Latest news with #underwaterphotography
Globe and Mail
20 hours ago
- Globe and Mail
Introducing the DIVEVOLK External Shutter: Instant Control, Uncompromising Creativity
Ever lined up the perfect underwater shot, only to have a slight finger tremor on the touchscreen blur the moment? Or found it challenging to press the exact spot on your screen while wearing gloves? For underwater creators, precise and stable control is everything. Today, we're thrilled to introduce the solution you've been waiting for. Meet the all-new DIVEVOLK Underwater External Shutter – a masterfully engineered accessory designed to give you instant, tactile control over your underwater photography and videography. Harnessing reliable Bluetooth 5.4 technology and built for the toughest conditions, this external shutter integrates seamlessly with your SeaTouch 4 Max series housing. It's more than an accessory; it's the key to unlocking sharper images, greater versatility, and your full creative potential. The DIVEVOLK Underwater External Shutter is available for pre-sale now, with shipping expected to begin around June 10th! Land & Sea: Versatility Without Limits Why an external shutter? The primary goal is simple: eliminate blur caused by on-screen shutter presses. Our new external shutter features a highly ergonomic button that gives you firm, tactile feedback, allowing you to trigger your shot with absolute stability for a dramatic improvement in clarity. The unique Underwater Button Balancing Structure ensures this tactile feel remains consistent even at depth. But your control doesn't end at the water's edge. Use the shutter on land as a 10-meter remote control for your smartphone! Set up group photos, capture selfies from a distance, or trigger your camera remotely while you get into the perfect position. It's one tool for every part of your adventure. Designed for Your Dive Style: Quick Release Dual Modes We designed the external shutter with a revolutionary **New Quick Release System** that takes only a second to mount or dismount, allowing you to adapt to any shooting scenario on the fly. Mode A: Compact Setup: Mount the shutter directly onto your SeaTouch 4 Max housing for a streamlined, lightweight setup perfect for freediving, snorkeling, or minimalist scuba. Mode B: Pro Rig: Attach the shutter to our Dual Handle Tray to build a professional rig, giving you ultimate stability and space to mount powerful video lights and other accessories. A secure twist-lock mechanism ensures a rock-solid connection that resists intense vibrations and accidental impacts, giving you peace of mind in high-action environments. Smart Power for Long Adventures Every detail is designed for the traveling diver. The external shutter uses an ultra-low power consumption protocol with Bluetooth 5.4. Smart Sleep: Automatically enters a low-frequency sleep mode to save power. Timer Shutdown: Automatically powers off after 10 minutes of inactivity. Super Long Battery Life: Get up to 50 hours of standby time from a single battery. Replaceable Battery: Powered by a common, easy-to-replace CR2032 button battery, so your creative journey never stops. Built to Last: Rigorous Testing & Durability This is a piece of professional-grade equipment built to perform dive after dive, anywhere in the world. As confirmed by tests in the DIVEVOLK Laboratory, the shutter is engineered for long-lasting durability: Withstands 60-Meter Water Pressure. Proven through over 100,000 Keypress Tests. Features a professional Anti-Corrosion Process to resist high-salinity seawater, high pressure, and temperature shocks. Get Started in Seconds: Easy Connection & Quick Start We made connecting the shutter as simple as possible so you can get shooting right away. Power On: Press and hold the shutter button for 5 seconds to power on/off. A flashing blue light indicates it's ready to pair. Pair Bluetooth: Open your phone's Bluetooth settings and pair with the device named DIVEVOLK-UWST. Important Note: If there's no response underwater, the device may have auto-shutdown due to inactivity. Simply press and hold the shutter for 5 seconds to power it on and reconnect automatically! Tech Specs & What's in the Box Here are the detailed specifications and everything you get with your new Underwater External Shutter. Pre-Sale Information: Be the First! The new DIVEVOLK Underwater External Shutter is a game-changer for smartphone underwater imaging, and you can be among the first to experience it. Status: Currently available for Pre-Sale. Shipping: Expected to begin around June 10th, 2025. We know waiting is tough, but we assure you this product has undergone rigorous testing to meet the highest standards and is well worth it. Secure your order during the pre-sale period to get a head start! Ready to gain instant control and capture your sharpest underwater shots ever? Click Here to Pre-Order Your DIVEVOLK Underwater External Shutter Now! We can't wait to see the incredible images and videos you'll create with this new level of precision! Media Contact Company Name: DIVEVOLK Intelligence Tech Co,.Ltd. Contact Person: Louis Chen Email: Send Email Country: China Website:
Forbes
4 days ago
- Entertainment
- Forbes
When Every Day Is World Ocean Day: The Call To Underwater Exploration
Award-winning underwater photographer, writer, ocean conservationist and diver Pier Nirandara. It isn't often that you meet someone as accomplished as Pier Nirandara, who got a jump-start at a very young age. She began her career as Thailand's youngest English-language author, publishing her first national bestselling young adult novel at age 15. Then, she followed up with two more. Now a gifted underwater photographer, award-winning writer, conservationist and modern-day explorer, Nirandara recently photographed aquanaut Fabien Cousteau for his groundbreaking underwater research station in Curaçao, and joined the legendary Dr. Sylvia Earle and other world ocean advocates for a talk at The Explorers Club. Nirandara is also a PADI AmbassaDiver™ and founder of Immersiv Expeditions, where she leads expeditions around the globe for those who wish to take a deep dive and swim with marine wildlife. Based in Bangkok, Capetown and LA, Nirandara's adventurous spirit has taken her diving with sharks and whales in the South Pacific and South Africa, tracking pink dolphins in the Amazon and documenting the ancient practice of shark calling in Papua New Guinea. When the two of us met, we were about as far from the ocean as you can get–at an altitude of 12,000 feet, in Lhasa, Tibet. We spent the day touring the capital city, sampling momos (traditional Tibetan dumplings), shopping for Tibetan textiles and talking about some of the most pressing issues facing the oceans today. 'Climate change, coral bleaching, industrial fishing — these crises are intensifying and intersecting at an alarming pace,' says Nirandara. 'But underlying them all is a deeper issue: disconnection. Without a sense of relationship, there's no sense of responsibility. If we don't feel kinship with the ocean, we won't fight for it,' she continues. 'That's why storytelling — especially from voices and communities historically excluded from the conservation narrative — matters more than ever.' Photographing a swirling school. I was incredibly lucky to grow up in Thailand, a country surrounded by a vast coastline, and one that gave me a profound respect for the sea. I recall years ago waiting restlessly on the shore, much too young to join in on the activity and waiting impatiently as my mother went on a PADI Discover Scuba Dive. She emerged from the water, breathless with wonder. 'That was the most incredible experience of my life,' she exclaimed. To this day, I don't think I've ever felt that level of envy in my life! From that moment, I vowed to get underwater. Despite diving during my entire childhood in Thailand, it was a trip to South Africa that changed everything. Far from the centers of Cape Town and Johannesburg, I traveled to the Wild Coast, an area where few venture, to dive for a phenomenon known as the annual sardine run. Nicknamed the Blue Serengeti, it's the largest migration on earth in terms of biomass. Think sharks, whales, dolphins and birds plowing through bait balls of fish, hunting them in frenzied feeding. The experience blew open my mind. In storytelling, we'd dub this 'the call to adventure.' I flew back to Los Angeles, quit my job as a Hollywood film executive, and pursued a life of underwater storytelling full-time. At home in the ocean I'm a storyteller at heart. My work explores the intersection of travel, adventure, culture and conservation, often through immersive experiences that invite awe as a catalyst for change. With this ethos in mind, I founded Immersiv Expeditions, an adventure company built on the idea that meaningful travel can transform us. We lead small-group journeys around the world to swim with marine wildlife, often in remote, off-the-map locations where nature feels raw and unfiltered. These are not just wildlife encounters—they're invitations to reconnect with the world, and with ourselves. Diving with orcas. From swimming with whales in the open ocean to tracing ancestral stories along remote coastlines, every journey is designed to spark curiosity, deepen connection, and leave guests changed. We also work closely with local operators and captains who know their waters best, grounding each expedition in place, partnership, and purpose. Our ethos is simple: Seek adventure. Embrace discomfort. Explore the unknown. These aren't just bucket list trips — they're opportunities to break out of the routines and habits of daily life to reconnect with something larger than ourselves. A return to place, to self, and to a deeper sense of awe, wonder, and responsibility. A lone marlin Each expedition offers its own kind of magic. The sardine run in South Africa is perhaps the most cinematic — dolphins herding fish, sharks plowing through bait balls, birds raining from the sky. In French Polynesia, we swim with humpback whales as they arrive to give birth and nurse their young in the warm waters of the South Pacific. Imagine playing alongside milk-drunk baby whales! Meanwhile, every spring in Baja, Mexico, mobula rays gather by the thousands, swirling in a hypnotic vortex. Every expedition is unique, and a reminder that the ocean still holds mystery — and immense beauty worth saving. I've also been fortunate enough to join legendary aquatic pioneers like Dr. Sylvia Earle and Fabien Cousteau on initiatives that blend exploration with advocacy. These moments remind me that there's a fierce, brilliant, and deeply committed community fighting for the sea. It inspires me to keep showing up — and to keep lending my pen and lens to a good cause. Melting ice. Because the ocean is the life force of the planet. It regulates our climate, feeds millions, and gives us every second breath we take. Yet for many, it remains distant — something to visit, not something we're a part of. World Oceans Day is an invitation to remember that we are ocean people, whether or not we live by the shore. It's a chance to reconnect with what sustains us, to re-imagine our relationship with water, and to recommit. It's a reminder that protecting the ocean isn't just about saving the sea, but also about saving ourselves. Ghost gear — abandoned fishing lines and nets — quietly ensnaring marine life. Sonar disrupting whale navigation. Coral trampled by unregulated tourism. Even well-meaning travelers can do harm if they don't know better. The damage isn't always visible, but it's real — and often borne by the most marginalized communities. Privilege and accessibility are real issues within the marine space — who has admission to these spaces, and who bears the burden of climate change and rising sea levels. Support Indigenous and local stewardship. Expand and enforce marine protected areas. Reform extractive fishing policies. And on a human level — get people in the water. When someone submerges beneath the surface, watches a pod of dolphins leaping beside the boat, or — if they're lucky enough — meets a whale eye-to-eye, something in them changes. It's why at Immersiv, we're so passionate about getting people up close and personal with the wonders of the ocean. Awe transforms. Mother and calf. The best properties partner with local communities and embed conservation into their core model. Others greenwash with bamboo straws while building over nesting beaches. Real impact requires transparency, not trends — and a commitment to give more than they take. Pier Nirandara, ascending We also need to decrease the barrier to entry to the water — from systemic to socioeconomic inequalities. Access to the ocean is a privilege not always afforded to all, and if we're to truly make a difference, we need a all hands on deck approach. People have to feel a personal bond with the ocean in order to care about its plight. Conservation cannot be inclusive if access isn't. To tell stories that make people feel, and through that feeling, move them to act. I want to bridge the gap between science and storytelling, amplify underrepresented voices, and decolonize conservation narratives. This work isn't only about saving the ocean. It's about remembering that we're not separate from it — we're part of it. And in protecting it, we protect something essential in ourselves.
New York Times
4 days ago
- New York Times
How to Take Incredible Underwater Photos Like a Pro Photographer
When you're diving, the water around you filters light — but not evenly. As you descend, red wavelengths disappear first, followed by orange and yellow. Soon, all you have left are greens and blues. Most recreational dives are shallow enough that you'll still be able to capture some oranges and yellows, but after 15 feet or so you have very little red. And that's the best-case scenario, on a sunny day when the water is clear; murky water, cold water, and overcast days all create unique lighting challenges. The result is that your images right out of the camera will typically be far less vibrant than the inspo you've likely seen on social media. If you've been dazzled by underwater photos with vibrant oranges and reds, what you've seen is either the results of a very shallow dive or the product of the photographer's bringing their own lights underwater. Avoid: Color filters Color filters that you mount in front of your camera's lens can serve as a bridge between bringing your own lights and getting enough from the sun. Typically these lights are red, orange, or magenta for underwater use, but they don't add red, orange, or magenta light — instead, they reduce green and blue light. The camera tries to compensate by letting in more light so that there's more red, orange, or magenta than there otherwise would have been. However, I'm not a fan of using these lights, for several reasons. First, doing so darkens the overall image and forces the camera to compensate by increasing the ISO sensitivity, shutter speed, and/or the aperture setting to let in more light; that process tends to reduce overall image quality. In addition, these filters work only at some depths and lighting conditions. So, although filters can help, editing is a better, more flexible fix for beginners. Use: Editing software Virtually all underwater photos you see online have been edited. Generally, they have been brightened, and the colors have been adjusted to make them look a little more natural. Editing is entirely optional, of course, and many of my favorite underwater photos that I've taken haven't been messed with much, if at all. But when you're 50 feet under the sea, the world is blue and green. Editing the images you capture to add reds, oranges, and yellows may make them less 'realistic,' but the result is often more pleasing and interesting to a viewer. Ultimately, there's no right or wrong answer as to how much editing is too much. If you're handy at photo editing, you can use Adobe Photoshop, Lightroom, or Premiere Pro — or any of the many free photo and video alternatives. These four versions of the same image demonstrate how underwater photos can look with different color adjustments. The first is direct from the DJI Osmo Action 5 Pro. The second was edited in the DJI app. The third is the result from AquaColorFix, and the last is my own edit in Photoshop. The first photo is the most 'true to life' in that it's what you actually see when you're underwater. It isn't the most interesting photo, however. Geoffrey Morrison for NYT Wirecutter These four versions of the same image demonstrate how underwater photos can look with different color adjustments. The first is direct from the DJI Osmo Action 5 Pro. The second was edited in the DJI app. The third is the result from AquaColorFix, and the last is my own edit in Photoshop. The first photo is the most 'true to life' in that it's what you actually see when you're underwater. It isn't the most interesting photo, however. Geoffrey Morrison for NYT Wirecutter These four versions of the same image demonstrate how underwater photos can look with different color adjustments. The first is direct from the DJI Osmo Action 5 Pro. The second was edited in the DJI app. The third is the result from AquaColorFix, and the last is my own edit in Photoshop. The first photo is the most 'true to life' in that it's what you actually see when you're underwater. It isn't the most interesting photo, however. Geoffrey Morrison for NYT Wirecutter These four versions of the same image demonstrate how underwater photos can look with different color adjustments. The first is direct from the DJI Osmo Action 5 Pro. The second was edited in the DJI app. The third is the result from AquaColorFix, and the last is my own edit in Photoshop. The first photo is the most 'true to life' in that it's what you actually see when you're underwater. It isn't the most interesting photo, however. Geoffrey Morrison for NYT Wirecutter These four versions of the same image demonstrate how underwater photos can look with different color adjustments. The first is direct from the DJI Osmo Action 5 Pro. The second was edited in the DJI app. The third is the result from AquaColorFix, and the last is my own edit in Photoshop. The first photo is the most 'true to life' in that it's what you actually see when you're underwater. It isn't the most interesting photo, however. Geoffrey Morrison for NYT Wirecutter In addition, the apps created by action cam manufacturers — such as DJI's Mimo app (iOS, Android via APK only), Insta360's desktop and mobile app (iOS, Android), and GoPro's Quik app (iOS, Android) — have filters to improve the colors of underwater footage from their various cameras. CapCut, our pick for the best third-party video editing app, doesn't have a specific filter for underwater footage but does include the tools you need to fix the colors yourself. But if you don't want to mess with adjustment sliders yourself, consider AquaColorFix (iOS, Android). This automated color-correction app is simple to use and does a great job. It also has traditional image adjustments, as a standard photo editor does. The free version works only with photos and adds watermarks, while the paid version removes the watermarks and also works with video. At this writing, it costs $25 as a one-time purchase, $10 per year, or $3 per month. AquaColorFix makes the colors more visually interesting with just a few taps. There's no singular 'right' way to do photo editing; more elaborate photo editing software, such as Photoshop, will let you do more but at a higher cost in both money and time. Geoffrey Morrison for NYT Wirecutter Another solid option is the Dive+ app (iOS, Android) which has additional social and location-guide features. The free version has a watermark and a limit to how many images and videos you can color-correct per day. The paid version costs $24 per year or $4 per month at this writing. Avoid: LED lights It's possible to add red and orange back into images by bringing your own lighting. You can find rigs that add small LED lights and strobes to everything from action cameras to more elaborate camera setups. But you don't need lights for good underwater photography, and for most people they would be more trouble than they're worth. They add cost and complexity, and even the smallest rigs are bulkier than just the camera itself. Yes, they can absolutely help you get some epic shots, but they're effective only within a short distance from the camera — roughly 3 to 10 feet, give or take a few feet depending on the situation. You shouldn't consider adding lights to your camera before you are extremely comfortable and experienced with both diving and underwater photography.
Globe and Mail
15-05-2025
- Globe and Mail
Unleash The Flagship Underwater: DIVEVOLK Platinum Meets the VIVO X200 Ultra
Global renowned waterproof equipment brand DIVEVOLK has recently unveiled the SeaTouch 4 Max Platinum Edition waterproof case, specifically designed for the vivo X200 Ultra, a top-tier imaging flagship. This innovative collaboration aims to solve the four major challenges of underwater photography. As a phenomenon-level imaging flagship in 2025, the vivo X200 Ultra has been making waves in the 3C digital market since its launch on April 21. With its Zeiss triple prime lenses, dual imaging chips, and external teleconverter—disruptive innovations that have garnered significant attention—the vivo X200 Ultra has been hailed as a "mobile imaging workstation." Its full-focal-length, no-compromise "triple main camera" architecture has rewritten the rules of smartphone photography competition. Inspired by projects like "Roaming Earth", where creators explore and document our planet's wonders, we saw photographers facing this exact challenge. Their solution? Pairing the powerful VIVO X200 Ultra with the specialized DIVEVOLK SeaTouch 4 Max Platinum Edition underwater housing. This combination proved essential for capturing breathtaking underwater sequences, overcoming environmental hurdles, and truly leveraging the phone's advanced capabilities. Let's dive into how the DIVEVOLK Platinum Edition is purpose-built to be the ultimate underwater companion for today's top-tier flagship smartphones. DIVEVOLK SeaTouch 4 Max Platinum – Born for Flagships Recognizing the specific needs of advanced users with premium devices, DIVEVOLK created the SeaTouch 4 Max Platinum Edition. Engineered for Top-Tier Phones: Its design philosophy centers on accommodating the larger dimensions, thicker profiles, and complex camera modules often found on leading flagship models. It's precision-built for phones like the iPhone 16 Pro Max,Samsung S25 Ultra,OnePlus 13, Google Pixel 9, VIVO X200 Ultra, HUAWEI Pura 70 Ultra, Xiaomi 15 Ultra, OPPO Find X8 Ultra, and other similar high-end devices. The distinctive platinum finish also adds a touch of premium aesthetic to match your top-tier phone. Dual Protection System: The Platinum Edition features a military-grade sealed structure capable of withstanding water pressure at depths of up to 60 meters. Specifically engineered for flagship devices, its reinforced mid-frame design ensures seamless compatibility with the Zeiss quad-camera module of the vivo X200 Ultra. Unlocking Native Camera Power with Full Touchscreen: The Platinum Edition features DIVEVOLK's revolutionary full underwater touchscreen technology. This is paramount for flagship phones, as it allows you direct access to the phone's native, feature-rich camera application. You can utilize all the advanced settings – manual focus, ISO, shutter speed adjustments, RAW capture, accessing different built-in lenses – just as you would on land. No limitations from simplified third-party apps or restricted button layouts. Professional Accessory Ecosystem: The Platinum housing seamlessly integrates with the full DIVEVOLK accessory system. The standard 67mm Threaded Adapter allows for the use of professional Underwater Filters and Wet Lenses (wide-angle, macro), while universal mounting points accommodate Video Lights, Handles, and Trays, enabling users to build a complete, customized underwater imaging rig. When Flagship Imaging Power Meets Underwater Challenges The "Roaming Earth" project provided a real-world proving ground. Photographers navigated complex underwater environments, dealing with currents and challenging lighting. They relied on the VIVO X200 Ultra's exceptional imaging prowess, accessed and controlled seamlessly through the DIVEVOLK Platinum's reliable protection and intuitive touchscreen interface. The ability to make fine adjustments on the fly using the native camera app was crucial for capturing professional-quality shots under demanding conditions. While many conventional waterproof housings depend on third-party applications to operate smartphones—a design choice that inherently restricts access to native imaging functionalities—the VIVO X200 Ultra distinguishes itself with its advanced imaging architecture. Notably, its capacity for 4K/120fps slow-motion cinematography and other professional-grade features can only be fully leveraged through the DIVEVOLK SeaTouch 4 Max Platinum and its proprietary underwater touchscreen interface. This patented technology enables photographers to bypass software limitations, granting full access to the device's native camera controls. By preserving the phone's original imaging algorithms and creative tools, the Platinum Edition empowers users to unlock cinematic-grade underwater footage that generic solutions cannot achieve. Explore the behind-the-scenes samples shot with DIVEVOLK Platinum and vivo X200 Ultra, and experience the shocking underwater visual feast it brings. The stunning visuals achieved demonstrated that with the right housing solution, flagship smartphones are more than capable of delivering professional-grade underwater content. DIVEVOLK: Redefining Underwater Photography for Everyone Target User Profile: In addition to professional photographers, the proportion of casual diving enthusiasts and travel bloggers continues to rise annually. DIVEVOLK addresses these diverse needs through lightweight design and social media-friendly features such as one-touch sharing. Comparison with Professional Underwater Cameras: Taking the VIVO X200 Ultra's "triple main camera" system as an example, the combination of a smartphone and platinum housing demonstrates advantages in portability, seamless multi-focal switching, and color accuracy in direct output. Additionally, its cost is just one-third of professional underwater camera setups. Choosing Platinum for Your Flagship The SeaTouch 4 Max Platinum Edition is specifically tailored for select flagship smartphone models recognized for their advanced camera systems, larger dimensions, or thicker profiles. Key compatible models include: VIVO X200 Ultra HUAWEI Pura 70 Ultra Xiaomi 15 Ultra OPPO Find X8 Ultra (And other similar high-end models) Important: Due to the precision fit required for optimal touchscreen performance and protection, we strongly recommend checking the Official DIVEVOLK Compatibility List on our website or contacting our support team to confirm compatibility for your specific device before purchasing. Please remember to specify your exact phone model when placing your order. For users who demand the absolute best underwater performance from their top-tier smartphones and want uncompromised access to their phone's most advanced camera features, the SeaTouch 4 Max Platinum Edition is the premium choice. Ready to unlock your flagship's true underwater potential? Explore the SeaTouch 4 Max Platinum Edition Now Conclusion: Your Best Camera, Now Underwater Don't let the ocean's surface be the boundary for your creativity. Your flagship smartphone is likely the best camera you own – and with the DIVEVOLK SeaTouch 4 Max Platinum Edition, it becomes an incredibly powerful tool for capturing the underwater world in stunning detail. At DIVEVOLK, we remain committed to innovating solutions that make high-quality underwater imaging accessible and intuitive for everyone, from casual explorers to demanding professionals. What flagship phone would you love to take underwater? Let us know in the comments! Follow us on social media for more inspiration and updates. Get in Touch: Media Contact Company Name: DIVEVOLK Intelligence Tech Co,.Ltd. Contact Person: Louis Chen Email: Send Email Country: China Website:
The Verge
11-05-2025
- Science
- The Verge
Florida man documents the unseen beauty of freshwater ecosystems
If you're like me, you've been anxiously searching for any relief from the Bad News™ and endless stream of AI slop plaguing your feed. Joseph Ricketts' breathtaking wildlife videos could be the antidote. An alligator taking a nap on the floor of a crystal clear spring. Schools of fish glittering in the darkness. A cosmic cloud of burnt orange tannic river swirling into clear blue water. A giant salamander battle on an Appalachian riverbed. Joseph is an ecologist, underwater videographer, and alligator researcher based in Florida. He brings a calming and curious gaze to some of the more obscure underwater vistas through his work as a scientist and wildlife researcher, with his photography and videography skills. With his undersea strobes, he casts light on the mesmerizing behavior of some of the more obscure creatures that lurk below the water's surface, creating beautiful videos while educating his audience on the vulnerable wildlife he finds there. Documenting Florida's natural springs and America's freshwater ecosystems has become a passion project. The Verge caught up with him to learn about his fascinating YouTube content. This interview has been edited for length and clarity. Science or photography first? It would probably be photography first. Actually, I got into wildlife and animals as a kid. There was a creek in a park near our house and we found bullfrog tadpoles in there and they were really big. That just blew my mind and set me on the path of being interested in wildlife. My dad got a camera at some point and on some family trips I would use it and got really interested in it. All of that together led to me getting interested in science and then conservation, storytelling, and wildlife filmmaking. How did you get involved with ecology? I was in Boy Scouts as a kid and there was another kid in our group who was really into snakes. I also grew up watching Steve Irwin, who was a huge hero of mine. Growing up in the Southeast, people have very strong feelings about snakes. They do not like them — especially the venomous ones. It was neat to watch Steve Irwin and the way that he approached all sorts of animals, no matter how dangerous they were, with immense joy and curiosity. To see someone in my own community also be interested in that, it was like, 'I can do this too.' And then, learning to love these animals but still seeing a lot of people who just wanted all of them eliminated from the environment. Even when I was young, I was thinking: what does it mean to protect these animals and what does it mean to encourage other people to change their mindset? How do you justify protecting and conserving an animal that might be potentially dangerous? What about the environmental importance of predators? I was so interested and passionate, I ended up studying conservation science in undergraduate and grad school. And you now specialize in alligators? A lot of my professional work has been with reptiles and amphibians. Currently I am studying alligators and crocodiles. What specifically are you researching? We monitor alligator populations. I've helped out with some projects on American crocodiles, which are a native threatened species in Florida. One project I helped with was putting satellite transmitters on crocodiles we captured and monitoring their movements through urban areas in South Florida. The goal of that project was to get a better idea of their behavior in those highly urban environments because they move quite a bit. They have very variable home ranges. Some can be in a really small area, but then sometimes they'll just up and go for a 20-mile swim to somewhere else entirely. The goal is to learn how to better cultivate safe coexistence with these animals in such a dense and highly populated area such as South Florida. How did you start getting into underwater filming? I first started out with a GoPro, because it's a very accessible and not too expensive way to get a camera underwater. In college, my roommates and friends always tried to go on some kind of adventure during spring break. We were super fascinated with the idea of snorkeling in clear water, because that wasn't something that was around us where we grew up. So every spring break we drove down to Florida. We snorkeled in the Keys and discovered Florida's springs along some of those trips. I would take photos with the GoPro, even though it's not really meant for that. But underwater photography equipment is really expensive and I just thought, 'There's no way, I don't know how I'll ever be able to afford that.' But then after my wife and I graduated, we got married, lived in North Carolina for a little while, and then, because she's originally from Pensacola, Florida, we moved back. I got a job doing some ecology work here in Gainesville. One day I was just cruising around Facebook Marketplace and I saw a camera housing made to fit a 20-year-old camera that was within millimeters of the size of my camera. It was a tenth of the price of what an average full kit cost. So I got it. I had to make some modifications and I actually used Lego pieces to make some of the controls fit my camera. I had pretty limited control underwater, but I could do auto ISO, and then control the aperture and the shutter speed, and pull the trigger to get a shot. When I did video, I had to start recording, put the camera in the housing, close it, and then I couldn't do anything else. It would just be one single shot the whole time. So it wasn't great for video, but that's how I got started. And then I realized I was a pretty decent wildlife photographer. I took some photos and I got shortlisted in some pretty major international competitions. I didn't push through to be a finalist, but it was enough to be, 'I actually have some skill in this and it's worth pursuing.' It just kind of kept building up from there. Eventually I got another used housing that was designed for my camera. By that point, I was selling prints and doing some other things, so I was able to finally fully upgrade my kit to where I'm at now. What kind of tech is in your diving kit? I'm using the Canon R5 with a Canon EF-RF adapter and a Canon EF 8-15mm f/4 L fish-eye lens. It's a super wide-angle lens that people tend to use either for underwater or for skateboard photography. It's a little weird because everything's a little distorted and kind of rounded, but when you're underwater, it's really great for taking photos that just kind of immerse you in that system. You can focus extremely close to your subject. You can be an inch away and still focus on it. Since the angle is so wide, you can lock in on the eye of the wildlife and kind of capture their face, but also the rest of the scene and their entire body, even if it's a bigger animal. I use an Ikelite 200DL Dive Housing, and I've got two Sea & Sea YS-90DX strobes and two 2900 VTL BigBlue Dive Lights. The strobes connect to the camera so that when you pull the trigger, it lets off some light, because the deeper you go underwater, light tends to fade pretty quickly and that little flash of white light just kind of restores color to the scene. I also have an Ikelite 8-inch Dome Port with an extension that is wide enough so that the super-wide fish-eye lens doesn't get cut off by the design of the dive housing. If you hold it right on the surface it can create a water line so you can get split shots. I use Lightroom and Photoshop for editing photos and making prints. I use Premiere Pro for editing videos. How do you decide what you're going to film? I have to find an idea that is interesting to me. Sometimes it's a story that I think needs to be told, and that I feel qualified with the knowledge to do it. I need to know the location and be confident that I can get the shots I need safely. I also want to feel capable of telling the story in a meaningful way. Science and wildlife are such huge subjects. It's hard. There's a lot of people that tend to tout themselves as wildlife experts, but unless they're very, very experienced, that raises a red flag. I wouldn't describe myself as that. I have to do a lot of research myself and I learn things along the way too. I'm really passionate about anything aquatic because I love doing underwater photography and videography. That's the main part of my social media and YouTube channel. I especially love showing people unique environments where you wouldn't tend to think about what life looks like underwater. I think about what wildlife I might encounter there, and what conservation story I can weave through that. Also, is there enough visibility in the water for me to get my camera in and actually get usable shots that people can connect with? There's a disconnect that exists between people and wildlife in the natural world that we have to actively combat, like climate change, pollution, and habitat destruction. There's another disconnect between us and what lies beneath the surface, and I really want to do what I can to bridge that gap. It's important that people put faces to the creatures that live in these places, no matter how big or how small they are. They're all important, wonderful, worth learning and worth caring about. Aquatic ecosystems are very sensitive environments. It's important to know what's there, to know what we might stand to lose. Do you have a story in mind before you dive, or do you usually piece things together after? I love photography and being able to tell a story through a single image, but I also love longer forms, using video to tell stories as well. My creative process is definitely evolving. I'll have the beginnings of an idea while I'm trying to work out the storytelling and trying to find ways to help people connect to it. Typically I'll have an idea of the area I want to cover for the shot and what I'm going to focus on. One example was trying to find a very specific species of very tiny fish that lives in springs. That Gulf Coast pygmy sunfish is a beautiful fish. They're so cool. So my idea was that it's going to be about finding that fish, filming it, hopefully getting some behavior. That was about what I had to work with, and I was lucky enough to see quite a bit of behavior. After I get the footage all edited down to the best clips and have a general concept of a story, that's when I'll write the script. Writing the script last is not normal for most creators, but I want the adventure and the action of going out and snorkeling, exploring these places, to be the heart of the channel. Sometimes I might have a little bit more script on certain parts, but normally I don't have any control over what I'm going to see. So I have to go out and shoot, and then come back and do the story from that. What are the biggest challenges that you're trying to work through? A big challenge is sustainability and how I can be consistent and not burn out, because it is a lot of work, going out to explore and dive, sometimes not having a lot of success and other times having success. How do I pace myself? I think I've kind of settled on a pretty decent schedule. Another challenge is that a lot of YouTube is shock value and clickbait. I want to use my channel to push back against that. The algorithm seems to be changing to entertain longer attention spans and boost authentic and real content. But I want to be able to use my channel to help people appreciate even little details and small things. Like if you go snorkeling and you're in the ocean or on a reef, obviously the really big things like the sharks and huge rays are going to be what stand out to you. But if you're in a tiny pond and there's nothing around, and then you find one living thing, suddenly that thing becomes really interesting. I want to be able to tell stories about some of the less exciting things and make those interesting. Such as the video you made about Appalachian Hellbenders. I never imagined salamanders would duke it out like that. Do you like being based in Florida? It's great, but in a lot of ways it's hard and frustrating, too. Florida has some absolutely amazing wildlife and amazing ecosystems, and as an underwater photographer, it's a great place to be. There's the coasts, the Keys, freshwater springs, rivers and streams as well. There are a lot of places that are within reasonable driving distance to find underwater adventures and stories to tell. It's frustrating because there's so much to lose and Florida is also developing at a very unsustainable rate. There are new developments going up everywhere. A lot of spots I love are degrading. I've been going to the springs since college and some of them are almost unrecognizable from when I first visited them 10 years ago. It's an issue globally and definitely around the US, but I think Florida is experiencing that at an accelerated rate. It's a good place to be as a conservationist because there's lots of work to be done, messages to get out there, but it can be draining and exhausting. Sometimes [you] feel like you're fighting an uphill battle with no breaks or rest. Sounds like politics combined with being a tourist and retirement destination. A huge problem is that people are moving here and not taking the time to learn about the natural community that exists prior to their arrival. So people move here and are surprised to see an alligator in their backyard. Or other really wealthy people move to South Florida and have crocodiles around, and they freak out because that's totally new to them. But this is Florida. We have venomous snakes, we have alligators, we have crocodiles. They belong here. They're important for this ecosystem. If you can't embrace that, then I don't know what you're expecting. There are plenty of ways to learn to safely live alongside these creatures. There's just a huge need to meet the influx of new people with education and reminding people that we want Florida to remain wild. So much of the appeal of Florida is its natural environment and so there's plenty of reasons why it needs to be protected, but it is kind of a constant battle. I love Florida so much. It's such a beautiful place, an important place to protect, but it has a ton of challenges facing it. Are there any spots that you really want to dive into that you haven't had the chance to yet? Because a lot of my stuff is Florida-based, I would really love to do a series of diving in every single state in the US. Some of that would be more predictable, like diving off the coast of Maine. That'd be cool. But though you never hear of anyone going to Nebraska or Oklahoma to snorkel, there's underwater stories to be told there and I would love the chance to do that. So I'm hoping if the channel grows enough, there'll be interest enough from the audience to support something like that. Of course I would absolutely love to travel internationally to do some videos as well. I think that's something I would need to earn, because there are definitely other people who might be more qualified to tell some of those stories. But I think if my channel [followers] were interested and wanted me to, I would absolutely love the chance to do that. There are a lot of freshwater springs around the world. I just hope that I can continue to inspire people to be kind and curious about the world around them and pay attention to the little things. It's important to be mindful of our individual impacts on the world around us, but also to hold ourselves as a community and as a country to a higher standard as far as protecting our natural resources and our wildlife, because we don't get a second chance at this. It's important that we take it seriously and we get it right. I think it's hard to learn to love something if you don't know that that thing exists or haven't been able to see it in its home. So I hope that my underwater videos can help people to get a glimpse into those underwater worlds to see that they're places that are really special, worth protecting, and worth keeping wild. 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