The organizers of the Underwater Awards Australasia 2026—DPG, Underwater Australasia, and UW Images—are proud to announce the winners of the 3rd edition of the underwater imaging competition focused on Australasia. The competition called for passionate underwater shooters from around the world to submit their most captivating and compelling images and videos from the Australasian region. Shooters were invited to immerse themselves in the challenge of capturing the essence of this extraordinary realm, where every frame tells a story of the delicate balance and breathtaking beauty that characterizes our oceans.

Entrants competed in nine categories for prizes worth almost A$70,000 in total, including dive trips with the world’s top resorts and liveaboards, and the latest underwater imaging equipment and dive gear. In addition, organizers will choose one of the category winners to have their work featured in an exclusive cover story in Scuba Diver magazine (ANZ Edition). The prestigious judging panel comprised Tobias Friedrich, Matty Smith, Scott Portelli, Jayne Jenkins, and Ross Long. The special category judge was Ray Collins.

The overall winner of the competition—the “Best of Show”—is Kat dos Remedios, whose amazing short film Dragon takes the top spot in the Reels Showcase category. The other category winners are Annika Dahlberg (Conservation), Talia Greis (Sydney), Jake Wilton (Australian), Simone Caprodossi (International Waters), Giacomo Marchione (Portfolio), Enrico Somogyi (Smartphone/Action Cam), Qian Kun (Tough TG), and Tom Healy (Only Water).

The winning entries were revealed on September 5th, 2026, during an awards ceremony at Go Diving Show ANZ in Sydney, Australia. The show featured an exhibition of high-quality metal prints of the finalist entries in the photo categories. Made by the competition’s Printing Partner PhotoMart, the prints were available for purchase at the show, with the generous permission of the photographers. Half of the proceeds will be donated to the contest’s Environmental Partners Australian Marine Conservation Society and Take 3 for the Sea. Winners will be published in the 2028 Australian Marine Conservation Society calendar, with proceeds from sales going to marine conservation. All entry fees from the Conservation category will be donated to the competition’s Environmental Partners.

The organizers would like to extend their congratulations to all the winners, runners-up and honorable mentions, as well as their thanks to everyone that entered the competition. The organizers would also like to express their immense gratitude to the contest’s esteemed judges and generous sponsors, without whom the competition would not have been possible.

Discover the winning entries below or check out UnderwaterCompetition.com.

 

UNDERWATER AWARDS AUSTRALASIA 2026 PRIZE SPONSORS

 

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Underwater Awards Australasia 2026

THE WINNERS

 

Reels Showcase

Best of Show: Reels Showcase – Gold – “Dragon” by Kat dos Remedios (Australia)
 

Shooting Location: Port Phillip Bay, VIC, Australia

Equipment: Nikon Z9, Nikon Z8, Nikon Z 28–75mm f/2.8, Nikon Z 24–70mm f/2.8, Nikon Z 105mm f/2.8 Macro, Nikon Z 28–135mm f/4, Nauticam housings, Nauticam WACP-1, Nauticam EMWL-1, Dive Lantern V180 video lights

Videographer’s Comment: “‘Dragon’ began as an exploration of the shoreline of Port Phillip Bay, Victoria. We had always been fascinated by the beauty of the weedy seadragon, but with populations elsewhere along the Great Southern Reef decimated by a toxic algal bloom, we became increasingly conscious of how precious these animals are. We began returning to the same location almost every day, using a range of lenses and equipment. We captured everything from the broader reef environment to the intricate details of the dragons. We shot the underwater footage on scuba during the 2025 breeding season. Conditions were mostly calm, with one particularly challenging sequence filmed in strong surge. The defining moment came when we encountered newly hatched seadragons. Seeing these tiny animals in the wild for the first time was deeply moving, and those images ultimately became the heart of the film. We hope ‘Dragon’ inspires others to appreciate and protect the marine life along our coastline.”

View Reel on Instagram

 

Reels Showcase – Silver – “Golden Hour” by Louis Richter (Australia)
 

Shooting Location: Ningaloo Reef, Coral Bay, WA, Australia

Equipment: Sony A1, Sony FE 16–35mm f/2.8, Aquatica housing, natural light

Videographer’s Comment: “The golden hour. My favourite time to capture the beauty of the world, especially in the ocean. There’s something special about the way the light rays shine through the water, dancing across the reef and the wildlife. The soft light brings out the textures, colours and contrast, making everything feel calm and vibrant. Here on the Ningaloo Reef, we’re lucky to have an incredible diversity of marine life and a healthy reef ecosystem. But what makes this place even more special is the chance to share the water with some of the ocean’s most amazing giants. This short film showcases some of the incredible encounters you can have here, including majestic whale sharks, graceful manta rays, different type of sharks, ancient sea turtles, and an abundance of fish, all at my favourite time of day. The underwater world is full of incredible moments, and for me, there’s no better time to experience it than during the golden hour.”

View Reel on Instagram

 

Reels Showcase – Bronze – “Curious Creatures” by Luciano Morales Corinaldesi (Argentina)
 

Shooting Locations: Bali and Nusa Penida, Indonesia

Equipment: Sony A7 Mark IV, Sony FE 16–35mm f/2.8, Seafrogs housing, Fotocore M5 video lights

Videographer’s Comment: “‘Curious Creatures’ was filmed in the waters of Indonesia, and its main aim is to invite the viewer not only to feel a fascination for the remarkable animals that live in the seas, but to look deep into the eyes of marine wildlife. It aims to help us acknowledge the awareness and sentient nature of all sea creatures, to serve as a visual roadmap to open our senses to the vast expanse of wilderness that is the ocean. Here, curiosity is a two-way street, because if we visit the ocean with our eyes and hearts wide open, we might start noticing the other eyes meeting our gaze, just as curious and just as alive.”

View Reel on Instagram

 

Reels Showcase – Honorable Mention – “The Underwater World: Southern Great Barrier Reef, Australia” by José Freyre (Argentina)
 

Shooting Location: Heron Island, Southern Great Barrier Reef, QLD, Australia

Equipment: Sony A7 Mark IV, Sony FE 24–70mm f/2.8, Tamron 17–28mm f/2.8, Aquatech housing, natural light

Videographer’s Comment: “This film is my personal perspective on the underwater world, a part of our natural environment that is often out of sight but is home to an incredible variety of wildlife. Filmed handheld while freediving around Heron Island, the video is my attempt to share some of what can be found beneath the surface. I wanted to go beyond simply documenting animals and instead capture a more intimate view of their behaviour and the environment they live in, while giving the viewer a sense of what it feels like to be there with them. For me, underwater filmmaking is a way of showing people places and wildlife they might not normally get to experience. Through this film, I hope to give viewers a better appreciation of the diversity of life around the Great Barrier Reef and encourage more curiosity about what is happening beneath the surface.”

View Reel on Instagram

 

 

Conservation

Conservation – Gold – “Trapped in the Blue” by Annika Dahlberg (Australia)
 

Shooting Location: Niue

Equipment and Settings: Sony A7 Mark III, Sony FE 16–35mm f/4, Seafrogs housing, natural light (f/6.3, 1/800s, ISO 800)

Photographer’s Comment: “Our whale watching trip turned into something I had never expected to witness. As I entered the deep blue water, I was met by a shocking scene. My worst fear had come true: a young humpback whale entangled in a thick rope, anchored to the ocean floor. The rope was wrapped around his fluke and he had already been trapped for hours—and was tiring quickly. With assistance from local authorities and great courage from a brave diver, the young male whale was eventually freed. It was a tough mission to free the whale, but it was accomplished by small teams working together and doing what we could for an animal in peril.”

 

Conservation – Silver – “At the Heart of Coral Restoration” by Maryline Renault (Singapore)
 

Shooting Location: Pemuteran, Bali, Indonesia

Equipment and Settings: Sony A7R Mark V, Sony FE 28–60mm f/4–5.6, Nauticam housing, Nauticam FCP-1, dual Backscatter Hybrid Flash strobes (f/11, 1/125s, ISO 250)

Photographer’s Comment: “As coral reefs worldwide decline under the pressure of warming seas, mass bleaching, and human impact, this image shifts the narrative toward conservation efforts where action is reshaping their future—framing the crisis through a hopeful lens that celebrates solutions and possibilities. In Bali, the Biorock project—one of the world’s longest-running coral restoration initiatives—uses innovative low-voltage microcurrents to accelerate coral growth and strengthen reef resilience. Over time, hundreds of steel frameworks transform into vibrant ecosystems, where corals flourish, fish return, and marine life reclaims what was once lost. Framed symbolically with a diver at its center, the image highlights the vital connection between humans and nature. It reflects how healthy reefs support nearly a quarter of all marine species while protecting coastal communities through food security, economic livelihoods, and natural coastal defense. This is not only a story of loss, but of renewal, where science, nature, and community stewardship come together—allowing reefs not just to survive, but to thrive again.”

 

Conservation – Bronze – “Trapped by Admiration” by Valerie Cornet (China)
 

Shooting Location: Koh Tao, Thailand

Equipment and Settings: Nikon Z8, Nikon Z 24–70mm f/2.8, Nauticam housing, natural light (f/9, 1/320s, ISO 250)

Photographer’s Comment: “A juvenile whale shark (Rhincodon typus) is surrounded by divers off Koh Tao, Thailand. Whale sharks are listed as ‘Endangered,’ threatened globally by vessel strikes, fishing pressure, and habitat loss. Yet even in places where they are protected, another pressure continues to grow: crowded wildlife encounters. What should be a quiet meeting with the world’s largest fish becomes a wall of bubbles, cameras, and bodies. For a slow-moving animal that feeds and navigates near the surface, escape routes quickly disappear. This image is not about curiosity. It is about pressure. Wildlife tourism is often celebrated as a force for conservation. But without limits, admiration can become intrusion, which can lead to stress. If we claim to love the ocean’s giants, the question is not whether we can get closer, but whether we are willing to step back.”

 

Conservation – Honorable Mention – “Southbound, Interrupted” by Daniel Sly (Australia)
 

Shooting Location: Scarborough Beach, NSW, Australia

Equipment and Settings: Nikon Z8, Nikon AF-S 8–15mm f/3.5–4.5 Fisheye, Nauticam housing, natural light (f/7.1, 1/400s, ISO 280)

Photographer’s Comment: “This juvenile humpback whale, no more than two years old, washed up on the rocky New South Wales coast during its southward migration. The whale had become entangled in shark-control netting and drowned, a tragic end to such a young animal. Its body now rests on the rocks while the ocean continues to surge around it. There is something confronting about seeing an animal that should still have most of its life ahead of it lying motionless on the shore. The sunrise brings a sense of calm to an otherwise challenging scene, capturing both the beauty of this coastline and the consequences of what can happen when wildlife and human activity collide.”

 

Conservation – Honorable Mention – “Cry for Help” by Pete McGee (Australia)
 

Shooting Location: Montague Island (Barunguba), NSW, Australia

Equipment and Settings: Sony A7R Mark V, Sony FE 28–60mm f/4–5.6, Nauticam housing, Nauticam WWL-1B, dual Inon Z-330 strobes (f/6.3, 1/200s, ISO 250)

Photographer’s Comment: “Montague Island is home to a colony Australian fur seals. The seals are classified as ‘Vulnerable’ under the Biodiversity Conservation Act, but protection is limited. A sanctuary zone extends a short distance from the island, and on the perimeter of the zone, where fishing is allowed, recreational fishing boats anchor in numbers. Where the sanctuary zone ends, the conflict zone begins. Anglers regard the seals as a nuisance, as they compete for the fish they target, and steal bait from their fishing lines. For the seals, the temptation of baited lines is too great. While it may seem an easy way to get a feed, the risks are high and the seals are regularly hooked and tangled in fishing line. This young seal is now paying the price, with fishing line wrapped firmly around its throat.”

 

Sydney

Sydney – Gold – “Dragon Clinger” by Talia Greis (Australia)
 

Shooting Location: Kurnell, Sydney, NSW, Australia

Equipment and Settings: Sony A1, Sony FE 90mm f/2.8 Macro, Isotta housing, single Inon Z-330 strobe with Backscatter snoot (f/11, 1/200s, ISO 100)

Photographer’s Comment: “A clingfish rides on the back of a weedy seadragon. Clingfish are considered the ‘clingers of the sea,’ and often attach themselves to rocks, kelp, reefs, and occasionally animals, using a suction disc formed from modified pelvic fins. Their relationship with their host is purely commensal, using the host to travel and hide from predation. The weedy seadragon is such a beautiful, indigenous symbol of Australian culture and marine life. We often admire these incredible creatures without truly noticing the richness of their colors, the intricacy of their patterns, and the elegance of their shapes. Without this moment of close attention, I wouldn’t have noticed the cheeky hitchhiker navigating the dots and lines of the seadragon’s body. On even closer inspection, you can also spot—though softened by depth of field—a tiny parasite riding on the back of the clingfish. It is a profound reminder of the ocean’s intricate chain, and how every creature beneath the surface has its place and purpose.”

 

Sydney – Silver – “Teeth of the Reef” by Daniel Sly (Australia)
 

Shooting Location: Kurnell, Sydney, NSW, Australia

Equi​pment and Settings: Nikon Z8, Nikon AF-S 105mm f/2.8 Macro, Nauticam housing, Nauticam EMWL-1 with 160° Objective Lens, dual Retra Pro Max strobes (f/22, 1/100s, ISO 400)

Photographer’s Comment: “During the winter months, the rocky reefs along the Sydney coast become home to large numbers of Port Jackson sharks. From June to August, during their breeding season, they gather in gutters, caves and other sheltered areas of the reef. Port Jackson sharks are placid, bottom-dwelling animals and nocturnal hunters. During the day, they often rest quietly among the rocks, making it possible to approach them closely underwater. Rather than creating a traditional portrait, this image looks closely at the unusual features of the shark’s face, including its nostrils, mouth and teeth. The small, pointed teeth at the front are used to grip mollusks and echinoderms, while larger, flatter teeth further back crush their hard shells. Seen from this close perspective, the Port Jackson’s distinctive face reveals just how well adapted this species is to feeding on the seafloor.”

 

Sydney – Bronze – “Mourning Cuttlefish” Daniel Sly (Australia)
 

Shooting Location: Clifton Gardens, Sydney, NSW, Australia

Equipment and Settings: Nikon Z8, Nikon AF-S 105mm f/2.8 Macro, Nauticam housing, dual Retra Pro Max strobes (f/18, 1/125s, ISO 100)

Photographer’s Comment: “Beneath Clifton Gardens Wharf in Sydney Harbour, a mourning cuttlefish pauses above the seafloor, its body facing away from the camera. Its two front arms are raised and held close together, almost as though it is rubbing them. Despite facing away, both of its highly mobile eyes are turned back towards me, clearly aware of my presence and keeping a close watch on this temporary visitor. Cuttlefish have remarkable control over their eyes, allowing them to look in different directions without turning their bodies. In this brief encounter, the feeling was almost mutual. I was watching the cuttlefish, while the cuttlefish was watching me.”

 

Sydney – Honorable Mention – “Harbour Sanctuary” by Daniel Sly (Australia)
 

Shooting Location: Clifton Gardens, Sydney, NSW, Australia

Equipment and Settings: Nikon Z8, Nikon AF-S 105mm f/2.8 Macro, Nauticam housing, Nauticam EMWL-1 with 160° Objective Lens, dual Retra Pro Max strobes (f/16, 1/125s, ISO 125)

Photographer’s Comment: “An endangered White’s seahorse clings to the swim netting beneath Clifton Gardens Wharf in Sydney Harbour. The nets and pylons of this popular harbor wharf are purpose-built structures, but they have also become critical habitat for this threatened species. The seahorses use their prehensile tails to hold onto the structure, living among the growth that has accumulated on the netting and pylons. This image was taken in the early morning, just as the sun rose above the horizon. The low sunlight passed through the water behind the seahorse, backlighting its body and the surrounding netting. The scene highlights an interesting contrast of structures built for people becoming an important part of the underwater habitat for a species that is increasingly reliant on the modified environments found throughout Sydney Harbour.”

 

Sydney – Honorable Mention – “Resting in the Shadows” by William Gladstone (Australia)
 

Shooting Location: Sydney Harbour, NSW, Australia

Equipment and Settings: Sony A1, Sony FE 28–60mm f/4–5.6, Nauticam housing, Nauticam WACP-1, dual Retra Flash Pro X strobes (f/18, 1/4s, ISO 125)

Photographer’s Comment: “A juvenile gray nurse shark swims through the shadows under a wharf in Sydney Harbour. Small groups of these juvenile sharks rest here during daylight hours then venture into deeper parts of the harbor at night to feed. This shallow, shadowy rest stop is also a safe place for these smaller sharks to avoid the predatory bull sharks that visit the harbor in summer when this photo was taken. I used a slow shutter speed to illustrate the ceaseless movement of the shark and converted the image to black and white to emphasize the dramatic play of light and shadows under the wharf.”

 

Australian

Australian – Gold – “Coastal Hunters” by Jake Wilton (Australia)
 

Shooting Location: Ningaloo Reef, WA, Australia

Equipment and Settings: Nikon D810, Sigma 15mm f/2.8 Fisheye, Aquatech housing, natural light (f/9, 1/800s, ISO 320)

Photographer’s Comment: “Two bottlenose dolphins work together in coordinated motion to herd a tightly packed school of parrotfish. Captured in natural light, the scene reveals their intelligence and precision as they use speed, teamwork and the reef edge to corral their prey. The parrotfish shift as one living mass, while the dolphins cut through the water with intent, demonstrating the complex hunting strategies that define life in the coastal waters of the reef. It was incredible to watch the dolphins herd the fish almost like a flock of sheep, gradually tightening the school before moving in to pick them off one by one. Each member of the pod appeared to take a turn, while others maintained the formation and ensured the school remained tightly grouped. Watching this coordinated behavior unfold offered a rare glimpse into the cooperation and strategy involved in their hunting. What initially appeared chaotic was remarkably organized, with each dolphin playing a role in keeping the fish together and maximizing the success of the hunt.”

 

Australian – Silver – “Deadly Devotion” by Jules Casey (Australia)
 

Shooting Location: Rye, VIC, Australia

Equipment and Settings: Sony A7R Mark V, Sony FE 90mm f/2.8 Macro, Seacam housing, Nauticam MFO-3, dual Kraken Sports KR-S160 strobes (f/20, 1/200s, ISO 200)

Photographer’s Comment: “A female southern blue-ringed octopus with her clutch of eggs, discovered outside her den, which is extremely unusual. Females with eggs are normally well hidden in a safe location. Possibly disturbed by a predator, she remained in this same location for at least two hours, which was particularly strange. We noticed her at the start of our dive and returned to check an hour later to find she was still out and her coloration had not altered. I did a second dive to check several hours later and she had relocated. Blue-ringed octopuses carry their eggs with them, unlike some octopus species that fix their eggs to a stationary stucture inside their den.”

 

Australian – Bronze – “The Hunter” by Alex Pike (Australia)
 

Shooting Location: Port Kembla, NSW, Australia

Equipment and Settings: Canon EOS 5D Mark IV, Canon EF 15mm f/2.8, Ikelite housing, single Ikelite DS160 strobe (f/16, 1/200s, ISO 400)

Photographer’s Comment: “The intertidal rock platforms and pools near my home are teeming with life, and one of the standout residents is the common Sydney octopus (Octopus tetricus). This cephalopod is often seen hunting for food as the tide recedes. I wanted to capture a split shot that showed this hunting behavior within the shallows of the rock pool habitat, but catching the right moment was key. On this particular evening, everything came together with low tide, dusk settling in, and an octopus that was unbothered by my presence as it went about its hunt.”

 

Australian – Honorable Mention – “Delicate Alliance” by Jules Casey (Australia)
 

Shooting Location: Rye, VIC, Australia

Equipment and Settings: Sony A7R Mark V, Sony FE 16–35mm f/2.8, Seacam housing, dual Kraken Sports KR-S160 strobes (f/13, 1/160s, ISO 100)

Photographer’s Comment: “The symbiotic relationship between a Haekel’s jellyfish and a juvenile mosaic leatherjacket, taken under Rye Pier as the sun was moments away from setting. These two drifted together in the gentle current, remaining close to the water’s surface. The Haekel’s jellyfish provides the juvenile fish with shelter and protection from preditors while the fish cleans the jellyfish, keeping it free of any pests.”

 

Australian – Honorable Mention – “Unique Romance” by Jules Casey (Australia)
 

Shooting Location: Rye Pier, VIC, Australia

Equipment and Settings: Olympus OM-D E-M1 Mark II, Olympus 12–40mm f/2.8 PRO II, Isotta housing, dual Kraken Sports KR-S160 strobes (f/9, 1/160s, ISO 100)

Photographer’s Comment: “The ocean’s greatest love story... the egg transfer of big-belly seahorses under Rye Pier. The female on the right is transferring her eggs to the male. After fertilizing the eggs, he will carry them until they are ready for him to give birth to their babies. Their mating dance had lasted for several days. I had witnessed the early stages of them mirroring each other’s movements with their tails entwined. Witnessing the egg transfer involves a narrow window of opportunity of only about 30 seconds, which can happen anytime during their courtship. The tiny detail to look out for is when both seahorses tilt their snouts upwards. This indicates they are ready to move into the water column and this magical moment is about to happen.”

 

International Waters

International Waters – Gold – “Crowded Spotlight” by Simone Caprodossi (Australia)
 

Shooting Location: Gulf of Tadjoura, Djibouti

Equipment and Settings: Sony A7R Mark V, Sony FE 14mm f/1.8, Isotta housing, natural light (f/5.6, 1/80s, ISO 2000)

Photographer’s Comment: “Every year, between November and February, whale sharks aggregate in the Gulf of Tadjoura in Djibouti. Over the past several years, I have been part of a scientific expedition to study the aggregation. On most trips, once or twice we will witness a whale shark or two come to opportunistically feed on the plankton and small fish that concentrate under the boat lights at night. During our December 2025 trip, there appeared to be much lower levels of nutrients in the water than usual, and we hardly saw any sharks feeding at the surface during the day. Possibly due to the scarcity of daytime feeding, the sharks appeared particularly committed to their nighttime meal under the boat lights. For the first time, we got to witness up to six sharks feeding at the same time, jostling for position in the narrow space under the lights. It was very challenging to get a clear view of the sharks. Their huge bodies covered each other and cast very dark shadows, obscuring the already very limited light, and I was very pleased to capture four distinct individuals at different moments during their feeding frenzy.”

 

International Waters – Silver – “Big Stretch” by Sam Blount (USA)
 

Shooting Location: Antarctica

Equipment and Settings: Sony A1, Sony FE 16–35mm f/4, Nauticam housing, dual OneUW ONE160X strobes (f/10, 160s, ISO 1250)

Photographer’s Comment: “While diving near a penguin colony in Antarctica, I was approached by this curious and domineering leopard seal. One of my biggest photography goals was fulfilled in this moment as the seal lunged at me with open jaws displaying his full set of teeth.”

 

International Waters – Bronze – “Mouthful” by Josh Blank (Australia)
 

Shooting Location: Magdalena Bay, Baja California Sur, Mexico

Equipment and Settings: Nikon Z8, Nikon 8–15mm f/3.5–4.5 Fisheye, Ikelite housing, natural light (f/5.6, 1/800s, ISO 640)

Photographer’s Comment: “This image represents the wildest big-animal encounter of my life to date, captured while snorkeling in Magdalena Bay. When we first slipped into the water, a group of California sea lions and skipjack tuna were holding a baitball in a tight, controlled formation, taking turns darting in to feed. All of a sudden, the predators scattered. Out of the blue, a massive Bryde’s whale lunged straight into the ball of fish with its mouth wide open. I was extremely fortunate to be in the perfect position to watch the entire sequence unfold. The whale’s throat seemed to keep expanding and expanding, until it completely filled the frame of my fisheye lens just a couple of meters away. Still to this day, I feel extremely fortunate not only to have witnessed such a moment, but to have been in the perfect position to capture a shot that I don't think many would believe happened otherwise.”

 

International Waters – Honorable Mention – “Strike a Pose” by Patrick Uramowski (Australia)
 

Shooting Location: California, USA

Equipment and Settings: Canon EOS R5, Canon RF 15–35mm f/2.8, Ikelite housing, dual Inon strobes (f/5, 1/250s, ISO 500)

Photographer’s Comment: “While swimming through the amazing California kelp forests, I was approached by this playful harbor seal. Apparently mesmerized by its own reflection in my dome port, it adopted a pose resembling a hug.”

 

International Waters – Honorable Mention – “Breathtaking” by James Ferrara (USA)
 

Shooting Location: Florida, USA

Equipment and Settings: Sony A7R Mark V, Sony FE 16–35mm f/2.8, Nauticam housing, dual Backscatter Hybrid Flash strobes (underwater), single Backscatter Mini Flash 2 strobe (above water) (f/22, 1/200s, ISO 100)

Photographer’s Comment: “I set out on a sunrise shore dive at one of my local Florida beaches, hoping to photograph a green sea turtle in calm conditions. The wind was still, leaving the surface like glass, which was ideal for the over-under composition I had envisioned. After finding a turtle, I observed it patiently, waiting for the moment it surfaced to breathe. My goal was to capture the turtle’s head above the waterline with its body still submerged, framed against the rising sun. As it surfaced, it turned in exactly the right direction, giving me the opportunity I had been hoping for. I illuminated the turtle with underwater strobes and used an additional strobe above the surface to softly light its face, balancing the light above and below the water. Moments like this are deeply rewarding—when patience, preparation, and a clear creative vision come together to produce an image that makes every failed attempt and lesson learned along the way worthwhile.”

 

Portfolio

 

Portfolio – Gold – “The Invisible” by Marchione Giacomo (Italy)
 

Shooting Location: Anilao, Batangas, Philippines

Equipment and Settings (clockwise from top-left): Nikon D850, Nikon AF-S 60mm f/2.8 Macro, Seacam housing, Seacam Seaflash 160D strobes (f/32, 1/200s, ISO 400; f/22, 1/160s, ISO 400; f/32, 1/200s, ISO 320; f/18, 1/200s, ISO 400; f/32, 1/200s, ISO 320; f/13, 1/160s, ISO 400)

Photographer’s Comment: “At night, the ocean doesn’t sleep. When the sun sets and the sea seems to fall silent, one of nature’s most extraordinary spectacles begins: the vertical migration of plankton. Millions of organisms rise from the depths to the surface, and in this upward migration, it’s possible to photograph ‘the invisible’—that which cannot be photographed during the day.”

 

Portfolio – Silver – “Anilao in Miniature” by Chris Miles (USA)
 

Shooting Location: Anilao, Batangas, Philippines

Equipment and Settings (clockwise from top-left): Sony A7R Mark V, Sony FE 90mm f/2.8 Macro, Nauticam housing, Nauticam EMWL-1 with 160° Objective Lens, dual Backscatter Atom Flash strobes (f/16, 1/250s, ISO 400); Nauticam EMWL-1 with 160° Objective Lens, dual Backscatter Atom Flash strobes (f/14, 1/200s, ISO 200); Nauticam SMC-3, single Backscatter Atom Flash strobe and snoot (f/22, 1/200s, ISO 200); Nauticam MFO-1, single Backscatter Atom Flash strobe and snoot (f/16, 1/200s, ISO 100); Nauticam SMC-3, Backscatter Atom Flash strobes (f/22, 1/200s, ISO 400); Nauticam SMC-3, single Backscatter Atom Flash strobe and snoot (f/14, 1/200s, ISO 100)

Photographer’s Comment: “Two weeks in Anilao allowed me to immerse myself in a macro paradise and really focus on photographing some of the ocean’s tiniest critters. This portfolio represents the color, texture and surprising character of some of the reef’s smallest residents and the environments they live in. Captured with a combination of macro, super-macro and bugeye lenses, the portfolio presents (clockwise from top-left) a bluestriped fangblenny in brain coral, a porcelain crab in its anemone, an Ambon crinoid shrimp on its crinoid, a Coi’s nudibranch roaming around the seabed, a pygmy seahorse on its gorgonian, and a perched hairy shrimp with eggs.”

 

Portfolio – Bronze – “The Great Southern Reef” by Lewis Burnett (Australia)
 

Shooting Locations (clockwise from top-left): Fleurieu Peninsula, SA, Australia; Upper Spencer Gulf, SA, Australia; Port Philip Bay, VIC, Australia; Port Philip Bay, VIC, Australia; Port Philip Bay, VIC, Australia; Port Philip Bay, VIC, Australia

Equipment and Settings (clockwise from top-left): Sony A1, Sony FE 90mm f/2.8 Macro, Nauticam housing, dual Inon Z-330 strobes (f/18, 1/25s, ISO 125); Sony A1, Nikonos RS 13mm f/1.8 Fisheye, Nauticam housing, dual Inon Z-330 strobes (f/14, 1/160s, ISO 400); Sony A1, Sony FE 100mm f/2.8 Macro, Nauticam housing, Nauticam MFO-3, dual Retra Maxi strobes (f/13, 1/15s, ISO 125); Sony A1, Sony FE 100mm f/2.8 Macro, Nauticam housing, Nauticam MFO-3, dual Retra Maxi strobes with Retra LSD snoot (f/3.5, 1/250s, ISO 125); Sony A1, Nikonos RS 13mm f/1.8 Fisheye, Nauticam housing, dual Retra Maxi strobes (f/16, 1/20s, ISO 125); Sony A1, Sony FE 100mm f/2.8 Macro, Nauticam housing, Nauticam MFO-1, dual Retra Maxi strobes (f/13, 1/10s, ISO 125)

Photographer’s Comment: “The Great Southern Reef is home to a dazzling array of endemic species. For those brave enough to embrace the frigid waters of the Southern Ocean, there is a whole world of critters awaiting. Every dive in the kelp-lined waters brings a whole new range of fascinating animals to capture. From masterfully camouflaged leafy seadragons and psychedelic giant cuttlefish to shy seahorses and venomous octopuses, it really is a whole new world down there. For the past few years, I have been focusing my dive trips on different regions of our south coast, attempting to photograph some of the charismatic creatures that call this region home and hoping to bring a bit of much-needed attention to their habitats that are under threat.”

 

Portfolio – Honorable Mention – “Beyond Species” by Sandra Karabacak (Belgium)
 

Shooting Location: Anilao, Batangas, Philippines

Equipment and Settings (clockwise from top-left): Nikon Z8, Nikon Z 105mm f/2.8 Macro, Marelux housing, Nauticam SMC-1, Marelux Apollo III 2.0 strobe with Marelux SOFT Lite 2.0 snoot (f/29, 1/200s, ISO 320; f/20, 1/200s, ISO 160; f/14, 1/100s, ISO 250; f/32, 1/200s, ISO 200; f/29, 1/160s, ISO 250; f/32, 1/250s, ISO 320)

Photographer’s Comment: “At first glance, these are six different marine species. Look longer, and they become six personalities. This series removes every distraction through frontal composition, symmetry and snoot lighting, leaving only the essence of each subject. No habitat. No scale. No context. Only presence. What emerges is not a record of marine biodiversity, but a collection of encounters. Eyes meet eyes. Patterns become fingerprints. Tiny creatures, often overlooked, reveal an unexpected dignity and individuality. The underwater world is not only a place of extraordinary biodiversity—it is a world of extraordinary individuals. All we have to do is meet them.”

 

Portfolio – Honorable Mention – “Into the Silent Giants” by Atsushi Hori (Japan)
 

Shooting Location: Chuuk, Federated States of Micronesia

Equipment and Settings (clockwise from top-left): Canon EOS 5D Mark IV, Canon EF 8–15mm f/4 Fisheye, SEA&SEA housing, Weefine Solar Flare 5000 and Fisheye FIX NEO 3000 video lights (f/7.1, 1/100s, ISO 2000; f/3.2, 1/100s, ISO 1600; f/13, 1s, ISO 800; f/6.3, 1/100s, ISO 2500; f/5, 1/50s, ISO 3200; f/6.3, 1/100s, ISO 2500)

Photographer’s Comment: “Chuuk Lagoon is home to one of the world’s most remarkable collections of historic shipwrecks. Beneath its tropical waters lie numerous Japanese naval and transport vessels sunk during World War II, creating a unique underwater landscape where history remains remarkably preserved. This portfolio focuses on penetrating the interiors of these silent giants. The images take divers deep inside engine rooms and cargo holds, where massive structures and confined spaces reveal the scale and complexity of these wartime vessels. Exploring these spaces requires patience, precision, and unwavering discipline. With limited visibility and complete darkness in many areas, every movement must be carefully considered. Through these images, I hope to convey the immense scale, atmosphere, and sense of exploration found inside these wrecks, while expressing the respect and responsibility that comes with entering these submerged pieces of history.”

 

Smartphone/Action Cam

Smartphone/Action Cam – Gold – “Halimeda Ghostpipe” by Enrico Somogyi (Germany)
 

Shooting Location: Tulamben, Bali, Indonesia

Equipment and Settings: vivo X200 Pro using 85mm (equivalent) lens, Divevolk housing, Nauticam EMWL-1 with 160° Objective Lens, dual Weefine SmartFocus 2600 video lights (f/2.7, 1/160s, ISO 50)

Photographer’s Comment: “A Halimeda ghost pipefish perfectly camouflaged among lush reef algae, photographed using a smartphone with Nauticam’s ‘bugeye’ lens. A diver positioned in the background served as a model, adding depth, scale, and a sense of adventure while keeping the ghost pipefish as the main subject. I approached slowly, maintained precise buoyancy, and carefully framed the composition without disturbing the environment. The final shot captured the peaceful atmosphere and the beauty of marine biodiversity—and demonstrated that even a smartphone can produce impressive underwater images.”

 

Smartphone/Action Cam – Silver – “Blenny at Sunset” by Enrico Somogyi (Germany)
 

Shooting Location: Sipalay, Negros Occidental, Philippines

Equipment and Settings: vivo X200 Pro using 85mm (equivalent) lens, Divevolk housing, Nauticam EMWL-1 with 160° Objective Lens, single MiniGear MS-03 video light (f/2.7, 1/800s, ISO 50)

Photographer’s Comment: “While snorkeling in just a foot and a half of water, I discovered a small blenny living in a hole in a large rock. The warm evening sun was shining behind the scene, creating a beautiful golden backlight that added a magical atmosphere. Approaching slowly with my smartphone, careful not to disturb the little fish, I took several photos. Instead of hiding, the blenny appeared genuinely curious about my camera. It remained at the entrance of its rocky home, watching every movement and occasionally coming forward as if trying to understand what I was doing. Its expressive eyes and inquisitive behavior made the encounter truly special. The combination of the glowing sunset, the shallow water, and the blenny’s charming personality resulted in one of my favorite snorkeling photographs.”

 

Smartphone/Action Cam – Bronze – “Little Man with the Plan” by Sean Elliott (Australia)
 

Shooting Location: Tulamben, Bali, Indonesia

Equipment and Settings: Samsung Galaxy S26 Ultra using 115mm (equivalent) lens, Divevolk housing, i-Das +8 macro wet lens, single Divevolk SL20 light (f/2.9, 1/500s, ISO 125)

Photographer’s Comment: “There are few things in life that make me happier than moments like this: muck diving in warm tropical water and encountering a tiny, brightly colored frogfish sitting inside a sponge and flashing a smile!”

 

Smartphone/Action Cam – Honorable Mention – “Lionfish Overlooking Steve’s Bommie” by Lidia del Pozo Ramos (Australia)
 

Shooting Location: Ribbon Reefs, Great Barrier Reef, QLD, Australia

Equipment and Settings: GoPro HERO5 Black, GoPro housing, Subtig video light (f/2.8, 1/150s, ISO 100)

Photographer’s Comment: “I absolutely love lionfish, so Steve’s Bommie was a bit of a dream for me, because there were so many of them around the reef. I spent quite a while watching and photographing them, waiting for one to move into just the right position. Eventually, I saw this lionfish hovering above the reef with its fins spread out and the blue water and terrain behind it; I knew that was the shot I wanted. I love how the lionfish stands out against the blue and how you can still see the reef below and the small fish around it. It captures exactly what I remember from that dive: beautiful reef, lots of life, and lionfish everywhere.”

 

Smartphone/Action Cam – Honorable Mention – “Napoleon Wrasse Cruising on the Great Barrier Reef” by Lidia del Pozo Ramos (Australia)
 

Shooting Location: Great Barrier Reef, QLD, Australia

Equipment and Settings: GoPro HERO5 Black, GoPro housing, Subtig video light (f/2.8, 1/230s, ISO 100)

Photographer’s Comment: “This Napoleon wrasse was probably one of the cutest encounters I have had underwater. He started following me around the reef and stayed with me for quite a while. Every time I moved, he seemed to come with me, getting closer and looking straight at me as if he was just as curious about me as I was about him. At one point, it honestly felt like he was a little bit in love with me! My husband was diving nearby and we were joking afterwards that he was starting to get jealous of my new admirer! I love this photo because it reminds me of the whole encounter, not just the moment I pressed the shutter. He came so close that I was able to capture his face and expression while still showing the reef and blue water around him.”

 

Tough TG

Tough TG – Gold – “Anemone Tenant” by Qian Kun (China)
 

Shooting Location: Romblon, Philippines

Equipment and Settings: OM System Tough TG-7, Olympus PT-059 housing, Inon UFL-M150 wide macro lens, Backscatter Mini Flash 2 (f/18, 1/100s, ISO 100)

Photographer’s Comment: “Whenever I find an anemone hosting false percula clownfish, I check to see if they are spawning. The family in this anemone did indeed have eggs, but I did not wish to disturb them. When clownfish are protecting their brood, they will drive away intruders. In this defensive state, they will swim forward and stare straight at the camera, a posture perfectly captured with a wide macro lens. As I was setting up this shot, I noticed the dive shop’s boat anchored and drifting overhead, and I waited for nearly an hour to capture the composition I was after: the clownfish glaring at me, with the dive boat settled perfectly in the background.”

 

Tough TG – Silver – “Hidden in Plain Sight” by Joel Ng (Singapore)
 

Shooting Location: Lembeh Strait, North Sulawesi, Indonesia

Equipment and Settings: Olympus Tough TG-6, Olympus PT-059 housing, single Backscatter Mini Flash 2 with Backscatter Optical Snoot (f/14, 1/100s, ISO 400)

Photographer’s Comment: “Finding a hairy shrimp in Lembeh is the ultimate test of patience and eyesight. These tiny creatures are incredibly cryptic, blending seamlessly into their surroundings. On this particular dive, my guide and I spent a significant amount of time searching the seabed until he finally spotted a real treasure: a tiny hairy shrimp carrying eggs. Because of its minuscule size, capturing its true beauty required a very precise approach. I knew standard lighting wouldn’t do it justice, so we worked together to set up a challenging shot. My dive guide carefully assisted me by holding the strobe positioned directly behind the shrimp. This backlighting technique was essential; it beautifully illuminated the delicate textures of its fine hairs and made the clusters of tiny eggs glow. Getting the shot was a slow, meticulous process, but the final image perfectly captures the rewarding result of patience, teamwork, and specialized underwater photography techniques.”

 

Tough TG – Bronze – “Hidden in Plain Sight” by Malte Merten (Germany)
 

Shooting Location: Lembeh Strait, North Sulawesi, Indonesia

Equipment and Settings: Olympus Tough TG-5, Olympus PT-059 housing, single Backscatter Mini Flash 2 with Backscatter Optical Snoot (f/14, 1/100s, ISO 500)

Photographer’s Comment: “Pygmy seahorses are among my favorite subjects because they combine extraordinary camouflage with an almost impossibly delicate appearance. During this dive in Lembeh, the current was stronger than ideal and the visibility was far from perfect. After finding this seahorse in its gorgonian host, I patiently observed and took shots as it moved through the branches, waiting for the moment its entire body was separated from the coral. Eventually, it moved into the perfect position. Slowly, it turned towards me and seemed to look directly into my lens. For such a tiny animal, the moment felt surprisingly intimate. The image is a reminder that some of the ocean’s most remarkable subjects are not the ones we chase, but the ones we patiently try to understand.”

 

Tough TG – Honorable Mention – “Dragon Dad” by Chuan Leng Lim (Australia)
 

Shooting Location: Portsea Pier, VIC, Australia

Equipment and Settings: Olympus Tough TG-4, Olympus PT-056 housing, Backscatter M52 Wide Angle Air Lens, single Backscatter Mini Flash 3 (f/2.8, 1/160s, ISO 100)

Photographer’s Comment: “Weedy seadragons are commonly found in coastal waters of southern Australia. The breeding season for weedy seadragons typically begins in late October to early November and continues through January. During this period, the male carries the eggs on the underside of the tail, attached to a brood patch for about 4 to 6 weeks until they hatch. The eggs are bright pink when freshly laid and gradually darken as they develop. When hatching starts, the male releases a few eggs at a time and the process can take from a few hours to several days. This image was captured in late December. Given the timing, this dragon dad may have been tending to his second brood of the season, as the eggs still appeared fresh and pink.”

 

Tough TG – Honorable Mention – “Highlighter of the Ocean” by Joel Ng (Singapore)
 

Shooting Location: Lembeh Strait, North Sulawesi, Indonesia

Equipment and Settings: Olympus Tough TG-6, Olympus PT-059 housing, single Backscatter Mini Flash 2 with Backscatter Optical Snoot (f/14, 1/100s, ISO 400)

Photographer’s Comment: “Exploring the underwater world of the Lembeh Strait with friends was already an unforgettable trip, but a chance encounter with a rare creature made it truly special. While exploring the seabed, a sudden flash of bright, neon color caught our attention. It was a young flamboyant cuttlefish, moving across the ocean floor with a striking intensity that easily outshone the adults of its species. Fascinated by its vibrant presence, we watched quietly as the small creature navigated its surroundings. It seemed entirely aware of our group, shifting through brilliant patterns before striking a fascinating defensive pose. It raised its front two tentacles high into the water, a dramatic gesture meant to look intimidating to anyone watching. Capturing that exact moment felt incredibly rewarding. The image serves as a perfect reminder of that dive—a beautiful glimpse into the remarkable and theatrical behaviors hidden just beneath the surface of the sea.”

 

Only Water

Only Water – Gold – “The Best of Both Worlds” by Tom Healy (Australia)
 

Shooting Location: South Coast, NSW, Australia

Equipment and Settings: Sony A7 Mark III, Sony FE 24–105mm f/4, Aquatech housing (f/5.6, 1/1250s, ISO 200)

Photographer’s Comment: “This image was taken at my favorite reef, just 15 minutes from where I grew up on the South Coast of New South Wales. The wave is a short heavy slab that breaks directly in front of a series of boulders, and reaching the lineup involves jumping from the edge of a rock ledge into the water. This particular wave was photographed shortly after sunrise, when the low morning sun created a beautiful, warm backlit glow as it filtered through the wave. That time of day is my favorite to shoot this reef, when the light and water come together to create something a little more magical.”

 

Only Water – Silver – “Stab” by Kosta Giannopoulos (Australia)
 

Shooting Location: Knights Beach, SA, Australia

Equipment and Settings: Sony A7R Mark IV, Sony FE 24–70mm f/2.8, Aquatech housing (f/7.1, 1/1250s, ISO 800)

Photographer’s Comment: “The granite in the background is the reason I keep swimming here. The waves hit it and bounce sideways into the next wave. The shape can be anything. You can usually tell after a second or two if it’s going to do something unusual. This one was pointy in a way I’ve never seen before. I’m a morning person. That’s normally good for the wind direction, but it means shooting into the sun. This time, the wave stood up right in front of the sun, hiding it behind the lip and showing only the golden glow without the glare. The offshore was holding the top up and blowing the spray back off it.”

 

Only Water – Bronze – “The Flaming Curl” by Aaron Marshall (Australia)
 

Shooting Location: NSW, Australia

Equipment and Settings: Canon EOS 7D Mark II, Canon EF-S 24mm f/2.8, Aquatech housing (f/3.2, 1/640s, ISO 100)

Photographer’s Comment: “I am drawn to the ocean because I love experiencing the mysterious ways of the water and the challenge of capturing how dramatic natural light combines with unusual shapes of waves. This is one such image where all the different elements came together in a powerful, attractive composition.”

 

Only Water – Honorable Mention – “Colliding Light” by Nick Day (Australia)
 

Shooting Location: Mandurah, WA, Australia

Equipment and Settings: Nikon D810, Sigma 24mm f/1.4, Aquatech housing (f/6.3, 1/2500s, ISO 200)

Photographer’s Comment: “Just myself and the ocean. It is a connection I’ve cherished since the very beginning of my photography journey. Countless early mornings and late afternoons have been spent out in the elements, all in the pursuit of trying to nail that perfect shot. For me, water and light go hand in hand; capturing how they interact has always been the primary focus of my work. There is a unique magic in those split seconds inside the waves. It’s the rhythm of shooting the curling lip, diving under the wave, and scrolling back through the camera’s display before swimming back into position for the next wave. It’s an absolute rush, and I love every second of it. This image sums up that experience perfectly for me. There are no distractions,  just pure energy. It is water and colliding light.”

 

Only Water – Honorable Mention – “Screw” by Kosta Giannopoulos (Australia)
 

Shooting Location: Knights Beach, SA, Australia

Equipment and Settings: Sony A7R Mark IV, Sony FE 24–70mm f/2.8, Aquatech housing (f/8, 1/1250s, ISO 320)

Photographer’s Comment: “I love this wave because it does weird things, and this is one of the strangest things I have seen it do. It is impossible to stay in one spot out there because the water moves so much. On big days, a strong rip runs right through the best place to shoot from. I had finally managed to get out of the rip but overcompensated, and ended up closer to the beach than I prefer. When this one came in, I was too far inside and at an unusual angle. Luckily, this positioning allowed me to catch the sun’s highlights piercing through the wave and creating the shadows that form the layers in the image.”