
AquaColorFix, DiverOut, and Topaz: Do these apps, which claim to correct underwater colors with a single click, live up to their promises?
No single tool is the best in every situation. AquaColorFix corrects photos and videos with a single click. DiverOut offers free restoration without watermarks and supports batch processing. Topaz Photo AI excels at correcting motion blur and noise rather than color issues. The right tool depends on your volume and your desired level of quality.
No, not for those who want full control. AI provides a great initial draft in a matter of seconds, but the step-by-step editing process in Lightroom or DaVinci Resolve still offers advantages in terms of maintaining consistency across a series of images and for images intended for publication.
Only partially. The AI retrieves information that exists within the file, especially in RAW format. However, a poorly captured image at the time of shooting has limitations- a sensor that didn't capture the information cannot invent it later.
Yes. The RAW format preserves the full range of color and exposure that the algorithm needs to function properly. A JPEG, already compressed, limits the application, whether it's used manually or automatically.
Just a few years ago, restoring the colors in an underwater photo required knowledge of Lightroom, an understanding of curves, and a willingness to invest time. Today, a handful of applications promise to accomplish the same task with a single tap.
Every time someone shows me their first underwater images, I see the same disappointment. That blue that dominates everything, the coral that turns a dull gray, the fish that loses its vibrancy. So, when an app claims to fix this with a single click, the desire to believe is immense.
The promise is appealing. Let's see what it's really worth once the camera is put away and the computer is turned on.
Before discussing software, it's important to understand what we're trying to fix. The loss of color at depth isn't a camera setting error, it's a property of water. Red fades away in the first few meters, followed by orange, and then yellow disappears at greater depths. Water acts like an optical filter that absorbs warm light as you descend.I have detailed this physics, step by step, in a dedicated article on color correction at depth. The key takeaway here can be summarized in one sentence. If the color information was never captured, no software can magically make it reappear.
The landscape in 2026 has become more crowded, and three names come up most often.
AquaColorFix was updated in the spring of 2026 and transforms blue-green hues into natural colors with a single click, for both photos and videos. It's the most user-friendly tool, designed for phones and quick sharing.
DiverOut takes a different approach. Color restoration using artificial intelligence is free, without watermarks, and offers batch processing, which simplifies the task when you return from a dive with two hundred files to sort.
Topaz Photo AI, on the other hand, doesn't actually correct color. Its strength lies elsewhere. It removes motion blur and digital noise, two common problems with images taken in low light. It's used as a complement, not a replacement.Besides these options, solutions like Imagen aim to handle large volumes by learning your style based on a personal profile, and apps like Dive+ apply automatic corrections based on the detected scene. There's no shortage of choices. However, the user still needs to exercise good judgment.
Since the writing of this article, AquaColorFix has received an update that warrants specific attention. It's not a revolution, but a significant evolution in six key areas.
Video Correction with a Single Tap. This was a major limitation of the previous version. Version 2 extends the same logic (a single tap to correct blue or green dominance) to video clips. This opens the app up to a different use case: quickly correcting a GoPro or Insta360 sequence before sharing it, without having to use DaVinci Resolve.
Saveable Presets. The app previously remembered the correction but didn't allow you to name different configurations based on conditions (e.g., the blue water of the Maldives versus the green water of the English Channel). Version 2 addresses this: you can now create and name your own presets, which are then available from one session to the next.
Continued Editing After AI Processing. Previously, the automatic correction locked the result. Now, you can continue to manually adjust the image after the initial processing. The AI becomes a starting point rather than a final decision.RAW vs. JPEG: Choosing the Right Format. When an iPhone produces both formats, the app automatically detects the presence of a RAW file and offers to work with it. In practice, correcting a RAW file provides more flexibility when adjusting highlights and shadows.
HEIF Export and Custom Folders. You can save images in HEIF format (Apple's native format, which is more compact than JPEG), and you can choose the destination folder without going through the Photos gallery.
What hasn't changed in version 2: The correction still applies to the entire image, without any masking or zone-based adjustments. At 5 meters in clear tropical water, AquaColorFix produces results very close to manual adjustments. At 20 meters in turbid water, the color casts are more complex, and the automatic correction may overcompensate. The accuracy of the background remains superior with Lightroom.
Let's be fair, because these tools deserve it. On a correctly exposed image, the time saved is spectacular. Where manual work would take several minutes per photo, the algorithm proposes a clean result in just a few seconds.
For someone who is just starting out, this is a valuable entry point. Seeing your colors restored instantly encourages you to continue, to learn, and to dive again. The AI fixes what it can, and it brings life back to a tired image.For everyday use, for quick sorting, and for sharing memories the same evening, these apps do a perfect job. And there's no shame in using them.
The promise quickly reaches its limits, and it's better to know these limitations before being disappointed.
The algorithm tends to apply a uniform recipe, pushing the red and magenta in the same way across the entire image. In a complex scene, with green water and a dark subject, the result sometimes looks artificial. The machine corrects without understanding what it's looking at.
Most importantly, AI does not replace a well-composed shot. A video that is flawed from the start remains a flawed video, even after being processed by an algorithm. An underexposed, noisy, or poorly balanced file does not contain the necessary information, and no application can guess what the sensor did not capture.
For images that truly matter, the ones you want to publish, exhibit, or keep, control remains with manual editing. Adjusting settings step-by-step in Lightroom, or working node by node in DaVinci Resolve for video, offers a precision that automatic processing has not yet achieved.This is also true for the consistency of an entire series, where each image must complement the others. A shortcut like underwater LUTs maintains this control while speeding up the process. The app makes decisions for you, while the manual approach lets you decide. Everything is there.
Here's how I integrate these two approaches, without pitting one against the other.
It all starts with the shooting process. We photograph in RAW format, using a fixed white balance and controlled exposure, because the raw data determines everything else. No artificial intelligence can fix a poorly captured initial file.
Upon returning, the AI app serves as the initial sorting tool. It quickly filters through the images, highlighting those that are worth keeping, and saves valuable time by reducing the volume of images to be processed. Then, for the handful of images we truly want to work with, we take control with the mouse. A quick gesture for sorting, a more deliberate gesture for refining.
I test these tools before recommending them, because the best software is the one you hardly need to use.
No, not for those who want control. AI provides an excellent initial result in seconds, but the step-by-step workflow in Lightroom or DaVinci Resolve still offers advantages in terms of consistency across a series of images and for images intended for publication.
Partially. AI can recover information that exists within the file, especially in RAW format. However, a poorly captured image is still limited because a sensor that didn't capture the information in the first place cannot invent it later.
Yes. RAW format preserves the full color and exposure latitude that the algorithm needs to work with. A JPEG, which has already been compressed, limits the application, whether it is used manually or automatically.Want to understand your colors instead of leaving them to a machine? Our AquaExposure training teaches you the techniques for capturing and editing images that make a real difference, from quick sorting to the final result.