DPG is proud to announce the winners of the DPG Masters Underwater Imaging Competition 2025. The contest invited submissions to nine image categories and one video category, and more than 2,000 entries were received from underwater photographers and filmmakers from around the world.

This year’s overall winner is Yuka Takahashi, who topped the Wide Angle category with her breathtaking image of two humpback whales swimming side by side in synchronicity. Captured while snorkeling off the island of Mo’orea in French Polynesia, the winning image earns the Japanese photographer the prestigious title “DPG Grand Master 2025.”

The winners of the other categories are: Sunbong Jung (Macro), Chris Gug (Traditional), Karyll Gonzalez (Unrestricted), Anton Sorokin (Over-Under), James Ferrara (Conservation), Francesco Visintin (Cold Water), Manuel Wüthrich (Compact), Tom Shlesinger (Portfolio), and Fabien Michenet (Short Film). Congratulations to all the Gold, Silver and Bronze winners, as well as the Honorable Mentions.

This year’s Mentor Prize winners are: Grega Verc (Wide Angle finalist), Byron Conroy (Macro finalist), Miesa Grobbelaar (Portfolio finalist), Talia Greis (Over-Under finalist), Allison Vitsky Sallmon (Cold Water finalist), and Verona Chadwick (Traditional finalist).

We would like to thank this year’s hard-working judges—Nicolas Remy, Jennifer Hayes, Álvaro Herrero (Mekan), Jill Heinerth, Aaron Wong, and Kate Jonker—who pored over hundreds of short-listed photos in private before getting together to select the winners and runners-up during an hours-long virtual meeting. We would also like to offer a very special thanks to our generous sponsors for contributing an amazing pool of trip and gear prizes. (Note: The winners of the coveted Mentor Prizes will be announced shortly.)

As with all Underwater Competition Series events, 15% of entry proceeds will be donated to marine conservation efforts. See below for the full set of winning entries or head over to UnderwaterCompetition.com.

 

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Winners of the 2025 DPG Masters
Underwater Imaging Competition

 

Wide Angle

Wide Angle – Gold – “Synchronized Humpback Whales” by Yuka Takahashi (Japan) – DPG Grand Master 2025
 

Shooting Location: Mo’orea, French Polynesia

Equipment and Settings: Sony A7R Mark IV, Sony FE 16–35mm f/2.8, SeaFrogs housing (f/4.5, 1/500s, ISO 320)

Photographer’s Comment: “A pair of humpback whales swims in synchronicity off the French Polynesian island of Mo’orea. Every year, migrating humpback whales from the Southern Hemisphere journey to Mo’orea to use its warm waters as a nursery and resting ground. These two humpbacks are always seen together, and I was fortunate to capture this rare moment in which they mirrored each other’s position and movement almost perfectly. Living close to nature has taught me lessons no textbook ever could, including the realization that each animal has a unique personality. To me, this photograph reflects the strong bond between the two whales while also revealing their playful and curious nature. One of the most special moments I have experienced, this encounter truly made me feel a deep connection with wildlife.”

 

Wide Angle – Silver – “Through the Looking Glass” by Evgenii Ivkov (Russia)
 

Shooting Location: Lakey Peak, Sumbawa, Indonesia

Equipment and Settings: Canon EOS 5D Mark IV, Canon EF 8–14mm f/4 Fisheye, Liquid Eye housing (f/10, 1/2000s, ISO 1000)

Photographer’s Comment: “There was a good weather forecast on this particular day of our surf trip to Sumbawa, and I knew I had a great opportunity to try and get some underwater shots with a surfer in a tube, as the water clarity and conditions were perfect. The hardest part was constantly being in the breaking zone of fairly large and powerful waves. You need to understand and read the ocean well to do that. A small mistake can be very costly if you’re in the wrong place. The swell that day was great. The waves were double overhead, and the surfers put on a show. I spent almost two hours in the water and made numerous attempts before I got a really good series. The best waves were taken by local surfers, and one of the Indonesian surfers is in the photo.”

 

Wide Angle – Bronze – “Balance of Nature” by Suliman Alatiqi (Kuwait)
 

Shooting Location: Tulum, Quintana Roo, Mexico

Equipment and Settings: Nikon D850, Nikon AF 28–70mm f/3.5–4.5, Nauticam housing, Nauticam WACP-1, Seacam Seaflash 160D strobes (f/10, 1/125s, ISO 100)

Photographer’s Comment: “Tiny fish play in a garden of water lilies in a Mexican cenote, framed by lush foliage against a blue sky streaked with wispy clouds. Water lilies require sufficient sunlight to grow, and they can therefore be found in these cave openings. In turn, the shade created by the lilies prevents algal blooms, which helps maintain clear water, creating spectacular high-visibility scenes. Linked by vast subterranean rivers stretching for hundreds of miles, the cenotes are formed when the ceilings of underground caves collapse as rainfall slowly dissolves the Yucatán Peninsula’s limestone bedrock. The photo aims to show how the cenotes form vital freshwater habitats for both flora and fauna.”

 

Wide Angle – Honorable Mention – “Eliot” by Vanessa Mignon (Australia)
 

Shooting Location: Indian Ocean

Equipment and Settings: Canon EOS 5D Mark III, Canon EF 16–35mm f/2.8, Nauticam housing (f/8, 1/160s, ISO 320)

Photographer’s Comment: “For many years, I was part of a research team studying sperm whales, recording their behavior and identifying individuals to build a catalogue, among other things. This individual is Eliot, a young male who had been known to the research team since his birth. Because the research was always conducted in a respectful and careful manner, the whales became accustomed to our presence and were very comfortable around us. Eliot, in particular, grew to be especially friendly. He would often come over to greet us and, at times, could be a little pushy, approaching very closely—as in this picture. He even tried to steal my camera on occasion! This is one of my favorite images of Eliot, as it perfectly captures his inquisitive and friendly nature. The photograph was taken under permit and strict regulations. Sperm whales are listed as Vulnerable on the IUCN Red List, and in most areas, it is illegal to swim with them without proper authorization from authorities, as well as appropriately trained crews who understand how to approach the animals and interpret their behavior.”

 

Wide Angle – Honorable Mention – “Smokescreen” by Peter McGee (Australia)
 

Shooting Location: Cabbage Tree Bay, Sydney, Australia

Equipment and Settings: Sony A7R Mark V, Sony FE 28–60mm f/4–5.6, Nauticam housing, Nauticam WWL-1B, Inon Z-330 strobes (f/9.5, 1/200s, ISO 250)

Photographer’s Comment: “This image captures a Port Jackson shark (Heterodontus portusjacksoni) feeding on the remains of a giant cuttlefish. Australian giant cuttlefish live short lives and typically die after the breeding season. I was fortunate to encounter a deceased cuttlefish in an area where Port Jackson sharks had gathered within Cabbage Tree Bay Aquatic Reserve. Equipped with teeth designed for crushing rather than cutting, the sharks struggled to tear away flesh. The sharks competed with each other to bite and violently shake the cuttlefish remains in an attempt to rip free a mouthful. The scene reached its dramatic climax when ink trapped inside the cuttlefish suddenly burst, erupting outward and engulfing one of the sharks in a dense, black cloud—a smokescreen that momentarily obscured the shark in possession of the food from my camera and other nearby sharks.”

 

Macro

Macro – Gold – “House Cleaning” by Sunbong Jung (South Korea)
 

Shooting Location: Anilao, Batangas, Philippines

Equipment and Settings: Canon EOS R5, Canon RF 100mm f/2.8 Macro, Seacam housing, Retra strobes (f/2.8, 160s, ISO 400)

Photographer’s Comment: “A bluestriped fangblenny repeatedly scoops up sand from its burrow with its mouth and spits it out. At first glance, the behavior appears random, almost playful, but closer observation reveals a precise and purposeful routine. The fish follows a systematic three-step excavation process, carefully clearing its home grain by grain. This image captures the final and most dramatic stage—the moment the fangblenny launches itself upward from the burrow at roughly a 45-degree angle, forcefully ejecting the remaining sand as far away as possible. The brief burst of motion, frozen in time, highlights both the intelligence and determination hidden within this tiny reef dweller.”

 

Macro – Silver – “Pregnant Denise” by Wojtek Męczyński (Poland)
 

Shooting Location: Lembeh, Indonesia

Equipment and Settings: OM System OM-1 Mark II, Olympus M.Zuiko 90mm f/3.5 Macro, Nauticam housing, Inon Z-240 strobes, Backscatter MW-4300 video light (f/18, f/160s, ISO 200)

Photographer’s Comment: “Prior to this dive, our guides had mentioned that there was a possibility of encountering a Denise’s pygmy seahorse, but after entering the water, there wasn’t much to see and I remember thinking our chances were slim. Yet, when we reached this small, pristine fan coral, I was amazed—and overjoyed—to find this tiny, pregnant pygmy living there. I took just three or four shots, trying not to disturb the animal too much. It seemed to pose proudly among the branches of the fan.”

 

Macro – Bronze – “Nurse” by Rómeó Bodolai (Hungary)
 

Shooting Location: Anilao, Batangas, Philippines

Equipment and Settings: Sony A7R Mark IV, Sony FE 90mm f/2.8 Macro, Nauticam housing, Backscatter MF-2 strobes (f/22, 1/250s, ISO 100)

Photographer’s Comment: “On the final dive of our trip to Anilao, I had the privilege of witnessing this unforgettable moment: a clownfish fiercely guarding its freshly laid eggs. Using a snoot, I was able to isolate the scene and highlight the delicate details—the soft outlines of the fish and the shimmering texture of the tiny eggs beneath it. The focused beam creates a dramatic contrast against the dark background, drawing attention to the quiet intensity of this parental behavior. It’s easy to forget how much dedication these small reef dwellers put into protecting the next generation. Capturing this image felt like a fitting end to an incredible dive trip—a moment of life, care, and beauty in one of the ocean’s hidden corners.”

 

Macro – Honorable Mention – “Golden Sentinel of the Sea” by Pong Wing Atim Lau (China)
 

Shooting Location: Sai Kung, Hong Kong, China

Equipment and Settings: Panasonic Lumix GH-7, Panasonic Lumix 30mm f/2.8 Macro, Nauticam housing, AOI-UIS P1 strobes (f/11, 1/200s, ISO 200)

Photographer’s Comment: “On a quiet night in Hong Kong, where I live, I was doing my usual blackwater diving in Sai Kung when I suddenly saw something unusual in the water—it looked like a soldier riding on a giant wheel floating in the sky! They continued rising upwards, and I seized the opportunity to photograph the unlikely pair. When they were almost at the surface, I managed to capture this unique portrait of a seahorse clinging to marine detritus.”

 

Macro – Honorable Mention – “An Unnatural Home” by Giancarlo Mazarese (Italy)
 

Shooting Location: Anilao, Batangas, Philippines

Equipment and Settings: Sony A1, Sony FE 90mm f/2.8 Macro, Nauticam housing, Backscatter MF-2 strobes, Backscatter OS-1 single snoot (f/18, 1/320s, ISO 100)

Photographer’s Comment: “I discovered this family of tiny yellow pygmy gobies (Lubricogobius exiguus) living inside a discarded glass bottle during a dive in the Philippines’ famous muck mecca of Anilao. To create this image, I used a complex lighting technique. One strobe was placed behind the bottle to backlight it, creating the vibrant yellow background and revealing the silhouette of the central goby. Simultaneously, a second snooted strobe selectively lit the external scene, highlighting the crinoid that enveloped the bottle, framing this small family in their strange, borrowed home.”

 

Traditional

Traditional – Gold – “King of the Hill” by Chris Gug (USA)
 

Shooting Location: Tulamben, Bali, Indonesia

Equipment and Settings: Nikon Z8, Nikon Z 105mm f/2.8 Macro, Nauticam housing, Backscatter HF-1 strobes (f/25, 1/25s, ISO 320)

Photographer’s Comment: “On the way back up a deep, sandy muck slope, at 25 feet, I saw my 30th tube anemone of the dive, and I habitually—obsessively—inspect each and every one for symbionts. The prize I was looking for wasn’t just present but perched in the perfect spot, looking like the ruler of its domain. Before beginning to shoot, I knew I wanted a blue background rather than black, so I slowed the shutter speed. Since I had to be quite far back for this composition with my 105mm macro lens, I moved my strobes all the way forward to try to minimize backscatter. Then the challenge was getting a crisp shot at 1/25s (since I’m an ISO noise snob) as the anemone swayed back and forth in the current. So, much to the chagrin of my housing’s already-gritty O-rings, I braced the housing in the sand as a poor excuse for a tripod. I checked this anemone each time I repeated this site over the next few weeks, and the crab was never there again, so I’m glad I dedicated all the time I could when the chance presented itself.”

 

Traditional – Silver – “Shaw’s Sea Snake” by Galice Hoarau (Norway)
 

Shooting Location: Anda, Bohol, Philippines

Equi​pment and Settings: Sony A7R Mark IV, Sony FE 90mm f/2.8 Macro, Nauticam housing, Nauticam EMWL-1 with 160° Objective Lens, Retra Flash Pro Max strobes (f/16, 1/160s, ISO 640)

Photographer’s Comment: “Encountering this sea snake (Hydrophis sp.) during a dive off Anda in the Philippines, I noticed some rather unusual behavior. First, the snake was rubbing itself on the sand in a vertical U-shape, then it was literally tying itself in knots. I could see pieces of skin hanging at the tail—it was shedding! Although sea snakes are known to exhibit such behavior to help slough off their old skin, it has rarely been captured in a photo—so I knew I had captured something special.”

 

Traditional – Bronze – “Showrunner at Night” by Andi Voeltz (Germany)
 

Shooting Location: Red Sea, Egypt

Equipment and Settings: Canon EOS R6 Mark II, Canon RF 24–105mm f/4–7.1, Marelux housing, Backscatter HF-1 strobes (f/7.1, 1/13s, ISO 1600)

Photographer’s Comment: “Near the end of this night dive at Marsa Shouna, I noticed an approaching turtle, about to pass through the cone of light beneath a dive boat. I let myself drop back down into the dark water under the hull, keeping my own lights off, and positioned myself between the animal and the boat’s glow. Moments earlier, I had been preparing a backlit portrait of my dive buddy using that same halo of light—an image concept that had been in my head for quite some time—but by the time my settings were perfect, my buddy was no longer beneath the boat at the right angle to the light to serve as a model. I was genuinely pleased to be offered a far more compelling subject instead! The turtle seemed to register my presence below, and curiosity took over: It turned, approached me head on, and then glided directly overhead, giving me time for only two exposures. For a respectful wildlife photographer, it’s one of the true highlights—almost mesmerizing—when an animal’s curiosity turns the tables, and it comes to examine you instead of you pursuing it with the camera.”

 

Traditional – Honorable Mention – “Golden Hour” by Peter McGee (Australia)
 

Shooting Location: Cabbage Tree Bay, Sydney, Australia

Equipment and Settings: Sony A7R Mark V, Sony FE 28–60mm f/4–5.6, Nauticam housing, Nauticam WWL-1B, Inon Z-330 strobes (f/8, 1/200s, ISO 320)

Photographer’s Comment: “Cabbage Tree Bay Aquatic Reserve is a fully protected marine sanctuary in Sydney. Despite its small size, it supports remarkable marine biodiversity, including the Australian giant cuttlefish. During the breeding season, rival males regularly engage in contests to establish dominance. They elongate their bodies and light up their skin with pulsing, vibrant colors—an intense visual duel that can last for minutes. These interactions are enthralling to watch and exhilarating to capture on camera. Fortunately, cuttlefish encounters often take place in relatively shallow water, where shafts of sunlight can be incorporated into the composition. This large male has just finished a contest with a rival and, while still in prime condition, is nearing the end of its short life. As it began to swim away, it paused momentarily, allowing me to capture this image using strobe light to illuminate the foreground. The golden light of the late afternoon sun—soon to fade—symbolized the cuttlefish’s own life stage.”

 

Traditional – Honorable Mention – “Alternative Refuge” by Keigo Kawamura (Japan)
 

Shooting Location: Ose, Japan

Equipment and Settings: Canon EOS R7, Canon EF 24–70mm f/4, Marelux housing, Marelux Apollo Ⅲ 2.0 strobes (f/16, 1/125s, ISO 125)

Photographer’s Comment: “Juvenile trevallies normally seek refuge among jellyfish, using their tentacles as protection from predators. But during this particular year, jellyfish were remarkably scarce. With their usual shelter gone, the young fish adapted by gathering around the largest non-predatory animal available—the porcupinefish. By staying close to its head, they used its size and gentle nature as an improvised protective shield. This image documents a rare behavioral shift driven by changing environmental conditions, revealing how young fish rapidly alter their survival strategy when their familiar habitat structures disappear.”

 

Unrestricted

Unrestricted – Gold – “Even Eyes Deserve a Spa Day” by Karyll Gonzalez (USA)
 

Shooting Location: Lembeh Strait, Indonesia

Equipment and Settings: Nikon D7200, Nikon AF-S 60mm f/2.8 Macro, Nauticam housing, Sea&Sea YS-D2 strobes, 10Bar macro snoot (f/11, 1/250s, ISO 200)

Photographer’s Comment: “This composite image was created during a multi-week trip to Lembeh, Indonesia. Our dive guide found a black sand patch with multiple snake eels, but this was the only one that had cleaner shrimp associated with it. With the dive guide assisting by holding my snoot, the shrimp moved along the snake eel and I managed to capture this shot with the crustacean over its eye. The sun ball that forms the background was shot later on the trip.”

 

Unrestricted – Silver – “Skull at Green Cave Sink” by Fan Ping (China)
 

Shooting Location: Meizhou, Guangdong, China

Equi​pment and Settings: Sony A7S Mark III, Sony FE 28–60mm f/4–5.6, Nauticam housing, Nauticam WACP-1, DivePro G18 video light (f/5, 1/400, ISO 16000)

Photographer’s Comment: “The skull in this photo was the first human remains we saw after descending into Green Cave Sink (绿窟潭), which is thought to have once served as a site for ritual executions. It was resting quietly on a rock ledge, just 15 feet below the surface. Over time, minerals in the water had begun to coat its surface, leaving behind distinct signs of calcification—like a silent rust left by the passing of centuries. In that moment, I didn’t feel fear, or even fascination. What I felt was heavier: This wasn’t a movie prop, or a prank planted by some thrill-seeking explorer. It was real. Someone once lived here. And now, they remained here.”

 

Unrestricted – Bronze – “Glimmering Depths” by Catherine Holmes (UK)
 

Shooting Location: Red Sea, Egypt

Equipment and Settings: Nikon D500, Nikon 105mm f/2.8 Macro and Meyer-Optik Görlitz Oreston vintage lens, Nauticam housing, Inon Z-330 strobes (f/25, 1/30s, ISO 125)

Photographer’s Comment: “The beautiful Red Sea Anthias (Pseudanthias taeniatus) adorns the reefs of the Egyptian Red Sea. In this image, I tried to portray the dream-like feeling one experiences underwater, contrasting the dazzlingly colorful, fast-moving male Anthias against the deep ocean blue. Using an in-camera double exposure, I created the bubble bokeh background with a vintage Meyer Optik Görlitz Oreston lens, blue torchlight and silver textured background, and then combined it with a detailed macro image of the Anthias in motion.”

 

Unrestricted – Honorable Mention – “Support System” by Nathan Myhrvold (USA)
 

Shooting Location: Tonga

Equipment and Settings: Canon EOS R5 Mark II, Canon RF 24–50mm f/4.5–6.3, Nauticam housing, Nauticam WACP-1B (f/8, 1/250s, ISO 1250)

Photographer’s Comment: “Even though humpback whale calves are a massive 10–15 feet long at birth, they’re still infants and require constant and devoted care. Their mothers are very protective, staying close at all times, often within fin’s reach. During the beginning of their life, in the warm waters of Tonga, calves will learn essential life skills from their mothers, like breathing at the surface. A mother is wholly devoted to her calf, fasting in the first weeks that it is born, ensuring all her energy and attention goes towards her newborn. Eventually, the calf will build up the fat reserves needed for the long migration south to the whales’ Antarctic feeding grounds.”

 

Unrestricted – Honorable Mention – “Emerald Sink” by Fan Ping (China)
 

Shooting Location: Woodville, FL, USA

Equipment and Settings: Sony A7S Mark III, Sony FE 28–60mm f/4–5.6, Nauticam housing, Nauticam WACP-1 (f/8, 1/6400, ISO 16000)

Photographer’s Comment: “Emerald Sink in Florida is a very seasonal cave, and we were lucky enough to dive there when it was at its best. The cavern is famous for its emerald water—hence the name—and the tree trunk that divers often use for decompression stops. I planned to take a shot from a very low angle with the diver silhouettes to show the depth of the space, and thanks to rebreathers, we did not have to worry about bubbles.”

 

Over-Under

Over-Under – Gold – “Sierran Gold” by Anton Sorokin (USA)
 

Shooting Location: Sierra Nevada mountains, CA, USA

Equipment and Settings: Nikon D810, Nikon AF-S 8–15mm f/3.5–4.5 Fisheye, Nauticam, Seacam strobes (f/16, 1/60s, ISO 400)

Photographer’s Comment: “In the spring, in California’s Sierra Nevada mountains, streams fed by snowmelt flow cold and clear. Remarkably resistant to the cold temperatures, Sierra newts (Taricha sierrae) take to the water to breed, spending weeks in the stream. During this time, they will find a mate and lay their eggs on the underside of boulders underwater in deeper pools. From above the water’s surface, a newt appears as a golden-orange shimmer on the bottom of the fast-flowing stream; one has to wonder how often during California’s gold rush prospectors mistook the amphibians for precious metals!”

 

Over-Under – Silver – “Marine-Adapted from Head to Toe” by Suliman Alatiqi (Kuwait)
 

Shooting Location: Midriff Islands, Mexico

Equipment and Settings: Nikon D850, Nikon AF-S 8–15mm f/3.5–4.5 Fisheye, Nauticam housing (f/10, 1/125s, ISO 100)

Photographer’s Comment: “This split shot, captured with a close-focus wide-angle technique, aims to emphasize the key features of the brown booby (Sula leucogaster), a sleek, agile seabird perfectly adapted to the open ocean. The brown booby is commonly encountered resting on the water’s surface, its water-repellent feathers preventing it from becoming too heavy for takeoff and also helping insulate its body to maintain heat. Webbed feet allow it to efficiently paddle through the water while diving for food and give it the ability to launch itself from the water’s surface. Meanwhile, the dagger-like shape of its beak helps keep it streamlined when diving to minimize drag, while the sharp tip aids in piercing its slippery prey, such as fish and squid. Finally, its forward-positioned eyes provide binocular overlap, which aids in depth perception when judging plunge-dives.”

 

Over-Under – Bronze – “Sunset Stroll” by Anita Verde (Australia)
 

Shooting Location: Heron Island, Queensland, Australia

Equipment and Settings: Nikon Z8, Nikon Z 14–30mm f/4, Seacam housing, Sea&Sea YS-D3 Mark II strobes (f/22, 1/100s, ISO 640)

Photographer’s Comment: “When the low tide meets the twilight, Australia’s endemic epaulette shark—commonly known as the ‘walking shark’—takes a stroll amongst the sandy coral rubble on the famed Great Barrier Reef. Navigating tidal pools, this tiny shark hunts for its prey by wriggling and using its pectoral fins. Why swim when you can walk? After seeing these tiny sharks in the shallows in 2021, in February 2025, my husband and I visited Heron Island specifically to capture this image. However, with tropical cyclone Alfred just days from landfall, we were forced to leave the island earlier than planned, giving me only one opportunity on a stormy evening to get this shot. The sunset was almost a non-event, with the sun revealing itself for less than a minute through the storm clouds. This image was only possible thanks to the cooperative epaulette shark!”

 

Over-Under – Honorable Mention – “A Garden Above and Below” by Tom Shlesinger (Israel)
 

Shooting Location: Ichetucknee Springs State Park, Florida, USA

Equipment and Settings: Sony A7R Mark III, Sony FE 16–35mm f/2.8, Nauticam housing, Retra Flash Pro Max strobes (f/13, 1/60s, ISO 500)

Photographer’s Comment: “Adorned with numerous lakes, ponds, marshes, rivers, and springs, set against the backdrop of lush forests, Florida boasts a diverse array of vegetated landscapes. The clarity of freshwater springs creates unique sights, and exploring them feels like swimming in an oversized aquarium, with unparalleled underwater visibility. Venturing into the crystal-clear waters of the springs, I discovered a captivating convergence between the vibrant plant life above and below, forging a connection with the dynamic interplay of light, color, and life. This image stands as an example of a place where the boundary between terrestrial and aquatic ecosystems dissolves, and the magic of Florida’s aquatic wonders comes to life.”

 

Over-Under – Honorable Mention – “The Final Journey” by Mirko Zanni (Switzerland)
 

Shooting Location: British Columbia, Canada

Equipment and Settings: Canon EOS 5D Mark III, Canon EF 8–15mm f/4 Fisheye, Seacam housing, Inon Z-330 strobes (f/11, 1/90s, ISO 100)

Photographer’s Comment: “After traveling thousands of miles from the open ocean, these sockeye salmon (Oncorhynchus nerka) have reached the final stage of their life cycle in a river in British Columbia, Canada. Returning with remarkable precision to the stream where they were born, they pause in shallow water where the river becomes a threshold between two worlds—the submerged realm that has sustained them and the world above that will soon receive their legacy. Their bodies bear the marks of reproduction—once-silver flanks have turned deep red—and their energy reserves are depleted. Survival is no longer the objective. However, with spawning complete, the salmon’s role does not end. In death, their bodies will release vital marine nutrients into this freshwater ecosystem, nourishing insects, birds, and forests—and future generations of salmon. This image captures a moment where above and below the surface converge, reminding us that natural cycles are shaped not by clear boundaries, but by continuous transitions between worlds.”

 

Conservation

Conservation – Gold – “Survivor” by James Ferrara (USA)
 

Shooting Location: Sri Lanka

Equipment and Settings: Sony A7R Mark V, Sigma 15mm f/1.4 Fisheye, Nauticam housing (f/11, 1/800s, ISO 320)

Photographer’s Comment: “While on an expedition in Sri Lanka, we encountered an olive ridley turtle ensnared in ghost fishing nets, drifting amid the active gear of a nearby fishing boat. After speaking with the fishermen and receiving their permission, my wife and I, along with our boat captain, entered the water to help free the animal. As we worked, we discovered the turtle was already missing a front flipper, likely the result of a previous entanglement. Carefully cutting away the ropes, we released its trapped back flipper and watched as it swam free—now relying on only two flippers on one side of its body. The turtle disappeared into the blue, its ultimate fate remaining unknown. What stayed with me was its resilience and undeniable will to survive. I hope this image resonates with the wider public, serving as a quiet but powerful reminder of the lasting impact human activities have on these remarkable marine creatures.”

 

Conservation – Silver – “Entangled Fates” by Daniel Taylor (Mexico)
 

Shooting Location: Baja California Sur, Mexico

Equipment and Settings: Canon EOS R, Canon RF 15–35mm f/2.8, Nauticam housing (f/10, 1/500s, ISO 800)

Photographer’s Comment: “On August 2nd, 2025—less than 48 hours after Baja California’s annual three-month shark fishing ban was lifted—I was exploring the ocean with friends when something caught my eye through binoculars in the distance. At first, it looked like drifting trash. But as we approached, two small fin tips barely breaking the surface beside an empty plastic soda bottle revealed the truth: This male silky shark had mistaken a meal for survival, and lost. Here, shark fishing often exists within complex and sometimes illegal networks, where intervening can place one’s own life at risk. Before getting closer, we scanned the horizon for nearby boats that might have set the line. Knowing what I would find, our captain stood watch as I entered the water. In that moment, our paths were bound by the same line, but with very different outcomes. The shark’s fate was sealed; mine was a choice. Unable to free it without putting myself in danger, I used the only tool I could safely employ: my camera. I hope the images I took will help to give a voice to those entangled in a system they cannot escape or fight against.”

 

Conservation – Bronze – “Helping Hand” by Dan Mele (USA)
 

Shooting Location: St. Thomas, US Virgin Islands

Equipment and Settings: Canon EOS R5, Canon EF 8–15mm f/4 Fisheye, Nauticam housing, Sea&Sea YS-D3 strobes (f/13, 1/200s, ISO 320)

Photographer’s Comment: “Land-based coral restoration has long used a technique called microfragmentation, where corals are cut into small pieces, stimulating a wound healing response to boost growth. The latest improvement places multiple microfragments on a single larger cement puck. As the fragments grow together, they fuse, eventually covering the puck before being outplanted back onto the reef. This technique helps corals get to reproductive size faster than outplanting a single microfragment. At the Coral World Ocean and Reef Initiative (CWORI) land-based nursery, coral restoration practitioners are utilizing this technique to help revitalize Coki Reef, one of the most popular beach and dive spots on St. Thomas in the US Virgin Islands. I photographed this scene in CWORI’s land-based coral nursery, which contains several tanks that grow a variety of Caribbean coral species. The species shown in this image is the great star coral (Montastraea cavernosa), which is a key reef-building species for Caribbean and Western Atlantic reefs.”

 

Conservation – Honorable Mention – “Lone Survivor” by Dan Mele (USA)
 

Shooting Location: St. Thomas, US Virgin Islands

Equipment and Settings: Sony A7R Mark II, Canon EF 8–15mm f/4 Fisheye, Nauticam housing (f/8, 1/200s, ISO 100)

Photographer’s Comment: “In 2025, elkhorn coral (Acropora palmata) was declared reproductively extinct in parts of its range. In simple terms, there are so few left, and they’re so far apart on a reef that they can no longer naturally reproduce on their own. This lone survivor in Stumpy Bay, US Virgin Islands, has endured repeated bleaching events, disease, and other stressors, even as the colonies around it have died off. Corals like this one are now a major focus for researchers who are trying to understand why certain individuals survive while others do not. I captured this scene when I was conducting a survey of the Stumpy Bay reef, as it was one of my field locations for my master’s thesis at the University of the Virgin Islands. I was incredibly saddened by the scene in front of me, as it was clear it once harbored elkhorn coral as far as one could see. I was also left in awe by this single coral that looked immaculate and had survived against all odds. It raises the question of why this single coral was able to survive when all of its conspecifics did not.”

 

Conservation – Honorable Mention – “Buckets of Hope” by Mick Friis (Denmark)
 

Shooting Location: Korsør, Denmark

Equipment and Settings: Canon EOS R5, Canon RF 16mm f/2.8, Sea&Sea strobes (f/7.1, 1/250s, ISO 200)

Photographer’s Comment: “Every year in mid-June, hundreds of Danes get into the water with a shared purpose: to help restore what has been lost beneath the surface. The project, called Denmark Plants Eelgrass (Danmark Planter Ålegræs), is a nationwide effort led by Tænketanken Hav, carried out through NGOs, and driven by hundreds of volunteers who spend long days replanting eelgrass along our coasts. This image was made during an event in Korsør hosted by the people at Os om Havet, who work relentlessly on this citizen-science project in close collaboration with marine biologists from the University of Southern Denmark. It’s a rare meeting point between science and volunteers, between data and dirty hands. But planting eelgrass alone isn’t enough. If these efforts stay unseen, they risk fading away. Real change only happens when the story travels beyond the shoreline; when the work below the surface is shared, understood, and supported. We need to turn awareness into pressure, and pressure into political action that addresses the causes of the damage, not just the symptoms.”

 

Cold Water

Cold Water – Gold – “Blue Crayfish” by Francesco Visintin (Italy)
 

Shooting Location: Tuscany, Italy

Equipment and Settings: Nikon Z8, Nikon AF-S 8–15mm f/3.5–4.5 Fisheye, Isotta housing, Isotta RED64 strobes (f/16, 1/25s, ISO 800)

Photographer’s Comment: “This freshwater crayfish (Austropotamobius pallipes italicus) displays an extraordinary blue coloration caused by a rare genetic mutation. While the species is normally camouflaged in hazel or olive tones to blend with the riverbed, a disrupted bond between carotenoid pigments and specific proteins reveals this striking blue hue, an exceptionally uncommon phenomenon in nature. Beyond its unusual appearance, this species is a sensitive indicator of ecosystem health, surviving only in pristine freshwater environments with stable temperatures, high oxygen levels, and minimal human disturbance. Today, its populations are in severe decline due to habitat fragmentation and degradation, the spread of pathogenic agents such as crayfish plague, and increasing pressure from invasive alien predators, including raccoons.”

 

Cold Water – Silver – “Killer Light” by James Ferrara (USA)
 

Shooting Location: Norway

Equipment and Settings: Sony A7R Mark V, Sigma 15mm f/1.4 Fisheye, Nauticam housing (f/4, 1/250s, ISO 800)

Photographer’s Comment: “I set out to photograph orcas in the frigid fjords of Norway, where conditions can be unpredictable and often unforgiving. During my time there, however, the weather was nothing short of extraordinary. On this particular day, the sun shone brightly beneath a clear blue sky—an uncommon gift for this time of year. A pod of roughly 10 orcas was actively feeding on herring when one individual broke away from the group and moved toward the light. I followed at a distance as the orca swam calmly into the sunlit water, then suddenly turned and headed directly toward me. At the last possible moment, it veered aside, offering a perfectly framed, full-body view illuminated by cascading rays. Opportunities for a composition like this are rare, requiring timing, trust, and a great deal of luck. I feel incredibly fortunate to have witnessed—and captured—this fleeting, unforgettable moment in the wild.”

 

Cold Water – Bronze – “Courting Sockeye Salmon” by Thomas Kline (USA)
 

Shooting Location: Eyak Lake, Alaska, USA

Equipment and Settings: Nikon D4S, Nikon AF-S 8–15mm f/3.5–4.5 Fisheye, Seacam housing (f/16, 1/250s, ISO 800)

Photographer’s Comment: “This image depicts a sockeye salmon (Oncorhynchus nerka) spawning pair—prior to spawning—at the confluence of a small stream with Eyak Lake, which is near Cordova, Alaska. Using mainly her anal fin, the female (left side of frame) is probing the area where she is excavating her redd (salmon nest). Just behind her in the slight current (right side of frame) is the male, who is stimulating her to spawn by vibrating his body. A custom polecam rig was used to hold the camera on the bottom while the photographer observed and took shots from a short distance away so as not to interfere with the behavior.”

 

Cold Water – Honorable Mention – “Sleek Diver” by Valerie Reid (Netherlands)
 

Shooting Location: Shetland Islands, Scotland, UK

Equipment and Settings: Nikon D500, Nikon AF-S 8–15mm f/3.5–4.5 Fisheye, Seacam housing, Retra Flash strobes (f/16, 1/25s, ISO 200)

Photographer’s Comment: “This dramatic action image of a diving gannet was taken while snorkeling in the cold waters around Shetland. I was fortunate to join a photo workshop with Henley Spiers and Richard Shucksmith, who encouraged me to ‘experiment’ and ‘go crazy’ as multiple gannets where dive-bombing into the sea at high speed to catch fish. Slowing the shutter speed and lowering the ISO, I tried fast, intentional camera movement in an attempt to capture a single focused garnet in the total chaos of the feeding spectacle, and to include some surface texture. Plenty of luck is involved, as I didn’t look through the viewfinder but watched on the surface while snorkeling where the birds were diving into the water, rapidly moving the camera back and forth, and shooting in burst mode.”

 

Cold Water – Honorable Mention – “Cold Climes” by Jenny Stock (UK)
 

Shooting Location: God’s Pocket, BC, Canada

Equipment and Settings: Sony A1, Sony lens, Nauticam housing, Retra strobes (f/14, 1/20s, ISO 400)

Photographer’s Comment: “On a dive on the aptly named site Aquarium, in God’s Pocket, I spotted this copper rockfish beautifully framed among plumose anemones as a distant diver swam into view over the rocks. The moment the diver shone their torch towards me and my camera, I quickly captured the moment. Browning Pass in British Columbia offers some of the most varied marine life in the world, largely due to the nutrient-rich currents from the Pacific. This was my first cold-water trip, with temperatures ranging between 45°F and 55°F. Seeing wildlife I’d never seen before made the adventure all the more incredible.”

 

Compact

Compact – Gold – “Tree of Life” by Manuel Wüthrich (Switzerland)
 

Shooting Location: Cenote Dos Pisos, Mexico

Equipment and Settings: Sony RX100 Mark VII, Nauticam housing, Nauticam WWL-C, three X-Adventurer M8000 video lights (f/2.8, 1/50s, ISO 1600)

Photographer’s Comment: “In Mexico’s Cenote Dos Pisos, earth, water, and time merge into a single, breathing organism. Roots break through the ceiling of the cave and reach deep into the water. Light filters through the earth, bathing the scene in a mysterious glow. Millennia have shaped these formations, and yet everything feels alive. When I dove there, it was the silence that struck me. It was as if nature whispered its story—of rain seeping through limestone, of roots searching for life, and of light offering hope. It was a moment that reminded me how deeply everything is connected.”

 

Compact – Silver – “In Meditation” by Johan Letang (France)
 

Shooting Location: Tahiti, French Polynesia

Equipment and Settings: Canon G7X Mark III, Nauticam housing (f/2.2, 1/1600s, ISO 800)

Photographer’s Comment: “This is my favorite snorkeling spot in Tahiti, a place I return to again and again, never expecting the same encounter twice. That day, the ocean offered me this turtle, which was unusually calm and serene. When she rose to the surface, she didn’t simply take a breath and drift back down to rest on the reef. She stayed there, suspended between the marine world and the air above. Floating effortlessly, she slowly changed her position, adjusting her body as if searching for the perfect alignment with her surroundings. Watching her, I had the strange and powerful feeling of being in the presence of an animal in meditation. It reminded me why I keep coming back. You can enter the same water dozens of times, yet every immersion is a rediscovery of the marine world and its inhabitants, always offering something new to those willing to pause and observe.”

 

Compact – Bronze – “The Guardian” by Vadim Belakhov (Australia)
 

Shooting Location: Port Phillip Bay, Victoria, Australia

Equipment and Settings: Olympus Tough TG-6, Olympus housing, Backscatter HF-1 strobe (f/13, 1/80s, ISO 400)

Photographer’s Comment: “Deep inside her PVC-pipe den, a pale octopus (Octopus pallidus) tends to her clutch, gently aerating and cleaning each egg to ensure the survival of her future generation. It is a quiet display of remarkable maternal sacrifice—she rarely leaves the nest, often fasting for weeks while guarding her young until they hatch. In these final weeks of brooding, her world narrows to a single purpose: to watch, to guard, and to give everything she has to her developing young. Once the young emerge, her energy is spent; for many females, life slowly fades away in silence soon after, the final cost of motherhood in this species.”

 

Compact – Honorable Mention – “Petals” by Andrea Michelutti (Italy)
 

Shooting Location: Anilao, Batangas, Philippines

Equipment and Settings: Sony RX100 Mark VII, Marelux housing, Inon Z-330 strobe, Snooty snoot adapter (f/11, 1/1000s, ISO 100)

Photographer’s Comment: “I was exploring the muck slopes of Anilao when I noticed this tiny flatworm tucked deep inside a delicate white egg ribbon. The eggs were blooming around the animal like an underwater flower, and for a moment I just watched. It took me many minutes of careful hovering and fine‑tuning my snooted light to reveal the curves without blowing out the whites, slowly adjusting the angle to keep the background clean and dark. The flatworm shifted only slightly, just enough to show its outline against the twisting eggs, and I waited for that moment to press the shutter. I tried to keep the composition as simple as possible, to show the fragile beauty of the underwater world.”

 

Compact – Honorable Mention – “Deep Symmetry” by Uzeyr Kamora (United Arab Emirates)
 

Shooting Location: Mauritius

Equipment and Settings: DJI Osmo Action 5 (f/2.8, 1/100s, ISO 183)

Photographer’s Comment: “Having spent time with sperm whales and learning about them and their behaviours, not many moments really surprise you, however on this day it was very clear that something deeper was unfolding. Their interactions filled with joyful clicks and calls revealed an intense and more profound celebration of sorts. They seemed to be really celebrating or discussing something. I felt incredibly fortunate to not only have experienced this unique day and moment but also to have been able to capture the moments, allowing me to share this day with the world. A powerful reminder of how little we know about these highly sentient beings and the importance of protecting them and the ocean for future.”

 

Portfolio

Portfolio – Gold – “Oceans of Life: Coral’s Annual Miracle” by Tom Shlesinger (Israel)
 

Shooting Location: Gulf of Aqaba, Red Sea, Eilat, Israel

Equipment and Settings (clockwise from top-left): Sony A1, Sony FE 12–24mm f/2.8, Nauticam housing, Retra Flash Pro Max strobes (f/16, 1/40s, ISO 200); Sony A1, Sony FE 12–24mm f/2.8, Nauticam housing, Retra Flash Pro Max strobes (f/14, 1/13s, ISO 800); Sony A1, Sony FE 12–24mm f/2.8, Nauticam housing, Retra Flash Pro Max strobes (f/16, 1/60s, ISO 400); Sony A7R Mark III, Sony FE 90mm f/2.8 Macro, Nauticam housing, Retra Flash Pro Max strobes (f/16, 1/160s, ISO 200); Sony A1, Sony FE 12–24mm f/2.8, Nauticam housing, Retra Flash Pro Max strobes (f/18, 1/5s, ISO 200); Sony A7R Mark III, Sony FE 90mm f/2.8 Macro, Nauticam housing, Retra Flash Pro Max strobes (f/18, 1/125s, ISO 200)

Photographer’s Comment: “In a breathtaking spectacle, thousands of corals spanning vast reef expanses release their reproductive material simultaneously—a fleeting moment that unfolds within minutes, once a year. A vibrant, upside-down snowstorm ensues as billions of colorful eggs and sperm disperse through the currents, converging to create new life. This photographic project, part of an ongoing scientific journey, chronicles the unique reproductive phenomena of corals, shedding light on the intricacies of their underwater world and the challenges they face in an ever-changing environment.”

 

Portfolio – Silver – “Orange, Black and Green: The Colors of Diving in Flooded Slate Mines” by Frank Aron (Germany)
 

Shooting Location: Nuttlar, Germany

Equipment: Sony A7C, Sony FE 28mm f/2, Nauticam housing, Nauticam WWL-1, Bigblue VL65000P and other video lights. Settings (clockwise from top-left): f/7.1, 1/30s, ISO 640; f/8, 1/30s, ISO 2500; f/8, 1/30s, ISO 1600; f/8, 1/30s, ISO 1000; f/7.1, 1/30s, ISO 2500; f/7.1, 1/30s, ISO 2500

Photographer’s Comment: “Orange rusty remains create a pleasing contrast to the greenish/black walls of the flooded slate mines in northern Germany. My goal in this portfolio is to show this color contrast by using powerful video lights. The orange main subjects are in the foreground of the image, near the camera, so that the color is not absorbed by the water. The greenish/black slate walls form the background, thereby underlining the orange color, which sometimes appears golden. The beams of light and shadows create a certain depth in the image while the illuminated diver provides an important sense of scale.”

 

Portfolio – Bronze – “Kelp Forests of Juan de Fuca” by Jeffrey Martel (USA)
 

Shooting Locations: Port Angeles, WA, USA

Equipment: Olympus OM-D E-M1 Mark III, Olympus M.Zuiko 8mm f/1.8 Fisheye, Nauticam housing, Inon Z-240 strobes or natural light. Settings (clockwise from top-left): f/9, 1/200s, ISO 1250; f/7.1, 1/125s, ISO 400; f/6.3, 1/100s, ISO 800; f/8, 1/100s, ISO 1000; f/7.1, 1/250s, ISO 500; f/2.8, 1/400s, ISO 1000

Photographer’s Comment: “Kelp forests are an often underappreciated marine environment, especially those that are outside of the well-known areas such as Monterey. Many people don’t understand just how much life and biodiversity is found underneath the canopy. Add in the cold water, often questionable visibility, and coastal surge, and it’s no wonder that these areas can be overlooked. My goal with these different images is to show the various aspects of this vitally important ecosystem in an effort to highlight a rapidly declining part of the biosphere. While degraded coral reefs are rightly drawing attention, it’s equally important to give prominence to other threatened environments that also need support to survive.”

 

Portfolio – Honorable Mention – “River of Time” by Qian Kun (China)
 

Shooting Location: Romblon, Philippines

Equipment: Canon EOS 5D Mark IV, Canon EF 100mm f/2.8 Macro, Nauticam housing, Backscatter MF-2 and Sea&Sea YS-01 strobes. Settings (clockwise from top-left): f/32, 1/6s, ISO 200; f/22, 1/6s, ISO 100; f/22, 1/6s, ISO 400; f/22, 1/10s, ISO 160; f/22, 1.5s, ISO 100; f/13, 1/10s, ISO 100

Photographer’s Comment: “Using a slow shutter speed allows photographers to translate motion into expressive blur, while using strobes to freeze the subject’s movement, bringing out its beautiful colors and intricate details. In this portfolio, my aim was to use this creative technique to showcase some of the ocean’s smallest critters while depicting the constant flux surrounding them. Each of the subjects—seahorse, pipefish, sweetlips, eel, and filefish—is situated on a dynamic background awash with blue that seems to flow around them like a river, a river of time.”

 

Portfolio – Honorable Mention – “Ode to Jessica, Underwater Muse” by Stéphane Rochon (France)
 

Shooting Location: Pessac, France

Equipment and Settings (clockwise from top-left): Nikon D850, Nikonos RS 20–35mm f/2.8 (modified by Seacam), Seacam housing, Godox M600Bi topside with large diffuser, three Bigblue VL18000PBRC underwater video lights (including one for homemade optical-fiber outfit) (f/2.8, 1/250s, ISO 800); Nikon D850, Nikonos RS 20–35mm f/2.8 (modified by Seacam), Seacam housing (f/5.6, 1/250s, ISO 100); Nikon D850, Nikonos RS 13mm f/2.8 Fisheye (modified by Seacam), Seacam housing (f/4.5, 1/250s, ISO 160); Nikon D850, Nikonos RS 20–35mm f/2.8 (modified by Seacam), Seacam housing, two Bigblue VL18000PBRC underwater video lights (f/4, 1/250s, ISO 800); Nikon D850, Nikonos RS 20–35mm f/2.8 (modified by Seacam), Seacam housing, two Bigblue VL18000PBRC underwater video lights (side lighting) and one small underwater video light behind (f/3.2, 1/250s, ISO 1250); Nikon D850, Nikonos RS 20–35mm f/2.8 (modified by Seacam), Seacam housing (f/3.2, 1/250s, ISO 125)

Photographer’s Comment: “Capturing compelling underwater fashion and beauty portraits comes with unique challenges, but whether you’re shooting in a home pool or a nearby lake, above all else you need a skilled model willing to embrace any idea—no matter how ambitious. My underwater muse—Jessica Josse—worked hard with me to create this portfolio: From wearing a homemade outfit with optical fibers sewn into it to being entangled, nude, in a fishing net to anthropomorphize the damage we’re doing to our oceans, she went ‘below and beyond’ to ensure that we achieved the best results possible.”

 

Short Film

Short Film – Gold – “Pelagic: Ordinary Moments of Ocean Life” by Fabien Michenet (France)
 

Shooting Location: Tahiti, French Polynesia

Equipment: Nikon Z8, Nikon AF-S 60mm f/2.8 Macro, Nikon Z 24–70mm f/4, Nikon Z 24–50mm f/4–6.3, Nauticam housing, Weefine and Keldan video lights

Videographer’s Comment: “This film was shot off the reefs of Tahiti during blackwater dives in waters over 2,000 meters (6,500 feet) deep. It showcases the diversity of the ephemeral ecosystem that emerges at night when planktonic animals rise to the surface to feed in the phytoplankton-rich waters near the surface in the tropical Pacific Ocean—accompanied by their predators. This silent, daily phenomenon occurs in all the world’s oceans and constitutes the largest global animal migration in terms of biomass.”

 

Short Film – Silver – “Magic Moments” by Alfred Schaschl (Austria)
 

Shooting Locations: Indonesia and Austria

Equi​pment: Panasonic Lumix GH5S, Isotta housing, Backscatter MW-4300 and Subnox video lights

Videographer’s Comment: “This story is drawn from my own life—a life deeply connected to the ocean since early childhood. It is a journey driven by a true, quiet love for the sea—for its boundless power, its mystique, and the secrets hidden deep beneath its surface. I consider it a gift to be among those few who are allowed to dive into this fairytale world and capture its wonders. Not everyone is granted those rare moments when the veil is lifted—when the unseen becomes visible, when magic becomes tangible. This film is a personal tribute to the beauty and fragility of our oceans, and the transience of all life. It reveals not only the marvels beneath the surface, but also the despair I feel when faced with the realization that greed and the thirst for power are destroying it all.”

 

Short Film – Bronze – “Stories of the Kelp” by Carmen Obied (UK/Spain/Egypt)
 

Shooting Location: Catalina Island, Channel Islands, CA, USA

Equipment: Sony A1, Sony FE 28–60mm f/4–5.6, Nauticam housing, Nauticam WWL-1B, Keldan 8XR video lights

Videographer’s Comment: “This film reveals how Southern California’s towering kelp forests are the backbone of one of Earth’s most dynamic ecosystems. From the vibrant nesting rituals of the iconic Garibaldi to the slow, resilient return of the giant black sea bass, the film captures the intricate and delicate balance that defines these environments. Framed by Jacques Cousteau’s legacy, each scene offers a poetic and powerful look at what happens when the ocean is given a chance to recover, carrying the message of the film—that when the kelp is protected, life at every scale finds its way back.”

 

Short Film – Honorable Mention – “Vancouver Island: Cold Water Diving Paradise” by Carl Sorensen (Canada)
 

Shooting Location: Vancouver Island (Browning Passage, Barkley Sound, Nanoose, Nanaimo, Gabriola Island), BC, Canada

Equipment: Sony A7S Mark III, Sony FE 16–35 f/4, Sony FE 24–70mm f/2.8, Sony 90mm f/2.8 Macro, Laowa 10mm f/2.8, Aquatica housing, three Kraken Solar Flare video lights, DJI Mini 3 Pro drone

Videographer’s Comment: “This short film was compiled over 200 dives across some of Vancouver Island’s most pristine and productive dive locations, including Browning Passage, Barkley Sound, Gabriola Island, and the Nanaimo area. Filmed throughout 2025, it represents hundreds of hours underwater, observing the rhythms of cold-water marine life through changing seasons and conditions. The footage highlights the diversity that makes Vancouver Island such a special place to dive, from sheer walls and historic wrecks to kelp forests, reefs, and open-water encounters. Sea lions, octopuses, rockfish, and countless invertebrate species appear naturally throughout the film. Beneath the surface, Vancouver Island reveals a world that rewards patience and presence, offering an underwater experience many overlook—simply because it’s cold.”

 

Short Film – Honorable Mention – “Can We Use Sound to Build Back Reefs?” by Dan Mele (USA)
 

Shooting Location: St. John, US Virgin Islands

Equipment: Canon EOS R5, Canon EF 16–35mm f/2.8, Canon EF 8–15mm f/4 Fisheye, Canon EF 100mm f/2.8 Macro, Nauticam housing, Kraken and Light & Motion video lights

Videographer’s Comment: “Coral reefs face a growing number of threats, making innovative restoration techniques essential to their survival. This short film follows the research of Woods Hole Oceanographic Institution scientists Dr. Aran Mooney and Dr. Nadege Aoki as they study how the sounds on a coral reef can influence where coral larvae choose to settle after spawning. Filming this story came with a unique challenge because it centered on sound, something I do not usually think about as much when filming underwater compared to working topside. To address this, I incorporated the actual reef recordings collected during the research, allowing viewers to hear what a healthy reef sounds like, including fish grunts, snapping shrimp, and many other sounds that make up a living reef. Since this project, WHOI has continued this research with more testing as well as teaching underwater robots to listen to coral reefs and be able to identify a healthy vs a degraded reef. I look forward to seeing where this fascinating research will go.”