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Scubaverse Underwater Photographer Interview: Roisin Maddison

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In an ongoing series, Scubaverse’s Underwater Photography Editor Nick Robertson-Brown talks to underwater photographers from around the world that he admires. In this blog: Roisin Maddison


NRB: How did your underwater photography start?

RM: Growing up with a mountaineer for a father I spent the majority of my childhood in the British countryside running around with my dad’s old compact film camera bossing people around telling getting them to pose for photos or to get out of my way of my shot. Back then it would take months to get the photos developed, mostly due to the fact that my dad never took them to the photo shop and would end up stockpiling rolls upon rolls of film but also because he would inevitably forget to go and pick them up when he eventually did.

It was on my 12th birthday that my dad bought me my first digital camera, a small Olympic compact that I’m pretty sure I still have hidden in a box in my old bedroom. It was from there that my photography really kicked off, now that I could see what photos I was taking, and I no longer had to wait months to receive the final product only for it to be blurred or out of focus.

It was however one of my high school art teachers that encouraged me to take my photography seriously and to take it on into my A-levels where I found that I really did have a talent and a passion for photography, favouring it over all of my other “academic” subjects.

It was a given that I was going to go on and study photography at University but nature photography was always my passion, I just couldn’t be bothered with the fashion or street photography elements of my course and I was adamant that I wanted to be based near the sea. However, all the courses I researched or came across were all heavily based on editorial, fashion, urban photography areas that I just wasn’t interested in. Until I came across Falmouth University’s Marine and Natural History Photography course. It was ideal. It was near the sea and it was a course based entirely on nature photography; it even had a diving element, which sounded like a bit of fun. At this stage I had never Scuba dived, I was an avid swimmer, but Scuba diving was never something I had considered doing, it just wasn’t on my radar but what the hell! It’ll be fun, I’ll give it a go.

Little did I know whilst on my first open water dive in the Delph Quarry or on my first university dive at Pendennis Silver Steps that Scuba diving and underwater photography was about to consume my entire life.

NRB: What is your favourite u/w camera equipment (past & present) & why?

RM: My first underwater photography dive was done with a compact Panasonic set up with a single strobe. Once we had proved ourselves trustworthy, we graduated on to a Nikon D7000 and Nauticam housing with either a 60mm macro or the Tokina 10-17 fisheye lens. When I graduated university and no longer had access to the uni’s cameras I treated myself to Nauticam housing for my D7200 and a 60mm macro. For about 2 years this 60mm macro was the only dome port I owned; underwater photography equipment isn’t cheap, especially for a recent photography graduate. Whilst I have since expanded my equipment collection and tried out other cameras and set ups, my D7200 and my trusty 60mm macro will always be my go-to set up. The 60mm is just such a versatile lens. It is a macro lens but it’s perfect for those slightly larger profile creatures, that aren’t quite big enough to warrant a wide angle, whilst also being perfect for any teeny tiny macro critters. Admittedly it doesn’t get as close or as much detail as the 105mm macro but if a turtle swims past whilst you have the 105mm on you have no chance. With the 60mm it may not be the perfect shot but you are at least in with a chance. Plus, there’s always room for a bit of cropping where those teeny tiny critters are concerned.

NRB: What would be your advice to anyone new to underwater photography?

RM: I would recommend getting to grips with manual setting and light set ups straight from the off, set yourself up in a nice shallow reef with a VERY patient buddy (even better a buddy who is already an underwater photographer that can advise you) and start off by practicing different settings and lighting techniques on a simple and static subject; anemones are always a good shout.

Underwater photography workshops are always a massive boost when starting out as well as underwater photography books. Alex Mustards book Underwater Photography masterclass is my absolute go-to when trying out a new technique. But remember even if you are an amazing photographer top side and an experienced diver, it is going to take a lot of time and effort to get to grips with underwater photography and undoubtedly your first few images are not going to be perfect. But stick with it because when you get your first perfect shot, all that time and effort will be worth it.

NRB: What, or who, has been your single biggest inspiration for your underwater photography?

RM: My biggest inspiration for underwater photography has got to be Jane Morgan, not only is she an amazing underwater photographer who has had many amazing articles and images published over the years, but she is also a genuinely kind and caring person who wants to help and inspire the next generation of underwater photographers. Many other Marine and Natural History students and I have had the pleasure of having her as our tutor and all-round photography guru. Over the years she has had to put up with my badgering her for tips and tricks, but she has always been there to lend a piece of equipment or teach me a new technique. She helped me get my first magazine article published and all round cheered me on to pursue a career in underwater photography.

NRB: What image are you most proud of and why?

RM: This is a hard question to answer, I am proud of so many of my images and I don’t think I would be able to choose just one. Quite often my favourite images from a dive or a trip aren’t necessarily the best photographs or the most technical, they are the ones that have the best memories and the most meaning to me.

To name just one is hard but I think I would have to pick a photograph I took in Egypt two years ago. I dropped down on a night dive and the first thing I came across was a brittle star. It was stood up on its arms holding its body in the air, which was strange behaviour that I had never come across before, so I stopped to photograph it and as I did it started spawning right in front of my camera lens. I was amazed and privileged to get to witness such an amazing bit of nature.

NRB: Where is your favourite dive location, and is it for the photography?

RM: My favourite dive location is a little 5m shore dive off the coast of Falmouth. Pendennis Sliver Steps is the easiest most simple dive site you will ever visit but it is also the most stunning. It is the perfect dive site to jump into on your way home from work and get a bit of photography practice in, whether its testing out new equipment or techniques or just keeping your hand in during a busy period, or when the weather has prevented you from getting out anywhere else. Most importantly of all it is bursting with life, there are new species to find on nearly every dive but being such an easy dive site to jump into means I can spend so much time there and get to know to resident species, figuring out where they live, tracking their behaviours and markings throughout the year and each time getting to take better and more technical photographs.

NRB: What are you views on marine life manipulation, moving subjects?

RM: Personally, I am not one for marine life manipulation whether it be in water whilst taking the picture or in post edit. I like my photos to reflect what I saw on the dive as it was when I took the photo. I will however admit to occasionally doing a bit of ‘gardening’ and removing a stray bit of seaweed or two out of the way of the frame, but that is as far as I will go.

NRB: What do you look for when you are making your images?

RM: It very much depends on what dive I’m on and what I am taking the photograph for. If I am out on a pleasure dive, I will be looking for images with a difference. Every photographer wants to take that one image that nobody has ever taken before, but I will also be taking photographs for myself to document my dive and the species I found sometimes for my own memories and sometimes for species research and/or magazine articles. I think it’s very important for photographers not to get to bent up in taking the perfect image on every dive. Whilst underwater photography may be my chosen profession it is also my hobby and it is very important to me that I don’t turn my hobby, my escape, my passion, into an obsession or ruin it by making it feel too much like work.

NRB: What motivates you to take u/w photos?

RM: I take underwater photographs to create an awareness for non-divers as to the beauty and importance of our marine world. More specifically for me is a desire to exhibit how stunning and extensive our own British marine life is. In the last few years the threat to our Coral Reefs and tropical oceans has finally been taking seriously and divers and non-divers have finally realised the importance of our oceans and how imperative it is to save them. I want my photography to highlight that it isn’t just the tropical coral reefs that need savin. British marine habitats are just as important and just as exquisite.

NRB: If you could photograph any one thing/place what or where would that be?

RM: I spent 5 years living and diving in Cornish waters without ever coming across a blue shark or a basking shark. One of my aims for this next year is to get onto one of the blue shark/basking shark trips and to photograph these gentle giants in British waters.

To see more of Roisin’s work click here.

Nick and Caroline (Frogfish Photography) are a married couple of conservation driven underwater photo-journalists and authors. Both have honours degrees from Manchester University, in Environmental Biology and Biology respectively, with Nick being a Fellow of the Royal Photographic Society, a former high school science teacher with a DipEd in Teaching Studies. Caroline has an MSc in Animal Behaviour specializing in Caribbean Ecology. They are multiple award-winning photographers and along with 4 published books, feature regularly in the diving, wildlife and international press They are the Underwater Photography and Deputy Editors at Scubaverse and Dive Travel Adventures. Winners of the Caribbean Tourism Organization Photo-journalist of the Year for a feature on Shark Diving in The Bahamas, and they have been placed in every year they have entered. Nick and Caroline regularly use their free time to visit schools, both in the UK and on their travels, to discuss the important issues of marine conservation, sharks and plastic pollution. They are ambassadors for Sharks4Kids and founders of SeaStraw. They are Dive Ambassadors for The Islands of The Bahamas and are supported by Mares, Paralenz, Nauticam and Olympus. To find out more visit www.frogfishphotography.com

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Diver Discovering Whale Skeletons Beneath Ice Judged World’s Best Underwater Photograph

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UPY

An emotive photograph showing a freediver examining the aftermath of whaling sees
Alex Dawson from Sweden named Underwater Photographer of the Year 2024. Dawson’s
photograph ‘Whale Bones’ triumphed over 6500 underwater pictures entered by underwater
photographers from around the world.

“Whale Bones was photographed in the toughest conditions,” explains chair of judging
panel Alex Mustard, “as a breath-hold diver descends below the Greenland ice sheet to bear
witness to the carcasses. The composition invites us to consider our impact on the great
creatures of this planet. Since the rise of humans, wild animals have declined by 85%. Today,
just 4% of mammals are wildlife, the remaining 96% are humans and our livestock. Our way
needs to change to find a balance with nature.”

UPY

Photo: Rafael
Fernandez Caballero

Whales dominated the winning pictures this year with Spanish photographer Rafael
Fernandez Caballero winning two categories with his revealing photos of these ocean giants:
a close up of a grey whale’s eye and an action shot of a Bryde’s whale engulfing an entire bait
ball, both taken in Magdalena Bay, Baja California, Mexico. Fernandez Caballero took ‘Grey
Whale Connection’ while drifting in a small boat, holding his camera over the side in the water
to photograph the curious whale. ‘The End Of A Baitball’ required Fernandez Caballero to dive
down and be in exactly the right place at the moment the whale lunged. “The photo shows
the high speed attack,” he said, “with the whale engulfing hundreds of kilograms of sardines
in one bite — simply unforgettable to see predation on such a scale.”

UPY

Photo: Rafael
Fernandez Caballero

Lisa Stengel from the United States was named Up & Coming Underwater Photographer of the Year 2024 for her image of a mahi-mahi catching a sardine, in Mexico. Stengel used both a very fast shutter speed and her hearing to catch the moment. “If you listen there’s an enormous amount of sound in the ocean,” she explained. “The action was too fast to see, so I honed in on the sound of the attacks with my camera to capture this special moment.”

“It is such an exciting time in underwater photography because photographers are capturing such amazing new images, by visiting new locations and using the latest cameras,”
commented judge Alex Mustard. “Until this year I’d hardly ever see a photo of a mahi mahi,
now Lisa has photographed one hunting, action that plays out in the blink of an eye.”
The Underwater Photographer of the Year contest is based in the UK, and Jenny Stock,
was named as British Underwater Photographer of the Year 2024 for her image “Star
Attraction”, which finds beauty in species of British wildlife that are often overlooked.
Exploring the west coast of Scotland, Stock explained “in the dark green depths my torch
picked out the vivid colours of a living carpet of thousands of brittle stars, each with a
different pattern. I was happily snapping away, when I spotted this purple sea urchin and I
got really excited.”

Photo: Jenny Stock

In the same contest, Portuguese photographer, Nuno Sá, was named ‘Save Our Seas
Foundation’ Marine Conservation Photographer of the Year 2024, with his photo ‘Saving
Goliath’, taken in Portugal. Sá’s photo shows beachgoers trying to save a stranded sperm
whale. The picture gives us hope that people do care and want to help the oceans, but also
warns us that bigger changes are needed. “The whale had been struck by a ship and its fate
was sealed,” explains Sá. “An estimated 20,000 whales are killed every year, and many more
injured, after being struck by ships-and few people even realise that it happens.”

UPY

Photo: Nuno Sá

More winning images can be found at www.underwaterphotographeroftheyear.com.

About Underwater Photographer of the Year

Underwater Photographer of the Year is an annual competition, based in the UK, that celebrates photography beneath the surface of the ocean, lakes, rivers and even swimming pools, and attracts entries from all around the world. The contest has 13 categories, testing photographers with themes such as Macro, Wide Angle, Behaviour and Wreck photography, as well as four categories for photos taken specifically in British waters. The winners were announced in an award ceremony in Mayfair, London, hosted by The Crown Estate. This year’s UPY judges were experienced underwater photographers Peter Rowlands, Tobias Friedrich and Dr Alexander Mustard MBE.

Header image: Underwater Photographer of the Year 2024 winner Alex Dawson

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World’s Best Underwater Photographers Unveil Breathtaking Images at World Shootout 2023

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The winners of the prestigious World Shootout 2023 underwater photography competition were announced at this year’s BOOT Show, captivating audiences at the world’s largest diving and water sports exhibition in Dusseldorf, Germany. Hundreds of photographers from 54 countries competed across nine categories, pushing the boundaries of creativity and technical skill.

Grand Prize Winners

  • Picture of the Year: Spanish photographer Eduardo Acevedo “secured” the top Honor with the prestigious prize the “boot Dusseldorf Director’s Prize, earning an Andromeda statuette and a €2,000 cash prize.
  • Best 5 Images Portfolio: Luc Rooman from Belgium triumphed in this category, winning a dream 4-week diving trip for two to Papua New Guinea, valued at $18,900.
  • Amateur Photographer: Alexandra Ceurvorst from the USA impressed the judges with her talent, taking home the 1,000 cash prize award.

Celebrating Diversity and Innovation

This year’s competition saw 11,680 entries from 964 photographers, showcasing a remarkable spectrum of skills and perspectives. From the intricate wonders of Macro photography to the beauty of “Black Water”, the “Underwater Fashion” category added a touch of artistry and innovation, while the ever-important ” Environmental & Conservation” category served as a powerful reminder of the need to protect these fragile ecosystems.

Looking Ahead: AI and Ocean Conservation

World Shootout founder and producer David Pilosof unveiled an exciting addition for the 2024 competition: this year the Environmental category will be focusing on the impact of plastic on our oceans and future.

This category will embrace the potential of AI or other editing software as a tool to amplify the conservation message.

Entrants will submit campaigns of three original underwater photographs dealing with plastic pollution, along with their final AI assistance processing. This innovative approach encourages artistic expression while raising awareness about a critical environmental issue.

Explore the Stunning Collection

Discover the complete album of competition entries by clicking here.

For Low-resolution photos of finalist entries in eight categories, click here.

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