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An Embarrassing Confession!

Young me, editor of SDM.
I had no idea where the passport would take me. Now I can’t imagine who I’d be without it.

This short blog was originally written for our newsletter on April 20, 2005.

I have a confession to make: I had never owned a passport.

Imagine that… the editor of Shark Diver Magazine had never owned a passport. The reason? I had simply never traveled far enough to need one. How boring is that?

No passport… No ticket to the world!

Sure, I’d traveled a bit, but never to any destination that required more than a birth certificate and a driver’s license. Well, that’s all changed. I’m now the proud owner of my very first passport—the world has officially opened up to me.

It’s funny how this little booklet has shifted my perspective. This small document with my name on it now allows me to visit places on the other side of the world. Without it, I was limited to neighboring countries that welcomed weekend warriors like me—those without a passport.

But now?

Now I can venture far off the beaten path. I can travel to places and dive in waters where few tourists have gone before. I can even get lost in a remote jungle somewhere (not that I want to get lost in a jungle… but I could if I wanted to—that’s the point!).

Maybe you think I’m overreacting, but I challenge you: if you don’t already have a passport, go get one. See how it feels once it’s in your hands. You’re no longer bound to your place of birth. You’ve officially become a Citizen of the World.

So, you want to go to Africa and slap a lion on the bum to see if you can outrun it? (Not recommended, by the way.) Hop on a plane and go.

You want to dive in Australia to find wobbegongs? Grab your gear and go.

As for me, I’m on my way to Fiji—to dive with bull sharks.

The world is your playground.

Where do you want to go? What do you want to do?

…end of the 2005 newsletter.

In search of anacondas, Rio Formoso, Brazil.

20 Years LateR…
What That First Passport Taught Me About the World

In Churchill, Canada… photographing polar bears.

On April 20, 2005, I wrote that newsletter called “An Embarrassing Confession.” In it, I admitted something kind of ridiculous:

I had never owned a passport.

Back then, I had just received my first one. It felt like a golden ticket. A small booklet that somehow made the world feel bigger, wilder, and full of possibility. I wrote with excitement about the places I could go—the animals I could photograph, the remote jungles I could wander (or get lost in), and the unknowns waiting for me in far-off oceans.

Now, 20 years later, I’ve filled that passport—and a few more after it.

And here’s what I’ve learned:

In search of snow leopards, Himalayas, India.

The Passport Was Never the Point.

The document opens the door, but it’s what you do with it that matters. It’s the early mornings in muddy riverbanks. It’s jumping into the ocean and swimming next to an orca. It’s standing in the snow at 14,000 feet hoping a snow leopard will show up.

The passport lets you leave. But the stories are what bring you back.

Photographing black bears, North Carolina.

The Wild Will Change You.

You think you're going out there to photograph something wild, to cross something off the list. But if you’re lucky, the wild ends up photographing you. It holds up a mirror. It reveals your patience, your fear, your awe.

I’ve watched people—myself included—return from a trip not just with images, but a completely different person with a deeper understanding of what it means to be alive.

Photograhing mountain gorillas, Impenetrable Forest Reserve, Uganda.

It’s Not Just About Where You Go, But Who You Become

That first passport stamped a beginning. But over the years, I’ve learned it’s not about how many countries you visit. It’s about how deeply you experience each one. How present you are. How much you’re willing to listen. To learn. To care.

And maybe, if you're lucky, to use your camera and your voice to help protect what you’ve witnessed.

Photographing humpback whales, Ha’apai, Tonga.

In 2005, I asked:
"Where do you want to go? What do you want to do?"

A little older, a lot more weathered… but still chasing the wild.

In 2025, I’d ask something different:
"What kind of story do you want your life to tell?"

Because whether it’s your first passport or your tenth, it’s never just about where you go—it’s about what you’re willing to chase, what you’re ready to feel, and who you become along the way.

Now go hit the road… and make your life the best story ever told.

Choosing the Right Camera: Speed, Durability, and Low-Light Performance

This is part three of a six part blog photography series.

When photographing predators, your camera needs to be fast, reliable, and capable of handling tough conditions. Here’s what to look for:

  • Fast Autofocus & Tracking – Predators rarely stay still. A camera with high-speed autofocus and excellent subject tracking is crucial.

  • High Frames Per Second (FPS) – The more frames per second, the more chances you have to capture the perfect moment. At least 10 FPS is ideal.

  • Great Low-Light Performance – Many predators are most active at dawn, dusk, or in the shadows. A camera with a high ISO range and minimal noise at high ISO is essential.

  • Weather Sealing – Whether you're in freezing temperatures, humid jungles, or dusty savannahs, your gear needs to survive the elements.

Top Camera Choices for Predator Photography

  • Canon EOS R5 / R3 – Excellent autofocus, 20+ FPS, and superb animal tracking.

  • Nikon Z9 – Fastest mirrorless AF, 20+ FPS, and built like a tank.

  • Sony A1 / A9 II – Unmatched tracking speed with high FPS.

  • Fujifilm X-H2S – Budget-friendly, fast AF, and great for travel photographers.

DSLRs still hold their ground too—Canon 1DX Mark III, Nikon D6, and Sony A99 II are great for wildlife… but mirrorless is the future due to its silent shooting, better tracking, and lightweight build.

The Best Lenses for Predator Photography
Zoom vs. Prime

Predators won’t let you get close… even though you want too, you really should not. A good telephoto lens keeps you at a safe distance while still filling the frame with incredible detail.

Zoom Lenses (Most Versatile and travel friendly Choice)

Zoom lenses give you flexibility—which is crucial when photographing unpredictable wildlife.

🔹 100-400mm f/4.5-5.6 – Great balance between reach and portability. Perfect for handheld shots.
🔹 200-600mm f/5.6-6.3 – Excellent for open landscapes, safaris, and birds of prey.
🔹 150-600mm f/5-6.3 – Affordable, great reach, and works well for handheld shooting.

Best for: Safaris, hiking with gear, general predator photography.

Prime Lenses (Best Image Quality & Low-Light Performance)

Prime lenses deliver the sharpest images, but they require commitment to a fixed focal length.

🔹 400mm f/2.8 – The gold standard for wildlife. Incredible sharpness, amazing bokeh, but heavy.
🔹 500mm f/4 / 600mm f/4 – Best for open spaces and birds of prey, but too large for handheld use.

Best for: Professional wildlife photographers, low-light shooting, and working from a fixed position (like a safari truck or hide).

What’s the Best Lens?

If you only take one: A 100-400mm or 200-600mm gives you versatility and reach.
For working professionals: A 400mm f/2.8 + a 600mm f/4 covers everything.

Tripods vs. Handheld: Which is Best for Predator Photography?

  • Handheld Shooting – Best for bears, wolves, and fast-moving predators. Requires good technique and image stabilization.

  • Tripods / Monopods – Essential for longer prime lenses (600mm+) or when shooting in a stationary position (safaris, hides, blinds).

For safaris, a bean bag for camera stabilization is more useful than a tripod since vehicles move constantly. Gimbal heads are also great for smooth panning shots.

Must-Have Accessories for Predator Photography

Great gear doesn’t stop at cameras and lenses. These tools enhance your shooting experience and keep you prepared.

  • Teleconverters (1.4x or 2x) – Extend your zoom range without carrying extra lenses.

  • Extra Batteries & Memory Cards – Cold weather, long days—you’ll need them.

  • Rain Covers & Lens Coats – Protection from dust, rain, and scratches.

  • Polarizing & ND Filters – Control reflections on water or bright snow.

  • Remote Shutter Releases & Camera Traps – Essential for setting up remote shots of elusive predators. Camera trap photography will be part of a future blog series.

Shooting in the Wild: Preparing for the Conditions

Bears in the Wilderness

  • You may be hiking for miles with gear—lightweight equipment is crucial.

  • You’ll shoot handheld most of the time—a 100-400mm or 200-600mm is ideal.

  • Low light can be a challenge—a fast prime lens is useful for dawn and dusk.

Lions & Big Cats on Safari

  • You’ll be in a vehicle—a monopod or bean bag for stability is a game-changer.

  • You’ll want zoom flexibility—100-400mm or 200-600mm is best.

  • Expect harsh light—ND filters help in bright African sun.

But in the end, the best gear is the one that lets you capture the shot when the moment happens.

Because when a bear locks eyes with you, or a lion stares down your lens, you don’t have time to adjust.

You just have to be ready.

Safety First: Photographing Predators Without Becoming Prey

This is part two of a six part blog photography series.

Photographing predators is one of the most thrilling and high-stakes challenges in wildlife photography. The sheer power of an apex predator makes for some of the most captivating images—but the risks are real.

Arctic Fox off Churchill, Canada. 1/1600, F/11, ISO 1600

Unlike shooting birds or landscapes, predator photography puts you in the presence of an animal that can overpower and harm you. The difference between safely capturing an unforgettable moment and making a critical mistake comes down to experience, preparation, and having the right guides by your side.

The way you photograph predators—the style, the gear, and how close you get—can drastically change your safety level in the field. Some types of shots are inherently riskier than others.

North Carolina Black Bear. 1/1600, f/5.6, ISO 500

Close-Up Portraits: These are some of the most powerful predator photos—but they often require getting closer, either physically or through a long lens. The closer you are, the more critical it is to understand the animal’s body language and mood. If you're on foot or in the water, your margin for error is razor-thin.

Environmental/Landscape Shots: Shooting a predator within its habitat—using wider lenses and keeping your distance—tends to be much safer. You’re less likely to influence the animal’s behavior and more likely to capture a natural, undisturbed moment.

Action or Hunting Sequences: These are high-adrenaline shots, but also some of the most unpredictable. Chases, kills, or territorial disputes can shift in seconds. You must read the entire scene—not just the subject—to avoid getting caught in the action.

Jaguar predation on yellow anaconda. 1/4000, f/5.6, ISO 1600

Behavioral & Social Interactions: Capturing play, grooming, or parenting behavior can be incredibly moving. These often require longer observation periods, and while safer than provoking action, they still demand constant awareness. A relaxed scene can flip in an instant.

Polar bear mother and coy. i/1600, f/5.6, ISO 400

Bottom line: the more you push for dramatic or close-up shots, the more you need to balance creative vision with deep respect and caution.

The Importance of Having the Right Guides

One of the most overlooked—but critical—aspects of predator photography is choosing the right guides.

A Great Guide:

  • Knows where to find the animals and the best time to be there.

  • Understands animal behavior and body language better than anyone.

  • Can position you safely while maximizing your photography opportunities.

  • Knows when to move in and when to back off to avoid stressing the animal.

  • Has a deep respect for the wildlife and ecosystem, ensuring ethical practices.

Chimpanzee Ranger guiding/protecting our group in the Kibali Forest Reserve, Uganda.

I’ve been in the field with guides who made the difference between an average day and a once-in-a-lifetime encounter. Wildlife photography is about respect, patience, and experience… and the right guide brings all of that together.

General Safety Rules for Photographing Predators Anywhere

  • Give them space—if they acknowledge you, you’re too close.

  • Never interfere with a hunt or a meal—a distracted predator is unpredictable.

  • Use a long lens—400mm or more lets you capture stunning details from a safe distance.

  • Never run—applies to big cats, bears, sharks, and almost every large predator.

  • Stay downwind—if a predator smells you before seeing you, it may react more cautiously… or more aggressively.

  • Always have an escape plan—know where to retreat if the animal gets too close.

Bobcat catching a red winged blackbird, South Texas. 1/1000, f/7, ISO 5000

Understanding Animal Behavior: Stressed vs. Calm.

Some of the greatest wildlife shots in history weren’t taken during a chase or a fight. They were captured when the animal was at ease—completely in its natural state.

A relaxed predator will:
• Hunt, groom, rest, or patrol normally.
• Move without stress or awareness of your presence.
• Engage in social behaviors—playfulness, territorial displays, or courtship.

A stressed predator will:
• Change direction, speed up, or stop feeding.
• Display warning signs—ear flattening (big cats), direct staring (wolves), sudden stillness.
• Become defensive or territorial, leading to unpredictable behavior.

If a predator is uncomfortable, your shot isn’t worth the risk.

leopard in Uganda. 1/1000, f/7.1, ISO 1000

Final Thoughts: Predator Photography is a Privilege

Photographing the world’s most powerful, intelligent, and elusive hunters is an honor—not a right.

Many of these animals are fighting for survival in shrinking habitats. They’re misunderstood, hunted, or vanishing quietly without ever being seen.

As wildlife photographers, we don’t just take images… we help tell their stories.

Rio Grande Valley, Texas. Massive population growth has turned wildlands into housing developments, shopping centers, and roads. Less than 5% of native habitat remains in many parts of the Valley. Dense thornscrub and Tamaulipan forest once covered much of the region—now, fragmented into isolated patches. Species that depend on large, connected habitats—like the endangered Texas ocelot—are struggling to survive.

The best predator photos don’t just showcase power. They show personality, struggle, survival, and a glimpse into a world most people will never see.

But that world is changing. Every year, there are fewer places where animals roam free.

And that’s why, every time we pick up a camera, we’re doing something more than photography.

We’re capturing something wild, untamed… and sadly disappearing.

Jaguar in the Northern Pantanal. 1/1600, f/6.3, ISO 2500

The Art of Predator Photography: An Introduction

This is part one of a six part blog photography series.

African Lion. 1/1000, f/7.1, ISO 1000

There’s something about locking eyes with a predator through the lens—knowing that, for a brief moment, you're in their world, capturing something raw, something untamed.

Whether it’s the silent stare of a lion in the Savannah, the calculated movement of a jaguar stalking its prey, or the raw power of a brown bear charging through a river, predators make for some of the most exhilarating and challenging subjects in wildlife photography.

But photographing these apex hunters isn’t just about pressing the shutter—it’s about understanding them, respecting them, and learning how to capture their power and presence in a way that tells a story.

This series is all about that.

There’s a reason why predators command attention in photography. They are the ultimate survivors—designed by nature for speed, strength, and strategy.

Unlike prey animals, predators don’t blend into the background. They are the ones doing the chasing, the ones shaping the balance of the ecosystem. And when you’re lucky enough to capture them in action, the result is an image that demands attention.

But that’s also what makes them so incredibly difficult to photograph.

Crossfox off Churchill. 1/1250, f/5.6, ISO 800

The Challenge of Predator Photography

Predators don’t pose for the camera, and they definitely don’t wait for the perfect lighting.

To capture them properly, you have to:

  • Understand their behavior – What triggers a hunt? What signs show aggression or curiosity?

  • Anticipate movement – Where will they go next? How do you stay ahead of the shot?

  • Adapt quickly – Lighting, distance, angles—every moment is different.

  • Stay safe – Knowing how to get close without becoming part of the food chain.

This is what makes predator photography a game of patience, skill, and respect. You’re not just taking a picture—you’re stepping into their world, and you have to be ready for whatever happens next.

North Carolina Black Bear. 1/1250, f/5.6, ISO 640

Ethics & Respect: Photographing Without Disturbing

One of the biggest responsibilities of a wildlife photographer is knowing when to shoot and when to back off.

Predators are not models. They are hunters, mothers, and territorial defenders.

Disrupting their behavior—even unintentionally—can mean the difference between a successful hunt and a failed one.

Florida Bobcat with sunset colors. 1/1000, f/5.6, ISO 400

A few rules I follow:

  • Never interfere with a hunt – Let nature take its course.

  • Give them space – A long lens is your best friend.

  • Learn to read their behavior – If a predator starts reacting to you, it’s time to back off.

  • Stay hidden when possible – A concealed presence means you see them as they truly are.

A great predator photo isn’t just about proximity—it’s about capturing their world without intruding on it.

What’s Coming Next in This Series?

Predator photography is about more than just pointing a camera—it’s about knowing your subject, understanding your gear, and being prepared for anything.

Over the next few posts, we’ll dive into:

  • Safety tips for photographing predators in the wild

  • Best cameras, lenses, and settings for predator photography

  • How to track and anticipate a predator’s movements

  • Techniques for capturing motion, power, and personality

  • Post-processing techniques to enhance your images

Jaguar in the Pantanal, 1/3200, f/5.6, ISO 1600

Capturing a predator is more than just a photo—it’s an experience. A moment where you connect, even briefly, with the untamed wild.

And once you get that first shot, the one where the eyes lock, the muscles tense, and you realize you just captured something extraordinary… you’ll understand why we keep coming back for more.

The One That Got Away: The Mako Shark That Changed Everything

We were in Southern California, filming for the Outdoor Channel—a series called Blue Water Savages (2015). I have never been a fan of sensational names for shark shows. Sadly, every TV show needs a name like that to grab an audience. I do hope that changes.

The goal of the episode? To test a long-standing myth about mako sharks—the belief that once a mako reaches a certain size, it becomes undiveable.

We already knew that young makos—the smaller, faster ones in the 3- to 6-foot range—are lightning-quick, bold, can be highly aggressive, but are very safe to dive with, if you follow the rules.

Juvenile mako. 1/200, f/10, ISO 800

What makes makos so interesting is, when most sharks try to bump divers or objects, they do it with their mouths closed—testing their surroundings.

Makos? They bump with mouths open.

They come in quick, sometimes biting cameras and ruining dome ports, (I’ve had my share ruined), as if everything in their world is meant to be tested teeth first.

So what happens when that same shark grows to 10, 11, 12 feet?

If a small mako is already unpredictable and high-energy, does a full-grown adult become impossible to dive with?

Our Mako. 1/250, f/5, ISO 800

That’s what we were there to find out.

To make this happen, we needed the best—someone who could take us straight to the land of the giants. So we hired the best captain on the planet for the job. Keith Poe.

And he delivered us an 11-foot mako shark.

I was the first one in the water, followed by our producer Robin Berg and my son David, who was both filming and acting as our safety diver.

I admit, my stomach was in knots when the shark approached me for the first time. I had no idea what it was going to do. She swam up to me, bumped my camera. I turned the camera slightly so she wouldn’t scratch my dome port. She bumped it, and then swam off.

She did test us a few more times, feeling us out, seeing how we’d react. She bumped our cameras a few more times, we redirected her, and she swam off slowly. No crazy speed racer swims.

She was so cool.

David with our mako. 1/250, f/5, ISO 800

There was no recklessness, no erratic lunges, no overly aggressive behavior. She was relaxed, confident, in total control of the interaction.

The caudal keel on this beauty… just massive! 1/250, f/5, ISO 800

A total dream shark.

This wasn’t the unhinged mad predator we had been warned about. She was elegant, calm and curious about us. She swam around the boat, not once trying to eat our tuna hang baits we had offered her.

Everything I thought I knew about big makos— their unpredictability, their reputation for being undiveable—was being rewritten in real time.

This was easily one of the greatest shark dives of my life!

I was in heaven.

We got some incredible video footage. Clips that showcased this shark in all her glory—her power, her beauty, her intelligence.

Sadly I have some major regrets… I wasn’t the photographer in 2015 that I am today.

I had the opportunity of a lifetime right in front of me, and I didn’t have the skills to do it justice. I took photos, but they weren’t great.

They weren’t what they could have been.

I was also pressured to only focus on capturing video by my producer, since we were filming a TV show. So the window I did have for shooting any stills was also very small.

I think about this day often. How I would of shot it differently now. How I would frame each pass, how I would adjust my settings, how I would maximize every second with her.

A shark that size is extremely rare due to overfishing, so the chances of encountering one again is hard to say.

I won’t say never, but a shark like this is extremely rare…

But that’s how it goes in wildlife photography. You don’t always get a second chance.

1/250, f/5, ISO 800

That mako did change something in me.

It wasn’t just about the dive—it was about the chase, the unknown, the willingness to put myself in the water with an animal that few had ever dived with at that size.

It was proof that so much of what we assume about wildlife is based on stories rather than experience. That the only way to truly know an animal is to be in its presence, to study its behavior firsthand, to learn directly from the source.

That mako also taught me the importance of always improving, and always be prepared for the next encounter. Because you never know when that next “dream animal” will appear—and when it does, you better be ready.

The Shot That Lives in Your Head

American crocodile. 1/250, f/11, ISO 200

Every photographer has the shot that haunts them—the one they can see so clearly in their mind’s eye but have yet to capture.

It’s more than just an image. It’s a moment, a feeling, a vision so vivid that it pulls you back, again and again, no matter how many times you miss it.

I have had several of these shots in my head. The perfect orca shot. The perfect anaconda shot. The whale. The crocodile.

I’ve visualized them over and over, played them out in my mind like a scene from a film. I know the light, the angle, the way the water will move around them. I know exactly what I want.

Sperm whale mating aggregation. 1/320, f/9, ISO 800

But I haven’t captured them yet.

And that’s why I keep going back.

There’s a strange relationship between wildlife photographers and the images we haven’t taken yet. They exist in a space between obsession and determination—a mental archive of moments that feel just within reach but never quite materialize.

I’ve been in the water with orcas in Norway, camera in hand, waiting for that perfect baitball shot—the one where the orca is perfectly positioned next to the baitball, with enough light pouring through the water to light up the herring around the orcas.

An image that is raw and powerful and fully wild. I’ve been to Norway many times, but I have not once come close to the shot I am dreaming of. Some of my friends have, and their images fire me up and fill me with inspiration.

I’ve searched for the anaconda shot that exists in my head—the massive serpent laying in the water coiled up in the sand next to a diver, perfectly framed, every colorful scale catching the light just right. I’ve been on seven different expeditions trying to get it just right.

Green anaconda. 1/320, f/9, ISO 800

Each time, I leave knowing I’ll have to come back.

Whales, sharks, crocodiles… they all live in my mind as images I am still chasing.

Some might say it’s frustrating to keep missing the shot you want. But for me that’s exactly what makes it all worth it.

Wildlife photography is about patience, yes, but more than that—it’s about persistence.

Male Orca. 1/400, f/9, ISO 1000

I have learned you just don’t get the shot because you want it bad. The ocean doesn’t care about your dreams. The animals don’t pose for you. It’s all on their terms, not yours.

So you keep coming back.

Because one day, when you least expect it, the stars will align. The animal will move into the perfect position. The water will be clear, the light just right. And you’ll be ready.

Right Whale. 1/320, f9, ISO 320

That’s the moment every photographer lives for.

That’s the moment that makes every failed attempt worth it.

And until that moment comes, I’ll keep returning.

Because the shot I’m chasing is still out there, waiting for me to capture it.

And when I finally do... It will not be because I got lucky.

It will be because I missed my shot a hundred times before.

The Freedom of Natural Light Photography: A Connection to the Wild

Lemon Shark off Tiger Beach. 1/320, f/10, ISO 400

This is Part 10 of a 10 part Natural Light Photography Series.

After exploring the technical aspects of natural light underwater photography, it’s time to reflect on the heart of this approach—the freedom it offers and the deeper connection it fosters with wildlife. For me, shooting with natural light isn’t just a technique; it’s how I experience and capture the underwater world.

Why Natural Light Photography Stands Out

Unlike shooting with strobes, natural light photography offers unparalleled freedom. Without bulky equipment weighing you down, you can move effortlessly through the water, focusing on the experience rather than the gear.

This streamlined approach is especially valuable when freediving, where every ounce of agility and breath hold counts.

But the benefits extend beyond convenience. By using ambient light, you become less intrusive to marine life. Animals aren’t startled by the sudden flash of strobes, allowing you to observe their natural behaviors up close. This creates opportunities to capture moments that feel raw, authentic, and deeply personal.

Brown Pelican and Cormorant off Magdalena Bay, Mexico. 1/400, f/8, ISO 1250

Moments That Matter

Some of my favorite images are those where I’m mere inches away from a shark or dolphin, witnessing their grace and power in a way that feels almost intimate. Natural light photography allows me to stay longer and connect more deeply with these incredible creatures. It’s not just about getting the shot—it’s about sharing a space with wildlife and respecting their world.

Pelagic Thresher Shark off Malapascua Island, Philippines. 1/200, f/5.6, ISO 1600

Of course, there are challenges. Cloudy days, shifting water conditions, and the inherent unpredictability of wildlife can make natural light photography frustrating at times. But those fleeting moments when everything aligns make it all worthwhile.

Keeping It Real

One of the joys of natural light photography is its honesty. It pushes you to embrace the imperfections of the wild—whether it’s less-than-ideal lighting, murky water, or an animal that decides it’s not in the mood to cooperate. These challenges remind me that the underwater world isn’t a curated gallery but a dynamic, living ecosystem.

I also strive to share the full spectrum of my experiences, not just the highlights. Alongside stunning encounters, I document the travel headaches, the days when the animals don’t show up, and the less glamorous aspects of life underwater. These real-world moments add depth to the story and remind us that nature, like photography, is about more than perfection.

Great Hammerhead off Bimini Bahamas. 1/320, f/10, ISO 400.

A Call to Connection and Conservation

Natural light photography isn’t just a way to capture images—it’s a way to inspire. By sharing my work, I hope to remind people that these animals exist, that their homes are worth protecting, and that they deserve to thrive in a world without barriers. Every photo is a chance to spark curiosity, ignite passion, and motivate action for conservation.

Final Thoughts

Natural light photography is about more than technique—it’s about freedom, connection, and storytelling. It’s about embracing the wild, unpredictable beauty of the underwater world and sharing it with others in a way that feels authentic and meaningful. For me, it’s a journey of constant learning and discovery, one that I’m honored to share with you.

Thank you for joining me on this exploration of natural light photography. I hope these blogs have inspired you to experiment with this approach, connect more deeply with wildlife, and find your unique voice as a photographer.

The underwater world is waiting… go capture it.

Post-Processing: Bringing Your Underwater Images to Life

This is Part 9 of a 10 part Natural Light Photography Series.

Manta Ray off Isla Mujeres, MX. 1/400, f/9, ISO 1000

Underwater photography is an art, but even the best raw images often need a little help to truly shine. This is where post-processing comes in. By enhancing colors, adjusting exposure, and fine-tuning details, you can transform your photos into stunning representations of the underwater world. In this blog, I’ll share my approach to post-processing and explain why it’s an essential part of creating impactful underwater images.

Why Post-Processing is Essential

When you shoot in RAW format, your camera captures as much data as possible but doesn’t automatically apply enhancements like it does for JPEGs. As a result, RAW images often look flat and lack vibrancy straight out of the camera. Post-processing allows you to:

A side-by-side comparison showcasing the power of post-processing in bringing an image to life. The before image captures the raw moment, while the after reveals the full potential through editing. Great White Shark off Guadalupe Island, MX. 1/320, f/8, ISO 800

This image was captured using the Auto White Balance feature on my camera.

  • Restore colors lost at depth.

  • Adjust highlights and shadows for better tonal balance.

  • Sharpen details to emphasize textures and patterns.

In underwater photography, where light and color are absorbed by water, post-processing is critical to bring your images back to life.

Sperm Whale off Dominica Island, Caribbean. 1/320, f/9, ISO 640

My Approach to Editing

  1. Start with the Basics:

    • Adjust exposure, contrast, and white balance to create a balanced, natural look.

    • Use the histogram to ensure tonal accuracy.

  2. Enhance Colors:

    • Use tools in Lightroom or Photoshop to boost vibrancy and saturation, especially for reds and yellows that fade quickly underwater.

    • Be cautious not to overdo it—keep the colors natural and true to what you experienced.

  3. Fine-Tune Details:

    • Sharpen key areas like the subject’s eyes or textures on the skin.

    • Reduce noise if you used a high ISO setting.

  4. Crop and Compose:

    • Straighten the horizon if needed and adjust the crop to emphasize your subject and remove distractions.

Green Anaconda off Bonito, Brazil. 1/320, f9, ISO 800

It’s Okay to Edit

There’s often debate about how much editing is acceptable in photography. Personally, I have no problem enhancing an image to make it look its best. Sometimes, the connection to the moment or the animal makes it worth salvaging a less-than-perfect shot.

Editing isn’t about “faking” an image—it’s about honoring the experience and showcasing the beauty of the underwater world. Every adjustment I make is guided by a desire to tell the story of that moment as authentically and vibrantly as possible.

Leopard Shark off La Jolla Shores, CA. 1/320, f/5.6, ISO 250

Balancing In-Camera and Post-Processing

While post-processing is powerful, I aim to get as close to the final image as possible in-camera. Proper exposure, composition, and custom white balance all make the editing process easier and faster, leaving more time to focus on creative enhancements.

Recommended Tools

If you’re just starting out with post-processing, here are some tools I recommend:

  • Adobe Lightroom: Excellent for managing exposure, color, and tonal adjustments.

  • Adobe Photoshop: Perfect for more advanced edits, like removing distractions or enhancing specific details.

  • Topaz AI: Great for reducing noise and adding sharpening without losing detail.

  • RC-Astro Backscatter Eliminator: A Game-Changer for Underwater Photographers

    This revolutionary new tool is a must-have for underwater photographers using Photoshop. The RC-Astro Backscatter Eliminator efficiently removes sand, debris, and backscatter from your images, revealing cleaner, sharper photographs. It enhances clarity without compromising detail, making it an essential addition to your post-processing workflow. If you shoot underwater, this app is a game-changer!

Oceanic Whitetip off Cat Island, Bahamas. 1/125, f/11, ISO 400

Practical Tips for Post-Processing

  1. Shoot in RAW: Always shoot in RAW to retain maximum detail and flexibility during editing.

  2. Take Breaks: Step away from your edits to avoid overdoing adjustments. Fresh eyes can help you spot areas that need tweaking.

  3. Develop Your Style: Experiment with different techniques to find a post-processing style that reflects your vision and complements your images.

Final Thoughts

Post-processing is a vital part of underwater photography, allowing you to elevate your images and tell compelling stories. It’s not about creating something artificial but enhancing what’s already there to reflect the beauty and magic of the underwater world. With practice and the right tools, you can transform your photos into powerful, vibrant works of art.

Whitetip Reef Sharks off Socorro, MX. 1/250, f/8, ISO 1250

The Histogram: Your Underwater Photography Lifeline

This is Part 8 of a 10 part Natural Light Photography Series.

The histogram is a graph on your camera that visually represents the tones in your image.

When you’re underwater, exposure can be tricky. Light behaves unpredictably, and the colors you see in the moment might not translate well into your photos. Enter the histogram—a tool that provides instant feedback on your image’s exposure and tonal balance. Mastering the histogram will not only improve your underwater photography but also save you from the heartbreak of discovering poorly exposed images after the dive.

What is a Histogram?

Photographing alligators in Florida presented a unique challenge due to the dark, shadowy areas of their habitat. The limited light resulted in many underexposed images, as reflected in my histogram here. 1/250, f/7.1, ISO 3200

A histogram is a graph on your camera that visually represents the tones in your image:

  • Left Side: Represents shadows and dark tones.

  • Right Side: Represents highlights and bright tones.

  • Middle: Represents midtones and everything in between.

By analyzing your histogram, you can assess whether your image is underexposed (too dark), overexposed (too bright), or perfectly balanced.

Why You Need the Histogram

While your camera’s LCD screen can give you a quick preview of your image, it’s not always accurate. Bright sunlight or underwater glare can make the screen misleading. The histogram, however, provides an objective view of your exposure, allowing you to adjust settings on the spot and avoid guesswork.

How to Use the Histogram Underwater

  1. Check for Clipping:

    • If the graph is pushed all the way to the left, you’re losing detail in the shadows.

    • If it’s pushed all the way to the right, your highlights are blown out and lack detail.

  2. Aim for Balance:

    • A well-exposed image will have tones distributed across the histogram, with no harsh spikes at either end. Keep in mind that the ideal histogram varies depending on your subject and lighting conditions.

We had heavy cloud coverage that caused the light to scatter unpredictably. I photographed this sperm whale under these conditions—slightly underexposed but still well-balanced. The image had some highlights in the water from the sun breaking through the clouds. 1/320, f/9, ISO 320

4. Adjust in Real-Time:

  • If your histogram shows overexposure, increase your shutter speed, narrow your aperture, or lower your ISO.

  • For underexposure, do the opposite: decrease shutter speed, open your aperture, or raise your ISO.

Why the Histogram is Critical Underwater

Underwater conditions are dynamic—light can change in an instant due to depth, water clarity, or cloud cover. By checking your histogram regularly during a dive, you can adapt to these changes and ensure your images are consistently well-exposed.

Tips for Mastering the Histogram

At 30 feet deep with the great hammerheads off Bimini, the lighting was ideal, and my settings were dialed in perfectly. As a result, we captured a well-exposed image, which is reflected in my histogram. 1/320, f/10, ISO 400.

  1. Practice on Land: Familiarize yourself with the histogram before heading underwater. Practice reading it in different lighting conditions to understand how your adjustments affect the graph.

  2. Check Exposure Frequently: Make a habit of checking your histogram after each major adjustment to your camera settings.

  3. Use RAW Format: Even with the best histogram practices, minor tweaks may be needed in post-processing. Shooting in RAW gives you more flexibility to adjust exposure and recover details.

Beyond Exposure: Evaluating Tonal Range

The histogram isn’t just about avoiding over- or underexposure—it’s also a tool for evaluating tonal range. A balanced histogram often results in an image with more depth and detail, capturing the full spectrum of light and shadow that makes your underwater subjects come alive.

Coming Next

In the next blog, we’ll discuss post-processing—a vital step in bringing your underwater images to life. Learn how to enhance colors, recover details, and make your photos truly pop. Stay tuned!

THIS IS PART 8 OF A 10 PART SERIES.

PART ONE - Is Natural Light Photography Photography For You?
PART TWO - The Euphotic Zone! Your best friend.
PART THREE - Custom White Balance, Natural Lights Secret Weapon.
PART FOUR - Shutter Speed: Freezing Moments Underwater.
PART FIVE - Aperture: Achieving Sharpness and Depth Underwater
PART SIX - ISO: Balancing Light Sensitivity Underwater
PART SEVEN - Focus Points: Keeping Your Subject Sharp Underwater
PART EIGHT - The Histogram: Your Underwater Photography Lifeline
PART NINE - Post-Processing: Bringing Your Underwater Images to Life.
PART TEN - The Freedom of Natural Light Photography: A Connection to the Wild

Focus Points: Keeping Your Subject Sharp Underwater

This is Part 7 of a 10 part Natural Light Photography Series.

Mako Shark off Cabo San Lucas, MX. 1/400, f/9, ISO 800

In underwater photography, especially with fast-moving or large animals, getting sharp images can be a challenge. This is where understanding and effectively using your camera’s focus points becomes critical. The right focus settings can make all the difference in ensuring your subject—not the distractions around it—is captured clearly.

Why Wide Dynamic Autofocus Works Best

For big animals like sharks, whales, or dolphins, I always use a wide dynamic autofocus area. Shooting underwater often means you’re working without the luxury of looking through the viewfinder. Instead, you’re shooting “blind,” with your arms extended to get closer to the subject.

Using a single-point autofocus in these situations significantly increases the risk of missing your shot, as it’s nearly impossible to keep that one focus point on a moving target. A wide focus area ensures the camera tracks your subject even when you’re not perfectly aligned.

Limit the Autofocus Area

While wide autofocus is essential, I don’t recommend activating all your focus points across the frame. Instead, I narrow the focus area to the center region, activating 9 to 15 focus points. This approach minimizes the chance of your camera locking onto distractions, such as:

  • Fish swimming around your subject

  • Particles in the water

  • Other divers or objects in the background

Sailfish hunting sardine baitball off Baja, MX. 1/640, f/8, ISO 1600

Silky shark with pilot fish off Cabo San Lucas, MX. 1/320, f/10, ISO 800

By concentrating your focus area, you increase the chances of keeping your primary subject—the big animal—sharp and detailed.

Common Challenges with Focus Points

Big animals often have smaller companions, like fish swimming alongside sharks, that can steal your camera’s focus. This is similar to photographing a bird in a tree and accidentally focusing on the branch instead. By narrowing the focus area, you ensure your subject remains the priority.

Another challenge is rapid movement. Wide dynamic autofocus helps here by tracking your subject across multiple points, even as they shift position or change direction.

Practical Tips for Using Focus Points

  1. Customize Your Focus Area: Experiment with limiting your autofocus points to the center region to see what works best for your shooting style.

  2. Communicate with Dive Buddies: If you plan to use their gear (like tanks or fins) as a focus reference during custom white balance or framing, let them know beforehand to avoid confusion. So it doesn’t get weird.

  3. Practice Shooting Blind: Familiarize yourself with positioning and angles so you can effectively capture sharp images even without looking through the viewfinder.

Great White off Guadalupe Island, MX. 1/320, f8, ISO 400.

The Debate: Single Point vs. Wide Dynamic

Some photographers advocate for single-point autofocus, but this approach works best when you’re shooting through the viewfinder and can track your subject. For underwater photography, where conditions are more dynamic and you’re often shooting from less stable positions, wide dynamic autofocus provides greater flexibility and reliability.

Final Thoughts

Mastering focus points is an essential skill for underwater photographers, especially when working with large, fast-moving animals. By using a wide dynamic autofocus area with a limited central region, you can strike the perfect balance between precision and adaptability, ensuring your subjects are always sharp.

Striped marlin hunting sardines off Baja Mexico. 1/640, f/8, ISO 1600