Underwater Photography Competitions: How to Enter, What Winning Really Means, and Finding Your Artistic Voice

Underwater photography competitions have become a central part of the diving and underwater imaging community. From the moment digital photography took off underwater, these contests have been both a way to showcase images to a global audience and to push the boundaries of what is possible underwater with a camera. For some, these competitions are about exposure and validation. For others, they are a personal challenge. And for a few, they have become a full-time pursuit.

For a long time, I didn’t enter competitions. But then, one year when I had a bit of free time, I decided to dedicate four months to shooting with a single goal in mind: to place in the top three of a major underwater photo competition. That year, I achieved that goal, found some success, and learned a great deal about what it takes to compete.

I’m often asked about photo competitions, so I decided to write this article to share an overview of the major contests, my thoughts on the value of placing, and how to think strategically about the kinds of images that tend to perform well—because each competition is different.

Also, just a quick note: everything in this article is purely my own opinion. I have no affiliation with any competitions, no insider knowledge—just a bit of experience from entering a few and observing the types of images that consistently rise to the top. Like the competitions themselves, take this article as you will.

So, let’s take a closer look at the world of underwater photo competitions—with a bit of scrutiny and honesty. What are they really rewarding? Are they encouraging new photographers to be original, or are they fostering a culture of mimicry, where the most polished version of a familiar formula wins every time? Are they great for developing new talent and pushing creative growth, or are they turning a non-competitive hobby into a toxic battleground?

What Are Underwater Photography Competitions?

At their core, these competitions are platforms for photographers to showcase their best underwater images across a range of categories. These often include wide angle, macro, behavior, black and white, and compact camera divisions. Judging is typically done by a panel of well-known photographers, photo editors, and marine biologists, using criteria such as technical excellence, originality, composition, and storytelling.

Competitions offer prestige, media exposure, and sometimes tangible rewards like cash prizes or gear sponsorships. For photographers aiming to break into the dive industry or the broader world of wildlife photography, a win—or even a placement—can offer valuable validation. It can lead to magazine features, commercial opportunities, or speaking engagements.

Stop Emulating – Start Creating

If you looked through my entire portfolio as an underwater photographer and picked your favorite images, there’s a good chance some of them would be shots that emulate the work of others. That’s partly because certain famous dive sites have well-known ways to shoot specific scenes. It’s also because, in the early stages of learning photography, it’s natural to try emulating the shots you admire—it’s how we learn the techniques.

But as you grow as a shooter, this starts to happen less and less. With time and experience, you gain confidence in your own style, and you no longer need to replicate others’ work to develop your skills.

Now, even though some of those emulative shots might be among the “best” in my collection, would I enter them into a photo competition? The answer is no. If I’m going to win, I want it to be with an image that stands out as uniquely mine—not one that’s a polished copy of someone else’s idea.

The biggest issue I see in underwater photo competitions today is the staggering level of repetition. Year after year, the same types of images win. Often, they’re variations—or outright replicas—of iconic photos taken by top shooters.

The problem isn’t that these images aren’t good. Technically, they’re excellent. The issue is that they’re not original. They’re echoes of images that have already won, and now everyone’s out there trying to reverse-engineer success instead of finding their own creative voice.

There’s a huge difference between improving your technique by learning from others and copying an image in the hope that your version will win. The reality is that most judges will gravitate toward the cleanest, most refined version of a familiar subject. But once in a while, someone submits something that breaks the mold completely. Those are the images that linger in people’s minds. Those are the ones that move the needle. And those are the photographers who change the conversation.

What Part Do the Judges Play

Given what I’ve just said about the importance of entering unique work, there’s also a responsibility on the judges’ side. If you’re going to take on a judging role in a competition, you need to be aware of what’s already out there—what kinds of images have been winning, and which styles have become overused. And not just from the current season, but looking back at least five years.

A few years ago, a major competition awarded an almost identical photo as Grand Champion two years in a row—both taken by the same photographer. That photographer happens to be a dear friend of mine, and truly one of the best in the world. But the point still stands: how does the same competition end up awarding nearly the same image, by the same shooter, with its top prize two years in a row?

I actually spoke to one of the judges about it. It quickly became clear they hadn’t even looked at the previous year’s winning image and were completely unaware of the duplication. Now, to be fair, the photo was incredible—arguably the best in the competition—but if we want to encourage fresh, exciting work, then having a working knowledge of previous winners is essential.

Almost every competition has some variation of the rule: “If your image has received an award in a major competition before [specific date], it is ineligible.” Yet we still see the same images repeatedly awarded across multiple competitions. That’s a failure not just of the system, but of the judges themselves.

What About Editing—How Much Can You Do? RAW File Check?

Every competition has its own rules when it comes to editing. The best advice I can give is simple: read the rules carefully and be prepared to submit your RAW files. In almost every case where I’ve had an image place in the top three, I’ve been asked for the RAW file. For lower-placed images, it’s less common—but it still happens.

But ask yourself this: would it bother you if your image got kicked out at the RAW file check stage? Personally, I’d rather know in advance that any image I submit is going to pass that test. Some competitions tell you your placement before requesting the RAW files, while others just let you know you're a finalist—final results only come after the file check.

If you’re serious about winning a photo competition, isn’t it more rewarding to win because you took a great shot and refined it in Lightroom—rather than knowing you started with something average and turned it into a masterpiece in Photoshop later?

For me, it’s simple: every comp has rules. Stay well within them. And if those rules don’t suit your workflow or style, then just find a different comp that does.

The Major Players in the Game: What Are the Differences, and What Wins?

There are five underwater photography competitions that consistently stand out each year in terms of scale, visibility, and influence. These are the five major underwater-specific contests. (We’ll get to wildlife competitions later.)

• Ocean Art (by Underwater Photography Guide)

• Underwater Photographer of the Year (UPY)

• Dive Photo Guide – Masters Underwater Imaging Competition

• Ocean Photographer of the Year (by Oceanographic Magazine)

• OGPICOTY (Ocean Geographic PICtures Of The Year)

These contests dominate the conversation each year. They receive thousands of entries from around the world and set the tone for what the underwater photography community values—both visually and thematically.

So let’s look at each of them in more detail. As always, these are just my opinions, based on entering, placing in, and closely observing these comps over several years.

Ocean Art – A Category Behemoth

Ocean Art is probably the most category-rich of all underwater photo competitions. Run by Underwater Photography Guide, it offers an enormous range of entry options—from wide angle to blackwater, from conservation to compact camera categories. Because it’s so wide-ranging, it allows more opportunities to enter, as there is generally a category for everyone.

Ocean Art tends to reward clean, technical execution. Many winning images are extremely well-lit and classically composed. The competition leans more toward the technical side than the artistic. That isn’t a criticism—it simply reflects its audience and judging panel. You’ll see more classically executed images being awarded here, while heavily edited shots or those using technique for technique’s sake generally don’t fare as well.

The downside is that creativity often takes a back seat. You rarely see risky or emotionally raw images win. If your goal is to test your technical consistency, this is the right arena.

That said, if your work leans into the abstract or emotive, Ocean Art also offers an “Underwater Digital Art” category. This allows you to go wild with processing and opens the door to more unusual “creative vision” style images—shots you couldn’t otherwise achieve in-camera.

The prizes in Ocean Art are arguably the best of any competition. I won a trip to the Solomon Islands with a second-place image—prizes like that are usually reserved for category winners. I also received significant exposure after placing in this comp; my image was featured in magazines and newspapers worldwide, including The Times and National Geographic.

If you’re after visibility and a shot at high-value prizes, this is one of the top comps to enter. Just be selective with the images you submit, as the entry fees are on the higher side.

Underwater Photographer of the Year – The All-Rounder

UPY is probably the most balanced of all the major competitions. It rewards technical mastery but also shows an increasing openness to mood, narrative, and storytelling. Based in the UK, it has grown into one of the most respected underwater photography contests worldwide.

UPY is often seen as the photographer’s competition. The judges are photographers themselves, and they care deeply about narrative. You’ll often find images awarded for showcasing new subjects or employing new techniques.

While UPY does reward polished technique, it has also recognized minimally processed images—when the story was compelling enough. This is the space where you can push your ideas further; the judges are more likely to appreciate work that breaks the mold. UPY also awards ten photos per category, so you’ll see a wide variety of images and techniques represented within each set.

Now, remember: photography is subjective, and judging is always a matter of opinion. UPY is often the one competition that people are most excited to see results from—and because of that, it draws strong opinions. With so much variety in the awarded images, debates often center around whether the “right” order was chosen in the top 10. It’s definitely the competition everyone wants to win, and that naturally draws a lot of attention and commentary.

In recent years, there’s been a slight shift in the style of overall winners. The competition seems to be leaning more toward images with mass appeal—those that resonate with both divers and non-divers—whereas in the past, it may have leaned more toward images that appealed specifically to photographers due to their technical innovation.

UPY also provides feedback on all entries, which is invaluable for those looking to understand how far their images progressed. This tool, known as “the grid,” is one of the most useful features of the comp.

In terms of exposure: if you place in the top three—especially as a category winner—expect your image to be featured worldwide. However, exposure drops off considerably for lower-placed images.

Finally, the pricing for entry is excellent. It represents great value for money considering the prestige of the competition, but as a result, it receives a huge number of entries. The prizes are decent, but UPY is not about prizes—it’s about the honor of winning.

Dive Photo Guide Masters – The Unpredictable Challenger

Dive Photo Guide (DPG) runs multiple competitions throughout the year, often on behalf of other organizations, but DPG Masters is the one to focus on.

DPG Masters typically features a mix of classic underwater imagery and more creative compositions. However, because the judging panel changes each year, it’s less predictable than some other competitions. That makes it a bit trickier to determine what types of images are likely to do well.

That said, DPG is a highly respected and influential platform in the underwater photography world, so winning images tend to receive solid exposure on social media and within the photography community. Still, from personal experience as a category winner, the international media coverage doesn’t quite reach the same level as some of the other major comps.

The categories in DPG Masters are well defined and easy to understand, although they’ve been trimmed down slightly in recent years—so the range of entry options is not as broad as it once was.

One advantage is that the competition announces its judging panel ahead of time. This gives you a valuable opportunity to research the judges, understand their photographic preferences, and tailor your entries accordingly.

Entry fees are on the higher side, so it’s worth being selective with how many images you submit. That said, the prizes are excellent—I won a trip to Truk Lagoon through this competition.

A word of caution: in the most recent edition, the overall winner had to be disqualified after the results were announced. The issue involved a double exposure being submitted as a split-level shot. Despite a RAW file check, the error slipped through initially, underscoring how important it is to stay within the rules and be transparent about your techniques.

Oceanographic Magazine – The Storyteller’s Platform

The Ocean Photographer of the Year contest, run by Oceanographic Magazine, has gained significant momentum in recent years. It positions itself as a platform for ocean storytellers—not just technical photographers. This is where visuals and narratives converge. The judging favors images that evoke emotion, deliver impact, or spark meaningful dialogue.

Winning images tend to feature dramatic lighting, human interactions with the sea, and conservation-focused themes. There is a strong emphasis on the story behind the image, with captions playing a more important role here than in most other competitions. If your photo can make viewers reflect on our relationship with the ocean, this competition wants to see it.

Although still relatively young compared to other contests, Oceanographic Magazine has already carved out a distinct identity. If you shoot with purpose and enjoy pairing your images with compelling narratives, this is the ideal competition for you.

The category names can be a bit tricky, which reflects the competition’s focus on emotion and storytelling rather than strict technical photography categories. For me, this makes it one of the more challenging competitions to enter because it doesn’t fully align with my shooting style. However, if you are an emotional storyteller aiming to express feelings through images, this is absolutely the best competition for you.

OGPICOTY – Traditional Shooting

Ocean Geographic’s Pictures of the Year competition (OGPICOTY) occupies a distinct niche in underwater photography. Unlike many open-format contests, OGPICOTY strongly adheres to traditional photography values. Its judging panel is typically composed of seasoned image-makers, editors, and scientists with decades of experience in photojournalism and natural history.

This group prioritizes in-camera skill over digital manipulation. They seek images that capture authentic moments with precision and intent, rather than those heavily reliant on post-processing.

This year’s theme exemplified this philosophy: photographers were encouraged to “welcome the backscatter,” emphasizing authenticity over perfection. The message was clear—if an image truthfully tells a story and holds emotional or scientific value, it doesn’t need to be flawless.

Excessive editing, heavy composites, or artificial storytelling are discouraged. OGPICOTY is one of the few contests where technically imperfect images can succeed if they carry genuine weight, relevance, and honesty. For photographers committed to integrity and the documentary roots of nature photography, this competition offers a platform where work is judged on substance rather than software.

My winning image in this competition wasn’t technically perfect but captured a magical moment, which resonated with the judges. A noteworthy category is the “Alex Mustard Emerging Photographer,” which awards a portfolio of three images to a new shooter who has not yet won a competition.

The competition could improve its prizes. Most are gift vouchers offering small discounts on their own trips, requiring winners to book often expensive expeditions to claim them. Category winners, however, receive better rewards, including fully sponsored trips.

Wildlife Competitions That Feature Underwater Photography

While underwater photography has dedicated contests, some of the most prestigious recognition for marine images comes from broader wildlife photography competitions. These are not exclusively focused on the underwater realm but often include specific underwater categories or highlight outstanding ocean images within broader judging criteria.

The most notable of these is the Wildlife Photographer of the Year (WPY), run by the Natural History Museum in London. WPY consistently features underwater images in both the underwater and behavior categories. In recent years, underwater shots have won overall and category titles. The standard is exceptionally high, with a strong focus on originality, ethical considerations, and storytelling. WPY judges seek images that transcend pure aesthetics to convey meaningful insights about the subject or its environment.

Other prominent global contests such as the BigPicture Natural World Photography Competition, GDT European Wildlife Photographer of the Year, and Nature’s Best also regularly include underwater photography. These competitions attract photographers who situate their work within the broader environmental narrative beyond the dive industry.

Entering these contests challenges underwater photographers to compete alongside terrestrial and aerial wildlife imagery. This can be daunting but also offers opportunity. The underwater world remains unfamiliar to many, so a compelling ocean image can stand out dramatically amidst saturated land-based entries. For photographers aiming to be storytellers with impactful messages about ocean conservation and marine life, these contests offer a platform to reach a wider audience—relying on authentic visual communication rather than gimmicks.

So what happens if you win? Does it mean you’re a great shooter?

Winning or placing in a competition is definitely something to feel proud of—it’s an important validation that your images resonated with a panel of judges. When I won my first competition, I was both surprised and pleased; I hadn’t expected it and didn’t have high hopes for my images.

However, it’s essential to remember that entering a competition means putting your work out there for public and professional scrutiny. Photography is inherently subjective and opinion-based, especially in contests. Winning simply means a small panel of judges—often three experienced photographers—liked your image best on that day.

You should expect mixed reactions. Even among industry friends, you might find criticism or disagreement about the winning images. Some may question why certain images won or express annoyance. That’s normal. Winning doesn’t make your work universally loved or objectively “best.”

Photography competitions do not have fixed, objective criteria; the judging is subjective and influenced by personal taste, trends, and context. So winning means “today was your day” — your style and vision matched the judges’ preferences at that moment.

What is undeniably meaningful is consistent success across multiple competitions, with a variety of your work being recognized. While individual images may still receive criticism, repeated recognition shows a sustained quality and artistic vision that the wider community acknowledges.

Be pleased for the winners—avoid focusing on negatives

When competition results are announced, resist the urge to criticize the winners. Instead, view the awarded images as a collective showcase. You’ll likely find some images you love and others that don’t resonate with you—that’s the nature of subjective art.

Don’t disparage the judges or the winners. Appreciate the collection as some of the best underwater photography captured that year.

Remember, just because an image wins doesn’t mean you have to love it—but it also doesn’t mean you should dislike it simply because it won. Consider the pride and effort behind the shot.

There’s a saying, “Don’t hate the winner, hate the judging.” But even that misses the point. Respect both judges and winners, and use their choices as a learning opportunity if you want to become a winner yourself. Judges can only assess what’s presented, and winners and non-winners alike must accept their decisions with grace.

How seriously should you take competitions?

Competitions often attract some of the best underwater photographers worldwide, so placing can be very challenging unless you’re highly skilled and serious about your craft. However, you should take your photography seriously primarily for yourself—not for competitions.

Focus on your personal progress and the satisfaction you get from your images. Competitions should be seen as a byproduct of that success, not the goal.

Avoid shooting solely for competitions. Instead, create images that you love, build a meaningful portfolio, and then enter competitions with realistic expectations. Understand that judging is subjective—there is no single “best” image or photographer. Not winning doesn’t diminish your talent or passion.

I know many great shooters who don’t enter comps, and that’s just fine. They have nothing to prove to anyone and just love shooting. They are amongst the most passionate and skilled shooters I know, and they are also the happiest. There is a lot to be said for that.

Final Thoughts — What These Contests Really Mean

Underwater photo competitions have positively influenced the field by spotlighting new talent and raising ocean awareness. Yet, they are not the sole purpose of underwater photography.

If your creative vision centers solely on what judges might prefer, you risk surrendering your artistic voice. Instead, focus on discovering and expressing what truly moves you, and enter contests that resonate with your values.

The most memorable underwater images aren’t always the most technically flawless; they convey meaning born from patience, experience, and passion. While competitions can recognize this, they sometimes reward safer, formulaic choices.

Enter competitions thoughtfully: select those aligned with your message, submit images that reflect your unique perspective, and avoid imitating past winners.

The ocean never repeats itself, and neither should your photography.