Water Sprite” is more than just an underwater portrait; it is a culmination of artistic vision, environmental immersion, technical mastery, and human endurance. Captured by Justin Lutsky, this award-winning image was taken in the pristine freshwater environment of Florida’s natural springs and later crowned 1st Place in the Underwater Digital Art category for Ocean Art 2023. The image features professional mermaid and performer Abbey Blake, suspended in an ethereal underwater world that blurs the line between reality and fantasy.
Florida’s springs are famous for their striking visibility and stillness, making them an ideal setting for underwater portraiture. Lutsky has been frequenting these springs for years, honing a style that merges mythical aesthetics with real-world conditions. The clarity of the water allows for images that look otherworldly. Still, the truth behind each photograph is grounded in careful planning, expert collaboration, and a deep respect for the challenges of underwater photography.
To create “Water Sprite,” Lutsky worked with Blake to develop a look that would visually evoke a fairy or elemental spirit. The idea of a water sprite—a mythical being associated with natural bodies of water—guided the costume design and pose strategy. Blake wore a fine mesh bodysuit to which fairy wings were attached. Despite the elaborate styling, everything was shot practically and captured in-camera with minimal reliance on digital manipulation. This decision reinforces the photographer’s commitment to authentic underwater artistry, where most of the magic happens beneath the surface rather than behind a screen.
The photo session took place in early January, a time when the spring water remains a constant 72 degrees Fahrenheit. Though relatively warm by spring standards, this temperature presents real challenges for models and photographers who need to perform breath-holds and maintain poise in brisk water for extended periods. The timing of the shoot was also carefully chosen. The photo was taken in the late afternoon, as the sun dipped below the surrounding tree canopy. This created a golden ambient glow behind the subject, which Lutsky used as a natural backlight. An on-camera strobe provided subtle front fill lighting, highlighting details in the foreground while preserving the dreamlike quality of the background.
The session was conducted using a breath-hold technique. Both Blake and Lutsky would submerge at the same time, holding their breath while attempting several shots in rapid succession. After each sequence, they would resurface, review the images, and make adjustments to pose or positioning before descending again. This process required tremendous physical discipline and precise timing. To achieve the perfect pose, Blake had to expel most of her breath to sink fully to the spring floor and rest naturally on the edge of a crevasse. This allowed her body to settle into a relaxed, almost meditative position that added to the illusion of an aquatic sprite caught mid-dream.
Blake’s ability to perform under pressure was essential to the success of this shoot. Professional underwater modeling is a demanding skill that goes far beyond traditional posing. It involves control over buoyancy, facial expression, limb extension, and orientation—all while holding one's breath and remaining graceful despite the elements. Add to this the reality that the spring is a popular destination for cave divers, and the challenge intensifies. Throughout the shoot, Lutsky and Blake had to pause and wait as divers passed through the background. This added another layer of unpredictability to an already complicated environment.
Despite these difficulties, the team succeeded in capturing a singular image that embodies narrative, technical precision, and fantasy. Post-processing was kept minimal. The most notable adjustments involved blending out the hard lines of the bodysuit and applying overall tonal enhancements to draw the viewer’s attention to Blake’s figure. Color grading was used to heighten the sense of magic and underwater tranquility, without overwhelming the raw, natural elements of the shot.
The final composition of “Water Sprite” presents a surreal underwater landscape where human and myth converge. There is a sense of suspended time, of dreamlike isolation, and delicate fragility. The image doesn’t rely on digital trickery or heavy composites. Instead, it leverages the real conditions of the spring and the real performance of its subject to convey a scene that feels pulled from a mythological fable.
As a reward for this artistic triumph, Lutsky won a cruise aboard the Duke of New York Liveaboard in the Maldives, courtesy of Luxury Yacht Maldives. While the prize is a fitting celebration, the true reward lies in the creation of a piece that connects so deeply with its viewers—reminding us of the beauty and magic that can be found when creativity meets nature, and when vision is tempered by experience and craft.
Immersive Precision: Technical Challenges of Underwater Photography
Underwater photography introduces a unique blend of artistry and technical complexity that pushes even the most seasoned professionals to refine their craft. Capturing the image titled “Water Sprite” required not only a compelling creative vision but also a deep understanding of physics, optics, light behavior, and environmental variables. Justin Lutsky’s approach to underwater portraiture highlights how deliberate technical planning and adaptability in unpredictable conditions are just as important as inspiration.
Unlike studio photography, underwater environments are dynamic and uncontrollable. Everything from light behavior to subject positioning is affected by water movement, depth, temperature, clarity, and available sunlight. The success of “Water Sprite” is a result of Lutsky’s technical fluency in navigating these ever-changing variables, all while ensuring that his subject, underwater model Abbey Blake, could perform safely and convincingly under physical constraints.
The first technical challenge faced during the shoot was visibility. Fortunately, Ginnie Springs in Florida offers exceptional water clarity due to its freshwater spring system. The natural filtration process of these springs ensures minimal particulate matter, which reduces haze in the final image and increases contrast. This is crucial because underwater visibility directly impacts the sharpness, dynamic range, and overall realism of a shot. In this case, the exceptional clarity of the water contributed significantly to the dreamlike effect of the final composition, giving it an almost painting-like softness without sacrificing detail.
However, even in clear water, light behaves very differently than it does in air. Water absorbs and scatters light at a much higher rate, especially when it comes to warmer wavelengths such as red, orange, and yellow. This absorption starts as shallow as three feet below the surface and becomes more pronounced with depth. To counteract this, underwater photographers must carefully balance ambient light with artificial light sources. Lutsky solved this by using a natural light backlight (sunlight filtering in from above) and a controlled strobe light for front illumination. The strobe, positioned on-camera, added just enough fill light to bring out the detail in Blake’s costume and facial features without overpowering the ambient glow.
This delicate light balance is one of the most complex aspects of underwater photography. Too much strobe power can flatten the image or cast harsh shadows, while too little can leave the subject underexposed and lost in the background. By working in shallow water and shooting during the late afternoon when the sun was low, Lutsky was able to use the natural lighting as a cinematic tool. The sun became a glowing halo, acting almost like a stage light placed behind the subject, while the front strobe offered just enough pop to ensure the viewer’s focus was maintained on the subject.
Another key challenge was controlling camera settings in an underwater housing. Unlike shooting on land, underwater photographers must anticipate their settings in advance, since making adjustments once submerged can be difficult and sometimes impossible depending on the housing. For “Water Sprite,” Lutsky chose to shoot with a Sony A7R III inside a Nauticam housing paired with a Zen DP-230 dome port. This setup was selected for its high resolution, dynamic range, and low-light performance, all of which are vital when working with limited natural light and minimal artificial lighting. The Sony A7R III’s 42.4-megapixel sensor offers excellent sharpness and detail, ensuring that even the smallest nuances of the costume and environment would be captured clearly.
Using a Sony 12-24mm lens allowed Lutsky to take full advantage of the wide-angle environment. Wide lenses are commonly used in underwater photography to get closer to the subject while still capturing a large portion of the scene. This reduces the amount of water between the lens and the subject, helping to improve contrast and reduce haze. At the same time, wide-angle distortion can be used creatively to elongate limbs and add surreal proportions—an effect that played well into the fantasy of the “sprite” concept. The exaggerated perspective of the rocks and wings contributes to the mystical tone of the final image.
Camera settings were also critical. Lutsky shot at an aperture of f/7.1 to strike a balance between depth of field and light capture. This aperture provided enough sharpness across the frame while allowing sufficient light onto the sensor. The shutter speed was set to 1/200 second, fast enough to freeze motion and eliminate the blur that can occur from water currents or slight subject movements. ISO was kept at 100 to ensure maximum image quality with minimal noise—especially important for post-processing where even subtle noise can be amplified during color correction or tonal adjustments.
Focusing underwater can also be problematic due to reduced contrast, floating particles, and refraction. The camera housing’s dome port helps mitigate distortion caused by water refraction, but it still requires skillful focusing and framing. Autofocus can be unreliable in low-contrast underwater scenes, so many professionals opt for manual focus or focus-locking on the subject’s eyes before taking a shot. Lutsky likely used a combination of these methods, especially since he and his model were surfacing regularly to review and make refinements. This iterative process allowed him to fine-tune focus and framing in a way that’s often impossible in fast-paced or deeper dives.
Another logistical issue was the coordination with the model. In most terrestrial shoots, photographers can give real-time feedback, reposition lighting, and tweak wardrobe. None of that is easily done underwater. To solve this, Lutsky and Blake developed a system of signals and rehearsed movements in advance. They also utilized breath-hold synchronization, diving together and working in short bursts. This required impeccable timing, mutual trust, and a shared understanding of the goal. Blake’s experience as a professional underwater performer was instrumental. She not only knew how to move gracefully but also how to manage buoyancy, control facial expression, and maintain visual awareness within the frame.
A significant part of their challenge was environmental interference. Because Ginnie Springs is popular with cave divers, the team had to deal with other people entering the frame unexpectedly. This meant waiting for divers to clear out, predicting traffic patterns, and adapting to timing delays. In some instances, sediment kicked up by divers can ruin visibility for several minutes or longer, so patience was essential. Having a talented model who could resume poses quickly and efficiently was a huge asset in these moments.
Post-processing was kept relatively minimal, but not without its technical considerations. The mesh bodysuit had lines that needed softening to blend more naturally with the surrounding water and avoid drawing attention away from the wings and facial details. Color correction was performed to restore warmth lost during underwater absorption. Blues and greens were enhanced while maintaining skin tones. Contrast was adjusted to emphasize the edges of the subject while retaining the softness of the spring’s natural light diffusion. These edits were done with a light touch to preserve the in-camera authenticity, staying true to the original vision and location.
Every element—from camera gear to strobe placement, from breath control to light metering—had to function harmoniously to achieve the final result. Unlike highly composited digital art, this image derives its strength from what was captured in the moment. It’s an excellent example of how mastering the technical foundations of underwater photography empowers the photographer to focus on storytelling and mood creation without being bogged down by limitations.
In “Water Sprite,” the gear doesn’t dictate the story, but rather it disappears behind it. The viewer is left not with the memory of equipment or lighting diagrams, but with the feeling of encountering a magical being in its natural habitat. This seamless integration of vision and precision is what distinguishes award-winning underwater art from ordinary snapshots taken beneath the surface.
Weaving the Fantasy: Artistic Direction and Conceptual Storytelling Behind “Water Sprite”
In the world of underwater photography, aesthetics and technical mastery must coexist in a delicate dance. An image may be perfectly exposed, sharply focused, and precisely lit, but without a compelling narrative or emotional undercurrent, it often fails to resonate. The success of Justin Lutsky’s “Water Sprite” lies not just in its technical finesse but in its rich storytelling, symbolic composition, and careful collaboration with the subject. From concept to execution, every detail was purposefully crafted to evoke myth, mood, and a sense of timelessness.
“Water Sprite” was never intended to be a generic underwater portrait. It began as a deliberate exploration of fantasy—a visual journey into the realm of water spirits, folklore, and elemental beings. The idea of the water sprite has deep mythological roots. Found in numerous cultures across Europe and Asia, water sprites are imagined as ethereal creatures who dwell in springs, rivers, or lakes. Often portrayed as feminine and elusive, they embody the intersection between nature and imagination. They are not mermaids, not quite fairies, and certainly not human. They exist in an ambiguous space that invites wonder, mystery, and sometimes melancholy.
It was this concept that Lutsky sought to capture when designing the artistic direction for the photo. The costume design, pose choices, lighting decisions, and overall environment were chosen not merely for visual appeal but for symbolic resonance. The mesh bodysuit worn by professional mermaid and performer Abbey Blake was lightweight, neutral-toned, and semi-translucent. It was designed to blur the line between flesh and fantasy, skin and water. Attached to this bodysuit were custom-made fairy wings—not cartoonish or glitter-laden, but subtle, natural, almost insect-like in their form and structure. They gave the illusion of something organic, something born of water and air.
The goal was not to portray a character in costume but to create the illusion of a being that might exist in some unseen layer of reality. This required a model who could inhabit the role without overacting. Blake’s background as an underwater performer gave her the tools to understand how slight changes in posture, hand placement, facial relaxation, and head tilt could completely alter the mood of the photograph. Together, she and Lutsky worked to find a pose that felt balanced and believable—something that looked effortless, even though it required physical exertion, breath control, and pain tolerance due to cold water and rocky surfaces.
The composition of the final image echoes classical portraiture. Blake is framed slightly off-center, resting on the lip of an underwater crevasse. Her body curves gently, with one arm extended toward the viewer and the other slightly behind. Her expression is serene, with eyes half-closed and lips parted, as if in a trance or dreaming. Her wings fan out behind her, catching the ambient backlight in a way that makes them shimmer faintly. The rocks around her form a natural throne, lending a regal quality to her pose, as if she is not merely resting in the environment but ruling it.
This regal stillness is juxtaposed with motion. The light rays filtering through the water shift constantly, dancing across the frame. Fine air bubbles trail from her body, adding verticality and subtle texture. The interplay of stillness and motion creates a sense of suspended time—a moment caught between movement and silence, breath and water, surface and depth. In this way, the image functions as both a visual narrative and a meditative experience.
Color theory also played a significant role in the artistic vision. The natural palette of Ginnie Springs includes earthy greens, sandy beiges, and rich blues. These tones were preserved and subtly enhanced during post-processing to heighten mood and clarity. Unlike many underwater portraits that rely on heavy blues or dramatic artificial lighting, “Water Sprite” embraces a naturalistic color grading that feels both cinematic and grounded. The choice of costume and makeup was made with this palette in mind. The goal was harmony, not contrast. Blake’s outfit and wings do not stand out garishly from the background. Instead, they meld into it, giving the impression that she is part of the environment, not imposed upon it.
Another layer of the story lies in the environmental symbolism of the springs themselves. Springs are often seen as places of rebirth, purity, and transformation. In myth, they are portals between worlds—gateways to the spirit realm or sources of divine power. By placing a fantastical being within such a space, Lutsky tapped into deep-seated cultural archetypes. The viewer does not need to be familiar with the specifics of European folklore to feel the weight of the scene. There is an instinctive emotional response to the juxtaposition of a human-like figure with an otherworldly setting. It speaks to the part of us that longs for magic, mystery, and meaning beyond what we can measure.
While the artistic direction of “Water Sprite” was driven by vision, it was made possible by trust and collaboration. The dynamic between photographer and model is especially critical in underwater sessions where time is limited, communication is hindered, and physical risk is always present. Lutsky and Blake had worked together before, establishing a shorthand of gestures, expressions, and breathing rhythms that allowed for maximum efficiency. Each descent into the water was rehearsed, purposeful, and brief—no more than thirty seconds per submersion.
Between dives, they reviewed images on the camera screen, critiquing angles, tweaking poses, and analyzing lighting. This iterative process mirrored that of a painter refining each brushstroke or a director adjusting each frame. The key difference was that their canvas was fluid, unpredictable, and vanishing with each exhalation. The choreography of the shoot—where they placed themselves in the water, when they submerged, how long they stayed down, what direction they faced—was as important as the framing or lens choice.
Beyond physical coordination, there was also a shared emotional language. Blake needed to understand not only how to move her body but how to project a feeling. This was not a fashion shoot or a commercial campaign. It was a narrative performance. She was playing a role with no dialogue, no soundtrack, and no stage cues. Her expression had to convey ancient memory, wisdom, fragility, and curiosity—all without breaking the illusion. Her comfort in the water, her ability to manage her breath, and her willingness to endure cold conditions all contributed to the sense of authenticity in the final image.
This authenticity is one of the reasons “Water Sprite” stands out. While digital tools can be used to fabricate entire fantasy scenes, Lutsky chose to create his fantasy in the real world. Everything in the frame exists. The rocks, the wings, the bubbles, the body—they were all present in that moment. The only enhancements were those made in service of clarity and tone. No additional elements were composited in. No major alterations were made to the scene. The magic of the image is that it looks fantastical but is rooted in truth.
Artistic direction is not about adding more but choosing wisely. What to include, what to exclude, where to frame, when to shoot—all these decisions accumulate into a final result that feels intentional and resonant. In this way, Lutsky’s work aligns more with classical art traditions than with modern digital composites. His process values observation, patience, and interaction with the natural world. It is less about control and more about collaboration—between artist and model, between human and water, between vision and opportunity.
This collaborative ethos also extends to the audience. “Water Sprite” invites interpretation. There is no single narrative imposed on the viewer. One might see the image as a fairy tale come to life, another as a metaphor for isolation or longing. Some may view it through the lens of environmental art, appreciating the preservation of the natural setting. Others may see it as a psychological portrait, representing a dream state or a fragmented identity. The openness of the composition, combined with its attention to detail, allows multiple readings.
In interviews, Lutsky has spoken about his desire to create images that feel like glimpses into alternate realities. Not fantasy in the sense of escapism, but fantasy as a way to reawaken wonder. His work often straddles the line between real and surreal, using practical effects, in-camera techniques, and natural light to build believable illusions. “Water Sprite” is perhaps the most distilled example of this philosophy. It asks the viewer not just to look but to imagine, not just to observe but to believe—if only for a moment—that such beings might exist, that such beauty might occur, that such worlds might lie just beneath the surface.
The creative process that birthed this image was meticulous, challenging, and deeply collaborative. From conceptual design to costume creation, from pre-visualization to model rehearsal, from environmental adaptation to lighting strategy, every step was governed by a guiding question: What story are we telling, and how can we tell it honestly, beautifully, and powerfully?
The answer, as shown in the final frame, is not in spectacle but in subtlety. Not in visual overload but in visual coherence. Not in domination of the environment but in harmony with it. Through this lens, “Water Sprite” becomes not just an award-winning photograph but a modern myth—a contemporary fable told through water, light, and breath.
Resonance and Recognition: Reception of “Water Sprite” in the Photography World
The reception of “Water Sprite” in the international photography community was not just positive—it was profound. Upon release, the image captured attention not only for its technical excellence but for its emotional depth and cinematic sensibility. Winning 1st Place in the Underwater Digital Art category at Ocean Art 2023 was a major milestone that affirmed Justin Lutsky’s status as a leading voice in underwater visual storytelling.
Competitions like Ocean Art attract some of the world’s most experienced and innovative photographers. To stand out among thousands of submissions requires more than a pretty picture. It demands something timeless, something that connects across boundaries of language, culture, and personal experience. “Water Sprite” achieved this through its universal visual language—grace, mystery, light, and a hint of the sacred. Judges and audiences alike praised the piece for its dreamlike composition, balance of realism and fantasy, and the way it evoked folklore without relying on cliché.
What separated “Water Sprite” from other entries was its restraint. Many digital artworks in the underwater category lean heavily on Photoshop compositing, surreal backdrops, and fantastical elements that exist only in the digital realm. Lutsky’s piece, in contrast, used real elements—real rocks, real water, real light, a real performer—to suggest the fantastical without explicitly constructing it in post-production. This gave the image a visceral authenticity that viewers could feel immediately. It was as if the photograph revealed something hidden in the world rather than something artificially created.
Social media platforms, online galleries, and underwater photography forums buzzed with conversation about the image. Viewers expressed amazement at the model’s expression and poise, the depth of field, the glowing natural light, and the emotional pull that seemed to rise from the water itself. Some described it as cinematic. Others called it poetic. Many found in it a reflection of their longing for beauty, mystery, and quiet.
The work also resonated outside the niche of underwater art. Fantasy enthusiasts, fashion photographers, fine artists, and even environmental advocates shared the image, each seeing a different kind of meaning in it. For fantasy lovers, the photo felt like a scene from a forgotten legend. For environmentalists, it showcased the pristine beauty of natural springs, hinting at the need to protect such ecosystems. For visual artists, it was a masterclass in ambient light use and underwater choreography.
This wide appeal suggests that “Water Sprite” transcends categories. It is not just underwater art. It is not just digital art. It is an emotional artifact—one that speaks to the imagination and opens the door to personal interpretation. It is the kind of image that lingers in the viewer’s mind, not because of how it was made, but because of how it made them feel.
Emotional Impact: What “Water Sprite” Awakens in the Viewer
Every powerful image elicits more than admiration—it provokes feeling. “Water Sprite” does not tell the viewer how to feel, but it makes space for a wide range of emotional responses. Some may feel wonder, others nostalgia, others a quiet sadness. The image has a meditative stillness to it, an introspective mood that invites the viewer to slow down and look closer.
The model’s posture and expression play a large role in this. Abbey Blake appears both vulnerable and powerful. Her body language suggests rest but also awareness, as if she is waiting or watching. Her wings are not spread wide in triumph, but delicately fanned, catching the light in soft curves. This ambiguity creates tension. Is she a guardian of the spring? A memory? A figment of someone’s dream? That ambiguity is where the emotional magic lies.
The color tones also contribute to the mood. Muted greens and blues dominate the frame, with just enough warm highlights to prevent the image from feeling cold. The environment feels quiet, untouched, almost sacred. The viewer is not simply observing an underwater model—they are stepping into a moment of reverence, of suspended time. This is further enhanced by the soft backlighting, which creates a visual halo effect and gives the subject a spiritual quality.
For many, the image evokes childhood memories of fairy tales, daydreams, or stories whispered before sleep. It taps into the deep human desire for wonder—for moments that defy explanation and connect us to something larger than ourselves. In a world increasingly saturated with digital noise and artificial speed, “Water Sprite” offers stillness. It offers calm. It offers a sense of the magical made real.
The Legacy of a Modern Myth
As an image, “Water Sprite” is likely to endure beyond its competition win. Its legacy lies not just in accolades but in its influence. Already, photographers and visual storytellers have cited the piece as inspiration for new underwater projects, emphasizing natural light, practical effects, and emotionally resonant themes. In a genre often dominated by vibrant colors and high-contrast visuals, Lutsky’s soft, cinematic aesthetic stands out as a bold alternative.
It also reinforces the value of collaboration. Blake’s role was not passive. She co-created the image through physical endurance, emotional expression, and synchronized effort. The success of the photograph reminds artists that models are more than subjects—they are performers, creators, storytellers in their own right.
Equally important is the image’s environmental context. Ginnie Springs is a real place, and the clarity of its water, the structure of its rocks, and the softness of its light are irreplaceable elements of the photograph’s success. As natural environments face increasing threats from pollution, overuse, and climate change, images like “Water Sprite” serve as subtle reminders of what we stand to lose. They capture not just fantasy but the fragile, irreplaceable beauty of real ecosystems. In this way, the legacy of the image may inspire not only artistic emulation but conservation efforts.
For Lutsky himself, “Water Sprite” represents the culmination of years of practice, experimentation, and dedication. It is a portrait of where his skills, imagination, and collaborative spirit all met at the perfect moment. And while every artist continues to evolve, some works become touchstones—images that define a moment in their career and speak for their creative soul. For Lutsky, this image is one such touchstone.
Conclusion:
“Water Sprite” is more than a photograph. It is a visual poem, a dance of light and breath and storytelling captured in a single, suspended moment. Created through the vision of Justin Lutsky and the performance of Abbey Blake, it exemplifies the power of art to transcend category and technique. While grounded in real-world elements—camera settings, costume design, underwater physics—it reaches far beyond them. It becomes something mythical, something shared.
Its success at Ocean Art 2023 was no accident. It was the product of a meticulous process, of shared vision, of emotional honesty. It was a triumph of subtlety in an age of spectacle, a return to natural beauty in a digital world, and a celebration of what happens when art and nature collide.
Perhaps its greatest achievement is its ability to invite the viewer into that world. Not to observe it from the outside, but to feel immersed within it. To hold their breath, descend into the water, and believe—if only for the span of a heartbeat—that something magical dwells there.
And that is the true power of underwater art. Not simply to show us what is beneath the surface, but to show us what is beyond the frame. What we imagine. What we feel. What we remember. And what we long for.
Let “Water Sprite” be a reminder that even in the quietest corners of the world—in a spring beneath the trees, in the flicker of natural light, in the outstretched hand of a performer holding her breath—art can still touch us, move us, and awaken something ancient within us.