters
https://waterpixels.net/forums/topic/1413-red-filters-and-blue-ambient-light-filters-for-mixed-light-shooting/
https://wetpixel.com/forums/index.php?/topic/69260-solving-the-mixed-light-problem/
https://www.youtube.com/watch?v=yKk9VBponz0
https://www.youtube.com/watch?v=COxalutbD38
https://www.youtube.com/watch?v=Zn4NRQgl2tw
https://interceptor121.com/2019/11/25/matching-filters-techniques/
https://interceptor121.com/2019/08/03/getting-the-best-colors-in-your-underwater-video-with-the-panasonic-gh5/
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Fractal Forest - Macro By Ross Gudgeon, Western Australia
From the 2025 Australian Geographic Nature Photographer of the Year announcement:
The overall winning shot, Fractal Forest, skews perception and leaves us questioning reality with an inside-out view of a cauliflower soft coral, captured by Western Australian photographer Ross Gudgeon in the Lembeh Strait of North Sulawesi, Indonesia.
Our judges remarked that the photograph gives us a unique perspective on coral, with the photographer taking us out of the marine habitat into a whole new world. There’s nothing fake here, but still we ponder, is this nature or a painting?
Technical details:
Inside-out view of a cauliflower soft coral. Named for its characteristic appearance that resembles a cauliflower, with numerous small, rounded, bump-like polyps that give it a puffy texture. This unique perspective was made possible by the Nauticam EMWL, an underwater version of the probe or insect eye lens.
Lembeh Strait, North Sulawesi, Indonesia
Sony FE 90mm F2.8 Macro G OSS with Nauticam EMWL wet lens, 1/100, f/9, ISO 400, Sony A7RIV, handheld, 2 x Retra Pro flashes.
Here the competition winners announcement:
Australian Geographic Nature Photographer of the Year
Entries for the 2020 Australian Geographic Nature Photographer of the Year are now closed
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Adobe report the changes as follows:
This update includes bug fixes reported by the community, along with new cameras and lenses.
P: LrC 14.5 Edit in Photoshop does not work when opening RAW photos
P: Unable to relaunch after File>New Catalog/Switching catalogs, or relaunching with certain plugins
P: Deleting a photo from a selected group takes you to the first photo, not the next
P: Compare mode "Down arrow" destroys selection
And here's the link: https://community.adobe.com/t5/lightroom-classic-discussions/lightroom-classic-14-5-1-is-now-available/td-p/15476347
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https://waterpixels.net/articles/articles_technique/diy-fibre-optic-cables-easy-r32/
Now, many months on, a couple of additional suggestions:
BURPING
On entering the water and descending the plugs at both ends of the cables often need burping. Tiny air bubbles seem to be able to block fibre optic light transmission. Easy to resolve of course: simply remove and replace the plugs at the camera bulkhead and strobe ends of the cable.
Worth checking especially before setting up for that crucial, once in a lifetime image.
DAMAGING THE CABLES
On a recent long dive trip in Raja Ampat, my system was being hauled in and out of RIBs with the strobe arms being moved and folded sometimes by me, sometimes by the boat crew.
At some stage one of the fibre optic cables gained a small “crimp” which resulted in the attached strobe not firing consistently. Annoying of course although easy to replace the cable.
This got me thinking about a way to protect the cables. For my next trip I used some cheap garden micro-watering system hose tubing to provide a protected route for the cables from the housing bulkheads to the strobes. Cost was a few cents.
I found it slightly better to cut the tubing slightly shorter than the fibre cables as this allowed for easier curves at each end.
The tubing is held against the float arms using short loops of bungee cord.
I found it worked best to push the fibre cables into the strobe plugs only on descent or at depth. This allowed for burping and avoided any strain on the connections whilst handling during entry.
In general I’ve found it better not to have fixed connections at both ends of the fibre cable. If one end can pull loose when strained, (best I've found is the strobe end) this avoids breaks and overstrains especially during transportation or in rinse tanks (avoid them at all costs!). If stretched or tugged the cable will simply pop out of the strobe end bush. No damage results and the cable is easy to push back in.
The first photograph shows the fibre optic cable and the garden hose tubing; next one with the fibre pushed through the tubing; then "hung" on the strobe arms; and finally the loops to hold the tubing and cable in place.
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Bird tracking is one of the improvements most featured in the media but unless you are planning to photograph loons diving underwater, the following link might give you a better idea of just how much is contained in this update:
https://downloadcenter.nikonimglib.com/en/download/fw/571.html
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It uploaded and ran on my Mac Studio without a hitch......
Full details are here:
https://lightroom.adobe.com/home?promoid=LH4XT66T&locale=en-US&mv=other&mv2=tab
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"It’s getting near that time again - as September means a new iPhone. Then there’s a new Android. Then it’s the turn Fujifilm / Canon / Nikon / Sony / Panasonic etc - all of them use tried and tested strategies stretching back as far as the 1930s to make you, the consumer, feel dissatisfied with the equipment you own.
Let’s be frank, you are a subliminal and anonymous target for consumer capitalism and those at the top do this for one simple reason - they stay in business by selling you new products. Simple.
Most media-based products like cameras, computers, musical equipment and many others, have a central strategy, to put you into a constant state of dissatisfaction.
The subject-focused camera you yearn for will never be released, so they include firmware / software / shiny updates to keep you on board. You learn and adapt your championed model, but it only gives around 75% of what you need it to do. Slowly, we become desensitized, used to dissatisfaction and slowly the wheel turns.
The industry fuel is acquisition and consumption. The beauty of this strategy is that we the consumer believe it is a direct path to creative happiness and that in monetary terms it is. The areas where this is most prevalent is in two places in our modern age — advertising in all its forms (YouTube / influencers / social media) and text-based discussion forums - which cultivates and accelerates our desire to purchase. We consume, reflect, and then complete the financial circle of moving our money back into the machine.
What creates the anxiety to purchase can be covered in a number of fundamentals. Does the item look attractive to us? Look at any high-end digital cameras and the form factor is enough to pull us into their tractor beam. Then there is functionality. People are obsessed with technical specs, the online media in particular thriving with clickbait controversy.
Then there is photo-social class - does the product elevate us to a level of satisfactory peer acceptance? Do we then feel connected to a new economic group, or a sense that we could finally achieve creative altitude like never before? It’s all a grand illusion.
After the initial wonder, hard research, handling, contemplation, and purchase phases subside, the brain returns to a base level (look up Look at any high-end digital cameras and the form factor is enough to pull us into their tractor beam. Then there is functionality. People are obsessed with technical specs, the online media in particular thriving with clickbait controversy.
Then there is photo-social class - does the product elevate us to a level of satisfactory peer acceptance? Do we then feel connected to a new economic group, or a sense that we could finally achieve creative altitude like never before? It’s all a grand illusion.
After the initial wonder, hard research, handling, contemplation, and purchase phases subside, the brain returns to a base level (look up ‘hedonic adaptation’) and it is here where the forums like Canon Rumors start the cycle once more. The idle mind starts to speculate about imaginary cameras, features and from here the tribalism leads to threads full of conflict and antagonism, that could potentially be extinguished with a gear purchase.
My rule is simple - upgrade when features arrive you cannot live without. In the last 20 years this has been Live View, weather sealing, GPS, WiFi, and recently (for me) 4K video. "
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Attaching the INON ZD Front Mask allows the use of the underwater semi-fisheye conversion lens UFL-GR140 ZD (*1) which can deliver wide and quality view with its large-aperture optics across more wide-angle FOV settings on Ace pro 2 and Osmo Action 5 Pro, as well as the compact UFL-G140 ZD.*
Also, the wide variety of INON close-up lenses (UCL-G165ll ZD, UCL-G100 ZD, UCL-G55 ZD) (*2) now allows Ace pro 2 and Osmo Action 5 Pro users to enjoy macro imaging that wouldn’t be possible with the camera alone.
INON also releases the 4D Light Grip in late September, which can be mounted onto the housings of various action cameras.
This highly versatile grip allows users to attach both an action camera and a light at the same time.
(*1) Lens hoods included with UFL-GR140 ZD shipped before Augst 5, 2025 may be visible in footage.
Please use the updated "Lens Hood II (for UFL-GR140)" which is available for separate purchase.
(*2) UCL-G100 and UCL-G55 shipped on or after August 5, 2025 will come with newly designed Focus Stick that helps prevent interference when used with AcePro2 and Osmo Action 5 Pro.
For existing UCL-G100/UCL-G55 users, updated Focus Stick II is available for purchase to replace the original Focus Stick.
INON_ActionCamera_Compatibility.pdf
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Retra have announced updates to firmware on a number of their strobes.
Pro Max II to v3.1
Pro Max to v2.17
Prime+ to v2.4
Pure to v2.4
The updates include bug fixes and performance improvements. Full details are set out in the usual App Store update pages.
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The strobe is machined aluminum and appears to be very solidly built if a bit heavy (815 g without the 2 x 18650 batteries). The strobe has 7 power levels that are shown on a nice little LED screen on the back. The key advantage to the GTM is that it has beautiful light since it uses a circular flashtube. One peculiarity of the strobe is that it uses only flattop 18650 batteries that are both hard to find and expensive. I have boxes of 18650 button tops, but no joy in these strobes.
To test them out, we went out diving to our local favorite spot off of Palos Verdes not far from LAX. I was shooting an OM-1 camera in an AOI housing with the 2 GTM strobes an a Leica/Panasonic 45 mm macro lens. The AOI has a built in LED trigger that never missed a shot with the strobes, I was using home-made fiber cables using the 613 core fibers.
The Balonophyllia is a solitary stony cup coral, its main claim to fame is that in the colder months (it is always cold at PV, typically 50F, 10C) it can in fact sequester dissolved organic carbon from the seawater directly. Hopefully it can teach its warm water cousins the same trick. If California had a state nudibranchs it would likely be the Spanish Shawl
These guy are everywhere and are quite beautiful. Interestingly the orange/blue/red and purple colors are all from the same molecule but with different arrangements of some elements.
Black eye gobies are always curious, coming by to see what you are doing and smiling at you
Two similar nudies are Porters and MacFarland; you tell them apart by the number of stripes. Porters has 2 syllables and 2 stripes, MacFarland has three of each.
And finally there are clowns.
Overall, I am very pleased with the performance of the GTM strobes. I didn't have a chance to see how they would be for wide angle (mostly the visibility was 2 meters or so) but at least in the studio they seem as powerful as the YSD3.
If you are looking for strobes for macro shooting with some occasional wide angle take a look at these.
Bill
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Mafia Island is not difficult to reach via international flights from Vienna/Austria to Dar es Salaam/Tanzania. From there, the travel continues with a short 30’ flight via domestic airline. The airport in Kilindoni, the largest village of the island, is small and, accordingly, the airplanes are small too (the photo shows the main building of the airport and, to the left, the nose of the aircraft that brought us there). By default, only 15kg of luggage, including the cabine luggage, are allowed in the small aircraft. It is very positive to note, that one can book extra luggage in advance by EMail with the domestic “Coastal Airline” (https://coastal.co.tz/), in order to avoid unpleasant surprises when arriving with masses of unannounced luggage. This way, our extensive diving and photo equipment was “nullo problemo” (in order to avoid overload of the aircraft, we had to book an extra seat in advance, that remained empty).
There are several resorts located on Mafia Island, but only a single one, “Big Blue Mafia Island Diving Centre” (https://bigblumafia.com/) is perfectly positioned within the Mafia Island Marine Park, where most of the diving spots are located (the marinepark fee, that has to be paid for every single day of the stay once upon entrance, is worth every single cent). This resort is owned and managed by Maura, an Italian, who is the friendly contact person for booking and payment. She is married to a local diving instructor, native to the island, who runs the diving base (their son is working as diving guide, one can say it is a true family enterprise; also the other instructors, guides and employees contributed to a very pleasant stay including safe and wonderful diving).
Accommodation is simple, but corresponds to western standards, comprising tasty half (or, when required, full) board and aircondition. Cleaning and freeing the huts from mosquitoes with pesticides is done twice per day. At this point it is appropriate to mention that effective repellants and malaria prophylaxis are strongly recommended by our Austrian tropical medicine specialists.
Diving is done using Dhow style boats, that provide plenty of space for the few divers. They are made from heavy tropical woods and are powered by an outboard engine. When winds allow, the boats are also able to sail along silently and swiftly. Chole Bay is the heart of the natural reserve and accordingly most diving spots are located within the bay. Depending on weather, diving spots outside the bay can be dived also. Since the tidal range within Chole Bay is substantial, departure times for the two-tank boat dives are dominated by the tide, are highly variable from day to day and were between 05:00 AM and 14:30 PM during the two weeks of our stay. Despite careful consideration of tidal times, substantial currents are possible. At low tide the visibility within the bay can be pretty modest (as low as 4-5m), but at high tide and also outside the bay it can be remarkably good (up to 30m). Taken together, the diving conditions are certainly not easy for UW-photographers. This is more than compensated by outstanding biodiversity and abundance of species that guarantee the presence of great motifs in high number, rewarding those that take up the challenge.
School of common blue-striped snappers (Lutjanus kasmira), outside Chole Bay. Sony A7R5, WACP-C, Sony 28-60mm @28mm, 1/160s, f/10, ISO 100, 2* HF-1 (4500K diffusers):
Also inside Chole Bay, the quality of hard coral is good. Sony A7R5, Canon 8-15mm @15mm, 1/100s, f/10, ISO 100, 2* HF-1 (4500K diffusers):
Attracted by me, since I was using the macro setup (when I was equipped with the fisheye lens, mating Nembrothas were almost guaranteed), a giant Potato Grouper (Epinephelus tukula) shows up inside the bay. Sony A7R5, Sony 90mm macro, 1/200s, f/9, ISO 100, 2* HF-1 (4500K diffusers):
The diving comprises plenty of motifs for wideangle photography, but Chole Bay can be regarded as a true macro destination for UW-photographers as well:
Numerous nudibranch species can be encountered around Chole Bay. Noteworthy to state, our stay coincided with the mating season of the Golden Nembrotha (Nembrotha aurea). These seaslugs are hermaphrodites and mating takes place by connecting the sexual organs, located on the right side of the body, with each other in order to transfer the sperm. Sony A7R5, Sony 90mm macro, SMC-1, 1/250s, f/14, ISO 100, 2* HF-1 (4500K diffusers):
Blue Pseudoceros flatworm (Pseudoceros bifurcus) moves leisurely over hard coral. Sony A7R5, Sony 90mm macro, SMC-1, 1/200s, f/14, ISO 100, 2* HF-1 (4500K diffusers):
Shrimp city is a coral block located inside Chole Bay that is not only populated by countless camel shrimps (Rhynchocinetes durbanensis), but also glassfish, damselfish, anthias, muray eels and groupers. Sony A7R5, Sony 90mm macro, 1/250s, f/13, ISO 100, 2* HF-1 (4500K diffusers):
Longnose Hawkfish (Oxycirrhites typus) sitting on black coral. Sony A7R5, Sony 90mm macro, 1/200s, f/13, ISO 100, 2* HF-1 (4500K diffusers):
Reef octopus (Octopus cyaneus) peeks out curiously from its shelter. Sony A7R5, Sony 90mm macro, 1/200s, f/18, ISO 100, 2* HF-1 (4500K diffusers):
A report about diving at Mafia Island cannot be complete without whale sharks (Rhincodon typus). Outside the marinepark, between the African eastcoast, where the impressive Rufiji river ends up in the Indian Ocean, and the west coast of Mafia Island, the Mafia channel is formed. The high input of biomass from the Rufiji river delta causes plankton to bloom within this strait. This results not only in poor visibility (6-10m; and hence (again) challenging conditions for UW-photography), but, at certain times of the year, whale sharks gather for feeding. Snorkeling excursions by boat are offered and we were able to spot up to 15 different whale sharks on a single day (including a touching encounter with a female shark, closely accompanied by her half-grown up offspring).
Whaleshark feeding on krill. Sony A7R5, WACP-C, Sony 28-60mm @31mm, 1/200s, f/7.1, ISO 200:
Whaleshark fading away into the blue. Sony A7R5, Canon 8-15mm @15mm, 1/250s, f/6.3, ISO 250:
It was an unforgettable diving trip and fond memories will endure. We already have booked flights and resort for another two weeks in November 2025, in order to visit again this little paradise… 😊
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This firmware (Version 1.1.1) includes fixes for the following issues identified in Version 1.1.0:
1. Fixes an issue where video could not be recorded correctly when using a memory card larger than 2TB with the [Pre-recording] setting enabled.
This firmware also incorporates the following changes introduced in Firmware Version 1.1.0:
1. Improves security features. A password must be set initially.
• Adds the ability to review the history of any changes made to the password, network information, or other settings.
*For more information, please refer to the 'Setting a Password' section in the Advanced User Guide on cam.start.canon.
2. Enables firmware updates to be performed when the camera is connected to the internet and new firmware is made available on Canon servers.
3. Adds the ability to automatically detect Flicker at 100 or 120 Hz during Live View display.
4. Adds the ability to register focus position as a presets on the CR-A100 Camera Remote Application. This ability makes it easier to focus on subjects at the intended distance when the application is used with Robotic Camera System CR-S700R.
5. Adds the ability to select [Case Special] to expand Servo AF characteristics which is effective for subjects located behind a net in sporting events, such as badminton or volleyball.
6. Adds support for the Software Development Assistance Kit (EDSDK/CCAPI).
7. Adds a function that simultaneously protects images when they are rated.
8. Improves image stabilization control for lenses compatible with Peripheral Coordinated Control.
9. Adds the ability to use up to 8TB of CFexpress cards.
Note
- Cards larger than 8TB require low-level formatting by the camera.
- Cards larger than 8TB are treated as 8TB cards.
- Cards larger than 2TB cannot be used for firmware updating.
10. Adds to lower the image capture frame rate to help prevent overheating when connected to CR-A100 in extended remote shooting.
11. When transferring images with voice memos via FTP, the transfer order priority has now changed with voice memo (Wav) file being sent first followed by image file.
If a voice memo is added to an image queued for transfer, the image and voice memo are now sent last.
12. Adds the ability to set the number of shots captured in pre-continuous shooting mode.
13. Adds the ability to set [Airplane mode] to shooting button customization.
14. Adds the ability to enable [Exposure Simulation] when a flash unit is attached.
15. Improved AF tracking during video capture for subjects that are difficult to focus on.
16. Fixes an issue in which Err70 may occur when enlarging an image after shooting with [Blackout-Free Display] set to "On" and [Servo 1st image priority/One-Shot AF release priority] set to "Release priority".
17. Fixes an issue in which Err70 may occur during Bluetooth communication due to interference from other Bluetooth devices.
18. Fixes an issue in which Err70 may occur when repeatedly shooting in the "High-speed continuous shooting +" mode.
19. Fixes an issue in which Err70 may occur immediately after startup when shooting with the electronic shutter.
20. Fixes an issue in which Err70 may occur during video recording in "FHD239.8P/200.0P".
21. Fixes an issue in which Error 70 may occur while filming in video mode with frame rate set to “50.00P” and [Movie Digital IS] set to “On” or “Enhanced”.
22. Fixes an issue in which Err70 may occur during shooting when both [Pre-recording] and [Auto send] to image.canon are set to "Enable".
23. Fixes an issue in which the camera may stop functioning properly when [Image Review] is set to "Off" and the monitor entered low brightness mode after pre-continuous shooting.
24. Fixes an issue in which video recording may not be possible when using Remote Live View shooting in EOS Utility while outputting via HDMI.
25. Fixes an issue in which large RAW image files may not be transferred via Camera Connect.
26. Fixes an issue in which a horizontal line may appear momentarily in the viewfinder.
27. Fixes an issue in which the camera may not connect to Wi-Fi 7-compatible routers.
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The Monterey Shootout - a 36 hou...
Monterey Shootout - An Underwater Photography Competition...
The Monterey Shootout is a four-day weekend of diving, educational seminars, celebration, and a chance to win over $25,000 in prizes even with the simplest of underwater cameras.
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Maria will be sharing her experience over the past three years of shooting exclusively with smartphones, compact cameras, Insta 360s and Go Pros and promises to help inspire beginners capture their own vision to create award-winning content. Her presentation will delve into the many different options of accessory lenses and lights from various manufacturers with the aim of helping people choose the best system for their needs.
Tickets are £35 for Non-Members or £26 for RPS Members which includes a free copy of Maria’s eBook “Getting Started in Underwater Photography” and free online ongoing support via Zoom or at her studio in Swanage.
Details are on the Royal Photographic Society’s website at
https://events.rps.org/en/4LrdQ66/rps-getting-started-in-underwater-photography-with-maria-munn-jul-2025-5a2NN29HgnF/overview
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A link to it is here:
https://www.uwpmag.com/
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As far as I can see, the update, in keeping with a dot.xx version, is minor and no super-dooper new features are involved.
The link is here:
https://downloadcenter.nikonimglib.com/en/download/fw/564.html
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If you’re a user, you might like to read this link
https://waterpixels.net/index.php?app=core&module=system&controller=redirect&url=https://www.fda.gov/drugs/drug-safety-and-availability/fda-adds-warning-about-serious-risk-heat-related-complications-antinausea-patch-transderm-scop&key=a8758139d8c7b733e9cdd78fc4f7f8b7f2f61bcebf7f6faac9903308d718186b&email=1&type=notification_new_private_message
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Husband and wife team, John Warmington (johnvila) and Sandra Kaye, have set up Critter Spotters in Vanuatu which they describe as a "Photographer-Friendly Retreat".
Here's what they have to say:
"We’re John Warmington and Sandra Kaye, a husband-and-wife team with over 40 years of dive experience between us, and a combined 26 years of living here in Vanuatu. Together, we’ve built Critter Spotter, a dive offering created for underwater photographers and thoughtful divers — and Karma Waters, a private villa just steps from the reef we call home.
This isn’t a large scale commercial operation or a packaged tour. It’s a personal invitation to dive the way we dive — slowly, with care, with curiosity, and with space to stay as long as the subject needs.
𝐖𝐡𝐲 𝐕𝐚𝐧𝐮𝐚𝐭𝐮 ---- 𝐀𝐧𝐝 𝐖𝐡𝐞𝐫𝐞 𝐀𝐫𝐞 𝐖𝐞?
Vanuatu is an island nation in the South Pacific, east of Australia and north of New Zealand — a chain of volcanic islands with rich marine life, warm waters, and minimal dive traffic.
If you can get to Australia, New Zealand, or Fiji, you’re just one short flight away. Direct connections from Brisbane, Sydney, Auckland, and Nadi make it surprisingly easy — especially compared to many Indo-Pacific destinations.
We’re based on Efate, just 45 minutes from the international airport, in the calm, sheltered waters of Havannah Harbour — a site known for its gentle conditions and exceptional macro biodiversity.
𝐊𝐚𝐫𝐦𝐚 𝐖𝐚𝐭𝐞𝐫𝐬 𝐕𝐢𝐥𝐥𝐚 – 𝐘𝐨𝐮𝐫 𝐁𝐚𝐬𝐞
Karma Waters is a newly constructed private, one-bedroom, self-contained villa set among tropical gardens with ocean views and direct access to the reef. It’s ideal for dive couples or photography buddies who want flexibility and privacy without compromise. The king bed can be split to two singles for travelling buddies and in addition to your own comfy timber deck with water views you will have access to a large covered deck right on the waters edge, a luxurious day bed and lounges overlook the water. Grab a kayak and go exploring for yourself.
We also offer on-site massage, yoga, or pilates sessions and can host your own private lifestyle workshop.
You’re welcome to self-cater at your own pace, or just relax and let the water set the rhythm. There are dining spots close or private catering ca be arranged.
➡️ If your group is more than two, we can comfortably cater for up to four divers. While the villa remains best suited for couples or pairs, we’re happy to help arrange nearby accommodation for extra guests without compromising the experience.
𝐓𝐡𝐞 𝐃𝐢𝐯𝐢𝐧𝐠 – 𝐌𝐚𝐜𝐫𝐨-𝐑𝐢𝐜𝐡, 𝐂𝐫𝐨𝐰𝐝-𝐅𝐫𝐞𝐞
Our reef is one of those places that rewards repeat dives and patient eyes. Whether you're looking for frogfish, mantis shrimp, nudibranchs, moray eels — or simply just love long cruisy dives you'll have the space and time you need to make it memorable.
We offer dives right from the villa, just go down the steps! It’s your choice --- we will introduce you to the area on arrival with a few guided dives and then it’s up to you – guided or unguided. Lets us know how many tanks you need! Our 5 metre diver friendly boat is surveyed and ready for adventure on request.
We limit our numbers for a reason — so that you never feel rushed or overlooked. We don’t do schedules - dive when you're ready, linger as long as you want, your experience is the priority.
We don’t teach – we dive and cater to certified divers only. Maximum of 4 divers.
We all know the worry about weight limits and travel – we can ease that burden – all dive gear is available for hire plus we can cater to photographers with: GoPro, TG7 or Nikon D500 / Nauticam set ups on site, ready to hire.
𝐑𝐮𝐧 𝐛𝐲 𝐩𝐚𝐬𝐬𝐢𝐨𝐧𝐚𝐭𝐞 𝐩𝐡𝐨𝐭𝐨𝐠𝐫𝐚𝐩𝐡𝐞𝐫𝐬
John has spent the last decade developing his underwater photography through patience, passion, and deep familiarity with local marine life. He’s happy to share insights, offer camera advice, or help you troubleshoot a setup — casually, in-water, or over a post-dive photo chat. If you want more --- Workshops are available on request, whether you're just starting out or want a focused photo session.
Sandy, a qualified divemaster and accomplished videographer, is especially intuitive with guests newer to diving, and is always ready to help spot subjects, keep an eye on conditions, or simply ensure your dive feels safe and supported.
𝐌𝐨𝐫𝐞 𝐓𝐡𝐚𝐧 𝐉𝐮𝐬𝐭 𝐃𝐢𝐯𝐢𝐧𝐠
We’ve called Vanuatu home for years — and it shows in how we host. From cultural tips to hidden snorkelling spots, we make it our mission to ensure every guest walks away with more than just good photos — but a truly memorable experience.
We share what we love in a way that’s real, relaxed, , no crowds, no rush and tailored to you!
Ready to Learn More?
📍 www.critterspotter.com
📩 Email: [email protected]
📷 Follow us: @critterspotter
If you're looking for a quieter, slower kind of dive trip — with time to shoot, space to think, genuine rest and relaxation, and a reef that still surprises us after hundreds of dives — we’d love to welcome you to Havannah Harbour.
See you underwater,
John & Sandy
Critter Spotter | Karma Waters | Vanuatu"
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Amongst the new features the Adobe website explains:
Reflection Removal on Desktop
Shooting through a window or glass door? Use Reflections Removal to eliminate glare and surface reflections from your image, leaving behind a clean, crisp final photo. You can even adjust the Quality setting to control your final resolution—great for balancing speed and precision.
People Removal
Crowded backgrounds? The new People Removal feature automatically detects and removes extra or unwanted people from your shot. Whether you're on the desktop or mobile app, it's easy to clean up your photo so your main subject shines.
View and Update AI Edit Settings
Stay in control of your edits. Now, when you apply AI-powered tools like Denoise, Remove, or Lens Blur, an AI Edit Status icon will show up. If anything changes that might affect your results, the icon turns yellow so you'll know it's time to reapply or tweak your settings. It's an easy way to keep your edits looking their best with no guesswork needed.
Tether Capture with Fujifilm Cameras
Lightroom Classic now has native support for tethered capture using Fujifilm cameras.
Performance Improvements
Enjoy faster, smoother, and more accurate performance across tools and adjustments, making interactive editing feel quicker and more responsive. Key improvements include improvements in Crop Rotation, Brush, and linear gradient in the Masking panel.
Pixel shift, importing Custom Picture Controls and improvements to focus-limiter controls are amongst the new features.
Full details are available here:
https://www.nikon.co.uk/en_GB/products/firmware/z8-firmware-3.00
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Weefine 3000 CCW Ring Light
It's similar to the earlier 3000 lumen LED modules but has adjustable color temperature and a 3000-lumen burst (strobe) mode. It also has a super closeup mode that can shoot subjects as close as 25 mm (1 inch) from the strobe. It is powered by a protected, 26650, 5000 mAh Li battery. The battery can be charged via a built-in USB-C port.
One very neat thing about the light is that it allows for a very small, compact system underwater. No arms necessary, just the camera/housing/port and a single fiber optic cable. The light is shown below on an AOI housing for the OM-1 camera.
AOI housing for the OM-1 camera with the Weefine 3000 CCW Ring Light
The ring light can attach to any port with a 67 mm thread and can be rotated for any angle once attached. One nice feature (or bug) is that when you are using the light in the strobe mode, it remains on at low power to act as a focus light. During the day it was not terribly necessary but worked fine at night, although you will also need some kind of dive light to find your way. My wife said it was very easy to find me in or small group, just look for the circular dive light.
How well did it work? Better than I had anticipated. Years ago, I had the Kraken version of this light, and it was fine; this version with improved ergonomics (no multiple button pushes) worked great.
Here is a nice little clown (Triopha catalinae) from a dive in local Southern California waters before the Raja/Triton Bay trip on the Wellenreng.
This was shot at 1/160 sec, f/7.1, ISO 200 using the Olympus 30 macro lens on an OM-1 in an AOI housing. Certainly, enough light to illuminate the subject, I slightly reduced the shot exposure by 0.1 to increase the contrast a bit.
For other local subjects, such as this anemone it also worked well. This one was shot at f/5.6, 1/160 sec and ISO 200.
I shot with the light quite a bit on our trip to Raja/Triton Bay. Here is a nice little Goniobranchus coi, shot with the Panasonic 45 lens, f/6.3, 1/160 sec, ISO 400. I was very close; you can see the out of focus gills.
I love Christmas tree worms, here is one from Triton Bay. Same lens, 1/250, f/7.1.
Here is a crinoid shrimp, same settings.
I shot a lot of tiny things, but also a bunch of anemone fish. Here is a Clarke in an orange anemone. f/14, 1/250, ISO 400.
Overall, the light worked well for the things I was shooting, it of course is completely useless for anything more than 250 mm (10 inches) away. The color temperature is fine but shooting in raw lets me adjust as needed.
A friend used the light as a video light for a TG7 with a 52 mm to 67 mm adapter and said that for most nudibranchs the light was much easier to use than independent lights on arms.
I wish it had more power, a 6000-lumen burst mode for this type of light would be awesome, but the current version is adequate for micro 4/3 shooters and awesome for the smaller sensor cameras like the TG series.
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