Conservation Photography Wilderness Values Wilderness Education Tanzania, Italy, Russia, Guianas STEWARDSHIP

Conservation Photography Art, Ethics, and Action

BY CRISTINA MITTERMEIER

ature photography talent combined with environmental understanding and is one of the most conservation commitment. N versatile artistic en- In recognition of the importance of images for conser- deavors. It allows practitioners vation and of the growing numbers of professional to specialize in myriad par- photographers who specialize in producing those images, ticular subjects within the the first-ever Conservation Photography symposium will natural world, from numerous convene from September 30 to October 6, 2005, in An- different perspectives—from chorage, Alaska, during the 8th World Wilderness Congress the journalistic documenta- (WWC). Conservation-minded photographers from all over tion of a species or a landscape, the world will assemble with scientists, policy makers, gov- to gallery-quality printed ernment officials, lawyers, writers, indigenous leaders, and pieces of fine art depicting others to help craft local and global conservation solutions. flora or fauna, macro- or The significance of this event is not only that it is the very microscale, realistic or im- first time nature photographers have been offered a work- pressionistic. The possible ing seat at an international conservation forum, but it will subjects and areas of special- also allow photographers themselves to decide if creating a Article author Cristina Mittermeier at work in ization are as diverse as nature new and distinct discipline in the field of nature photogra- Australia. itself. phy is justified. However, there is an additional step that can be taken Numerous items are on the agenda, including the criti- by the nature photographer, one in which the practitioner cal importance of professionally executed images to is not just interested in documenting nature or creating achieving conservation outcomes; how to harness the mar- works of art, but in making images that, in fact, protect the ket potential of the tens of thousands of amateur nature subject they depict. This is conservation photography. photographers around the world who are yet not involved Conservation photography showcases both the vanish- in conservation—and need to be; and recommending that ing beauty of our planet and its disappearing spirit, and it conservation organizations legitimize their reliance on im- puts the image “to work.” It is the pictorial voice used by ages by adding line items to their budgets for the service of many conservation organizations to further their messages. image professionals. For many purposes, amateur photos are good enough to With the exception of the most technical, peer-reviewed do the job, but professional quality is needed to create im- scientific journals, photographs are a necessary and con- ages that inspire people and empower them to change stant element of conservation communications. Be it to behaviors and take action. Anyone can purchase the equip- document, illustrate, compare, or inspire, images are an ment, travel to interesting regions, and learn the secrets of indispensable element of the conservation toolbox. Never- wildlife behavior well enough to capture it on film—or in theless, despite their critical importance in the crafting and pixels. The empathy, sense of urgency, and the personal delivery of messages, conservation professionals often opt commitment necessary to create awe-inspiring images, and for “homemade” amateur or poorly executed images, based to discover avenues through which those images can help simply on the argument of cost. The advent of easy-to-use ensure that the wild world persists cannot be purchased. digital cameras has exacerbated the situation by giving the Conservation photography is the result of photographic impression that taking pictures is a simple undertaking.

8 International Journal of Wilderness APRIL 2005 • VOLUME 11, NUMBER 1 Morning light on Little Horn, Cradle Mountain, Lake St. Clair National Park, Tasmania. Photo by Peter Dombrovskis, courtesy of Liz Dombrovskis.

International Journal of Wilderness APRIL 2005 • VOLUME 11, NUMBER 1 9 However, it is essential to acknowl- edge the importance of donating images, time, and talent to small grassroots conservation organizations and other environmental causes that may lack the resources to carry out large, complex projects and for whom it is much harder to find funds to hire the services of professional photogra- phers. This is a matter of civic duty and a personal commitment to help those causes we believe in. Although the donation of images is a great way to begin on the road toward making a living as a photographer, we need to be able to aspire to make a decent liv- ing from our craft. It is clear that much discussion on these matters will be needed at the 8th WWC. We will need to clearly articu- The highland cultures of Papua New Guinea were not discovered by Westerners until the 1930s. Although much as changed late the irreplaceable contribution of since then, some things thankfully remain the same. This playful moment during the annual cultural sing-sing at Mt. Hagen reminds me that children are the same all around the world, even in some of the most remote regions of our planet. Photo by images to achieve measurable conser- Cristina Mittermeier. vation outcomes, and we will need to become active participants in the con- But learning photography is like learn- of photographers. Professional photog- servation process in order to create the ing a new language: amateur snapshots raphers justifiably feel that if everyone images most relevant to the ever-evolv- are the few words necessary for elemen- else has a budget line in conservation ing conservation agenda. The tal communication, whereas the proposals, photographers—particularly symposium’s mission is to make the images created by gifted professionals, given the significance of their contribu- case for the recognition of our craft as those that inspire and enrich our soul, tion—should have one as well. an indispensable instrument in the are the equivalent of poetry. Thankfully, there are a few conservation conservation arena, not just in terms Of equal concern as the poor use and organizations leading the way that of artistic appreciation, but monetary selection of visual materials for conser- already understand the importance of compensation as well. vation, is the unfair practice of requesting photography and are serious enough to donated images from professionals. Too dedicate staff and resources to acquir- Conservation often, after a project is finished and no ing images and paying professional Photography in Tasmania usable images are found on the nongov- photographers. This effort is evident in But how does conservation photogra- ernmental organization’s inaugural the high-quality materials they produce phy differ from nature photography? digital card of its brand-new camera, and in the achievement of their conser- Although the similarities are many, the organizations often resort to the charity vation goals. most outstanding difference lies in the fact that conservation photography is born out of purpose. From the early The first-ever Conservation Photography symposium achievements of Ansel Adams in cap- turing the imagination of the American will convene from September 30 to October 6, 2005, public with his well-crafted images of in Anchorage, Alaska, during the 8th wild America, to the brilliantly executed images made by National Geographic’s World Wilderness Congress. “Nick” Nichols during an epic trek across the Congo that has recently led to the

10 International Journal of Wilderness APRIL 2005 • VOLUME 11, NUMBER 1 creation of an entirely new protected area to save the jagged system in Gabon, conservation photog- contours of the wild raphy has a well-established, yet seldom landscape it depicted. recognized record. I felt it. That story, as The significance of conservation it turned out, was just photography was evident to me when one chapter in the I first saw the work of Peter Dom- long history of brovskis, a Tasmanian photographer Tasmania’s environ- who was instrumental in saving the mental struggles. Tasmanian wilderness from massive Tasmania, like destruction wrought by proposed dam most European colo- construction. Working with intuitive nies, has seen its commitment and professional talent, share of ecological his became one of the finest examples and ethnological of conservation photography. blunders, many of When I first encountered Dom- them devastating. Its brovskis’s work, most of my own first irreversible loss photographic education had been came in 1876 with focused on learning the specialized the extermination of techniques and endless paraphernalia the last Tasmanian photographers employed. At the time, Aborigine—less than I was making progress in technique, a century after Euro- but I felt my images were lacking an peans first arrived. Its elemental, visceral quality. The discov- next major tragedy ery of Dombrovskis’s images during came in 1936 with Frost on Snow Berry (Gaultheria hispida) leaves, Milles Track, June, Mount Wellington, my first trip to Tasmania gave me a the extinction of its Tasmania. Photo by Peter Dombrovskis, courtesy of Liz Dombrovskis. clear vision for my own career, both largest endemic in terms of craft and—most impor- mammal, the Tasmanian tiger, which with photographs and films of the tantly—in terms of mission. His was followed by the careless introduc- area, Truchanas took the fight to the philosophy was a clarion call for pho- tion of hundreds of invasive species government and the people. To raise tographers to create technically that to this day continue to threaten public awareness, he called public superior, enduring images, that also the delicate native flora and fauna of meetings in the Hobart Town Hall and, demand that the wild world endure. the island. But it was the obliteration in his now-famous audiovisual dis- His philosophy is the guiding principle of Lake Pedder, a magnificent and an- plays, played to capacity audiences in my photographic career, and the cient glacial lake—centerpiece of a breathtaking scenes of what was about context in which lives the spirit of con- national park, and one of Tasmania’s to disappear forever. Sadly, despite an servation photography. most outstanding natural wonders— impassioned fight, the government I discovered Dombrovskis’s genius that finally spurred public indignation. succeeded in damming the Huon and among the tourist souvenirs of the It has been said that had it not been Serpentine Rivers, and in doing so they Hobart (Tasmania) Airport gift shop. destroyed, Pedder would occupy today drowned both the cries of the protest- His images, like paper jewels, stood out as prominent an iconic place in Aus- ers and the exquisite beauty of the wild from the surrounding Aussie parapher- tralian lore as Ayers Rock and Kakadu. lake. Devastating as this defeat was, nalia. The perfect scene of a beautiful At the center of the opposition to the silver lining came in the birth of a morning-lit outcrop in Cradle Moun- dam Lake Pedder was Lithuanian-born major movement to use photography tain National Park was beautiful and photographer and conservationist for conservation. technically perfect in and of itself, but Olegas Truchanas, a man who even- The fight over waterpower, however, it had something else. It contained an tually became a mentor and father was not over. Despite being less than 1% invisible sense of the fierce fight that figure for Peter Dombrovskis, who was the size of Australia as a whole, Tasmania had been waged just a few years before himself a Latvian immigrant. Armed possesses half of the country’s

International Journal of Wilderness APRIL 2005 • VOLUME 11, NUMBER 1 11 Tasmanian wilderness came under Beyond documenting nature as an art form, attack. An ethic of the land is indeed what we need as conservation conservation photography responds to the mission challenges gather speed. Our images of protecting nature. need to inform and galvanize to action, as well as inspire. When asked, Peter would say about hydroelectric potential, much of it from lose. In the end, the modest beauty his own work: “I am not a the powerful, free-flowing rivers that and tranquility reflected in his photographer, I am just making a surge through the island’s rugged images—still published extensively statement.” Today other photographers, western half. And so, soon after the even years after his death—were hikers, adventurers, the people of dramatic loss of Lake Pedder, another enough to turn public opinion. Tasmania, and those from around the proposal emerged to dam the Franklin The opposition prevailed, and the world are able to enjoy the beauty of River and thus flood one of the last great federal government compensated one of the most pristine Wilderness wilderness areas in the world. This time, Tasmania for the estimated lost World Heritage Areas on the planet. however, the idea was met with a mighty revenue of the hydroelectric dam, and Tasmanians also realize the benefits opposition. At the center of the battle then took it one step further by from an expanded and thriving nature was a well-organized protest that took creating the Franklin–Gordon Rivers tourism industry, and prosper from the the fight to the court of international National Park. This new park became many ecosystem services provided by opinion, including the 2nd WWC in the major piece in a series of the wildlands that cover most of the 1980, with the support of world-class contiguous, north-south national island. A fine statement, indeed. photographs by numerous artists, parks that cover a major portion of including Peter Dombrovskis. Tasmania’s western half. Mission of When Australian premier Robin It became clear to me that the Protecting Nature Gray declared the wild river “a brown magical quality in Dombrovskis’s Tasmania provides a clear example of leech-ridden ditch,” Dombrovskis—a images came from his passion to the power of images for achieving shy, quiet man—chose to raise his convey a profound sense of place for conservation outcomes. Can the camera instead of raising his voice. an area he loved, one that was at great success of this model be replicated to Despite the devastating loss of risk, rather than only through the protect nature and indigenous peoples Truchanas, who had died in a kayaking flawless technical merits of his work. in other regions? In today’s inter- accident, Dombrovskis headed out I also understood that it was this connected global society, perhaps the into the wilderness to illustrate his special mission that invested his Web should be the equivalent of the personal disagreement with the images with “soul.” Peter once said Hobart Town Hall, where images can premier. He did not intend to make that something of the photographer alert people to what is being rapidly campaign images, but inevitably his himself should be evident in every lost all over the world. images became the center of a image; something of how the Beyond documenting nature as an massively successful public photographer felt should leap from art form, conservation photography movement. He eventually remarked, every photo. Otherwise, the photo is responds to the mission of protecting “In any sort of campaign where you just a piece of paper. You can catch nature. After Dombrovskis’s death are trying to get people to feel for an glimpses of Dombrovskis in all his people remarked that it was not so area, to make some sort of decision photographs: the father, the naturalist, much that he photographed in about it, you need powerful images to the son, the poet, the gardener, the protected areas, but that protected areas show people, to give people an idea husband, the conservationist, and, yes, were created where he photographed. of what those areas are like.” the photographer. “An ethic of the land In conservation photography, the Like Truchanas before him, is needed because remaining subject is conveyed by aesthetics and Dombrovskis succeeded in capturing wilderness is threatened by defined by conservation priorities. the soul of Tasmania in images. He, commercial exploitation that will Although limited to specific places and too, was able to show the people of destroy its value to future generations,” issues, conservation photography’s Tasmania what they were about to wrote Dombrovskis when his beloved purpose is to elicit concern and

12 International Journal of Wilderness APRIL 2005 • VOLUME 11, NUMBER 1 Full-time Pro Photographers: The Ultimate Endangered Species?

BY WENDY SHATTIL AND BOB ROZINSKI

he number of nature photographers has increased plant may be of great value to a particular biodiversity T exponentially in the past decade, and the trend group, but of no interest to editorial publications. With shows no sign of changing. Many are hobbyists who time and resources, however, a pro is capable of creat- love taking pictures of the outdoors, or those who do ing a diverse body of work that thoroughly documents not need to generate a substantial living from selling that plant and its habitat, and provides an in-depth story nature photos. This is a boon to conservation organi- that advances the conservation cause through higher zations with low or no budgets for photo use, but a visibility in the mainstream media. detriment to seasoned full-time professional nature Professional photography is a proven catalyst in cre- photographers whose sole source of income is through ating public conservation awareness. In the 1870s the the sale of their work. Hayden expeditions to Yellowstone hired William H. No one goes into the field of conservation photog- Jackson to record images that eventually influenced raphy to make a fortune, but, if the bills aren’t paid, Congress to create America’s first national park. The pros can’t afford to keep creating images. Longtime pro work of today’s professionals is visible in books, maga- photographers have the vast knowledge and field ex- zines, and countless conservation publications, perience to document a critical species or location, and spreading the word through their photographs. to tell a conservation story. Experienced professional The key to protecting the environment is to moti- photographers have the ability to communicate with vate those who are in a position to do so. Politicians, all involved, from scientists to administrators, and of- private foundations, the general public, and corpora- ten have the opportunity to add to the story’s exposure tions are impacted by great photos by great through their long-established networks. photographers. Let’s make sure that the photographers The rigors of freelancing make it difficult for the pro can continue to do this critically important work! to invest the time and money in creating images that are useful to conservation groups but are of little interest to WENDY SHATTIL and BOB ROZINSKI’S work can be viewed at general photo buyers. An image of a rare or endangered www.dancingpelican.com. E-mail: [email protected].

emotion that can direct human places and, on the other, the raw, CRISTINA GOETTSCH MITTERMEIER is a behavior. Photographers also need to uncompromising reality of their marine biologist currently pursuing a shoot the whole scene and not just the destruction. career in photography. She has visited and photographed in more than 50 countries, is select pieces that we, the architects of As conservation challenges in- on the board of Nature’s Best Photography the image, choose to show the public. crease, the need is growing for Foundation, and serves as director of We also need to work with editors and images that touch people’s hearts and communications for Nature’s Best publishers to convince them to make change their minds. Photographers Photography Magazine; e-mail: available the layout room that may be of great conviction have already [email protected]. She is co- the single most important factor in blazed a trail for us, and it is our job organizing the Conservation Photography Symposium at the 8th World Wilderness eventually saving an area or a species. to do the same for the legions of new Congress (www.8wwc.org). In fact, conservation photography photographers who must become an needs to have a dual strategy: on the indispensable part of the con- REFERENCES one hand, showing the world the servation movement. IJW Dombrovskis, Liz, B. Brown, and J. Kirkpatrick, beauty and inspiration found in wild 1998. Dombrovskis: a photographic collection. Hobart, Australia: West Wind Press. pp. 6–14.

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