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Scubaverse Underwater Photographer Interview: Steve Jones

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In an ongoing series, Scubaverse.com’s Underwater Photography Editors Nick and Caroline Robertson-Brown talk to underwater photographers from around the world that they admire.

This interview is with Steve Jones.

My professional diving career began in the early 1990’s when, immediately after university, I decided to take one year out to travel and work as a diving instructor. Seven years later, having lived and dived in Egypt, Malta, the Maldives and the Caribbean, I returned to live in the UK, somewhat reluctantly. By that time my imagery and articles were starting to appear in diving magazines, and since have gone on to be published in over 30 countries. Through photojournalism I’m very lucky to have been given the opportunity to visit places that I once only dreamed of and I’ve had to develop into an all-rounder as a photographer, equally happy writing about maritime history and photographing wrecks as I am when shooting equatorial seascapes awash with colour, or critters crawling through volcanic mud. This has led to quite a diverse portfolio and combined with my more specialist deep wreck photography led to me becoming a Blancpain Edition Fifty Fathoms photographer in 2015, one of four photographers invited annually to contribute to the fine art books produced by this high-end watchmaker. My website is at www.millionfish.com.


N/C: How did your underwater photography start?

SJ: I’ve had a fascination with both the natural world and photography since I was a child. I then learned to dive at the age of 14 but I couldn’t afford an underwater camera until I was working in the Red Sea as a diving Instructor back in 1992. I bought a second hand Nikonos III, and soon found myself assisting visiting professional photographers from whom I learned an enormous amount. It was in 1996 whilst working as an instructor/guide in the Maldives that I got my first break when German magazine Unterwasser published my images. I still regularly contribute to this excellent publication, over 20 years later

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

SJ: I’ve used SEACAM housings since 1995 and they have never let me down. My favourite piece of kit is a SEACAM converted Nikon RS-UW 13mm fisheye lens. This was one of the original lenses designed for use on the Nikonos RS SLR, and is optimised for underwater use.  SEACAM have adapted it for use on modern housed cameras. Its compactness and superb optical quality is particularly useful when technical diving on deep wrecks, where I often shoot at wide apertures due to low light conditions.

N/C: What would be your advice to anyone new to underwater photography?

SJ: 

  • Master your diving skills: have buoyancy control that is second to none.
  • Build your technical knowledge, particularly your understanding of lighting and the influence of Aperture, Shutter Speed and ISO settings on underwater images, when used with/without strobes. Learn how to balance natural and strobe light as this is very important. Learn about editing and post processing with tools such as Lightroom.
  • Study: Read books cover to cover, such as Martin Edge’s “The Underwater Photographer” and keep the kindle versions on hand to refer to whilst you’re on a trip.
  • Observe: Immerse yourself in the photography of others and try and understand how the shot was taken and why it works (or not!)
  • Practice constantly even on mundane subjects and also above water at every opportunity.
  • Be creative and be different. Once you have mastered the basics, allow your own creative style to develop and flourish through your imagery to make it unique. Study composition techniques – there are many articles and books available written by topside and underwater photographers.
  • Respect the environment and the oceans’ inhabitants, no matter how small they may be. Photography is a means to communicate the beauty and value of our marine world to those not fortunate enough to see it and as ambassadors for the ocean, our own code of conduct needs to be exemplary.

A Coconut Octopus (Amphioctopus marginatus), a species that gathers coconut and mollusc shells for shelter, Lembeh Strait, Sulawesi, Indonesia

N/C: What, or who, has been your single biggest inspiration for your underwater photography?

SJ: My biggest inspiration is my fascination with the marine world and the exploration of it. I try and create images that take the viewers imagination to the place where I took the image, to generate some of the excitement that I felt when I was there. As for photographers who’ve inspired me, David Doubilet had been my inspiration from the start, and I also admire the work of many other photographers: The ones pushing creative boundaries to capture familiar subjects in new ways and the ones pushing physical boundaries, operating in environments where previously un-photographed subjects are found. There are too many to mention here.

The armoured barbette that housed one of the 5 main gun turrets of HMS Audacious, the first
British battleship to be sunk in WW1

N/C: What image are you most proud of and why?

SJ: It’s actually an image set rather than one image, and that would be of the deep wrecks lying off Malin Head in Ireland. I’d been practicing my techniques for shooting with natural light in deep water for several years, as I like to show the wrecks in their true scale. These wrecks mainly lie between 60 and 70 metres and we only had one dive on each of the most iconic ones. With great team work from my regular dive partner Steve Henshall, we got a set that I was immensely proud of, and it directly led to me being selected as one of the Blancpain Edition Fifty Fathoms photographers.

N/C: Where is your favourite dive location, and is it for the photography?

SJ: I’ve just returned from Cocos and it blew my mind. The diving is simply the best I’ve ever done and I want to go back. For sheer diversity, I love Indonesia and Papua New Guinea. My bucket list is still quite long though…..

Leopard seal, mouthing its own reflection in the camera port (Hydrurga leptonyx), Astrolabe Island, Antarctica

N/C: What are you views on marine life manipulation, moving subjects?

SJ: Moving and harassing animals sets a disturbing precedent and I firmly believe it goes against the code of conduct that nature photographers should abide by: The animal’s welfare must always come first.  However, we need to also keep things in perspective and hold an awareness of all things that impact the marine environment: unsustainable fishing and plastic waste being two of the major ones. At the end of the day it’s all about the ethics you abide by as a marine photographer.

N/C: What do you look for when you are making your images?

SJ: Most of my imagery is captured when on direct assignments for magazines. So first I have to get the “safety” shots in the bag – this is the basic set of publishable quality images that will allow a story to be illustrated and I don’t relax until I have a reasonably good set. Once that objective is met, I let my creativity off the leash and take higher risk shots using less conventional, often experimental techniques and equipment. Overall, I try and capture images that support the subject matter of my story as it makes my writing task much easier if my images are already speaking the words.

A diver has a very close encounter with a giant oceanic manta ray (Manta birostris), Dampier Strait, Raja Ampat, West Papua, Indonesia

N/C: What motivates you to take u/w photos?

SJ: It’s a creative outlet, a representation of my fascination with wildlife and exploration of the marine world. With wrecks, it is also capturing history: A unique moment in time. At some point in the future, our images will be all that remains of many of the wrecks we now dive. I sincerely hope that the same will not apply to the wonderful marine life we encounter, but it will unless we change our short-term exploitation of this planets limited resources and start thinking more in terms of leaving a home that’s fit for our children to inhabit.

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

SJ: That would be the Great Whales, a lifelong dream as yet unfulfilled! (They are on my bucket list!)

The wreck of the Um El Faroud, Malta.

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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