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  • Shark Photographer of the Year Announces 2025 Winners

    Shark Photographer of the Year Announces 2025 Winners

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    Young Shark Photographer of the Year 2025 – Panitbhand Paribatra Na Ayudhya

     

    Today, July 14th, is Shark Awarenews Day, and what better way to celebrate the planet’s charismatic elasmobranchs than revealing the winners of the 2025 Shark Photographer of the Year photo competition? UK-based charity Shark Trust bestowed the honor upon Julian Hebestreit for a lovely shot of a leopard shark cruising the waters of Byron Bay in New South Wales, Australia. Meanwhile, 14-year-old Panitbhand Paribatra Na Ayudhya was named Young Shark Photographer of the Year for a beautifully executed image of a whale shark feeding at the surface in the Maldives.

    Other winners included “British Isles” winner Hector Clarke and “Overseas” winner Martin Broen. In addition, a number of categories were aligned with various conservation programs and projects that the Shark Trust is currently undertaking. These included “Mediterranean Programme” winner Linda Mazza, “Living with Sharks” winner Gillian Marsh, and “Oceanics Programme” winner Byron Conroy. The final category, the “Great Eggcase Hunt”—which is also the name of the Shark Trust’s flagship citizen-science project—was won by Grant Evans.

    If you love photographing sharks, don’t forget that this year’s Underwater Awards Australasia competition includes a “Sharks” category. Get your entries in now, as the deadline (July 20th) is fast approaching! Happy Shark Awarenews Day!

     

    Shark Photographer of the Year 2025 – Julian Hebenstreit

     

    Overseas Winner – Martin Broen

     

    British Isles Winner – Hector Clarke

     

    Mediterranean Programme Winner – Linda Mazza

     

    Living with Sharks Winner – Gillian Marsh

     

    Oceanics Programme Winner – Byron Conroy

    Great Eggcase Hunt – Grant Evans



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  • Ethical AI? New Video Generation Tool Is Trained on Licensed Data

    Ethical AI? New Video Generation Tool Is Trained on Licensed Data

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    By Ian Bongso-Seldrup, July 9, 2025 @ 10:30 PM (EST)
    Source: Time

    An underwater video generated by the AI model Marey

     

    As photographers and filmmakers, many of us are observing the rapid emergence of generative AI tools with a mixture of skepticism and trepidation. We’re doubtful that AI can replace us—especially as we’re working in the underwater realm—but we’re alarmed at the idea that our content is being “scraped” and at some point, AI software will indeed be able to generate the images and video we work so hard to capture. Which makes the arrival of Moonvalley’s AI model Marey both encouraging and scary—not least because the company shows off impressive underwater images and video generated by the model.

    While AI company Midjourney is being sued by Disney and Universal for copyright infringement, Moonvalley—which was founded by DeepMind researchers and has close associations with the film industry—is developing Marey by training it on licensed data and with the consent of filmmakers. This should mean filmmakers and studios can avoid the ethical quagmire and copyright lawsuits that have become all too common in the nascent AI industry. Naeem Talukdar, Moonvalley’s CEO and co-founder, tells TIME: “We have to make sure that we’re building these tools the right way: building with the filmmaker and the artist at the center of it, rather than trying to automate their job away.”

     

    An underwater image generated by the AI model Marey

     

    Aimed at pro filmmakers, Marey offers functionality that many other AI-powered video generation tools lack. Most AI video models are black-box systems: They generate a scene from your text prompt, and if you try to modify one aspect, others may change, making it difficult or impossible to achieve the result you want. Marey aims to offer filmmakers precise control over every detail. You can input storyboards or frames and then tweak the results to taste. You can create cinematic camera moves using just a single image by turning a 2D scene into a 3D environment. You can draw a trajectory for an element and watch your direction come to life. You can even pull motion from a reference video and apply it to new subjects or scenes.

    “It’s this iterative process where you start with some input guidance and then you build up towards the scene that you want, which really isn’t very different from how VFX workflows are today,” Talukdar tells TIME. “If you’re an independent studio that doesn’t necessarily have massive infrastructure, you can now, even in a small space, create and curate these scenes in a very granular way.”

    Moonvalley claims that Marey is trained entirely on footage licensed from intellectual property owners. According to Talukdar, around 80% of that footage is B-roll created by independent filmmakers and agencies, and this means the model is trained on about one-fifth of the data used by competitors like Google’s Veo 3. Talukdar says Marey would definitely be more powerful if they scraped data, but he claims they are overcoming this with better technology. “Our inclination is that you don’t necessarily have to be the number one model—you just need to be among the best,” he says.

    Marey is now available to filmmakers for subscription tiers of $15, $35, and $150 a month.



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  • Synology Announces DiskStation DS1825+ and DS725+ NAS Systems

    Synology Announces DiskStation DS1825+ and DS725+ NAS Systems

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    Synology has unveiled two additions to its DiskStation lineup—the DS725+ and DS1825+—which offer two and eight drive bays, respectively. The new 25 Plus series models offer 2.5GbE networking, support SATA SSDs and HDDs (both 2.5″ and 3.5″), and feature M.2 NVMe slots for use as cache.

    Like the DS925+ and DS1525+, the new models can be upgraded with the company’s DX525 expansion unit. You can add a single expansion unit to the DS725+ or two expansion units to the DS1825+. Calculated using 20TB drives, you get up to 40TB of storage with the DS725+ or 140TB with added expansion; and up to 160TB with the DS1825+ or an impressive 360TB with the added expansion. That’s a serious number of photos and videos!

    One caveat to consider when investing in these new 25 Plus series models is that Synology says complete functionality will only be available with Synology-branded drives—a proviso that the company says ensures the most reliable performance. This isn’t a huge deal if you’re using HDD drives, since Synology’s drives are competitively priced, but if you want to go the solid-state route, Synology SDDs are rather expensive compared to those of its competitors. (Non-certified drives can technically be used in the new NAS systems, but users that choose to do so will lose certain software- and firmware-related functionality.)

    The Synology DS725+ and DS1825+ will retail for $520 and $1,150, respectively—yes, that’s without any storage drives!

     

    Synology’s DiskStation 25-series includes the DS425+, DS725+, DS925+, DS1825+, and DS1525+



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  • Nauticam Announces Housing for the Canon EOS C400 Cinema Camera

    Nauticam Announces Housing for the Canon EOS C400 Cinema Camera

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    Nauticam has unveiled its housing for the Canon EOS C400. Sporting a cube-style design like that of the EOS C300 Mark III, the C400 features a full-frame 6K CMOS back-illuminated stacked image sensor with up to 16 stops of dynamic range. It can record 6K/60p full-frame footage in 12-bit Cinema RAW Light, as well as shoot 4K/120p and 2K/180p RAW video.

    Employing the company’s N120 port system, Nauticam’s NA-C400 housing features important controls within easy reach of the integrated ergonomic handles, including lens control dials, and exposure and capture controls. Making use of the camera’s remote functionality, the housing also features electronic controls at the rear and on the sides. The housing supports HDMI 2.0 and 1.4 for external monitors or recorders, while SDI output is also available for either surface monitoring or supported monitors. 

    Retailers such as Backscatter are now taking pre-orders for the NA-C400, which is priced at $11,000.

     


    When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.


    PRODUCT INFORMATION

    INTRODUCING NAUTICAM NA-C400

    The Canon EOS C400 Cinema Camera

    Canon’s EOS C-series Cinema Cameras have long been among the most versatile cinema cameras for underwater filmmakers and the C400 is no exception. Built around a 6K BSI full-frame sensor and the large RF-mount, the C-400 also features mechanical ND filters and Canon’s powerful Dual Pixel AF II.

    Key Camera Specifications:

    Canon EOS-C400

    • 6K Full Frame Back-Illuminated Sensor

    • 6K60, DCI 4K/2K, UHD 4K120

    • Full Frame, Super35 & Super16 Modes

    • Triple-Base ISO: 800, 3200, 12,800

    • Record Internal Cinema RAW Light, XF-AVC

    • Improved Dual-Pixel CMOS AF II


    The Nauticam NA-C400 Underwater Housing

    The Nauticam NA-C400 is a professional underwater aluminum housing that builds on Nauticam’s extensive cinema housing lineup. The NA-C400 features the large N120 port opening shared with other Canon RF and EF-mount cameras such as the R5II and R5C. This allows for the use of identical lens and port combinations when using a combination of RF-mount Canon cameras on a project with Nauticam housings.

    Mission Control

    Nauticam engineers obsess over placing essential controls where they are needed most so you never miss a shot looking for a button, dial or lever. Nauticam’s cinema lineup features large cinema-style lens control dials for precise control of focus and zoom. Exposure and capture controls are placed within easy reach of the ergonomic handles.

    In addition to mechanical controls for Power, Zoom, Focus and Lens Release, the NA-C400 features electronic controls at the rear, and both sides of the housing through the camera’s remote functionality. The left handle adjacent controls are for ‘Up’, ‘Down’, ‘ISO+’, and ‘ISO-‘. Right handle adjacent controls are for ‘Rec’, ‘Fn3’, ‘Fn4’, ‘IRIS+’ and ‘IRIS-‘. The main control board accesses ‘Left’, ‘Right’, ‘Up’, ‘Down’, ‘Set’, ‘1’, ‘2’, ‘Set’, ‘MENU/REC Review’.

     

    LCD Monitor Support

    The C400 features a detachable LCD screen that can be easily integrated into the NA-C400. The LCD monitor is supported inside the housing and is mounted at the rear of the camera with a supplied bracket that allows it to be easily viewed underwater through the shaded rear window making for a streamlined filming solution.


    HMDI/SDI

    The NA-C400 supports Nauticam’s optional HDMI 2.0 and 1.4 system that can accommodate external monitors or recorders in Nauticam housings. SDI output is also available for either surface monitoring or supported monitors. The NA-C400 has 1 M28 and 5 M16 bulkheads to accommodate a variety of configurations to suit mounted or remote setups.


    Battery

    The NA-C400 can accommodate either the BP-A30N or BP-A60N batteries or a combination of the BP-A30N and an FXLION NANO THREE 150Wh Micro V-Mount battery for extended runtimes.

    RESOURCES

    What’s In The Box:

    • NA-C400 Housing with vacuum valve pre-installed

    • Housing Cap

    • 2x Handles with mounting balls and 2x handle brackets

    • Panasonic CR-2450 Battery (pre-installed for moisture alarm)

    • Spare main O-ring, O-ring remover and lubricant  

    • Set of Allen Keys

    • Housing skids

    • Monitor Shade

    • Safety box

    Recommended Accessories:

    Housing Mount

    • 25221 M10 strobe mounting ball for housing

    • 25224 M10 strobe mounting ball for housing (with hole for using with lanyard)

    • 25228 M5 strobe mounting ball for housing

    • 16226 Mounting Bracket for Monitor Housing to use with Cinema Housings

    • 16701 Top Handle for E2/F/C70/BGH1/BMPCC

    • 17961 Swivel and Tilt Adjustable Monitor Mount System (To be release)

    Trim Weights

    • 16232 0.25kg Trim Weights for 16227 (4pcs)

    • 16233 0.5kg Trim Weights for 16227 (4pcs)

    Vacuum Valve

    • 25625 M16 Vacuum Valve II (Pushbutton Release)

    Handles

    • 28123 Pair of handles – size S (10mm closer to housing)

    DMI OUTPUT:

    Required accessories for HDMI 2.0 Cable System

    • 25089 M28 HDMI 2.0 Adapter

    • 25078 M28A1R225-M28A1R170 HDMI 2.0 Cable (for NA-BMPCCII/S1R/S1H to use with 17922/17909N)

    Compatible Monitor Options

    • 17922 Nauticam Atomos Ninja V Housing for Atomos Ninja V 5” 4Kp60 4:2:2 10-bit 

      Reorder/Monitor/Player (excl. HDMI 2.0 cable)

    • 17926 Nauticam NA-Ultra5 Housing for SmallHD Ultra 5 Camera Monitor

    Required accessories for HDMI 1.4 Cable System

    • 25033 Standard HDMI bulkhead with M16 thread (Mounted on the right side M16 of middle housing)

    • 25100 HDMI (D-A) 1.4 Cable in 200mm length for NA-a1 (for connection from HDMI bulkhead to camera)

    *25033 and 25100 is included in 17927 monitor housing

    Compatible Monitor Options

    • 17927 NA-Shinobi II Housing for Atomos Shinobi II 5.2″ Monitor with HDMI 1.4 input

    SDI OUTPUT:

    Required accessories for SDI Cable System

    • 17926S SDI Cable Set for use with NA-Ultra5/17922S  

    Compatible Monitor Options

    • 17922S Nauticam Atomos Ninja V-S Housing for Atomos Ninja V 5” 4Kp60 4:2:2 10-bit 

      Reorder/Monitor/Player (excl. HDMI 2.0 cable) with Atomos AtomX SDI Module

    • 17926 Nauticam NA-Ultra5 Housing for SmallHD Ultra 5 Camera Monitor

    Required accessories Surface Monitor

    • 25058 M16 SDI Bulkhead

      *Only support to be installed on the back door

    • 25060 SDI cable in 0.4m length (for connection from camera to underside of SDI Bulkhead)

    • 25064 SDI surface monitor cable in 15m length 

      (for connection from SDI Bulkhead to Surface Monitor on land)

    • 25065 SDI surface monitor cable in 45m length 

      (for connection from SDI Bulkhead to Surface Monitor on land)



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  • Issue 145 of Underwater Photography Magazine Available

    Issue 145 of Underwater Photography Magazine Available

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    The latest edition of Underwater Photography magazine—Issue 145—is now available as a free download.

    The issue kicks off with a useful roundup of the latest industry news and the imaging products. New equipment highlights include the Nauticam housing for the Canon PowerShot V1, the dive case for the Insta 360 X5, new housings for the Canon EOS R5 II from Aquatica and from Marelux), and new strobes like the Marelux Apollo Y, Ikelite Ecko, and Isotta RED64. There’s also a lovely showcase of the winners of the recent UN World Oceans Day Photo Competition, hosted by DPG.

    That fabulous black-and-white cover shot, of course, belongs to the talented Mr Henley Spiers, and one of the issue’s must-read features is Publisher/Editor Peter Rowlands’ interview with Henley. Savor the inspiring collection of pictures therein! Among the other articles is Phil Rudin’s reviews of the Weefine 3000 CCW ring light and the Sony FE 16–25 mm f/2.8 G lens, a very handy read about floats and float arms by Kevin Palmer, and a couple of macro-focused travel stories—Nigel Marsh on Port Vila, Vanuatu, and David Fleetham and Jennifer Ross on Tulamben, Bali.

    Getting your free copy of the latest issue of Underwater Photography magazine is a breeze: Simply sign up with your email to get access. If you’ve already signed up (and you’re logged in), you can download your copy directly here.  



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  • Making a Career in Underwater Photography, with Mekan

    Making a Career in Underwater Photography, with Mekan

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    A couple of years ago, a trio of incredible—and incredibly heart-wrenching—photos took first place in the environmental category, “No Time to Waste,” of the UN World Oceans Day Photo Competition, hosted by DPG. Those images of an entangled humpback remain, in my view, among the most arresting underwater photos demonstrating the terrible cost of humanity’s impact on the oceans. I hoped that one day I’d be able to meet the photographer, Álvaro Herrero, aka Mekan, and congratulate him on those striking pictures—and on contributing so powerfully to the conversation about marine protection.

    As it turned out, when I finally had the pleasure of meeting Mekan at ADEX earlier this year, I was congratulating him on another amazing achievement: being crowned Underwater Photographer of the Year 2025—this time with a heart-warming shot of a healthy humpback mom and her calf. Mekan isn’t just a lovely guy, modest about his accomplishments; he’s also incredibly passionate and ready to share with anyone who shares his passion. No wonder, then, that this talented Spaniard is the perfect person to be joining Nicolas Remy in the next Underwater Club Masterclass event to talk about “Making a Career in Underwater Photography.”

    This promises to be another unmissable two-hour webinar. As well as chatting about some of his most spectacular underwater images, Mekan will be sharing how he has managed to turn his passion into a full-time job. In particular, he’ll be discussing the income streams that make that possible, including leading trips, teaching photo courses, selling prints, and doing photo shoots for clients. Appropriately, Mekan will also cover how to make the most of wins in photo competitions and using social media to support your work. As usual, during the live Q&A portion, participants will get the chance to ask questions. It’s sure to be an extremely inspiring session.

    As always, TUC members join for free, while non-members will need to purchase tickets to the event at AU$49 (approx. US$35). Note that this is also the price of monthly membership, so this is the perfect opportunity to join the club and take advantage of all of the membership benefits.

    Here are the event times:

    • July 20th, 4pm Los Angeles time (PDT)

    • July 20th, 6pm Dallas time (CDT)

    • July 20th, 7pm Miami time (EDT)

    • July 20th, 12am (midnight) London time (GMT)

    • July 21st, 7am Singapore time (SGT)

    • July 21st, 9am Sydney time (AEST)

    • July 21st, 11am Auckland time (NZST)




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  • AOI Launches UCS-Q1i Strobe

    AOI Launches UCS-Q1i Strobe

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    AOI has released a new addition to its Q1-series of Ultra Compact Strobes, which includes the UCS-Q1 and UCS-Q1 RC. The UCS-Q1i was unveiled at the recent Malaysia International Dive Exhibition (MIDE) in Kuala Lumpur. According to the press release (see below), the new fiber-optically triggered strobe “combines the best features from the UCS-Q1 and UIS-P1”—though the UCS-Q1i features a straight flash tube as opposed to the circular flash tube of the UIS-P1.

    Depth-rated to 60 meters (200 feet), the UCS-Q1i boasts a guide number (GN) of 22, a color temperature of 5600K, and an 85° beam angle with diffusor attached. AOI claims a recycle time of just 0.85s after a full power dump and 1,500 flashes at full power. The strobe features the same built-in 700-lumen continuous light found on the UCS-Q1 and UCS-Q1 RC, and also runs on a pair of 18650 Li-ion rechargeable batteries (3,100mAh).

    Like the UIS-P1, the new strobe features InTeLi mode, which is designed to ensure that TTL exposure is “accurate and consistent” across different camera systems. The mode encompasses support for Sony TTL and i-Macro, OM System/Olympus RC TTL and i-Macro, and TTL HSS and M-HSS. In manual mode, output can be adjusted in six increments, from full power to 1/64 power.

    Priced at $500, the AOI Q1i strobe is available now—in black or white finish—from retailers such as Backscatter.

     


    When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.


    PRESS RELEASE

    AOl Ltd Unveils the UCS-Q1i at the Malaysia International Dive Exhibition 2025

    Kuala Lumpur, Malaysia – June 13, 2025 – AOI Ltd is proud to announce the official launch of the UCS-Q1i, its latest groundbreaking underwater strobe, at the Malaysia International Dive Exhibition (MIDE) 2025, held in Kuala Lumpur from June 13 to 15, 2025. As one of the premier events for the diving industry, MIDE provides the perfect stage to showcase the UCS-Q1i. a powerful and compact strobe that redefines underwater lighting technology Building on the success of the UCS-Q1 and UCS-Q1RC, AOI Ltd continues to elevate underwater imaging innovation. The award-winning UCS-Q1 has been embraced by beginners for its advanced features, often found in more premium models. The UCS-Q1RC introduced TTL integration for OM System cameras, creating a seamless experience in both performance and design. AOI Ltd further solidified its reputation for pioneering technology with the UIS-P1, which introduced AOl In TeLi™ Mode, a next-generation system optimized specifically for underwater photography.

     


    Now, with the debut of the UCS-Q1i, AOI Ltd combines the best features from the UCS-Q1 and UIS-P1. The UCS-Q1i inherits AOl In TeLi™ Mode, ensuring accurate and consistent TTL exposure across multiple camera systems, surpassing traditional S-TTL or TTL capabilities. This advanced mode intelligently adapts to camera settings, delivering enhanced precision in exposure control.

    Additionally, AOl In TeLi™ Mode includes i-Macro Mode, refining macro flash photography by optimizing light output for close-up shooting. Underwater photographers can capture fine details with stunning clarity, ensuring beautifully lit macro shots. With support for Sony TTL and i-Macro, OM System RC TTL and i-Macro, and TTL HSS and M-HSS Mode, AOl InTeLi™ Mode sets a new benchmark in underwater strobe technology.

     


    Most importantly, the UCS-Q11 remains the brightest strobe in its segment with an impressive Guide Number 22 (GN22) at ISO100, delivering powerful illumination underwater. Like the UIS-P1, the UCS-Q1i supports High Speed Shutter (HSS) compatibility with Sony cameras, allowing photographers to freeze fast-moving underwater scenes with precision and clarity.

    “MIDE 2025 is the perfect platform to introduce the UCS-Q1i to the world,” said Victor Tsui, Managing Director of AOI Ltd. “With AOl InTeLiT Mode, we’re bringing a smarter, more refined approach to TTL exposure and macro photography, ensuring underwater photographers get consistent, high-quality results every time.”

    Visitors at MIDE 2025 will have the first opportunity to see the UCS-Q1i in action, explore its features, and engage with AOl Ltd’s experts. The launch event promises exciting demonstrations and insights into how this cutting-edge strobe can transform underwater photography experiences.

    For more details about the UCS-Q1i and AOI Ltd’s latest innovations, visit www.aoi-uw.com or contact info@aoi-uw.com

     



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  • AOI Announces Protective Silicone Sleeves for Q1-Series Strobes

    AOI Announces Protective Silicone Sleeves for Q1-Series Strobes

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    Alongside the launch of its latest strobe—the UCS-Q1i—AOI has announced a set of protective silicone sleeves designed for strobes in the Q1 series, including the UCS-Q1i, UCS-Q1RC, and UCS-Q1. Engineered to offer a snug, secure fit, these durable silicone sleeves provide protection against scratches, abrasions, and minor impacts, extending the life of the strobe while allowing users to add a personal splash of color to their underwater setup.

    Sold in pairs, the sleeves are available in six vibrant colours: neon pink, orange, yellow, lime green, aqua blue, and graphite gray. The sleeves are designed for easy installation and removal, making them a versatile and stylish addition to any Q1-series strobe.

    Available now, the protective silicone sleeves will retail for USD25.

     


    When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.



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  • AOI Announces Protective Silicone Sleeves for Q1-Series Strobes

    AOI Announces Protective Silicone Sleeves for Q1-Series Strobes

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    Alongside the launch of its latest strobe—the UCS-Q1i—AOI has announced a set of protective silicone sleeves designed for strobes in the Q1 series, including the UCS-Q1i, UCS-Q1RC, and UCS-Q1. Engineered to offer a snug, secure fit, these durable silicone sleeves provide protection against scratches, abrasions, and minor impacts, extending the life of the strobe while allowing users to add a personal splash of color to their underwater setup.

    Sold in pairs, the sleeves are available in six vibrant colours: neon pink, orange, yellow, lime green, aqua blue, and graphite gray. The sleeves are designed for easy installation and removal, making them a versatile and stylish addition to any Q1-series strobe.

    Available now, the protective silicone sleeves will retail for USD25.

     


    When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.



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  • BigPicture Photography Competition 2025 Winners Revealed

    BigPicture Photography Competition 2025 Winners Revealed

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    Aquatic Life, Winner: “Octopus Mother” by Kat Zhou

     

    The California Academy of Sciences has unveiled the winners of its BigPicture photography competition, which celebrates stunning images from the natural world. Now in its 12th year, the competition is judged by a panel of nature and conservation photography experts, which is chaired by wildlife photographer Suzi Eszterhas. The Grand Prize Winner is “Lemur’s Tough Life” by Donglin Zhou, a Chinese wildlife photographer known for her nature documentaries.

    Meanwhile, in the “Aquatic Life” category, it was DPG Photographer of the Week Kat Zhou who clinched the top award with her mind-blowing shot of a Caribbean reef octopus guarding her eggs at Florida’s Blue Heron Bridge (which also featured in her POTW portfolio). Various DPGers were also finalists in the “Aquatic Life” category as well as other categories, including “Art of Nature” and “Landscapes, Waterscapes, and Flora.”

    Big congratulations to all the winners and runners-up in this year’s contest. Don’t forget that the 2nd Underwater Awards Australasia imaging competition is accepting submissions—so make sure you get your entries in soon and claim your share of the spectacular $70,000 prize pool!

     

    Landscapes, Waterscapes, and Flora, Finalist: “Acacia” by Talia Greis

     

    Art of Nature, Finalist: “Ghost of the Reef” by Simon Biddie

     

    Aquatic Life, Finalist: “Yin Yang” by Melanie Müller

     

    Aquatic Life, Finalist: “Dystopian Seas” by Angel Fitor

     

    Aquatic Life, Finalist: “Theatre of War” by Talia Greis

     

    Aquatic Life, Finalist: “Into the World of Dreams” by Hitomi Tsuchiya

     

    Aquatic Life, Finalist: “Mudskipping” by Georgina Steytler



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