Beneath the surface: Tom Vierus on the power of underwater photography to drive change

When science meets storytelling

With a background in marine biology, Tom brings a rare blend of scientific insight, creative artistry and deep-rooted purpose to every project, knowing not just what to capture, but why it matters. “I walk a thin line between hope and beauty and destruction and despair,” he says of his work, which turns complex ecological issues into compelling visual stories that inspire awareness and action. “Oceans are the lungs of our planet. If the oceans die, so do we. Visual media can be a very powerful tool in creating change, and I hope my images and videos help to do so.”

Above and below the surface, Tom’s mission has taken him across the Pacific, documenting conservation in action. His images have appeared in The Guardian, Wired, Der Spiegel and ABC News, and he’s worked with leading organisations such as WWF, the United Nations and the Wildlife Conservation Society. In Fiji, he recently joined WWF Australia to film coral nurseries and sustainable fishing projects designed to ease pressure on fragile reefs. In Tuvalu, one of the world’s smallest nations, he captured how technology and aviation are helping communities adapt to climate change. He’s also just released a new photo book documenting seven years of life in the Fiji Islands and launched an illustrated bird guide to make birding more accessible to locals and visitors alike. Samoa is next on his agenda, where he intends to join BirdLife International to photograph the critically endangered tooth-billed pigeon, one of the closest living relatives of the dodo. “My ultimate aim has always been to bring attention to the oceans, their issues, their importance and how everyone can do a little something to alleviate the pressure,” says Tom. “Instead of simply presenting facts, I try to connect audiences emotionally to the stories of wildlife, ecosystems and the people working to protect or destroy them, bridging the gap between science, nature and the public through stories that spark curiosity and action.”

A question of kit

Between shifting light, saltwater corrosion, intense pressure and temperature swings, the ocean is no easy workspace, which is why Tom relies on a camera system he can trust. “I’ve always used Nikon, and when it was time to move from DSLR to mirrorless a couple of years ago, I had a few options but I stuck with Nikon, and specifically the Z8, because it fits perfectly into my demanding work in the tropics,” he says. “The Z8 bodies have excellent sealing, which is crucial when you’re dealing with salt spray, sudden downpours and sandy conditions, plus it has all the incredible hybrid capabilities of the Z9 packed into a slightly smaller body.” What’s more, being able to programme presets means Tom can keep his underwater set-up primed and responsive, vital when every second counts. “In my work, I often have to react fast,” he explains. “One moment I might be photographing a bird from a boat with the 800mm super tele, the next I’m underwater filming sharks. Time is often of the essence, and Nikon has never disappointed me.”

Protected inside an Aquatica digital housing, Tom pairs his Z8 with a range of lenses tailored to each occasion, all fitted with specialised dome ports for optimal underwater performance. “My go-to lens is the NIKKOR Z 14-30mm f/4 S,” he says. “The zoom range lets me capture wide scenes and tighter images, which is especially useful for the photojournalistic work I do underwater. I can frame the bigger picture, then zoom in for the intricate details to tell a complete visual story.

“I also love using the AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED with the FTZ adapter. It delivers sharp image quality, fast autofocus and lets me get very close while still capturing expansive reefscapes or large marine life,” Tom adds. “And since there are no straight lines underwater, that classic fisheye distortion you see above the surface isn’t noticeable down there.”

When it comes to capturing great ocean photography, Tom says one accessory is absolutely essential: artificial light. “Light behaves differently underwater than in the air. The deeper you go, the more light is absorbed, especially reds and oranges, so everything starts to look blue or green,” he explains. “Without artificial light, the underwater world loses its vibrancy. To bring colour back and properly capture a reef, you need strong strobes for photography or continuous video lights for filming. Before every dive, I think about what I’m prioritising. I’ve sometimes mounted both, but that makes the rig bulky, so I usually try to avoid it. If I am capturing both, I often just go with video lights, as I can still take great stills that way, but I can’t record video with strobes. It’s a compromise, but it works.”

Starting out below the surface

“If you have the opportunity, then go for it!” says Tom, offering advice for anyone keen to start their own ocean photography journey. “The most important thing in the beginning is simply to see if diving and underwater photography really interest you, or whether, after one or two dives with a camera, you realise they don’t. It’s important to know that diving is, unfortunately, a fairly expensive hobby, unless you already have your own gear and happen to live close to lakes or ocean. That said, you can start smaller. Try snorkelling first to see if the experience sparks your curiosity, and you could also connect with like-minded people who already own equipment to get some hands-on experience without the upfront cost.”

When it comes to beginner-friendly underwater subjects, Tom recommends starting with the slow and stationary. “Find a pool and place a few objects on the bottom,” he suggests. “Place your camera in underwater housing and practise photographing these while playing around with your settings and learning how lighting behaves. A good rule of thumb is to first figure out the ambient light situation and set your camera accordingly, with your strobes switched off. Once you’re happy with the ambient lighting, you can add the extra complexity of strobes, adjusting their intensity and angle.”

Progressing to the next level

When you’re ready to take the plunge in natural bodies of water, Tom encourages beginners to start shallow, where there’s more natural light and it’s easier to perfect your technique. “The less water between your camera and your subject, the sharper and more vivid your result,” he explains. “Generally speaking, the shallower you are, the more available light there is, which can really help when photographing or filming reefs.”

As your confidence grows with diving and handling your rig, Tom suggests some more advanced techniques to optimise your pictures. “For murky dives, angle your strobes slightly outward to reduce backscatter, the tiny particles suspended in the water column, and use only the edge of the light beam to illuminate your subject,” he says. “To light up a wider reefscape, spread your strobe arms as wide as possible and boost them to full power.”

Ultimately, while mastering underwater photography takes time, patience and plenty of trial and error, if your goal is to protect the planet, Tom believes change can start with a single click. “Sometimes a problem seems too large to tackle, and the easiest way would be to just give up,” he says. “But if everybody just gives up, the problem will never be tackled. So every little something counts, no matter how small. The important thing is to first identify the issues and then to keep walking forward, working towards an ideal situation or a solution, and to never give up.”

Tom’s underwater photography top tips:

1. Know your kit

“One of the biggest challenges in ocean photography is the added complexity of diving. Strong currents, poor visibility and low light are all common, which is why it’s crucial to know your camera inside out. When you’re photographing any type of wildlife, there’s rarely much time. Reacting instinctively and adjusting your settings quickly can be the difference between an amazing photo and a missed opportunity.”

2. Smart settings

“Before jumping into the water, set your camera to f/8, 1/200 sec and auto-ISO with your strobes close to your dome, slightly angled outwards, and either off or at a weak setting. This is a really good starting point. And in case a manta ray or shark swooshes immediately past, you are set up for a nice picture!”

3. Get close!

“A good general rule of thumb is try to get as close to your subject as possible, whether it’s a reef or a fish – although perhaps not a shark! That will make it easier to focus, get better colours and generally more sharpness and contrast. Never to disturb wildlife, however.”

4. Preparation saves the day

“Make sure your camera is fully charged and the SD card is in the camera! This sounds obvious, but this happens to a lot of people, me included.”

5. Dive first, photograph later

“Many won’t want to hear this, but you must first learn to dive properly and control your buoyancy before taking a large dive rig with you! When I started diving 13 years ago, my instructors forbade me from taking my camera with me during my first few dives, and with hindsight, I am very grateful!”

Tom Vierus’ kitbag

Z8, NIKKOR Z 14-30mm f/4 S, NIKKOR Z MC 105mm f/2.8 VR S, AF-S FISHEYE NIKKOR 8-15mm f/3.5-4.5E ED, Mount Adapter FTZ II Adapter

Large dome port (wide angle), macro port (macro), Aquatica Digital Housing for Z8, 2x Hydra 15000 Lumen (for video), 2x Kraken KS-160 (for stills)