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DPG Masters 2024 Competition Winners Announced
By Ian Bongso-Seldrup, January 31, 2025 @ 07:00 AM (EST)


DPG is proud to announce the winners of the DPG Masters Underwater Imaging Competition 2024. Once again, thousands of photographers and filmmakers from dozens of countries competed in what has become known as the “World Championship” of international underwater imaging events. The competition invited submissions to eight image categories and one video category, with entries evaluated by a panel of award-winning underwater photographers: Nicolas Remy, Steven Kovacs, Shane Gross, Tanya Houppermans, Imran Ahmad, and Andy Sallmon.

For the first time in the contest’s long history, it was a video entry that was deemed the best overall. Canadian videographer Eiko Jones’ short film, entitled The Journey, brilliantly captures the drama-filled life cycle of salmon in the rivers of British Columbia, Canada. The first place winner in the Short Film category earned Eiko the title “DPG Grand Master 2024.”  

Congratulations, too, to the Gold winners in the photo categories—Vanessa Mignon (Traditional), Andrea Michelutti (Macro, Compact), Massimo Zannini (Wide Angle), Luc Rooman (Over-Under), Matthew Mak (Conservation), André Moyo (Blackwater), and Filippo Borghi (Portfolio)—as well as all the runners-up. Finally, special thanks to our amazing sponsors for their incredible generosity, to our knowledgeable judges for all their hard work, and to everyone who participated.

See below for the full set of winning entries or check out UnderwaterCompetition.com.

 


 

Winners of the 2024 DPG Masters
Underwater Imaging Competition

 

Short Film

Short Film – Gold – “The Journey” by Eiko Jones (Canada) – DPG Grand Master 2024
 

PRIZE SPONSORS

Shooting Location: Vancouver Island, British Columbia, Canada

Equipment: Nikon Z6, Z CAM E2-S6, Sigma AF 8–16mm f/4.5–5.6, Nikon AF-S 60mm f/2.8 Macro, Aquatica and Nauticam housings, Nauticam EMWL, Laowa Macro Probe, Keldan video lights

Videographer’s Comment: “This short film is a compilation of sequences from my longer film ‘Heartbeat of the River.’ My goal in producing this short film is to showcase the incredible journey the salmon of Vancouver Island’s Campbell and Quinsam Rivers take in the completion of their life cycle. It’s a triumph over adversaries and obstacles that has gone on for millennia along the coast of British Columbia and the United States.”

 

Short Film – Silver – “Magic of the Macroverse” by Alfred Schaschl (Austria)
 

PRIZE SPONSOR

Shooting Location: Dauin, Negros Oriental, Philippines

Equi​pment: Panasonic Lumix GH5s, Olympus M.Zuiko 60mm f/2.8 Macro, Isotta housing, Nauticam SMC-1, Nauticam SMC-2, 2x Backscatter MW-4300 video lights

Videographer’s Comment: “With this short film, I aim to showcase the beauty of the smallest and most hidden marine creatures. Through various perspectives and lighting setups, I sought to artistically portray these tiny creatures and isolate them from the background, giving them the full visual attention they deserve. At the same time, I draw attention to the fragility of this ecosystem. My film is a call to protect our beautiful planet and oceans, and to respect all forms of life.”

 

Short Film – Bronze – “Paradise in Peril” by Jacob Guy (UK)
 

PRIZE SPONSORS

Shooting Location: Raja Ampat, West Papua, Indonesia

Equipment: Panasonic Lumix GH5 II, Panasonic 14–42mm f/3.5–5.6, Nauticam housing, Nauticam WWL-1B, 2x Weefine Solar Flare 13000 video lights, DJI Mini 3 Pro

Videographer’s Comment: “Raja Ampat is one of the world’s most famous diving locations, known for its incredible biodiversity, huge fish schools, beautiful colors, and healthy reefs. However, on a recent trip to this “last paradise,” I was saddened to see that even in the far corners of our oceans, the temperatures are still being affected by climate change. With waters that were the warmest I’ve ever dived in, the corals were a ghostly white in response to the stress they were experiencing. I happened to have the opportunity to visit the same dive sites several times over a couple of weeks to see the decline of these beautiful reefs. For an ocean and coral lover, it is one of the hardest things to witness. Is this the beginning of the end?”

 

Short Film – Honorable Mention – “The Ocean Is Not Ours” by Lara González and
Xaime Beiro (Spain)

 

Shooting Locations: Galicia, Canary Islands, and Cabo de Palos, Spain; Azores, Portugal

Equipment: Canon EOS R5, Canon EF 8–15 f/2.8, Canon RF 35mm f/1.8, Canon RF 100mm f/2.8 Macro, Nauticam housing, Saga Macro Lens +10, 2x Scubalamp V6K v2

Videographer’s Comment: “The main idea was to capture in a very personal video the importance the sea holds in our lives—how, from a very young age, the ocean became the center of our lives. With this in mind, we wanted to convey the concept of respect—respect for the sea, both from the perspective of its dangers and the need to protect it; how it impacts people’s lives, but knowing that it does not belong to us, that we are just guests. We live in Galicia in northwest Spain, a region deeply connected to the sea. But that relationship often speaks only to the sea as a source of food. We want to change that perception; we want people to understand the sea as a source of life—the life it gives to us and the life that exists within it.”

 

Short Film – Honorable Mention – “Cosmogony” by Lionel Pawlowski (France)
 

Shooting Location: Anilao, Batangas, Philippines

Equipment: Panasonic Lumix GH5s, Olympus M.Zuiko 60mm f/2.8 Macro, Panasonic Lumix 8–18mm f/2.8–4, Panasonic Lumix 14–42mm f/3.5–5.6, Nauticam housing, Nauticam CMC-1, Nauticam CMC-2, Nauticam EMWL with 100°/130° Objective Lens, i-DiveSite Venom C50, Weefine Smart Focus 1000, Weefine snoot

Videographer’s Comment: “As a macro videographer, I wanted to move out of my comfort zone of filming critters we see on muck dives. Filming small things is always challenging; filming them in the dark without solid ground adds more difficulties, but the reward of meeting unusual critters is worth the effort. Blackwater diving brings to divers the opportunity to witness the larval stages of marine life. Between reef and pelagic scenes, I wanted to tell a story about how those worlds are connected.”

 

Traditional

Traditional – Gold – “Modula Dance” by Vanessa Mignon (Australia)
 

PRIZE SPONSOR

Shooting Location: Baja California, Mexico

Equipment and Settings: Canon EOS 5D Mark IV, Canon EF 8–15mm Fisheye, Nauticam housing (f/4, 1/500s, ISO 500)

Photographer’s Comment: “I was traveling to Baja California, hoping to witness the famous mobula ray aggregation. We had seen a few groups migrating in the bay, but the visibility was not great in the shallow waters. So, we decided to head out to sea, looking for deeper, bluer waters. Soon enough, we saw what we were hoping for: mobulas jumping out of the water. We jumped in and found a tight ball of mobulas circling and swimming in unison, a beautiful, hypnotic dance. Witnessing big aggregations like the ones in Baja California at certain times of the year, you might think that mobula rays are doing well. Unfortunately, the IUCN Red List indicates that the overall population is decreasing and lists these amazing rays as ‘Vulnerable.’”

 

Traditional – Silver – “The Dark Side” by Renata Romeo (Italy)
 

PRIZE SPONSOR

Shooting Location: Marsa Alam, Egypt

Equi​pment and Settings: Canon EOS R7, Canon EF 8–15mm Fisheye, Easydive Leo3wi housing, 2x Inon Z-330 strobes (f/11, 1/200s, ISO 200)

Photographer’s Comment: “At the end of a check dive, during my safety stop under the boat with my group, I was looking around the divers, near the reef and at the sandy bottom. I saw something swimming in midwater and I did not recognize what it was at first. I got closer to it and to my surprise, I saw that it was a panther torpedo! It was the first time in 15 years that I could see a torpedo swimming so far from the sand and not on the bottom. Generally, they stay on the bottom and cover themselves with sand for camouflage in the daytime. I quickly adjusted my strobes and camera settings because the torpedo was moving fast, and I had just enough space to squeeze myself underneath it to shoot a couple of pictures before it quickly swam to deeped water. I finally got to see his ‘other’ side!”

 

Traditional – Bronze – “Largemouth Love” by Isaac Szabo (USA)
 

PRIZE SPONSOR

Shooting Location: Levy County, Florida, USA

Equipment and Settings: Sony a7R II, Nikonos RS 13mm, Meikon housing, 2x Inon Z-240 strobes (f/5.6, 1/15s, ISO 100)

Photographer’s Comment: “A pair of largemouth bass spawn in the crystal-clear waters of a Florida spring, stirring up clouds of sediment with their thrashing and swirling. The male’s striking red eye seemed to intensify in color, becoming more vivid with each passing moment, while the female darkened into a deep, mottled pattern, signaling her readiness to deposit her eggs. When I returned the next day, I found the proud father guarding hundreds of golden eggs.”

 

Traditional – Honorable Mention – “Swirling Frenzy” by Jean-A. Luque (Switzerland)
 

Shooting Location: Maldives

Equipment and Settings: Sony a7RV, Sony 28mm f/2, Nauticam housing, Nauticam WWL-1, Retra Flash strobes (f/22, 1/3s, ISO 100)

Photographer’s Comment: “We always imagine the Maldives to be calm and sunny. But on this day, the clouds were low and the rain was hitting the waves of the Indian Ocean. In the darker-than-usual water, dozens of nurse sharks awaited the divers' visit. As soon as we got into the water, we were enveloped in a swirl of sharks as curious as they were innocuous. The sharks brushed past us, their fins and tails caressing us. Their tiny eyes took a close look at these curious tourists, their strange air bubbles rising noisily to the surface of the sea. They were the ideal conditions for a photographer to try some panning shots and get some faces of these predators captured in a tornado of excitement. The strobes freeze the magical moment of the encounter.”

 

Traditional – Honorable Mention – “An Anemone with a View” by Chris Gug (USA)
 

Shooting Location: Lembeh Strait, North Sulawesi, Indonesia

Equipment and Settings: Nikon Z8, Nikon Z 105mm f/2.8 Macro, Nauticam housing, Nauticam EMWL with 160° Objective Lens, 2x Backscatter Hybrid Flash strobes (f/25, 1/80s, ISO 800)

Photographer’s Comment: “The last time I shot in Lembeh was about 20 years ago, and I got plenty of odd looks from all the macro photographers and guides for shooting the whole trip with a fisheye lens. I’m still a fisheye guy at heart, and the Nauticam EMWL with the relatively new 160° objective lens was my only daytime lens used during a recent trip there of several weeks. Since everyone in Lembeh expects everyone else to be shooting a macro lens, I was really struggling to compose out other divers and guides with the EMWL 160° super-wide view. So while my regular guided dives were great, I decided to spend time on the shallow house reef, working slowly and searching for subjects who would present well in close-focus wide angle—even if they were ‘common’ instead of exotic. With a sandy patch surrounding this anemone, I was able to lay negative on the bottom, inserting the long probe of the EMWL directly up into the folds of the anemone to create a sense of the protection that the fish feels while inside its secure house, and it gave me the perspective of how the world might look from the fish’s viewpoint.”

 

Macro

Macro – Gold – “Werefish” by Andrea Michelutti (Italy)
 

PRIZE SPONSOR

Shooting Location: Anilao, Batangas, Philippines

Equipment and Settings: Sony RX100 Mark VII, Marelux housing, Inon Z-330 strobe, Snooty Optical Snoot (f/11, 1/500s, ISO 100)

Photographer’s Comment: “It was deeply moving to witness this scene of a scorpionfish devouring a lizardfish. Staying focused to get the shot wasn’t easy. The shot captures the stark contrast between nature’s beauty and its harsh reality. A snoot was utilized to concentrate the light of my strobe, keeping the background dark and unobtrusive.”

 

Macro – Silver – “The Little Devil in the Mouth” by Wen Chou Wu (Taiwan)
 

PRIZE SPONSOR

Shooting Location: Northeast Taiwan

Equipment and Settings: Olympus OM-D E-M1 Mark III, Olympus M.Zuiko 60mm f/2.8 Macro, AOI housing, AOI +15 macro diopter, 2x SUPE D-Pro strobes (f/18, 1/160s, ISO 100)

Photographer’s Comment: “I believe most divers have seen the tongue-eating louse on social media. It passes through the gills into the fish’s mouth, eventually replacing the tongue and becoming part of the fish. One day in August 2024, when I was doing a five-meter safety stop, I spotted a blenny hiding in a hole, and I took a few photos to pass the time. I didn’t find anything ‘abnormal’ about the blenny while I was shooting, but when I looked at the photos on my computer later, I noticed that the blenny also had a ‘little monster’ in its mouth! I thought the fish would be tortured by the tongue-eating louse, but the two seemed to be living together quite harmoniously, making this photo both cute and unsettling at the same time.”

 

Macro – Bronze – “Froggies on Fire” by Enrico Somogyi (Germany)
 

PRIZE SPONSORS

Shooting Location: Anilao, Batangas, Philippines

Equipment and Settings: Olympus OM-D E-M5 Mark III, Panasonic Leica 12–60mm f/2.8–4, Nauticam housing, Nauticam EMWL with 60° Objective Lens, 3x Backscatter Mini Flash (MF-2) strobes, 2x DIY snoots, DIY background (f/18, 1/250s, ISO 64)

Photographer’s Comment: “When we found this beautiful pair of warty frogfish at a dive site in Anilao, I thought they would make a nice subject for my project using different kinds of background. For this shot, I used a fiery background that I had built at home, which was finally working well in test shots after a lot of trial and error. The moment I shot this picture, the bigger frogfish moved forward slightly, and I managed to get a pleasing compostion.”

 

Macro – Honorable Mention – “Ghost” by Keigo Kawamura (Japan)
 

Shooting Location: Ose, Japan

Equipment and Settings: Canon EOS R6, Canon EF 24–70mm f/4, Marelux housing, Marelux Apollo III strobe, Marelux SOFT Pro snoot (f/13, 0.6s, ISO 250)

Photographer’s Comment: “When shooting during the daytime, images are influenced by natural light. I wanted to highlight the beauty and movement of this harlequin ghost pipefish through creative use of artificial light, so I chose to shoot at night. To avoid illuminating unnecessary areas, I attached a snoot to the strobe and used a blue torch for backlighting, ensuring it only affected the contours of the subject. I hadn’t anticipated that plankton would gather around the blue torch and create irregular blue lines in the background, but I believe it had a positive effect on the image. I also took care to ensure the strobe light did not illuminate the plankton.”

 

Macro – Honorable Mention – “Bubble” by Enrico Somogyi (Germany)
 

Shooting Location: Dauin, Philippines

Equipment and Settings: Olympus OM-D E-M5 Mark III, Olympus 12–50mm f/3.5–6.3, Nauticam housing, 3x Backscatter Mini Flash (MF-2) strobes, 1x reversed lens on top of main lens, Backscatter Optical Snoot (OS-1), 2x color filters, DIY background (f/4.7, 1/250s, ISO 64)

Photographer’s Comment: “When I was diving in Dauin, I found this emperor shrimp on top of a sleeping nudibranch. The emperor shrimp wasn’t very big, around half the size of the nudibranch. For this shot, I used a reversed lens on top of my Olympus 12–50mm lens. I zoomed out a little to get this circular view. The result is like a marble, almost tree-dimensional.”

 

Wide Angle

Wide Angle – Gold – “Donatello’s Larder” by Massimo Zannini (Italy)
 

PRIZE SPONSOR

Shooting Location: Apuan Alps, Tuscany, Italy

Equipment and Settings: Nikon D850, Nikon EF 8–15mm Fisheye, Nauticam housing, 2x SUPE D-Pro strobes (f/14, 1/200s, ISO 125)

Photographer’s Comment: “Cava Valsora, one of Italy’s famous Carrara marble quarries, provides an arena-like backdrop for an adorable Italian alpine newt (Ichthyosaura alpestris apuana). While the quarry still produces the well-known white and blue-gray marble, extraction is avoided from the natural pool where a colony of these colorful newts breeds—a heart-warming example of safeguarding a vulnerable species.”

 

Wide Angle – Silver – “Big Baby” by Brittany Ilardi (USA)
 

PRIZE SPONSOR

Shooting Location: French Polynesia

Equipment and Settings: Canon EOS R5, Canon 28–70mm f/3.5–4.5, Nauticam housing, Nauticam WACP-C (f/8, 1/400s, ISO 800)

Photographer’s Comment: “That’s a really, really big baby! Nothing but smiles after swimming with this extra curious humpback calf in the crystal-clear waters of French Polynesia. In the winter, the Polynesian islands are full of migrating whales, coming to breed and raise their babies. On this particular day, we were incredibly lucky to find a mom and calf just five minutes after launching the boat. We slid into the water and were greeted by this curious young female, who definitely didn’t know the meaning of personal space. She kept swimming circles around me, coming in close to say ‘hi’ again and again, until mom decided it was time to go.”

 

Wide Angle – Bronze – “Synchronous Serenity” by Yazid Shaari (Libya)
 

PRIZE SPONSOR

Shooting Location: Dimaniyat Islands, Muscat, Oman

Equipment and Settings: Nikon Z9, Nikon Z 24–50mm, Nauticam housing, Nauticam WWL-C, 2x Retra Flash Pro strobes (f/14, 1/80s, ISO 125)

Photographer’s Comment: “A rare and fascinating mating behavior of two Arabian Gulf sea snakes unfolded before me as I ascended from my first dive of the day. Fate handed me this extraordinary opportunity as I reached the surface to find the snakes elegantly intertwined. Their synchronized movements created a captivating display, their bodies weaving effortlessly in the calm blue. It was a sight I had never expected and a magical moment gifted by the ocean. Observing such intimate and rarely witnessed behavior was a privilege, a vivid reminder of the countless wonders hidden beneath the waves waiting to be discovered.”

 

Wide Angle – Honorable Mention – “Blue Crab in Cave” by Martin Broen (USA)
 

Shooting Location: Cenote Yax Chen, Tulum, Yucatán, Mexico

Equipment and Settings: Sony a7 Mark III, Canon EF 8–15mm Fisheye, Nauticam housing, Bigblue 15,000-lumen lights (f/8, 1/125s, ISO 3200)

Photographer’s Comment: “In order to help protect this hidden ecosystem that few people know, over the last eight years, I have been exploring and capturing images in over 300 different cenotes of the Yucatán Peninsula in Mexico. During a DPV dive connecting several cenotes, I spotted this blue crab fishing in the cave flow where the salty water from the sea mixes with the fresh flow of the cave. It was perched on a rock, perfectly framed by the light entering the cenote from the jungle above, and highlighted by the green tones of the tannic acid in the water, beautifully representing the main elements of the ecosystem.”

 

Wide Angle – Honorable Mention – “One in a Million” by Jules Casey (Australia)
 

Shooting Location: Rosebud, Victoria, Australia

Equipment and Settings: Olympus OM-D E-M1 Mark II, Olympus M.Zuiko 8mm f/1.8 Fisheye, Isotta housing (f/10, 1/640s, ISO 6400)

Photographer’s Comment: “Every winter in Port Phillip Bay, Australia, giant spider crabs gather to molt from their old shells. The crabs gather in large groups covering an area the size of several basketball courts. They molt en masse to increase their chances of survival while their new shell hardens over several days. The freshly molted are vulnerable to predators so there is safety in large numbers. My buddy and I swam 600 meters from shore to this large aggregation of crabs. We were freediving, the conditions were reasonably calm, and the waters were clear. The crabs were about six to eight meters below us. I spotted the central freshly molted crab sitting on top of thousands of other waiting to molt. The crab had doubled in size and was waiting for its shell to harden. I took a deep breath and dived down to take this shot.”

 

Over-Under

Over-Under – Gold – “Frog” by Luc Rooman (Belgium)
 

PRIZE SPONSOR

Shooting Location: Antwerp, Belgium

Equipment and Settings: Nikon Z7 II, Nikon 16–35mm f/4, Isotta housing, Subtronic strobes (f/13, 1/200s, ISO 100)

Photographer’s Comment: “The attraction of amphibians remains very strong for me, though photographing them requires a great deal of patience, as they generally aren’t very willing subjects. However, after spending many hours in the water, there was finally a frog that stayed still on a lily pad. Indeed, this one clearly wanted his picture taken: Every time I moved to photograph the frog from a different angle, he would turn with me.”

 

Over-Under – Silver – “Pink on Yellow” by Martin Stevens (UK)
 

PRIZE SPONSOR

Shooting Location: Falmouth, Cornwall, UK

Equipment and Settings: OM System OM-5, Olympus 7–14mm Pro, Isotta housing, 2x Sea&Sea YS-D3 II strobes (f/13, 1/200s, ISO 400)

Photographer’s Comment: “Mauve stinger jellyfish are not commonly seen around the UK, but 2024 was a year where they turned up in huge numbers around the far southwest during the summer and early autumn. Nonetheless, I’d yet to see any until one day, when we were set to photograph and film in the tide pools, we got to the beach to find hundreds of the jellyfish washing up and swimming in the pools, due to strong onshore winds. I went home, changed into my wetsuit, and then snorkeled in the pools at the water’s edge, where lots of the bright pink jellyfish were collecting. They made a beautiful contrast to the yellow seaweed, the vibrant colors against the stormy gray skies above.”

 

Over-Under – Bronze – “Hellbender Heaven” by Anton Sorokin (USA)
 

PRIZE SPONSOR

Shooting Location: North Carolina, USA

Equipment and Settings: Nikon D850, Nikon AF-S 8–15mm f/3.5–4.5 Fisheye, Nauticam housing, Seacam strobes (f/10, 1/40s, ISO 320)

Photographer’s Comment: “Hellbenders are among the largest amphibians worldwide, trailing behind only their giant salamander counterparts in China and Japan. Hellbenders inhabit cold, clean, and fast-flowing waters in eastern North America, where they are rarely seen as they spend most of their time under rocks. But for a short time in the fall, hellbenders become very active as large males guard their dens under boulders and females wander across the streambed visiting these dens. Younger males are also on the move, challenging older den masters and picking fights. By visiting this stream at the right time of year, I was able to observe the behavior of these behemoth salamanders and find individuals like this scarred male moving through the river. Sadly, the locations where these salamanders flourish are decreasing: In 2024, they were proposed to be listed as endangered. Several weeks after this photo was taken, hurricane-induced flooding devastated the area, making portions of the stream unrecognizable—how the hellbenders fared is not yet clear.”

 

Over-Under – Honorable Mention – “Into the Darkness” by Grant Thomas (UK)
 

Shooting Location: Swallows Cave, Tonga

Equipment and Settings: Canon EOS 5D Mark IV, Canon EF 8–15mm Fisheye, Ikelite housing (f/18, 1/50s, ISO 1250)

Photographer’s Comment: “Late in the afternoon, the light filters through the jagged opening to Swallows Cave, illuminating the vibrant blues and greens below. I positioned myself in the dark side of the cave so that I would eliminate the bright sky shining through the cave entrance. I then had to carefully select my settings in order to get a narrow enough aperture to maintain depth of field while still having a fast enough shutter speed to minimize blurring, all while pushing the ISO to an acceptable limit. It was a very challenging shot to capture due to the extremely high dynamic range and water movement, but I knew I just had to be patient and be ready for the perfect moment as my model, Sara, dived down and passed through the light beams. I feel the picture truly encapsulates the magic of Swallows Cave.”

 

Over-Under – Honorable Mention – “Coming in to Land” by Anita Verde (Australia)
 

Shooting Location: French Polynesia

Equipment and Settings: Nikon Z8, Nikon AF-S 8–15mm f/3.5–4.5 Fisheye, Seacam housing (f/20, 1/200s, ISO 400)

Photographer’s Comment: “Sharks have been protected in French Polynesia since 2006, and while there is little research to determine how effective protections here have been, the proof is in the water! While other species of sharks make occasional visits to lagoons, blacktip reef sharks visit these shallow areas a lot of the time, taking shelter from larger species like the local tiger sharks. I really like how the sharks in this image are moving through the lagoon with action and intention, casting shadows on the sand like three fighter jet planes coming in to land. Sharks are often attracted by tour operators to this location for the enjoyment of tourists by the use of fish, and therefore frequent this site regularly.”

 

Conservation

Conservation – Gold – “Suffocating” by Matthew Mak (Canada)
 

PRIZE SPONSOR

Shooting Location: Magdalena Bay, Baja, Mexico

Equipment and Settings: Sony a1, Sigma 14–24mm f/2.8 DN DG Art, Ikelite housing (f/7.1, 1/1250s, ISO 2000)

Photographer’s Comment: “The baitball we were pursuing had attracted frigates, skipjacks, and Californian sea lions. Among the group of sea lions was this male. Entangled around his neck was what appeared to be fishing net debris. Despite the odds, he was seen successfully hunting, appearing in reasonably condition and not emaciated. We encountered him at two different baitballs, where he enthusiastically partook in the action. It was incredibly heartbreaking seeing how he had become entangled, but also remarkable how he still managed. There is an alarming amount of plastic waste collecting in our oceans, and this image serves as a stark reminder of how it is impacting wildlife and the environment. Despite how animals may be adapting, we must do better at minimizing our impact on the planet if we are to coexist harmoniously with its inhabitants.”

 

Conservation – Silver – “The Last Splash of Ink” by Pasquale Vassallo (Italy)
 

PRIZE SPONSOR

Shooting Location: Ischia Island, Italy

Equipment and Settings: Canon EOS R5, Canon RF 15–35mm f/2.8, Seacam housing, 2x Seacam 160D strobes  (f/22, 1/160s, ISO 250)

Photographer’s Comment: “One of my recent photographic projects has been documenting the impact of fishing nets on my local marine environment. In this shot, a trapped cuttlefish is trying, with all its might, to free itself from a net, releasing a jet of ink, as if attempting to destroy the terrible trap with which it is entangled. Especially in the summer, cuttlefish come close to the coast in order to lay their eggs, but a large number of them are caught, at the very least taking away their chance to spawn. Some fishermen are permitted to fish inshore and abide by the rules. Others engage in overfishing and seem to show little respect for the environment.”

 

Conservation – Bronze – “100% Mortality” by Jason Gulley (USA)
 

PRIZE SPONSORS

Shooting Location: Looe Key, Florida, USA

Equipment and Settings: Nikon Z9, Nikon Z 14–24mm f/2.8, Nauticam housing, Nauticam WACP-2, 2x Inon Z-330 strobes (f/8, 1/80s, ISO 250)

Photographer’s Comment: “A diver with the Coral Restoration Foundation assesses coral bleaching at the group’s nursery on Florida’s Looe Key during a record-breaking marine heat wave in July 2023. Every single piece of coral in the nursery died as soaring ocean temperatures made the water too hot for corals to survive. The loss of this entire nursery triggered a massive, hastily organized effort to rescue as much genetic diversity as possible from Florida's coral nurseries and store it in gene banks and aquariums on land before rising temperatures wiped out all of the remaining nurseries.”

 

Conservation – Honorable Mention – “Human Impact” by Marco Schulze (Germany)
 

Shooting Location: Lembeh Strait, North Sulawesi, Indonesia

Equipment and Settings: OM System OM-1, Olympus M.Zuiko 60mm f/2.8, Nauticam housing, Retra Flash Pro strobe, Retra LSD snoot (f/13, 1/125s, ISO 200)

Photographer’s Comment: “On a dive near Serena Island, we stumbled upon this fatally entangled eel, which had been trapped in a large clump of fishing line drifting along the ocean floor. It was obvious that it’s final struggle must have been slow and painful. It made me so sad and I quickly swam past, but soon after, I realized that my own emotional reaction was the best reason to document this tragedy. So, I swam back and captured this image. As photographers, we are so used to showing the beauty of the oceans, but with all their richness and diversity being lost in our lifetimes, it is equally important that we all see the dark side of the impact of human activities on their ecosystems.”

 

Conservation – Honorable Mention – “Shoehorse” by Andrea Michelutti (Italy)
 

Shooting Location: Anilao, Batangas, Philippines

Equipment and Settings: Sony RX100 Mark VII, Marelux housing, Inon Z-330 strobe, Snooty Optical Snoot (f/10, 1/1000s, ISO 100)

Photographer’s Comment: “The amount of man-made debris in the oceans is, unfortunately, staggering, and the plastic used in the construction of this shoe ensures that it will degrade very slowly, persisting for decades without fully breaking down. All the same, this seahorse has taken advantage of this foreign object, using it as a refuge and source of protection. To capture this scene, I used a snoot to focus the light from my strobe, isolating the subject while keeping the background dark and non-distracting.”

 

Blackwater

Blackwater – Gold – “The Ascent of the Argonaut” by André Moyo (France)
 

PRIZE SPONSOR

Shooting Location: Anilao, Batangas, Philippines

Equipment and Settings: Nikon D850, Nikon AF-S 60mm f/2.8 Macro, Seacam housing, Fotocore GTX strobe (f/25, 1s, ISO 100)

Photographer’s Comment: “From the unfathomable depths, where light fades and silence reigns, an argonaut begins its journey toward the surface. Enclosed in its delicate shell, a masterpiece of natural architecture, it rises, carried by a mysterious current. Like a dream adrift from the abyss, it encounters a floating leaf, an unlikely companion in its wandering. The leaf, detached from an unknown tree, seems to dance, guided by the whims of the water. Together, they drift—the iridescent shell and the gentle cradle of nature—united in a silent dance. The nautilus, a traveler of the deep, aligns with the leaf’s lightness, as if the ocean itself offered a fleeting moment of poetry. In this encounter, the current becomes the storyteller, weaving a tale of balance between fragility and strength. The argonaut, a symbol of marine mystery, and the leaf, a fragment of the terrestrial world, move forward aimlessly yet with a grace that transcends their solitude. Their drifting reminds us of the beauty in simplicity, carried by unseen forces, a testament to the fragile harmony between worlds.”

 

Blackwater – Silver – “Hungry Octopus” by Dennis Corpuz (Philippines)
 

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Shooting Location: Anilao, Batangas, Philippines

Equipment and Settings: Nikon D7000, Nikon AF-S 60mm f/2.8 Macro, Sea&Sea housing, Fotocore GTX strobe (f/25, 1/250s, ISO 250)

Photographer’s Comment: “My team and I are accustomed to witnessing the spectacular vertical migration of deep sea creatures during our blackwater dives. On one particular dive, I caught sight of a small octopus swimming in a random and erratic pattern. Curious, I swam closer to investigate and noticed a tiny crab frantically trying to escape the tentacles of the octopus. Without hesitation, I managed to capture a few shots of this intense interaction before the octopus retreated back into the depths. It was a stroke of luck to witness such interesting animal behavior.”

 

Blackwater – Bronze – “Yellow Goosefish” by Keigo Kawamura (Japan)
 

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Shooting Location: Ose, Japan

Equipment and Settings: Canon EOS R6, Canon RF 100mm f/2.8 Macro, Marelux housing, Retra Flash Pro strobe (f/18, 1/200s, ISO 200)

Photographer’s Comment: “Yellow goosefish juveniles lead a pelagic lifestyle near the water’s surface, drifting with ocean currents. The juvenile in this photo measures about 4 centimeters in body size. Once it grows larger, its body color likely changes from transparent to brown as it transitions to a benthic lifestyle. This is probably the maximum size for a juvenile in the pelagic stage. Like other creatures encountered in blackwater dives, the appearance of this fish is unpredictable. On the day this photo was taken, there seemed to be another individual nearby, but it disappeared the next day due to tidal changes. It was truly a stroke of luck to encounter it.”

 

Blackwater – Honorable Mention – “Angry Snake Blenny” by Boz Johnson (USA)
 

Shooting Location: Anilao, Batangas, Philippines

Equipment and Settings: Nikon D850, Nikon AF-S 60mm f/2.8 Macro, Nauticam housing, 2x SUPE D-Pro strobes (f/22, 1/200s, ISO 200)

Photographer’s Comment: “While blackwater diving in Anilao, Philippines, it is common to see snake blennies that seem to be drawn to the lighting rigs usually at about 10 meters or less. They are mostly alone and slither around, slowly mingling with the other creatures drawn to the lights. This is the first time I have seen one display this posture with its dorsal fin raised; it was stationary except for a slight forward and backward movement. I’m not sure if it was a defensive or mating behavior, but it allowed for a few lucky shots before it returned to normal and swam away.”

 

Blackwater – Honorable Mention – “Bite” by Jin Gao (China)
 

Shooting Location: Anilao, Batangas, Philippines

Equipment and Settings: Nikon D850, Nikon AF-S 60mm f/2.8 Macro, Nauticam housing, Weefine lights (f/11, 1/200s, ISO 200)

Photographer’s Comment: “This image was captured on the final day of a five-day blackwater trip. For the first four days, the water quality was not ideal, and we hadn’t encountered any good subjects to shoot, so on the last day, we decided to switch to bonfire diving instead. Although the water quality still wasn’t great, there were many more subjects to photograph. My encounter with this young eel, putting on a bit of a show for the camera, produced the most satisfying picture of the day.”

 

Compact

Compact – Gold – “Inside” by Andrea Michelutti (Italy)
 

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Shooting Location: Anilao, Batangas, Philippines

Equipment and Settings: Sony RX100 Mark VII, Marelux housing, Inon ZM80 wide-angle diopter, 2x Inon Z-330 strobes (f/10, 1/250s, ISO 250)

Photographer’s Comment: “This blue trevally (Carangoides ferdau) nestled within a Thysanostoma thysanura jellyfish showcases their symbiotic relationship, a form of commensalism. The fish benefits from the jellyfish by gaining protection and shelter, using it as a shield against predators. In return, the jellyfish experiences indirect advantages, such as the removal of parasites or debris thanks to the fish’s presence.”

 

Compact – Silver – “Ghostpipes” by Enrico Somogyi (Germany)
 

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Shooting Location: Dauin, Philippines

Equipment and Settings: Sony RX100 Mark VII, Fantasea housing, Nauticam EMWL with 160° Objective Lens, 2x Backscatter Mini Flash (MF-2) strobes, 2x DIY snoot, Weefine WED-5 monitor (f/8, 1/800s, ISO 125)

Photographer’s Comment: “While diving in the waters of Dauin, I spotted a pair of harlequin ghost pipefish moving elegantly back and forth in the current. Their bodies simmered in soft colors and matched the surroundings perfektly. I watched fascinated, as they playfully swam around each other, as if performing a secret dance. The sun shone trough the water and created a magical play of light. I positioned myself to capure the diver in the background and the pair of Gosthpipe Fish in the foreground. The contrast between the shimmering light and the delicate fish was breathtaking.When i pressed the shutter, i know i had capured a unique moment-the beauty of the underwater world in a single image.”

 

Compact – Bronze – “Flame Ballet” by Andrea Michelutti (Italy)
 

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Shooting Location: Anilao, Batangas, Philippines

Equipment and Settings: Sony RX100 Mark VII, Marelux housing, Inon Z-330 strobe, Snooty Optical Snoot with red filter (f/11, 1/1000s, ISO 100)

Photographer’s Comment: “This is no double exposure: There are two spiny seahorses (Hippocampus histrix) in this photo; the fleeting approach of these two animals lasted only a few moments. I backlit the subjects using a snooted strobe equipped with a red filter.”

 

Compact – Honorable Mention – “Gasflame Nudibranch” by Kate Jonker (South Africa)
 

Shooting Location: False Bay, South Africa

Equipment and Settings: Olympus Tough TG-6, Marelux housing, Marelux SOFT Pro snoot, Inon Z-240 strobe (f/14, 1/200s, ISO 400)

Photographer’s Comment: “Diving at Stone Dog dive site in my hometown of Gordon’s Bay (Cape Town, South Africa), I was looking for one of the area’s most iconic nudibranchs, the gasflame nudibranch (Bonisa nakaza). Endemic to the southernmost tip of Africa, this nudibranch is a popular subject for underwater photographers because of its contrasting colors. After scanning the reef, I spotted one sitting on a bryozoan—its favorite food. I used a snoot to help isolate the nudibranch from its surroundings, allowing its vibrant colors and details to stand out. This photo captures the nudibranch in its natural habitat and highlights the unique marine life found in False Bay.”

 

Compact – Honorable Mention – “Oops! I Dropped My Egg!” by Andrea Michelutti (Italy)
 

Shooting Location: Anilao, Batangas, Philippines

Equipment and Settings: Sony RX100 Mark VII, Marelux housing, 2x Inon Z-330 strobes (f/11, 1/1000s, ISO 100)

Photographer’s Comment: “This little fish was the ideal subject for using a white background. I placed a diffuser at a suitable distance behind the subject and illuminated the diffuser with one of my strobes. Then I used my other strobe to light the goby, ensuring it wasn’t underexposed. I was fortunate to capture the fish at the exact moment it was laying an egg—with an expression that seemed to convey the effort of giving birth!”

 

Portfolio

 
 

Portfolio – Gold – “Around the World” by Filippo Borghi (Italy)
 

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Shooting Locations (clockwise from top-left): Giannutri Island, Italy; Wyalla, South Australia; Antarctic Peninsula, Lembeh Strait, North Sulawesi, Indonesia; Galápagos Islands, Ecuador; Réunion Island

Equipment and Settings (clockwise from top-left): Nikon D850, Nikon AF DX 10.5mm f/2.8, Isotta housing, 2x ONEUW strobes (f/18, 1/80s, ISO 320); Nikon D800, Sigma 15mm, Isotta housing, 2x ONEUW strobes (f/18, 1/100s, ISO 200); Nikon D800, Sigma 15mm, Isotta housing, 2x ONEUW strobes (f/13, 1/160s, ISO 1000); Nikon D850, Nikon AF-S 60mm f/2.8 Macro, Isotta housing, 2x ONEUW strobes (f/22, 1/250s, ISO 200); Nikon D800e, Tokina 10–17mm, Isotta housing, Ikelite strobes (f/10, 1/125s, ISO 250); Nikon D500, Nikon AF DX 10.5mm f/2.8, Isotta housing (f/14, 1/320s, ISO 800)

Photographer’s Comment: “Highlighting different areas of the world, this portfolio aims to show different behaviors of various marine creatures in their natural environmen. From large mammals to microscopic creatures that float in the ocean currents, the subjects range from the depths of the Mediterranean Sea to the surface of South Australia to the cold waters of Antarctica to the warm waters of the Indian Ocean: A monkfish catches a torpedo ray, showcasing its impressive hunting skills; vibrantly colored giant cuttlefish, gathering to spawn, display their remarkable camouflage and communication skills; a curious leopard seal, in an interaction that was both thrilling and surreal, playfully bares its teeth; a transparent octopus larva, barely the size of a fingertip, extends and contracts its tiny tentacles, searching for food; a marine iguana, perched on the rocky substrate, feeds on algae; and a mother humpback whale nurses and bonds with her young calf.”

 

 
 

Portfolio – Silver – “Gentle Giants” by Vanessa Mignon (Australia)
 

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Shooting Location (clockwise from top-left): Indian Ocean; Tonga; Indian Ocean; Argentina; Australia; Spain

Equipment and Settings (clockwise from top-left): Canon EOS 5D Mark IV, Canon EF 8–15mm f/4 Fisheye, Nauticam housing (f/4.5, 1/400s, ISO 400); Canon EOS 5D Mark IV, Canon EF 8–15mm f/4 Fisheye, Nauticam housing (f/4, 1/400s, ISO 200); Canon EOS 5D Mark IV, Canon EF 16–35mm f/4, Nauticam housing (f/5, 1/320s, ISO 200); Canon EOS 5D Mark IV, Canon EF 8–15mm f/4 Fisheye, Nauticam housing (f/4, 1/400s, ISO 500); Canon EOS 5D Mark IV, Canon EF 8–15mm f/4 Fisheye, Nauticam housing (f/5, 1/400s, ISO 100); Canon EOS 5D Mark IV, Canon EF 16–35mm f/4, Nauticam housing (f/5.6, 1/160s, ISO 200)

Photographer’s Comment: “This portfolio showcases a selection of various cetacean species I have been fortunate to encounter over the years. I wanted to choose pictures that highlight their inquisitive nature; I am often left wondering who is watching whom, so I hope this collection conveys that feeling. Off a small island in the Indian Ocean, I joined a research team to help document the fascinating social structure of sperm whales; the adult in the picture could be the mother of the calf, a sister, an aunt, or even an unrelated babysitter. In Tonga, we encountered a relaxed humpback mother and her very inquisitive calf, which kept looking at us with great interest, though never straying far from mom. During the sperm whale research trip, I was also excited to encounter dolphins, though this group only hung around for a little while before heading off. Slow-moving southern right whales were once easy targets for whaling boats, but thankfully protections have greatly revived their numbers, and during a weeklong trip in Argentina, we had the pleasure of observing a mother and calf as we slowly approached and they reciprocated. Off Australia’s Great Barrier Reef, we spent countless hours patiently waiting for the dwark minkes to become accustomed to our presence, and one eventually did, circling just a few meters from us and then swimming right at me before diving right under me! Finally, in Spain, we had a brief but memorable swim with three pilot whales; the best part of this particular encounter was that they were vocalizing. The sound was so clear and beautiful, I will never forget it.”

 

 
 

Portfolio – Bronze – “The Colors in the Flooded Caves” by Martin Broen (USA)
 

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Shooting Locations (clockwise from top-left): Tulum, Yucatán Peninsula, Mexico

Equipment and Settings (clockwise from top-left): Sony a7R Mark III, Canon EF 8–15mm f/4 Fisheye, Nauticam housing, Bigblue 15,000-lumen lights (f/8, 1/125s, ISO 3200); Sony a7R Mark III, Canon EF 8–15mm f/4 Fisheye, Nauticam housing, Bigblue 15,000-lumen lights (f/5, 1/10s, ISO 6400); Sony a7R Mark III, Canon EF 8–15mm f/4 Fisheye, Nauticam housing, Bigblue 15,000-lumen lights (f/4, 1/20s, ISO 6400); Sony a7R Mark III, Sony FE 14mm f/1.8, Nauticam housing, Bigblue 15,000-lumen lights (f/2.8, 1/250s, ISO 2000); Sony a7R Mark III, Canon EF 8–15mm f/4 Fisheye, Nauticam housing, Bigblue 15,000-lumen lights (f/6.3, 1/15s, ISO 3200); Sony a7R Mark III, Canon EF 8–15mm f/4 Fisheye, Nauticam housing, Bigblue 15,000-lumen lights (f/4, 1/6s, ISO 6400)

Photographer’s Comment: “Over almost a decade, I have been exploring and capturing images in over 300 different cenotes of Mexico’s Yucatán Peninsula, an effort to create awareness in order to help protect this hidden, mysterious ecosystem. This portfolio of images is a small taste of the large variety of conditions you can find in the cenotes, including deep in-cave sinkholes like the blue abyss; majestic light rays coming from the jungle above; tones of red, yellow and red coming from different concentrations of tannic acid pockets; or the specific wildlife that lives within.”

 

 
 

Portfolio – Honorable Mention – “Ningaloo Blues” by Laura Gourgas (Australia)
 

Shooting Locations: Ningaloo Reef, Western Australia

Equipment and Settings (clockwise from top-left): Canon EOS R5, Canon EF 8–15mm f/4 Fisheye, Isotta housing (f/8, 1/250s, ISO 250); Canon EOS R5, Canon EF 8–15mm f/4 Fisheye, Isotta housing (f/8, 1/400s, ISO 100); Canon EOS R5, Canon EF 8–15mm f/4 Fisheye, Isotta housing (f/8, 1/250s, ISO 125); Canon EOS R5, Canon EF 8–15mm f/4 Fisheye, Isotta housing (f/8, 1/320s, ISO 160); Canon EOS R5, Canon EF 8–15mm f/4 Fisheye, Isotta housing (f/7.1, 1/320s, ISO 320); Canon EOS R5, Canon EF 8–15mm f/4 Fisheye, Isotta housing (f/8, 1/400s, ISO 100)

Photographer’s Comment: “This portfolio aims to showcase the beauty and diversity of the Ningaloo Reef. Each image highlights an unforgettable encounter, from the grace of a manta ray to the awe-inspiring presence of a humpback whale. Capturing these moments from a top-down perspective reveals unique features of each species—the striking patterns of a leopard shark, the beautiful colors of a green sea turtle’s shell, the unmistakable silhouette of a hammerhead, and the distinctive white spots on the immense body of a whale shark. Set against the sandy backdrops of the reef, these images create a cohesive collection that celebrates the individuality of each creature while uniting them through a shared perspective, a tribute to the breathtaking marine life that calls the Ningaloo home.”

 

 
 

Portfolio – Honorable Mention – “Rusty Environments” by Martin Broen (USA)
 

Shooting Location: Truk Lagoon, Micronesia

Equipment and Settings (clockwise from top-left): Sony a1, Sony 28–60mm f/4–5.6, Nauticam housing, Nauticam FCP-1, 3x Bigblue 33,000-lumen video lights

Photographer’s Comment: “Truk Lagoon is certainly a paradise for shipwreck diving. This portfolio of images, shot in 2024, aims to show the intricate shapes and details of the most iconic machine rooms and control rooms in their full splendor, using panoramas and off-light illumination, and pushing the settings of the camera. I worked with my buddy and wreck photographer Elmar Dette to create artworks of these rusty formations, dials enhanced by the orange and green tones inside the deep wrecks.”

 

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