Photographing in ambient light can be a choice or a necessity. It is therefore important to develop an adequate sensitivity to ambient light in order to be able to judge whether it is the best option for shooting a particular scene. Claudio Ziraldo offers some insights and tips on how to improve your underwater images.

The final stage of creating an image is printing it. Despite the fact that we are living in an increasingly screen-oriented world, a printed image still proves the old saying, “If it’s not printed, it does not exist.” This is 100 percent right. As a matter of fact, only a good print can reveal the full magic and spirit of your image. This is what you, and your images, deserve, and this is what we are going to discuss now.

How can one capture “abstractionism” in an underwater photo? Underwater photographer Claudio Ziraldo discusses abstract underwater photography and shares some examples of sea art.

Artificial intelligence has been in the news lately, especially generative AI. It seems like every industry is trying to put this technology into their products, including image-processing apps. Michael Rothschild takes a closer look and gives examples in underwater photography.

What makes an image a really good one is certainly a question, that, at some point, troubles the mind of every image maker. Is it about the subject, or is it about that specific moment captured? Is it about color, or about techniques used?

Got some old slides and negatives of underwater images that you wish you could revitalize and process in postproduction? John A. Ares describes in detail how one can convert film into digital files by using a DSLR camera and a macro lens.

The transition from analog to digital cameras has been a boon for photographers, granting them unlimited shots and freedom of movement. These circumstances lend themselves well to the technique of shooting sequential stills. Underwater photographer Claudio Ziraldo shares his insights and tips on taking sequential shots underwater.

When immersing ourselves in the underwater world, we experience a flood of emotions—both in relation to the depths and to being in an environment that is not our own, in which we can almost fly. But our encounters with marine life excite us even more, especially with sharks, dolphins and huge shoals of fish, but also small and colourful nudibranchs, or microscopic shrimps. Cristian Umili shares his insights and tips on how to capture emotions in underwater photographs.

People like color. Is any photographer not familiar with the delighted exclamation of the viewer: "Oh, this is so colorful"? This point also applies to underwater photography"

It should not happen but sometimes it does anyway: those annoying little white dots in our underwater images, which detract from the overall impression of the photograph. Known as backscatter, these dots appear when small particles in the water reflect the light from a strobe. The more directly the strobe light hits a subject, the higher the risk of backscatter. That is why a strobe should not be pointed straight at a subject. Indirect lighting (by angling your strobes slightly outwards or inwards but never directly toward the subject) is the main “trick” to minimise or even prevent backscatter.