Allegra Hutton is a conservation and travel photographer whose work bridges the gap between science and storytelling. With a background in science education and a deep commitment to wildlife conservation, she has photographed across all seven continents – documenting everything from mother–calf humpback whales in Tonga to the icy ecosystems of Antarctica. Allegra’s work is rooted in ethics, empathy, and a desire to make complex environmental issues more accessible. As a woman in a traditionally male-dominated field, she also advocates for greater representation in conservation media, using her platform to inspire connection, understanding, and action for the natural world.
Product Preview – In This Article You'll Find:
–Alpha 7R V
–14mm f/1.8 G Master
Photo by Allegra Hutton. Alpha 7R V. 14mm f/1.8 G Master. 1/125-sec., f/11, ISO 320
Floating Through A Living Galaxy
Last month, I had the incredible opportunity to spend a week aboard a liveaboard dive boat in Raja Ampat, Indonesia. It was a dream week of diving—vibrant coral gardens, graceful manta rays, and an overwhelming abundance of marine life. It felt like such a relief to witness reefs that still pulse with life, though even here, the effects of climate change are beginning to take hold.
I set out on this trip with the intention of documenting not just these early signs of ecological stress, but also the biodiversity of the region. I’d seen photos of golden jellyfish before, and quietly hoped I might capture a dreamy split shot of my own – but what I experienced far exceeded anything I’d imagined.
I was lucky to be with friends who know the region well, and at the end of our week together they guided me to a hidden inland saltwater lake – a place you reach only by a short, but steep hike (not the easiest feat whilst carrying underwater camera gear!) The jellyfish that call this lake home are incredibly sensitive, so we were careful: no sunscreen, no lotions, no fins – nothing that could harm them or disturb their world.
Photo by Allegra Hutton. Alpha 7R V. 14mm f/1.8 G Master. 1/125-sec., f/11, ISO 320
After the climb, we quietly slipped into the water and began to swim. With each stroke, more jellyfish appeared, until the lake was so thick with them I could no longer see the person beside me. It was surreal. I stayed in the water for hours, completely mesmerized. Surrounded by soft, golden bells drifting in all directions, it felt like floating through a living galaxy.
Total magic.
Underwater With The Alpha 7R V
For this shot, I was using my Alpha 7R V paired with the 14mm f/1.8 G Master lens, all tucked inside my Ikelite housing – one of my absolute favorite setups for shooting underwater. The Alpha 7R V is a powerhouse below the surface: high resolution, incredible autofocus, and low-light performance that really holds up, even in the depths. I’ve said it before and I’ll keep saying it – those 61 megapixels are hard to beat.
The 14mm f/1.8 G Master lens is a dream for underwater work. That ultra-wide angle is ideal for so many reasons. First, it’s perfect for split shots – being able to capture both above and below the surface in one frame is one of my favorite things to try. The wide field of view also means you can get close to your subject while still fitting the whole scene in, which is so important underwater. The closer you are, the less water (and distortion) between you and your subject – translating to more color, more clarity, and more impact.
Photo by Allegra Hutton. Alpha 7R V. 14mm f/1.8 G Master. 1/125-sec., f/11, ISO 320
And then there’s the sense of depth. Wide-angle lenses naturally exaggerate perspective, which makes underwater environments feel even more vast and immersive. And that’s really the goal – to make you feel like you’re right there in it.
Jellyfish Photography
I spent hours playing around with these jellies – completely mesmerized. I moved slowly and deliberately the entire time, which isn’t easy when you’re holding a heavy housing half out of the water trying to nail a split shot. The water is constantly shifting, and even the slightest movement – a centimeter here or there – can totally change the position of the waterline on the dome port. It’s a challenge, but part of what makes these shots so rewarding.
I spent a lot of time working on those over-unders, but when my arms started to give out, I switched it up and swam around, capturing the jellies from every angle – above, below, and everywhere in between. When I’m shooting underwater, I usually keep my aperture at f/11 to get as much of the scene in focus as possible. Since I was working right at the surface (and had plenty of light), I was able to shoot at a low ISO of 320 and a shutter speed of 1/125 sec.
Photo by Allegra Hutton. Alpha 7R V. 14mm f/1.8 G Master. 1/125-sec., f/11, ISO 320
I was genuinely so happy with how the images came out – it felt like all the patience and jellyfish drifting paid off.
Editing Your Underwater Photography
Post-processing for this image was super minimal – Lightroom really makes it a breeze. For underwater shots, I always bump up the clarity and vibrancy just a bit to bring out the details and colors. With split shots, I’ll usually mask just the underwater portion so I can fine-tune it without affecting the top half.
I also like to play around with the blues to give the image a more personal feel – adjusting them until the photo looks the way it felt in the moment I took it. For the top half of the frame, I added a little texture and vibrance to bring out the detail in the mountains and sky, and then cleaned up any stray water spots on the dome port. Honestly, beyond those small tweaks, the final image didn’t need much at all. It came out of the camera pretty close to how I imagined it.
Photo by Allegra Hutton. Alpha 7R V. 14mm f/1.8 G Master. 1/125-sec., f/11, ISO 320
To learn more about the Sony Alpha 7R V, click here.
To learn more about the Sony 14mm f/1.8 G Master, click here.
See more of Allegra Hutton’s work on Instagram @allegrahutton.
For more stories behind the shot, visit alphauniverse.com/explore/bts.
