Catherine Holmes talks to DIVE’s Mark ‘Crowley’ Russell about her journey from amateur snapper to award-winning underwater photographer – and being bitten by a giant American crocodile!

Catherine Holmes, originally from Australia and now a dental surgeon resident in England, is a multi-award-winning photographer.

Among her outstanding achievements is being the first woman to win the GDT European Wildlife Photographer of the Year Underwater Category in 2023.

Her photograph of a tarpon hunting amid a school of silversides was also voted DIVE’s best Big Shot of 2024.

Where did it all begin and how did you make the transition from enthusiast to serious underwater photographer?

I started diving when I was about 17 in Australia and for many years used one of the little Sony waterproof cameras (a Cybershot with the now famous Marine pack), and then I went onto the Sea&Sea Motormarine 1 (the yellow box once virtually ubiquitous in dive shops), which I flooded loads of times.

But really it was just a hobby on a week or two a year. I’d manage to get away for a week and come back with rolls and rolls of film and hardly anything would come out.

I’ve always been interested in composition and painting – I’ve painted all my life – and my photographs were getting better but I was frustrated. I’d go to dive shows and hear Alex Mustard talk and think: I want to take pictures like that.

I kept hearing that if you want to improve your photography, you need to get away on photo trips with other photographers, because divers and photographers don’t always mix – we just spend too long taking pictures – and doing that changed my outlook.

I took advice from lots of people and started with an Olympus EM-5 Micro Four Thirds mirrorless camera in 2016, then I progressed to an EM1 MkII [on which the pink and yellow goby shot towards the end of this article was taken], but eventually my friend Nick Moore got frustrated with me and said, ‘Take my Nikon D500; get an SLR!’ So, I took his D500 away for a week, and when I came back I went and bought one!

I’m feeling some pressure from other photographers with their newer cameras but I’m sticking with the D500 for now because it’s working for me – what you see and how you see it is far more important to the photograph than the kit.

What do you enjoy most about being an underwater photographer and do you have a favourite style?

I’m passionate about just being underwater and being with the fish, so just being there is incredible.

Creating the image is all about getting the feel of the place, finding something that’s inspiring, and then working out how to take the picture – waiting for ages, getting the creatures comfortable with you and at the same time thinking: where’s my light coming from? What have I got to frame this to make it look an attractive picture?

It’s exactly the same as painting because when you paint, you’re looking for a subject; you’ve got nice light, you’ve got nice colour, and so my photographs are generally very painterly.

Henley [award-winning photographer Henley Spiers] thinks my images have too much colour, but you look at different photographers’ pictures and see everybody’s got a very personal style – some are more focused on macro; others are interested in more technical stuff, but I think mine is very much colourist.

When it comes to macro or wide-angle, I can’t say I love one more than the other, because they’re both fabulous. I have really enjoyed trying new techniques like bokeh and shallow depth of field, and I really like reverse lenses and the effects you can get with that – I spent a lot of time in Indonesia last year doing reverse lenses and stuff, trying out new techniques for more interesting backgrounds.

Where are your favourite places to dive and do you have any special underwater memories?

Raja Ampat is really amazing and so is the Red Sea – the colour is incredible – and I went to Mexico to dive with the sea lions and I was just in heaven.

I could barely compose a picture because I was so excited, because they’re just so amazing, these beautiful creatures.

But my most memorable photograph was snorkelling with the crocodile [see the previous page] when I actually got bitten, which has become folklore within the underwater photography community. I was so shocked I didn’t even really realise!

Fortunately, I survived, I’ve just got three big teeth marks on either side of my thigh. That was a bit exciting, but the picture looks great in my surgery waiting room. People love it, and there’s a good story to tell.

What advice would you give to beginners looking to follow in your footsteps?

Firstly, you have to be really, really comfortable in the water with good buoyancy control to stay where you want without impacting the reef or the ambience of the fish. If you really love it then it becomes quite easy, but good diving is super important before the photography.

Get into the community. Go and join something like BSoUP (British Society of Underwater Photographers) – and read a lot. Alex Mustard and Martin Edge’s books are both bibles for someone who wants to learn about how to compose and work their cameras.

Go on dedicated photo trips if you can, just to be with other photographers, because photographers are actually very keen to share knowledge – the BSoUP monthly meetings have breakout rooms for beginners to chat with other photographers, and really good lectures.

Learn from a teacher for a while, or even just one trip with a camera pro, because you will have a problem, and you won’t know why, and they will point out you’ve got it on the wrong setting.

You can often be stopped at the first hurdle by something small, so it’s really helpful to be with other people that are knowledgeable, not just other photographers.

The most important thing with underwater photography is getting the light right, so learning where to position your strobes is paramount, and another photographer will see immediately if they’re in the wrong place.

You can take great pictures with natural light, so start simple in shallow water, snorkelling with a camera.

The most important thing is just to be passionate and keep trying and to be open to sharing, because we’ve got a really great community.

While on the surface it can look quite competitive, actually everybody wants people to get the best and see the best and share the best, because we all want to protect what we’re seeing.

To see more of Cathy’s fantastic pictures visit her website at catherineholmesunderwaterphotography.com or find her on Instagram @catherineholmes.photography

More great reads from our magazine

• Artificial Intelligence – good or bad for underwater photography?
• Liveaboard safety – how divers can change it and when to walk away
• Luxury resort versus budget homestay in Raja Ampat
• DIVE’s Big Shot Portraits – THE WINNERS!
• The National Lobster Hatchery – giving lobsters a helping hand

Click here to take out a regular yearly subscription

The post Painting with light – an interview with Catherine Holmes appeared first on DIVE Magazine.

The Underwater Photography Guide’s editor-in-chief, Nirupam Nigam, reviews the upgrades to Canon’s flagship camera with the 2024 Canon EOS R5 Mark II

Words and pictures by Nirupam Nigam

Released in 2024, the Canon EOS R5 Mark II is a substantial improvement over its predecessor, the groundbreaking EOS R5, and – thanks to its faster readout speeds, enhanced autofocus system, and video recordings of 8K/60p RAW – substantially better than the EOS R1, which was released at the same time.

The Canon R5 Mark II seems to (almost) have it all. Certainly, for underwater photography, the improvements are quite exciting – although it lacks the global shutter system of Sony’s α9 III, the R5 Mark II is the first mirrorless camera that the team here at Bluewater Photo has used to consistently and successfully track fish, sea lions, and everything in between.

Are these improvements significant enough to warrant an upgrade? If you’ve been holding onto your DSLR Canon 5D Mark IV, switching to the Canon R5 Mark II is an obvious decision. If you’re currently shooting underwater with the Canon EOS R5, however, still one of the world’s most popular underwater cameras, you’ll have more to consider before upgrading to the R5 Mark II.

With compatible underwater housings just starting to hit the market, we took the R5 Mark II in an Ikelite housing to Port Hardy in British Columbia, Canada, to see if the ugrades are as remarkable in the field as they appear on paper – and even in subpar diving conditions, the R5 MkII provides some spectacular results.

Related articles

• Ocean Art 2024 winners announced
• Diving into Canada’s ‘Skook’ – the world’s fastest tidal rapids
• I dived the Gulf of Maine and saw one fish
• DIVE’s Big Shot Bright and Beautiful – THE WINNERS!

Canon EOS R5 Mark II specifications

• New 45-megapixel full-frame back-illuminated stacked CMOS sensor
• RF lens mount
• DIGIC X processor with DIGIC Accelerator co-processor
• 30fps RAW burst shooting in electronic shutter mode
• 1/250 mechanical flash sync speed, 1/160 electronic flash sync speed
• Pre-continuous shooting mode
• New Dual Pixel Intelligent AF and AF modes: Action Priority, improved Canon Eye Control AF
• Improved In-Body Image Stabilization
• 8K/60p and 4K/120p video recording
• RAW and C-Log2 recording capability
• Dual card slots: CFexpress Type B and UHS-II
• 5.76 million dot OLED electronic viewfinder
• LP-E6P battery with improved power output
• Dimensions: 138.5mm x 101.2 mm x 93.5mm
• Weight: 746 grams

Comparing the Canon EOS R5 Mark II vs Canon EOS R5

At first glance, the two Canon EOS R5 cameras are relatively similar in their dimensions, controls and 45MP sensor, although the bodies are different enough that each camera requires a unique underwater housing.

We found the most impressive upgrades of the R5 Mk II over its predecessor include a new autofocus system – possibly the best system in the world today – new eye movement control AF, a new stacked sensor with burst shooting and faster readout speeds.

Those shooting video may want to consider the R5 Mark II’s incredible specs along with its faster 8K video frame rates and C-Log2 recording capability, but we don’t know as yet if new underwater housings for the R5 Mark II will be compatible with its optional battery cooling grip, so Canon EOS R5 C owners may prefer to wait until we do before upgrading

Key features of the Canon EOS R5 Mark II

With a robust set of new features that look good on paper, we’ll break down the Canon EOS R5 Mark II’s essential features, including what they are, what they’re meant to achieve, and whether they are functional improvements in our underwater photography field tests.

Improved readout speeds with a new 45 MP stacked sensor

The latest trend in underwater photography is achieving faster readout speeds, sparked by innovations like Sony’s global shutter with the Sony α9 III. While the R5 Mark II does not feature a global shutter, it compensates with high-speed data transfer from the sensor to the processor, thanks to its DIGIC Accelerator co-processor.

A vital component of R5 MkII’s speed is its new 45MP ‘stacked’ sensor, which reduces the rolling shutter effect, resulting in sharper images of fast-moving subjects using the electronic shutter and minimizing distortion in video footage. In our underwater tests, even handheld video was remarkably stable.

The stacked sensor also enables the R5 Mark II to handle up to 30 frames per second when burst shooting in RAW – seriously impressive for a 45MP camera. Although underwater photographers using strobes may not always need such high speeds, the R5 Mark II can sync with strobes up to 1/160s, even in electronic shutter mode.

Using fast-recycling strobes such as the Sea & Sea YS-D3 Duo or the Marelux Apollo III makes capturing fast subjects in dark water more achievable with the R5 Mark II, even at lower strobe power.

However, as with other stacked-sensor cameras like the Nikon Z8 or Nikon Z6 III, there may be a slight trade-off in dynamic range for the added speed. Petapixel’s initial tests suggest the R5 Mark II shows slightly more noise than the original R5, but the difference was barely noticeable during our underwater tests.

The extra noise won’t be a concern for most photographers, but those frequently shooting scenes with high dynamic range (such as wide-angle shots with sunbursts) may prefer to stick with the original R5. That said, the R5 Mark II holds its own among other top models like the Nikon Z8, Sony α9 III, and Nikon Z6 III, even for sunballs.

The world’s best autofocus system

Canon’s EOS R5 Mark II has arguably introduced the best autofocus system to the market. While Canon’s Dual Pixel autofocus is already highly rated – often compared to Sony’s subject-detection autofocus tracking – this new iteration brings even more innovation.

The most significant improvement for underwater photographers is the R5 Mark II’s ability to ignore objects that pass in front of a tracked subject. This is incredibly helpful when photographing multiple fish or moving subjects.

During our dives in the murky waters of the Pacific Northwest, where particles were abundant, the camera consistently stayed locked on the intended subject without issue. Moreover, when we put the camera in autofocus servo with a wide autofocus area, the camera had no problems identifying and tracking fish and sea lions!

The Canon eye control autofocus, which first appeared in the Canon R3, is also present in the R5 Mark II. This feature enables you to move the focus point simply by looking at your subject. Unfortunately, this technology doesn’t perform well enough when using a dive mask or magnified viewfinder to be useful to underwater photographers.

8K video improvements and new recording capability

Canon introduced 8K video recording in a mirrorless camera with the release of the original R5. Now, Canon has built on the technology by offering 8K video at up to 60 frames per second on the R5 Mark II, putting it on par with models like the Nikon Z8 and Z9.

The R5 Mark II also offers improved in-body image stabilization, making handheld underwater video much smoother, as demonstrated in the videos captured during our testing.

Shooting video in 8K resolution provides extra flexibility, particularly for those shooting macro, who can now crop down to 4K for tighter framing or additional b-roll. The R5 Mark III can also record at up to 120 frames per second in 4K, which is perfect for slow-motion shots and added stabilisation.

Moreover, the R5 Mark II supports RAW video recording and a new C-Log2 profile. Log profiles capture more detail in highlights and shadows, offering greater dynamic range and editing flexibility. While RAW video is typically reserved for high-end production shoots, the C-Log2 profile will be a valuable tool for many videographers.

Overheating concerns

Concerns were raised over the original Canon R5’s tendency to overheat when recording at high resolutions and frame rates. In our initial tests, the R5 could only last about 20 minutes when recording 8K or 4K/120p video. A firmware update later improved this, and the Canon R5C was designed with enhanced cooling to eliminate these issues.

The R5 Mark II has an optional cooling accessory grip, though it’s unclear if underwater housings will support it. While we didn’t perform a full overheating test during this review, the R5 Mark II did not overheat while filming 4K/60p video on any of our dives.

Underwater housings for the Canon EOS R5 Mark II

As expected with the release of such a popular camera, the top manufacturers are already offering underwater housings for the Canon R5 Mark II, with Nauticam’s anodized aluminium housing, and Marleux and Ikelite’s R5 Mark II polycarbonate housings among the most highly recommended.

Underwater lenses for the Canon R5 MkII

Underwater photography subjects are as varied as the photographers who shoot them, requiring a selection of lenses. Whether you are into macro and super-macro, prefer to capture larger animals and landscapes, or like to give your images more artistic flair, you’ll find the perfect lens to pair with your EOS R5 Mark II.

Macro lenses

Capturing images of small – or even microscopic – creatures underwater requires a macro lens. Canon enthusiasts heading to one of the top macro photography destinations will want to pack one of Canon’s compatible macro lenses with their R5 Mark II:

• Canon RF 100mm f/2.8L Macro IS USM: Best for shooting shy critters by allowing a longer working distance. You can also add a macro diopter to shoot super-macro images. Magnification is greater with the RF when compared with the EF, enabling you to capture photos at an impressive ratio of 1.4:1. Note that the Canon RF 100mm’s spherical aberration control ring is not recommended for underwater photography.
• Canon EF 100mm f/2.8L Macro IS (with EF-EOS R Adapter): Another great option for capturing small, shy subjects using a greater working distance. When combined with a macro diopter, it’s an essential tool for super-macro photography.
• Canon RF 85mm f/2.8 Macro Lens: While it may seem like a good option at a great price point, its autofocus is practically unusable underwater due to its slow-moving focusing barrel.

Recommended wet diopters

• Nauticam Super Macro Converter: One of the sharpest and strongest diopters on the market, this will help you capture sharp macro and super-macro photos. For super-macro, use it with the Canon 100 mm f/2.8 macro lens.
• Kraken +13 Diopter and Weefine +13 Diopter: Excellent options with spectacular magnification, the Kraken and Weefine offer the same quality as the Nauticam at a more affordable price.
• Bluewater +7 Diopter: Recommended for beginners, the Bluewater +7 may have less magnification than the others. Still, it is suitable for use with mid-range lenses and provides additional magnification to the Canon 100mm macro lens.

Read Bluewater Photo’s full guide to underwater macro wet lenses

Wide-angle fisheye lenses

Capture ultra-wide fields of view using a wide-angle fisheye lens, perfect for photographing the world’s most stunning coral reefs. Images taken with a fisheye lens are often associated with distortion around the corners of the photos; however, this distortion is naturally reduced underwater due to light refraction.

Canon EF 8-15mm f/4L circular fisheye (with EF-EOS R Adapter): The best option for a full-frame fisheye lens with optional vignettes. Expect cool, artistic vignettes at 8mm and images free of vignettes when zoomed to 15mm.

Rectilinear wide-angle lenses

Choose a rectilinear wide-angle lens for capturing fascinating topography or large animals without the distortion created with a fisheye. Rectilinear wide-angle lenses are perfect for diving with sharks, swimming with whales, or capturing subjects at a distance.

• Canon RF 14-35mm f/4 L IS USM: This is our top pick for pairing a wide-angle lens with the EOS R5 due to its incredible corner sharpness. It does produce vignettes at 14mm, so you should use it as you would a 16-35mm.
• Canon EF 16-35 f/2.8 III Ultra-Wide Zoom lens (with EF-EOS R Adapter): If you’re not on a budget, this is an excellent choice.
• Canon EF 16-35mm f/2.8L II Wide-Angle Lens (with EF-EOS R Adapter): A top-seller for Canon full frames for years, this lens offers corner sharpness, speed, and a reasonable price.
• Canon EF 11-24mm f/4L Ultra Wide-Angle Lens (with EF-EOS R Adapter): If you’re looking for the widest lens on the market, look no further. While heftier and pricier, the Cannon 11-24mm provides the perspective to shoot enormous wrecks and expansive reefs.

Is the Canon R5 Mark II right for you?

If your photography will benefit from a top-of-the-line autofocus tracking system, the Canon R5 Mark II is the best on the market, enabling you to shoot your subject while ignoring any interference with your view.

Videographers looking for spectacular resolution with 8k video and 60fps will find the EOS R5 Mark II the perfect fit (assuming it stands up to overheating tests).

The bottom line? If you’re looking for the best Canon camera you can buy for underwater photography, this is it.

UPG would like to thank Bluewater Photo, Bluewater Travel, and UB Diving for supporting this review – read the original here.

MSRP Canon EOS R5 Mark II: $4299

www.bluewaterphotostore.com

Nirupam Nigam is an underwater photographer and fisheries scientist, Editor-in-Chief of the Underwater Photography Guide and the President of Bluewater Photo. Check out Nirupam’s photography at www.photosfromthesea.com.

The post Review: Canon EOS R5 Mark II appeared first on DIVE Magazine.

The Coral Triangle in the western Pacific Ocean is home to the greatest variety of marine life on the planet. In his latest book Coral Triangle Cameos, Alan J Powderham, with scientific consultant Sancia van der Meij, focuses on the ‘small majority’ – the diminutive yet vital and often overlooked inhabitants of this amazing world.

In the 12 fascinating chapters of Coral Triangle Cameos, Powderham and van der Meij look at everything from the smallest crustaceans hiding on the reef to the weird and wonderful life forms drifting in the open ocean on blackwater dives.

With Alan’s stunning photographs and extremely informative text, you are taken on a journey into a complex, interdependent marine world brimming with life.

In this extract from the amazing book we take a look at a selection of chapters and the beautiful images that accompany them.

MUSHROOM CLUB

The Fungiidae family – known as mushroom corals – are predominantly solitary single-polyp corals which may have multiple mouths. As with other Cnidaria, their tentacles are armed with stinging cells, called nematocysts.

As hexacorals, they form limestone structures to house their polyps. Their arms form a radial symmetry of six, though this geometry is not readily obvious. By comparison, the arrangement of the eight-tentacled polyps of octocorals is generally
quite plain to see.

Individual polyps of mushroom corals reach impressively large sizes, with some solitary species exceeding more than
25cm. While the juveniles start life anchored to the substrate by a stalk, most species are free-living as adults. I have occasionally seen them collect in large aggregations, a mobility which is quite at odds with our normal conception of corals’ sedentary lifestyle.

They are also able to right themselves if turned upside down, for example by wave action. However, beyond all the biology, a prime attraction is their wonderful abstract patterns and intricate structures.

CRYPTOBENTHIC CHARMERS

Cryptobenthic, which basically means ‘hidden on the bottom’, refers to the tiny, secretive fish which typically hide within the coral crevices and reef debris. Consequently, they are easily overlooked but are now considered to be key contributors to the viability of the reefs.

Recent research has focused on discovering the apparently huge deficit in the nutrients required to sustain the complex ecosystems of coral reefs.

The larvae of cryptobenthic fish are not broadcast but settle locally, thus creating a bounteous cycle of nutrition concentrated within the confines of the reef.

Blennies are prominent citizens of this community and are widely represented in tropical and temperate seas, with an estimated 350 species. They provide a variety of charming characters as they peer out from their hideaways with large, appealing eyes.

This description is qualified, since a sprinkling of the notorious fangblennies number among this family. Most blennies are herbivores but the fangblenny is the exception.

It operates in borrowed clothes, as it mimics cleaner fish. This enables it to approach and take a bite out of unsuspecting patrons attending cleaning stations.

SMART SQUID

Among invertebrates, cephalopods are widely admired for their intelligence. They match some of the smartest vertebrates, which is pretty impressive for a mollusc.

Yet, being molluscs, they have evolved along completely distinct pathways. Their brains are cited as prime examples of convergent evolution. A direct experience of this mental prowess was provided early in my introduction to diving in the Coral Triangle.

My interest, then, was predictably attracted by the more obviously impressive subjects such as dense shoals of large fish. Underwater, good photography generally demands close proximity to the subject – a familiarity not readily welcomed
by the creatures of the reef.

So I was delighted, when encountering a large shoal of barracuda, to find that my local dive guide was well versed in the correct procedure. He immediately signalled to me to avoid further approach, and wait while he circled deeper to take position on the far side of the shoal. From this manoeuvre he was able to shepherd the fish towards me.

So, it came as quite a surprise when he blankly refused to apply the same tactics when we happened upon a school of squid. ‘Squid, like cats – too smart – don’t herd like barracuda’ was his amusingly laconic but insightful explanation.

DECORATED DECEPTION

Decapod means ‘ten footed’. Such anatomy is clearly evident in the crab pictures below, despite their liberal decoration of stinging hydroids.

This living array of potent protection is also a transferable asset. Remarkably, a moulting crab will painstakingly transplant
its collection of hydroids to the new carapace. It is a delicate and precarious operation. It has to be undertaken during the period of heightened vulnerability while the crab’s new exoskeleton hardens.

The spider crab has also adopted a singular approach to decoration, specialising in corallimorpharians, which most
notably disguise the crab’s outline.

Decorator crabs have a covering of fibrous material armed with tiny hooks known as setae. These enable them to attach their adornments like Velcro.

ALIEN DRIFTERS

While the rich biodiversity of the Coral Triangle may readily overwhelm the senses, some bizarre transparent creatures may float by unnoticed.

As illustrated, these range from ctenophores to heteropods and even pelagic ascidians. Ascidians are typically sessile creatures and establish colonies that can spread extensively.

The brief phase of the ascidian tadpole is totally focused on settling, affording it no time to feed. Accordingly, they have no mouth but do possess a range of chordate components including a primitive spine, and rudimentary eyes and brain.

After settlement, these redundant body parts are all absorbed in a transformation that matches the terrestrial example of the caterpillar to butterfly metamorphosis. But for the ascidian, it is a case of losing rather than gaining mobility.

The larva, now attached to the substrate, transmutes into a vase-like form for which it promptly develops intake and exit siphons to continue life as a filter feeder.

Not all ascidians sacrifice mobility, as there are pelagic species known as pyrosomes which may be seen rolling over the substrate like aquatic tumbleweed.

Ctenophores are voracious predators and come in a range of shapes and body sizes. Like a tiny iridescent refugee from Star Trek, with its gut full of plankton, this comb jelly has clearly enjoyed a successful nocturnal hunt.

Heteropods, (first image below) known curiously as sea elephants though actually molluscs, virtually defy description.

More great reads from our Magazine

• Inspiring Hope – an interview with Cristina ‘Mitty’ Mittermeier
• Ross Merrin on training as a BDMLR Marine Mammal Medic
• Shark and Jolanda Reef – Howard Rosenstein on the day it all began…
• ‘Toxic Trumps’ – venomous sea creatures and how to treat their stings
• Are work-for-training scuba diving internships worth it?

Click here for a full subscription or single issue

The post Alan J Powderham’s Coral Triangle Cameos appeared first on DIVE Magazine.

Alvaro Herrero’s humpback whale mother and calf wins Underwater Photographer of the Year 2025

Spanish photographer Alvaro Herrero has been named Underwater Photographer of the Year 2025. His photograph ‘Radiant Bond’ shows the special relationship between a mother humpback whale and her newborn calf.

Herrero’s picture was taken in French Polynesia and triumphed over 6750 underwater pictures entered by underwater photographers from around the world.

‘The mother is accompanying her calf to the surface because the baby is still so small and clumsy,’ said Herrero. ‘The calf is releasing a few bubbles underwater showing it is still learning to hold its breath properly. ‘For me, this photo really shows a mother’s love and communicates the beauty and fragility of life in our ocean.’

‘This delicate yet powerful study of a mother and calf’s bond says all that is great and good about our world,’ said contest judge Peter Rowlands. ‘We face our challenges, but the increasing populations of humpback whales worldwide shows what can be achieved.’

Other winners in the International categories included Shunsuke Nakano from Japan who won the Behaviour category with his photo ‘Face Off’, which shows two extraordinary-looking male Asian sheepshead wrasse jousting over spawning rights.

Abdulaziz Al Saleh, from Kuwait, won the Portrait category with his unique shot ‘Hydration’ showing camels drinking in the desert from below the water; and Bryant Turffs from the United States won the Compact category with ‘The Beauty of the Swamp’, a picture of a prehistoric gar fish taken in the Everglades with a simple GoPro camera.

Other notable winners included Ruruka, from South Korea, who placed first in the PADI-sponsored Up & Coming Underwater Photographer of the Year category for his photo ‘Underwater Aurora’, of a diver in the multi-coloured waters of a Mexican cenote; and Robert Marc Lehmann, whose picture of a tiger shark being hauled ashore in Indonesia won the ‘Save Our Seas Foundation’ Marine Conservation Photographer of the Year 2025.

The Underwater Photographer of the Year contest is based in the UK and reserves three categories specifically for photographs taken in British waters.

David Alpert was named British Underwater Photographer of the Year 2025 for his stunning image ‘The Curious Seal’, which was taken near Lundy Island, a marine protected area since 1973.

All the category winners with stories behind their pictures and comments from the judges are featured below:

Category winner: Wide Angle;
Winner: Underwater Photographer of the Year 2025

‘Radiant Bond’ – Alvaro Herrero aka Mekan (Spain)/UPY 2025

Location: Mo’orea, French Polynesia

Shot with: Nikon Z7 II; Nikkor Z 14-24mm 2.8 s; ISO: 1100; f/8, 1/640; Natural Light; Isotta housing

Back story:

A mother humpback whale accompanies her calf to the surface for its first breath early in the morning. The youngster is releasing a few bubbles as it rises, perhaps this is because it is still learning to control its breathing, or it is simply experimenting with its own body.

Every year, during the southern winter, I travel to French Polynesia to photograph these majestic animals. My favourite time of day is the early morning, because the light is soft and angled, allowing me to find the perfect angle to clearly define the shape of these animals in blue. For me, this photo is one that shows a mother’s love for her calf, communicating both the fragility and beauty of our oceans, and revealing one of the amazing species with whom we share our home world.

Judge’s comments:

What a shot! We usually see a lot of humpback whale images during the judging of the UPY competitions, but this image made us stop immediately. It really shows the excellence of the photographer seeing the moment and also recognizing the right image afterwards while browsing through them on the computer.

The light coming from the left upper corner as well as the perfect movement of the Humpback whale and calf, in addition to the excellent framing and composition make this a truly deserved overall winner for the UPY 2025 contest. I’m was very happy to give this image my final vote as it is an excellent example that a perfectly executed “classic” shot. Well done, Mekan! – Tobias Friedrich

A heartwarming interaction between mum and baby, in a perfectly timed pose of both majestic animals that look so comfortable in their underwater home. The photo invites us to observe, while giving the whales their space, both in the frame and from the photographer. The spearing light is dramatic, while the shadow the calf is casting on its mother is subtle. Mekan won the title of Marine Conservation Photographer of the Year back in 2022 with the saddest of images of humpback, this uplifting family portrait is a perfect counterpoint. – Alex Mustard

The overall winning image represents us as a Competition, and our community as a hobby/sport/profession, to the world at large for a whole year and sometimes it is very difficult to decide between them but this year, for me, this delicate yet powerful study of a mother and calf’s bond says all that is great and good about our world. We face our challenges, true, but the increasing populations of whales worldwide shows what can be achieved. – Peter Rowlands

Category winner: Macro

‘Magic Backlit’, by Paolo Bondaschi (Italy)/UPY 2025

Location: Secret Bay, Anilao, Philippines

Shot with: CANONEOS R7; EF-S60mm f/2.8 Macro USM + wet lens AOI UCL-90PRO; ISO: 100; f/16.0; 1/200; Backscatter MF-1 + Backscatter snoot OS-1; MareLux MX-R7 Housing

Back story

At the end of this dive, I spotted a couple of underwater photographers focused on shooting and it piqued my curiosity about what they were photographing. I signalled to my guide to check what they were shooting.

After realizing that it was one of my favourite subjects, a hairy shrimp, I waited patiently for my turn and used the time to plan and prepare for the shot. I chose to shoot it in profile, backlight with a snoot.

My guide and my buddy played a fundamental role in expertly managing the light of the snoot. After a few test shots to find the right setting, I finally got the photo I was looking for.

Judge’s comments:

Perfect execution and image ! What a nice winning shot for this strong macro category this year. I love the minimalistic approach to a subject which is tiny and not easy to get a crisp shot of. The perfect position of the hairy shrimp is almost too good to be true, but these animals are very skittish and we concluded this is natural perfection, which is also emphasized to the maximum by the very selective lighting by the photographer. – Tobias Friedrich

Category winner: Wrecks:

‘Deep Wreck’, by Alex Dawson (Sweden)/UPY 2025

Location: Gulf Fleet No 31 wreck at Shaabruhr Umm Qammar, Egypt

Shot with: NikonZ9; 8-15 fisheye lens; ISO: 800; f/4.5; 1/80; ambient light; Nauticam Z9 housing

Back story

The wreck sits on the reef at around 104m depth. When she sank she got wedged between the reef wall and a small reef so there is a swim through under the wreck. We did 25 min bottom time and about 2 1/2 hours of deco to produce this image.

Judge’s comments

Without a doubt one of my favourite photos in the whole competition. And also, as I learn now, one of our deepest. This image is packed with the feeling of adventure, in a finely crafted composition that draws you in with layer upon layer of interest, from foreground corals to the clouds of fish above the wreck. Understandable quality, once you know it was taken by last year’s Underwater Photographer of the Year! – Alex Mustard

Category winner: Behaviour

‘Face Off’, by Shunsuke Nakano (Japan) /UPY 2025

Location: Sado, Niigata, Japan

Shot with: NikonD850; Lens: af nikkor 28-70mm f3.5-4.5 d with Nauticam WACP-1; ISO: 200; Aperture: f/16; Shutter; 1/25o; Lighting: INON Z330; Housing: Nauticam NA D850

Back story

This is a photo of two male Asian sheepshead wrasse fighting. The unique form of this species is characteristic of males, who form harems and claim territories during the breeding season. The one on the left in the photo is the harem king, who has defended his territory for more than 10 years and is estimated to be over 30 years old, while the one on the right is a young challenger.

Although I had planned carefully to capture the images, the 2024 season was more difficult to predict than usual, and despite staying there for a week during the breeding season, I was only able to observe this scene once, for just 10 seconds. And this was the only photograph I was able to take. The sight of them fighting in their flashy white outfits was so magnificent I can still remember it vividly.

Judge’s comments

Perfectly timed to capture the moment of the contender challenging the king. The fight for hierarchy is the strongest form of behaviour. Well lit with no distracting background, this image leapt out immediately and continued to be the one to beat off the challengers. – Peter Rowlands

Category winner: Portrait

‘Hydration’, by Abdulaziz Al Saleh (Kuwait) /UPY 2025

Location: Al Wafra desert, Kuwait

Shot with: NikonZ8; Lens: Nikkor 8-15mm fisheye; ISO: 100; Aperture: f/18; Shutter: 1/100; Lighting: Inon Z330 (dual); Housing: Nauticam NA-Z8

Back story

I had the idea of photographing the camels drinking water for about one and half a years. I wanted to photograph them drinking water from the underwater perspective because I did not see any images showing this. The weather was a critical, and it took me several weeks to get the best possible shots.

The first week the camels were a bit hesitant to drink water while my camera was under the water and only few gathered to drink, which is not what i wanted. But after several days the camels had already accepted to me and my equipment.

After my first week of shooting the Camels, I changed to electronic synch cords for my strobes instead of fibre-optic cables because of problems. And finally the shots came together.

Judge’s comments

Such a joyous image and a portrait of camels certainly took us by pleasant surprise. Great eye contact, well-chosen angle and surface distortions gives you plenty to look at and the lower, childlike, cheeky mouth adds a heartwarming finale to a quality photograph, which is much more than just an eye-catching subject. – Peter Rowlands

Category winner: Coral Reefs

‘Kaleidoscope of Colour’ by Catherine Holmes (UK) /UPY 2025

Location: Gorgonian Passage, Wayil Batan Island, Misool, Raja Ampat, Indonesia

Shot with: Nikon D500; ;Lens: Nikon Fisheye. 8-15 (3.5-4.5) @12mm; ISO: 320; Aperture: f/11; Shutter: 1/160; Lighting used: Retra Pro strobes- with diffusers; Housing: Nauticam NA-D500.

Back story

Raja Ampat, Indonesia, is a magical destination where the colour, beauty, biodiversity and dense fish life can almost be an overload on the senses- a celebration of healthy reef life. I was lucky to find perfect conditions with clear water and schooling baitfish swirling amongst the canyons of a large coral bommie, adorned with verdant soft corals.

I aimed to capture the reef teeming with life and colour to inspire us all to protect this valuable habitat. All around the world, our oceans, and in particular the coral reefs, are under threat. They are vital habitat for the myriad of species they support, and critical for the oceans health.

Climate change, pollution, overfishing and destructive fishing all threaten this environment, and the devastating outcomes are seen worldwide with bleached and dying reefs, with dwindling fish life. Awareness is essential to protect and sustain these precious environments for the future.

Judge’s comments:

This image just screams ‘coral’! It’s also rare to see a vertical image which works well of a coral reef. The light distribution on the image is absolutely beautiful and the reef full of color. A very well-deserved winner of this category. – Tobias Friedrich

Category winner: Black & White

‘Chasing Dolphins’, by Enric Gener (Spain)/UPY 2025

Location: Red Sea, Egypt

Shot with: Canon5D Mark IV; Lens: Canon EF 16-35mm 1:2.8 L III USM; ISO: 160; Aperture: f/4; Shutter: 1/500; Lighting used: No Lighting; Housing: SeaCam

Back story

This image was captured in the northern Red Sea during a freediving expedition in search of bottlenose dolphins. The moment portrays an intimate mating ritual, where several males—four visible in the picture, though others were nearby—were playfully chasing a female.

It was a dynamic and ritualistic display, with the males engaging in friendly skirmishes and occasionally mating with the female, their bodies joining briefly for just a few seconds. Notably, the female was not attempting to escape; she actively participated, playing along and waiting for them. The entire group swam gracefully and at a slow, deliberate pace, creating a mesmerizing underwater scene.

Judge’s comments:

This image shows the definition of black and white photography, the composition comes alive with the thoughtful conversion to monochrome. Fantastic image. – Tobias Friedrich

Up & Coming Underwater Photographer of the Year 2025

‘Aurora Underwater’, by Ruruka (Korea) /UPY 2025

Location: Cancun, Mexico

Shot with: NikonZ8; Lens: Nikon Z 24-50mm F4 with Nauticam WACP-1; ISO: ISO800; Aperture: f/9; Shutter: 1/60s; Lighting used: Natural Light; Housing: Nauticam NA-Z8

Back story

I first travelled to Cancun, Mexico, for a shoot two years ago, and since then, I’ve been captivated by its charm. These days, I find myself visiting Cancun frequently. From where I live, it’s a very long journey – about 24 hours by plane – but this place perfectly aligns with the direction of my photography and offers a variety of shooting opportunities.

To capture this particular photo, I visited during the rainy summer season and worked with a local Korean guide as my model.

Judge’s comments

Extraordinary image with a high technical standard and perfect postproduction of it! The diver is well positioned in the golden ratio while not being in front of anything. The balance of the light from outside which falls into the cave is just an excellent repetition and shows what the image is all about. Well done and a very well-deserved category winner – Tobias Friedrich

Category winner: Compact

‘The Beauty of the Swamp’, by Bryant Turffs (United States) /UPY 2025

Location: Everglades National Park, United States

Shot with: GoPro Hero 7 Black; Lens: AOI 0.73x Ultra Wide Lens; ISO: 791; Aperture: f/2.8; Shutter: 1/180; Natural light; Housing: GoPro Supersuit

Back story

I captured this image at one of my favourite locations within the Everglades ecosystem. Historically, I primarily dove in saltwater, but I have become enamoured by this foreboding environment, with clear waters, light filtering through cypress trees, and the fish species, both native and introduced.

I have revisited this spot many times trying to capture various subjects and the light just right. The water levels vary significantly, sometimes completely drying, during different times of year. The fish species are in constant flux, and this location is often dominated by exotics.

Ironically, on this occasion, I hadn’t invested too much thought and I was enjoying the scenery when this Florida Gar positioned itself perfectly in the frame of my GoPro.

Judge’s comments

A stunning three-dimensional composition placing this rarely seen Florida gar in its swamp habitat. It is, quite frankly, amazing that this image is shot with a simple GoPro camera demonstrating how many people already have all the gear that they need to capture beautiful underwater photos. – Alex Mustard

British Underwater Photographer of the Year 2025
and category winner: British Waters Wide Angle

‘The Curious Seal’, by David Alpert (UK) /UPY 2025

Location: Lundy Island, United Kingdom

Shot with: Canon 5D MKiii; Lens: Canon EF 16-35mm f/2.8L iii USM; ISO: 200; Aperture: f/8; Shutter: 1/200; Lighting; 2 x Inon Z330 Strobes; Housing: Nauticam

Back story

North Devon is easily one of the most beautiful coastlines in Britain. High jagged cliffs pounded by an unforgiving sea. With the second highest tide change in the world, the outgoing current whips up against waves and wind rolling in from the North Atlantic. Stand back and marvel.

Diving windows are limited so I based myself in the area for two months last year, exploring different locations. This shot shows a grey seal off Lundy Island, a marine protected area since 1973. Seals are delightfully curious creatures, more interactive than any other species I have dived with around the world. Briefly, I become one of the privileged few, crossing the bridge into the world of a sentient wild animal.

Judge’s comments

In the UPY competition we usually see a lot of seal images, especially in the British categories. I used to be a soft touch for these images, but having seen so many now, my standards are very high. This image though is truly a stunner! So well framed in the sea weeds and with the light coming from the back in the shallow waters. The composition is completed by the curious look of the seal to the photographer. An excellent portrait. – Tobias Friedrich

Category winner: British Waters Macro

‘The Hitch-Hiker’, by Dan Bolt (UK) /UPY 2025

Location: Scotland, UK

Shot with: OM Systems OM-1; Lens: Panasonic 45mm macro; ISO: 250; Aperture: f/13; Shutter: 1/250th; Lighting used: 2x Sea & Sea YS-D3Duo; Housing: AOI UH-OM1

Back story

Occasionally in my time under the water I have come across this medusa ‘Neoturris pileata’ in the open water but had not taken a decent photo of one. On this occasion however, my buddy and I were specifically targeting them and other similar creatures to try to explore the idea of UK ‘blackwater’ photographic opportunities.

Of the many, many(!), images I took that day, this one revealed a larval crustacean within the bell of this medusa. The frames either side of this capture actually show that the larval crab (or lobster) is actually on the outside of the bell, but in this instant it was perfectly on the opposite side from me and hence the effect of being contained within the transparent body.

Judge’s comments:

This is a beautiful and rarely see jellyfish, but the wow moment really comes when you spot the hitchhiking shrimp through the transparent bell. Stunning, surprising and novel. – Alex Mustard

Category winner: British Waters Living Together

‘Rusty Haven’, by Dan Bolt (UK) /UPY 2025

Location: Loch Carron, Scotland, UK

Shot with: OM Systems OM-1; Lens: Olympus 14-42mm with Nautocam WWL-1; ISO: 640; Aperture: f/7.1; Shutter: 1/50; Lighting used: 2x Sea & Sea YS-D3 Duo; Housing: AOI UH-OM1

Back story

This images shows nature’s ability to make the best of a bad situation. The iron block and heavy chain are actually holding a small barge in-place on the surface where local scallop divers store their equipment. The barge itself is a floating reef system all of it own, and the anchor blocks have attracted many species too.

I was actually practising for a different underwater photography competition when I took this shot. For a couple of days before an on-the-day ‘splash in’ competition, this crab was consistently in this position, or very close by. Sadly on the day it was nowhere to be seen! Happily for me though that meant I was able to use my practice photos for UPY!

Judge’s comments

A well-chosen angle to include just enough background to combine visual depth with location. The chain links starting off powerfully in the foreground then receding delicately out of the scene topped by the small inquisitive fish entering the top of the frame. A worthy winner. – Peter Rowlands

‘Save our Seas’ Marine Conservation Photographer of the Year 2025

‘1/200,000,000’, by Robert Marc Lehmann (Germany)/UPY 2025

Location: Indonesia

Shot with: Canon R5; Lens: Canon EF 24mm f/1.4L II USM with EF to RF Mount; ISO: 1000; Aperture: f/5.6; Shutter: 1/6400

Back story

This tiger shark is just one of around 200 million sharks that lose their lives every year at the hands of humans.
Since I was six years old (35 years+), I have been intensively studying sharks. In all these years, hardly anything has changed and that is frustrating. Sharks protect their habitat, the sea, through their ecological function as ‘health police’.

Over a billion people depend on the sea every day and we all breathe the oxygen that is largely produced in the sea. If we continue to eradicate the animals that guard our largest and most important habitat, we are taking away our own livelihood, and that’s why I’ve been fighting for people to see and understand sharks through my eyes.

Every time I take a photo like this, it hurts, but through imagery I can inspire millions of people to understand sharks and their situation and make a difference.

Judge’s comments

A stunning, story-telling image, with four men hauling this huge ocean predator onto land. The light is beautiful, the composition immersive and the timing, capturing the fisherman’s gesture, is perfect. Although an everyday occurrence and legal in most places, the man reaching out to stop the photo reveals what his conscience reckons on what they are doing. Powerful photography. – Alex Mustard

Underwater Photographer of the Year is an annual competition, based in the UK, that celebrates photography beneath the surface of the ocean, lakes, rivers and even swimming pools, and attracts entries from all around the world.

The contest was first run in 1965, when Phil Smith was named Underwater Photographer of the Year.

In 2025 the contest attracted 6750 underwater pictures, with the awarded photographers coming from 28 different countries.

The winners were announced in an award ceremony in central London, hosted by The Crown Estate. This year’s judges were experienced underwater photographers Peter Rowlands, Tobias Friedrich and Dr Alexander Mustard MBE.

For a complete listing of all the winning and highly commended photographs in this year’s competition, head to www.underwaterphotographeroftheyear.com

Related articles

• Underwater Photographer of the Year 2024 winners
• Underwater Photographer of the Year 2023 winners
• Underwater Photographer of the Year 2022 winners
• Alex Mustard appointed president of the British Society of Underwater Photographers

The post Underwater Photographer of the Year 2025 winners announced appeared first on DIVE Magazine.

The winners of our readers poll of images from our Big Shots underwater photography competitions of 2024

We asked our readers to vote for their favourite images from our most recent Big Shot underwater photography competitions. Here are the top six, as published in our Winter 2025 magazine.

Way out ahead on the poll was Catherine Holmes’s stunning image of a marauding tarpon surrounded by silversides, with nearly 20 per cent of the votes cast. It was closely followed by Jenny Stock’s fingered dragonet.

We’ll feature a portfolio of Catherine’s work in our Spring 2025 magazine, and if you haven’t already done so, make sure you enter our first Big Shots competition of 2025 on the theme of Portraits.

The winner, selected by DIVE’s editorial staff, will receive a liveaboard trip to the Similan Islands onboard the Thailand Aggressor, courtest of Aggressor Adventures.

Big Shots Portraits – enter here!

OVERALL WINNER: SOLITARY HUNTER, by Catherine Holmes

(Highly Commended in the Summer 2024 Big Shots Caves, Caverns & Overhangs)

Location: A huge hunting tarpon appears at the centre of a school of silversides, Eden Rock, Grand Cayman.

Shot with: Olympus EM1 Mk11, 8mm LUMIX G Fisheye 8/3.5, Nauticam housing, x2 Inon Z-330 strobes; f8, 1/125, ISO 500

SECOND – BLACK SAND GEM, by Jenny Stock

Highly Commended in the Autumn 2023 Big Shots Kaleidoscope

Location: While muck diving on black sands, I found this fingered dragonet and I tried to capture as
symmetrical a portrait as possible. Lembeh, Indonesia.

Shot with: Canon 5D Mark IV; 100mm lens; Nauticam housing; f16, 1/100, ISO 640

THIRD: SQUID SQUAD, By Catherine Holmes

Winner in the Spring 2024 Big Shots Cephalopods

Location: I spent many days getting to know the school of squid in the warm shallow
water around Cement Pier in Barbados.

Shot with: Nikon D500; Sigma 17-70 macro lens at 17mm; Nauticam housing; Retra Pro strobes; f13, 1/250, ISO 500

FOURTH: THE DESCENT, by Tom St George

Highly Commended in the Summer 2024 Big Shots Caves, Caverns & Overhangs

Location: A diver descends through a magnificent column of sunlight and crystal-clear waters at Cenote Maravilla, Yucatán.

Shot with: Sony α7R III, Sigma 15mm fisheye lens, Nauticam housing and ports, 1 x Scubalamp PV32T focus torch; f10, 1/200, ISO 200

FIFTH: INTO THE FLAMES, by Miguel Ramirez

Highly Commended in the Autumn 2024 Big Shots Bright & Beautiful

Location: An emperor shrimp camouflaged in the gills of a Spanish dancer, Réunion Island, Indian Ocean.

Shot with: Nikon D500, Nikon 85mm lens, Hugyfot housing, 2 Inon Z-330 strobes, f11, 1/250, ISO 100

SIXTH: COMING OUT TO PLAY, by JillAnne McCarty

Highly Commended in the Spring 2024 Big Shots Cephalopods

Location: A coconut octopus plays with a scallop shell while tucked securely inside its beer bottle hideout on the sea floor in Anilao, Philippines.

Shot with: Nikon D850; Nikon 105mm lens; Nauticam housing; Retra strobe; f10, 1/60, ISO 200

Related articles

• DIVE’s Big Shot Bright and Beautiful – the winners
• DIVE’s Big Shot Caves, Caverns & Overhangs – the winners
• DIVE’s Big Shot Cephalopods – the winners
• DIVE’s Big Shot Kaleidoscope – the winners

Click here for a full subscription or single issue

The post Best of DIVE’s Big Shots 2024 appeared first on DIVE Magazine.