Scuba diving delivers truly stunning imagery. Exploring an unfamiliar underwater world comes with the territory, and underwater photography falls within one of the specialisations covered in diving courses.

Each championship or competition will have specific rules and judging criteria. However, organisations like CMAS, PADI, FEDAS, along with other federations, clubs and photography committees, run seminars and judges' training courses to establish common judging criteria.


Truly surprising photos

Competition categories in underwater photography

  • Wide-angle: These images capture the underwater ecosystem, including the human figure in harmony with the environment. Typically taken with wide-angle lenses that cover a broader area to fully showcase caves, wrecks, reefs, fish schools, corals etc. Most championships require two slides in this category.
  • Marine life: Includes images of any creature from the endless list of underwater species. Photos may feature fish or non-swimming species like corals or worms... whether in groups, individuals, full-body or detail shots. Typically the front third (head and pectoral fins for fish), though not mandatory. Usually two images are required in this category.

    Common lenses for waterproof DSLR housings include 50mm, 60mm, 90mm and 105mm, depending on subject size. For amphibious cameras, the standard 35mm amphibious lens (equivalent to 50mm on land) is typically used.

Get up close to marine species

  • Macrophotography: Any photo with a 1:1 to 1:5 reproduction ratio. Competitions usually require two slides. Versatile lenses like 50mm, 55mm or 60mm macros are standard.

    For small, relatively static subjects in clear water without particles, a 90mm or 105mm macro is ideal.
  • Creative photography: Images where photographers employ advanced techniques alongside imagination and creativity. Artificial elements may be used provided they don't endanger marine ecosystems. Common techniques include multiple exposures, motion blurs and specialised lighting. Championships typically accept one entry in this category.

    In recent years, the creative category has been discontinued in some competitions due to excessive use of bizarre underwater props. This regulation was ratified at the Spanish Championship: Nafosub 2000 in Medes.

Enjoy underwater photography


Additional considerations for photo categories:

  • For the two environment category photos, one must include a human figure while the other shouldn't.
  • The fish category exclusively features fish (no other fauna). One image should show entire fish, the other a partial view.
  • In the macro category, one image is freely chosen, while the other follows "photo hunting" rules - a predetermined local species that all photographers must capture.
  • Inclusion of a team assistant or captain is permitted - someone handling surface support like lens changes and equipment management.

Specialize yourself through a course


Championships and competitions


Championships

Championships operate under strict regulations with appointed judges. All participants dive the same location within identical timeframes. Rules cover competition schedules, dive zones, cylinder capacities, film types, slide submission procedures, and prohibitions against feeding or disturbing marine life - ensuring equal conditions for all.

Everything is documented in writing with rulebooks provided. An arbitration judge handles unforeseen situations.

Manipulating wildlife is strictly forbidden - whether altering behaviour for better shots or preventing others from photographing subjects later. Violations may incur penalties or disqualification.

Dive locations are sometimes secret, while other events disclose them beforehand - giving participants who research the area (landscape, species, water clarity...) a significant advantage.

Contests

Contests have more flexible rules, usually just specifying categories. Photographers submit images from their personal archives.

Some contests may specify geographic regions or ecosystems. There's typically just a submission deadline, with photographers working independently. A qualified jury assesses entries, awards prizes and produces a ranking.

Photography a seahorse


Judging criteria

Framing

  • Rule of thirds: Images shouldn't show exactly half water/half seabed (negatively judged). Other ratios (2/3 or 1/3) are acceptable.
  • Diagonal rule: Subjects (fish/species) or focal points should follow diagonal lines relative to the frame. Parallel compositions score poorly.
  • Focal points rule: Centred compositions lack impact compared to subjects positioned near frame corners. Triangular arrangements, double diagonals, or foreground/background balancing score higher.
  • Dead space: Excessive empty water, barren rock or dark areas incur penalties. Wildlife shots should fill the frame - tiny subjects with excessive negative space score poorly.
  • Movement: To convey dynamism, leave more space ahead of a fish's direction than behind it.
  • Dark area overlap: Superimposed unlit zones are considered flaws. In backlit shots, avoid dark human silhouettes against black backgrounds.


6 (2)

Lighting

  • Overexposure: Images overexposed by one stop or more are penalised.
  • Underexposure: Generally penalised unless used for dramatic contrast. Poorly executed backlit silhouettes are significant flaws.
  • Artificial light (flashes) and ambient light: Avoid suspended particles in shots. In particle-rich water, position flashes at least 45° from the camera axis to prevent "snowstorm" effects. Penalised flaws include visible flash/reflections, poorly centred lighting, mismatched natural/artificial light, or uneven flash coverage.


Photographing underwater life

Focus

  • Blurred main subjects are penalised. Focus becomes trickier with long lenses (60mm+ requires steady positioning) and amphibious cameras (manual distance estimation + shallow depth of field at wide apertures like f/4.5-5.6).
  • Progressive blur: With macro shots of marine life, full-body focus is challenging (except side profiles), but out-of-focus eyes are considered flaws - especially in frontal shots.
  • Deep depth of field is valued in environmental shots, creating layered perspectives and water depth illusions.

Photograph an impressive jellyfish


Artistic quality considerations:

Difficulty

  • Images of moving subjects score higher than static ones.
  • Elusive/dangerous species shots outscore common/docile subjects.
  • Rare behavioural shots (hunting, mating, offspring protection) are highly valued.

Composition

  • Poor model poses (tense facial expressions, closed eyes, mask flooding, hair/bubbles obscuring faces, splayed legs, fogged masks, dangling equipment) lose points for disrupting harmony.
  • Full-body shots aren't mandatory - close-ups or medium shots are acceptable. Cropping a fish's head or tail is penalised.
  • Colourful images score higher than monochrome (except backlighting/cave shots).
  • Subject-background contrast matters. Camouflaged subjects lack impact.
  • One or two focal points work best - excessive elements distract.
  • Creative originality using techniques like colour filters, slave/rebound flashes etc. scores highly.


Photographing fish underwater

For those questioning the verdict

Resist the easy assumption that judges undervalued your work. Be self-critical when evaluating your images, remembering that consistent winners in competitions aren't there by chance or judge's whim - even though human error can occur.

The secret? Practice, practice, practice...!