The Story Behind the Shot: 2025 Winners Share Tips Before the Next Contest Begins

Sanctuary Recreation 1st Place: Daniel Eidsmoe
Stargazing near the Old Seven Mile Bridge, Florida Keys National Marine Sanctuary

“When you visit national marine sanctuaries, it is easy to forget that the beauty doesn’t disappear when the sun goes down.”
–Daniel Eidsmoe

1. Photographing the Milky Way requires careful planning. How did you prepare for this shot in terms of moon phase, timing, and location scouting near the Old Seven Mile Bridge?

   Aside from photography and scuba diving, I spend a lot of time kayaking in the evening and at night. The Old Bahia Honda Rail Bridge is near Bahia Honda State Park and I noticed on several occasions while kayaking at night that the bridge provided an excellent vantage point to view and photograph the Milky Way. Using the free SkyView Lite app on my iphone I planned this photo for a clear, moonless night in the middle of June. I live in Marathon, Florida, halfway between Key Largo and Key West. Fortunately we have very dark skies here. I am originally from Chicago and did not experience the Milky Way until my late twenties when I went on a vacation to Kona, Hawai‘i. I'm in my 60's now and photographing the Milky Way has become an obsession since moving to the Florida Keys.

   To light up the foreground I handheld a small LED light cube for one second of this twenty second exposure. Initially even one second of LED light was too much and I ended up taking off one of my socks to cover the light cube so that it didn't provide too much light.

   My camera details were as follows:
   Canon R6
   Sigma 14mm Art Lens f1.8
   20 second exposure with a sturdy tripod
   ISO 2000
   Manual White Balance (3800)

2. Light pollution can impact both night-sky photography and coastal ecosystems. What advice would you give visitors who want to enjoy stargazing in sanctuaries?

   When you visit national marine sanctuaries, it is easy to forget that the beauty doesn’t disappear when the sun goes down. My best advice is to find a clear, unlit spot during the day so that you can safely go back at night with some confidence that you won’t fall or get lost.

   When I was in Kona in the 90’s, I found that there was a coastal golf course with no street lights and a clear view of the sky. I came back later that night with a blanket and sat on the golf course for hours watching the Milky Way and falling stars.

   Also, you can never have too many flashlights, especially a good headlamp. Once you turn the lights off you have to wait a few minutes for your eyes to adjust to the lack of light.

3. Many people associate Florida Keys National Marine Sanctuary with diving, fishing, and boating. What drew you to tell a sanctuary story from shore, looking up instead of underwater?

   I moved to the Keys for the sole purpose of scuba diving and kayaking. The Milky Way “season” here is late February through October. When I first saw the Milky Way at night from my dock I quickly realized that sleep was overrated. Most of my friends up north have never seen the Milky Way in their lives, and in fact, I read that 80% of Americans cannot see the Milky Way from where they live. I love to tell the story of the beauty here in Florida Keys National Marine Sanctuary with my photos. This past year I even created a calendar for friends and family focused on the nighttime beauty here. One of my favorite things to do when they visit is to take them to my photography spots so that they can experience the Milky way for the first time.

4. What does this image mean to you? What does it make you feel or think about?

   I think about the beauty of silence and the infinite potential of the universe and human creativity.

5. Where do you find inspiration for your photography?

   I find inspiration from cinema. If I am watching a beautifully filmed movie such as “The Secret Life of Walter Mitty” (a personal favorite), I often completely block out the dialogue because I am intensely watching the visual aspects of the film. Not paying attention to the “noise” of the dialogue often frustrates my friends and family watching movies with me.

6. What do you always make sure to pack when you’re planning a coastal photo shoot?

   Flashlights, a folding chair, and long sleeved shirts and bug spray to keep the bugs off.

Sanctuary Life 1st Place: Gabriel Jensen
Longfin inshore squid (Doryteuthis pealeii), Florida Keys National Marine Sanctuary

"The swirling shoals of squid remind me of the abundance that sanctuaries can shelter. Photographing them reinforced the connection between what we protect and what future generations might never otherwise experience."
– Gabriel Jensen

1. The squid in your photograph appears almost suspended in stillness. What techniques do you use underwater to capture fast-moving species like longfin inshore squid while preserving their natural behavior?

   When capturing animals in the water column at night, I like to use a pair of powerful underwater flashes. I prefer flashes over a constant bright light because it lets me wait in the dark with the animals until they relax and go about their normal behavior. Then I only use the light at the exact moment I take the photo. That way I minimize disturbance and keep the interaction as natural as possible.

   Because the ocean is so dark at night, I use a very dim red flashlight so that both my camera and I can see. Many marine animals don’t see red light very well, so from their perspective, I’m almost invisible.

2. How has photographing marine life in Florida Keys National Marine Sanctuary shaped your perspective on marine protection and restoration?

   Photographing in Florida Keys National Marine Sanctuary has made the connection between protection and what you actually see underwater very real for me. When an ecosystem is given space to recover, it shows up in the density of life, in how animals behave, and in how often you encounter them.

   These squid aggregations aren’t just beautiful, they’re a sign that the system is working. Protection isn’t just policy on paper, it creates real, visible results. You can see it especially around coral restoration sites, where areas that might otherwise be empty become full of life again.

3. For aspiring underwater photographers visiting a sanctuary for the first time, what are your top tips for balancing technical settings (lighting, strobes, positioning) with patience and situational awareness?

   It’s easy to get caught up in camera settings and forget that you’re stepping into a living, moving ecosystem. Before changing anything on your camera, take a minute to just watch. Pay attention to how animals move, how they react to light, and how your presence changes what’s happening.

   From there, keep your lighting simple and controlled, but focus more on positioning and timing than constant adjustments. If you notice an animal repeating the same path, you’ll get a much better shot by setting up where it’s going to be and letting it come to you, instead of chasing it and ending up with a photo of its tail. Underwater photographers jokingly call those “fish butt” shots, and they’re usually not the ones you want to come home with.

4. Where do you find inspiration for your photography?

   I grew up playing Pokémon games, so I’ve always been fascinated by the idea that there are all these strange and incredible creatures out there to discover. The difference is, in the ocean, they’re real.

   What keeps me inspired is just how much variety exists beneath the surface, especially in the smaller or lesser-known species. A lot of what I photograph are animals most people have never seen before, and getting to share that is a big part of the motivation. I’m also inspired by photographers like Alex Mustard and Stephen Frink, who have done an incredible job of bringing the underwater world to a wider audience.

5. What do you always make sure to pack when you’re planning an underwater photo shoot?

   Because I’m often searching for unusual or hard-to-find animals, I end up diving in places that aren’t your typical clear reef. I always bring a neoprene hood and gloves, because there are plenty of small creatures out there that can sting, bite, or get tangled in your hair, from tiny anemones on seagrass to drifting amphipods that aren’t shy about taking a nibble.

   I also try to bring a bit of charm with me. Some of the best sightings don’t come from luck, they come from talking to people who are in the water every day. A casual tip of an animal sighting from a local can make the difference between an unforgettable encounter and coming home with nothing but “fish butt” shots.

Sanctuary Views 1st Place: Luan Roberts
Second Beach, Olympic Coast National Marine Sanctuary

"This is where the ocean remembers herself. Second Beach, on the Olympic Coast, isn't just beautiful—it's alive with ancient rhythms. In this moment, the tide has peeled back the veil, revealing a world usually hidden beneath the waves. Kelp, rock, and water breathe together in silence."
–Luan Roberts

1. Your winning image captures a quiet, low-tide moment where kelp, rock, and water seem to “breathe together.” What draws you to photographing intertidal landscapes?

   I didn’t set out to photograph a landscape at all—I was there to document the tiny organisms that live in the intertidal—sea slugs, hydroids, egg ribbons, and the miniature ecosystems that cling to rock and algae. I only saw this view and snapped a photo because I remembered to lift my head between subjects.

2. Olympic Coast National Marine Sanctuary is shaped by powerful weather, shifting light, and dynamic tides. What environmental conditions do you pay closest attention to when composing a scene like this? How do you plan for those fleeting tide windows along the Olympic Coast?

   This was a spontaneous moment. I was moving from one small subject to another when I stood up and realized the tide had opened the shoreline into something vast and temporary. I captured it quickly before returning to documenting the creatures that brought me there.

3. Tidepools and intertidal zones are both beautiful and fragile. What advice would you give photographers who want to capture these landscapes while minimizing their impact on the ecosystem?

   Intertidal zones are only briefly exposed, which means the organisms living there are already under stress from drying, temperature shifts, and light. My top tips for tidepooling are to move slowly and watch your footing. Life is often concentrated on wet rock surfaces and in the spaces between pools.

   Stay on bare rock or sand when possible, and don't move rocks, algae, or organisms for a better composition. Many species depend on the exact moisture and shelter they’re in.

   If you set down gear or kneel to shoot, be mindful of what’s beneath you. Leaving everything as you found it allows the incoming tide to return the ecosystem to normal. Careful movement not only protects the habitat, it helps you see more.

4. Where do you find inspiration for your photography?

   I find inspiration in the intertidal zone, in the small lives most people never notice and the brief moments when the ocean reveals what usually remains hidden. The more time I spend observing this edge between land and sea, the more layered and alive it becomes.

   I hope my photographs help others see the ocean the way I experience it: not as a distant horizon, but as a living community full of intricate relationships and quiet resilience. When people begin to notice that complexity and beauty up close, protection becomes instinctive rather than abstract.

5. What do you always make sure to pack when you’re planning a coastal photo shoot?

   I pack for tidepooling rather than landscape photography. That means waterproof boots, layered clothing, and gear that lets me move safely across wet, uneven rock. My primary camera setup is a macro underwater system designed for documenting small marine life. Most landscape images are simply captured with my phone. It’s practical, quick to deploy, and safer when I’m standing in water or navigating slippery terrain where carrying larger equipment would limit movement or increase risk.

   I also bring essentials like a headlamp for low light, a dry bag to protect gear from salt and spray, and a small pack that keeps my hands free. Preparation is less about composing a vista and more about moving carefully and staying aware in a fragile environment.

Around the World 1st Place: Ben Caswell
Humpback whale (Megaptera novaeangliae) and calf, Vavaʻu, Tonga

“This photo shows a mothers love. And reveals an amazing species with whom we share our home world.”
– Ben Caswell

1. In places like Tonga, where whale encounters are carefully managed, what responsibilities do photographers carry in the water? How do you approach these encounters to ensure both safety and minimal disturbance to the animals?

   We make sure not to interfere with or change the animals' behaviors. We don't force anything. Every encounter we have is on the whale’s terms.

2. How do you hope images like this one shape the way people think about whales and the places they rely on for food, mating, and survival?

   I hope my images inspire debates and bring attention to choices we all make that have devastating consequences for marine life.

3. Can you describe what was happening in the water in the seconds before and after you captured this frame?

   I shot this photo on my birthday in 2024. It was the best day I’ve had with the whales yet. We were treated to clear skies, calm seas, and this amazing mom and calf. This photo was shot as a mother accompanies her calf to the surface for a breath early in the morning.

4. Where do you find inspiration for your photography?

   I’ve always been inspired by Darren Jew & Andy Casagrande

5. What do you always make sure to pack when you’re planning an underwater photo shoot?

   Extra batteries, memory cards, microfiber cloth, action cameras to film video.

Submit Your Photos for the 2026 Contest

Whether you’re inspired by marine life, coastal landscapes, or moments of recreation and connection, we hope these winning images and photographer insights encourage you to get outside, explore, and share your own story through the lens.

The 2026 Get Into Your Sanctuary Photo Contest will open for entries on the Friday of Memorial Day weekend (May 22) and close on Labor Day (Sept. 7). After more than a decade of celebrating stunning imagery from across the National Marine Sanctuary System, the Get Into Your Sanctuary Photo Contest is evolving. In 2026, NOAA’s Office of National Marine Sanctuaries is introducing four new categories designed to challenge photographers and highlight the stories we’re most eager to see—from dynamic wildlife behavior to human connections and the rich history woven into these places.

Life in Motion invites you to capture wildlife in action, from feeding and hunting to caregiving and symbiotic relationships.

Sanctuaries and You focuses on the ways people experience sanctuaries through recreation, research, and everyday moments.

The Water’s Edge explores the boundary where land and sea meet, revealing both worlds at once.

Ripples From the Past highlights maritime heritage, from shipwrecks and aircraft to lighthouses and cultural landmarks.

Wherever your next sanctuary adventure takes you, we hope you’ll bring your camera, your curiosity, and your own unique perspective to the 2026 contest.