May 30

Wildscreen is partnering with the International League of Conservation Photographers at Wildscreen Festival 2018 where many of it’s fellows and associates will be speaking at the festival this October. We spoke with Susan Norton, iLCP’s Executive Director, about the organisation and their role supporting conservation photographers.

Tell us a little more about iLCP, your mission and your work.

iLCP was founded in 2005 by professional photographers who devote their lives to conservation photography.  Our mission is to promote environmental and cultural conservation through ethical photography and filmmaking.  We have 107 Fellows and Emerging League Photographers based in 26 countries, working in more than 100 countries.

 

Can you tell us more about iLCPs Emerging Talent league and why it’s important to you to encourage early career photographers?

iLCP has an Emerging League Photography (ELP) program that selects up to three photographers each year who are just starting out as professional photographers. The ELP term is three years and each one has an iLCP Senior Fellow as a mentor.  This program is very important as we encourage and inspire early career photographers to join us in the effort to use their images to support conservation efforts.  As an ELP, they join a global community of like-minded individuals who use their work for the greater good.

What advice would you give to someone who wants to be a professional photographer?

Perseverance, passion and patience are key traits of successful professional photographers.  It is very important to understand the business side of photography and wonderful when someone decides to devote their lives to photography for a cause.  It is also very important to practice good ethics in dealing with any subject – whether human, wildlife or environmental.  Professional photographers should always stress the value of their work, and anyone wanting to use their images should appreciate the experience and professionalism that went into creating such compelling images and be willing to pay fair market value to use these.

What projects are coming up for iLCP and its Fellows?

We are excited to be working with a number of iLCP Fellows, Emerging League Photographers, Affiliates and Partners on eight different expeditions to Alaska’s Arctic National Wildlife Refuge.  These begin at the end of May and last until September.  The expeditions will involve photographers, filmmakers, artists, writers and members of the Gwich’in community.  The resulting images and text will be used to promote awareness of and appreciation for this important biodiversity and culturally rich area in the wake of plans to allow oil and gas drilling. #arcticrefugestories

A post shared by iLCP (@ilcp_photographers) on


We’re thrilled that iLCP is partnering with us on creating content for some of the photography content at the Wildscreen Festival 2018. Why is it important that Wildscreen and iLCP are working together in this way? 

Wildscreen has long supported and celebrated the very best wildlife and natural history filmmaking through the Wildscreen Festival and the PANDA Awards.  iLCP is delighted to be the conservation photography partner for the Wildscreen Festival 2018 with its new two-day focus on photography and the inaugural PANDA Photography Award.  It is more important than ever to educate the world about the value of ethical photography taken by dedicated professionals.  We welcome the opportunity to have our Fellows share their images and conservation projects with the Wildscreen audience and look forward to growing our partnership.

______________

You can follow iLCP on Facebook, Twitter, Instagram or visit their website conservationphotographers.org

May 25

To celebrate the launch of the inaugural Wildscreen Photo Story Panda Award at this year’s Wildscreen Festival, Arkive is getting to know the award’s amazing jury, who are themselves international photography professionals. Here we meet Britta Jaschinski.

Award Winning Photographer Britta Jaschinski

For over 20 years, Britta Jaschinski has been devoted to documenting the fractured existence of wildlife, which suffers in the name of entertainment, status, greed and superstition. Britta was born and raised in Bremen, Germany but is now based in London. Her passion to protect wildlife, takes her across the globe to investigate the relationship we have with animals and to highlight what we risk losing. Britta is the winner of numerous awards, including GDT European Wildlife Photographer of the Year twice, and several times finalist and a winner of the Natural History Museum’s Wildlife Photographer of the Year. She is a sought-after speaker at photography festivals and her work has been published and exhibited worldwide, with more than 25 solo shows so far.

Smuggeld Across The Globe ; Confiscated At Borders And Airports. © Britta Jaschinski

Britta is the co-founder of Photographers Against Wildlife Crime™ – an international group of award-winning photographers who have joined forces to use their powerful and iconic images to help bring an end to the illegal wildlife trade.

What was your exposure to photography growing up?

I was more influenced by fine art. Albrecht Dürer’s woodcut of the Rhinoceros and his drawings of plants and bird wings fascinated me and I reckon you can actually see that in my work. Later, during my BA in Photography, I studied photo journalist like Don Mccullin and James Nachtway. My first hero in wildlife photography was  Michael ‘Nick’ Nichols.

What in your opinion makes a good photo story?

Firstly you should ask yourself if you actually have something to say. Something you feel passionate about. A situation you like to change or improve or just simply share with the world. If you know what you are talking about, you are halfway there with your story. Make sure you have researched into what you like to document – become an expert in it (at least for the duration of the project). Then think about your approach and the style you like to apply. Look at good photographers and how they have achieved telling a powerful story. Each photo should be strong enough as a stand-alone shot but they all need to work together and compliment each other.

Seized Wildlife Products, Fish & Wildlife Service, Denver, Colorado, USA, 2016. Wildlife Or Commodity? © Britta Jaschinski

You’re co-founder of Photographers Against Wildlife Crime™, what events prompted you to begin this campaign?

We are loosing wildlife at an alarming rate. Scientist believe we are living through the sixth extinction – only this time, we can blame ourselves for it. I felt frustrated, angry and scared what the future holds. Photography is a powerful tool. Looking at history, even one photo can bring change.

Smuggeld Across The Globe ; Confiscated At Borders And Airports 2016/17, Rhino feet, 2 adults and one baby. © Britta Jaschinski

How would you like the stories told in Photographers Against Wildlife Crime™ to be perceived and how will this book help to bring an end to illegal wildlife trade?

I have had the honour to work with some of world’s best photographers, authors and journalists. Together we can tell the world how it is and give a voice to the voiceless. With our iconic photos we show what we stand to loose. But we also want to celebrate the heroes who protect our wildlife and fight for our wild spaces.  Our work is proof that photography matters and without photographers, filmmakers and journalists the word’s conscience will wither. We will get our message where it needs to be heard – the consumer of wildlife products. We have connected with opinion sharpers who are spreading the message and we will also reach out to politicians responsible for the environmental and wildlife policies. Together we can change consumer behaviour to end the demand in our lifetime.

© Britta Jaschinski

You are on the jury for Wildscreen’s inaugural Photo Story Panda Award. Why do you feel it’s important that Wildscreen is including stills photography within the Panda Awards and the Wildscreen Festival?

There are not many photo competitions that cover conservation and environmental photography, but it is so important right now. If we cannot shed light on what is going and send strong messages across the globe, we will loose much wildlife forever. This is a real tragedy and any small wheel can make a difference in raising awareness and to bring change.

Pangolins are thought to be the most trafficked animal in the world, and face extinction as a result. Their scales here were smuggled under the disguise of fish scales. © Britta Jaschinski

If you could give 18 year old you one piece of advice for building a career in photography, what would it be?

Find your own style, your own niche and become an expert in it. Don’t take photos you have seen before – find new ways and different approaches – be inventive and daring. Surprise people. Teach your audience new things and never give up. Stick to what you believe. Don’t whine – pull up your sleeves and crack on!

______________

Thanks to Britta for taking the time to share her thoughts. We’re really excited to see her and all the incredible photo stories at the Wildscreen Festival 2018!

You can visit Britta’s website brittaphotography.com

May 21

It’s our birthday!

Arkive is 15 years old!

We’re thrilled to be able to celebrate and share the incredible diversity of life on Earth. However our planet is currently under a crisis, our planet’s ecosystems are under threat like never before, and the world is watching as more and more species fall victim to habitat loss or wildlife crime. It’s easy to get lost in the science, but it does not lessen the urgency needed in combating these extinctions.

Here, as a stark reminder, we see 15 species which have become extinct, according to the IUCN Red List of Threatened Species, over the 15 years Arkive has been running.

Alaotra grebe

Declared extinct in 2010

Baiji – Yangtze river dolphin

Presumed extinct since 2006

West African black rhino

Southwestern black rhinoceros male charging

Diceros bicornis longipes, the Western black rhino, a subspecies of the black rhino Diceros bicornis, was declared extinct in 2011

Golden toad

Male golden toad

Declared extinct in 2007

Hawaiian crow

Hawaiian crow perched on branch

Declared extinct in the wild in 2004

Madeiran large white

Female Madeiran large white

Presumed extinct since 2007

Po’ouli (Black-faced honeycreeper)

Po'ouli in tree

Presumed extinct since 2004

Eastern cougar

Side view of a Patagonian puma

Puma concolor couguar, the Eastern cougar, a subspecies of Puma concolor was declared extinct in 2018, it’s cousin the Western cougar may now be expanding it’s range

Rabbs’ fringed-limbed treefrog

Captive Rabb's fringe-limbed treefrog

Declared extinct in 2016, the species has not been observed in the wild since 2007

Spix’s macaw

Spix's macaw

Presumed extinct in the wild since 2000

St Helena redwood

St Helena redwood with immature and pollinated flowers

Extinct in the wild since 2003

Pinta Island tortoise

Volcan Alcedo tortoise in habitat

Lonesome George, the last Pinta Island tortoise died in 2012

Bramble cay melomys

Declared extinct in 2016

Japanese river otter

Close-up of common otter head among seaweed

Lutra lutra whiteleyi a subspecies of the common otter, Lutra lutra as seen above, and was declared extinct in 2012

Pyrenean ibex

Male Pyrenean ibex standing on rock

Capra pyrenaica pyrenaica is a subspecies of the Iberian ibex Capra pyrenaica, was declared extinct in 2000, but was one of the first species to be briefly made de-extinct in 2003

May 18

To celebrate the launch of the inaugural Wildscreen Photo Story Panda Award at this year’s Wildscreen Festival, Arkive is getting to know the award’s amazing jury, who are themselves international photography professionals. Here we meet Jasper Doest.

Jasper Doest

Tell us a little bit about yourself?

I was born and raised close to Rotterdam in The Netherlands and that’s where I still live.  I cover nature and conservation stories, always aiming for a creative angle to make an emotional link with my audience.

As a WWF ambassador and a fellow of the International League of Conservation Photographers (iLCP), my photographs have received multiple awards and appeared in numerous international journals and books, including National Geographic Magazine, GEO and Smithsonian Magazine.

Through my photography I’m able to give a voice to the ones that are often overlooked. As our future is on the line, we need people to start caring about our environment on a daily basis. Photographers can give a voice to the ones who cannot speak for themselves. Photographers can initiate change. That is my motivation and joy. It’s within the power of photography.When I look back at images of my childhood, photography always seemed to play a role in my life. Firstly my dad liked photography, and by the age of four I had my own Kodak Instamatic. However it wasn’t until the age of 20 that I purchased a SLR camera with my first salary, working as a laboratory assistant; I really enjoyed taking photographs, but this first camera soon ended up in the closet. When I decided to continue my studies I took a weekend job in an electronic warehouse, accidentally ending up in the camera department. I had no knowledge about the cameras whatsoever, but decided I needed to acquire some to help people choose the right camera. And from that moment on I was hooked!

My parents raised me with a lot of respect for the natural world. When I started out with my photography I tried many disciplines, but I found most enjoyment when I was working with the natural world. I therefore decided to take a biology degree, to enhance my knowledge about the subjects I was photographing. The study for that degree took me to the Arctic region, where I took an image of two Arctic fox kits that won a major award in the Netherlands. That’s when I decided I had to follow my heart and become a full-time professional, dedicating my time to documenting the utter beauty and fragility of the world that surrounds us. That was ten years ago and that’s what I’m still doing now.

How do you think photo stories with a clear narrative affect audiences compared to single images?

Both have a purpose I think. Within a photographic narrative, there are always a few keystone images that carry the story. These often work quite nicely as strong single images as well. However, I believe a story with a clear visual narrative provides a deeper understanding in the issue. And while a strong single image seems to stick in one’s memory a bit better, it’s often the bigger picture that a narrative story provides that really plants a seed deep in one’s conscience having a long term impact.

This photojournalistic way of storytelling about wild animals and stage we’re in as a planet is relatively new to ‘wildlife photography’ and it comes naturally with the sense of awareness that we’re getting about the planet. We’re finally starting to see the consequences of our behaviour and it is our responsibility as photographers running into these conditions to communicate about this. And there has been some critique on this ‘trend’. I think it is wrong when we start analysing this being a trend and that in the past it was all happiness and now we’re seeing drama entering the wildlife community. It’s not about that at all. Yes, nature is beautiful…and something that should be celebrated, but we have been celebrating the natural world for years and meanwhile we’ve differentiated ourselves from what our ancestors called ‘home’ hundreds of years ago. Many people today don’t seem to realise that nature is our home and something that should be taken care of. And the stories that we see in the photojournalistic categories display why there is an immediate urge for these stories as we are exploiting our planet to a degree where there is no way back. And the consequence would be that there is nothing to celebrate in the future.

Your images are always artistic. Do you plan your narrative and aesthetics of your images/stories before you go into the field?

I do believe the aesthetic part is still very important while building visual narratives as it is the aesthetical part that leads the viewer to the content. One doesn’t go without the other.

There is not a lot of planning involved other than making sure I’m in a place that is an important piece of the puzzle. While there I can only anticipate to what is being offered to me as I’m not in control. And once I get back at the office, the big puzzle begins, trying to build the narrative with the individual pieces and if there are pieces missing I know where to go to try to get them. But the visual approach is not something I plan, I like to just go with the flow.Photography has taken you across the globe, have you stumbled upon any particular stories that you feel aren’t being told? 

There are many stories that deserve being told and that aren’t really getting any attention. But it’s important to find something that really fits with you as an individual. The issue should personally affect you. So sometimes I see a good story but I know it isn’t for me. It’s sad, but I can’t  focus on everything I run into. Fortunately I see more and more photographers working on these important issues.

You spent some time visiting landfill sites across Europe, with some disturbing behaviour changes in white storks. How did that change your approach in conveying human impact to audiences who aren’t particularly exposed to nature or environmental issues?

I finished that work in 2014 and have raised my voice about the (plastic) waste crisis and sustainability ever since. Before that particular story I had the feeling my personal voice and my visual work weren’t running parallel and that story gave my photography a purpose. The images allow me to raise my voice about something I personally care about and fortunately that hasn’t gone unnoticed. The work has been widely published and I have been able to talk about these topics to leaders of industry and national governments in Europe. These platforms allow me to communicate outside the wildlife photography circle, which is very important to me. Not that I don’t enjoy talking to an already converted audience, that’s important too…but it sometimes feels like preaching to the choir, while there is still a lot of work to be done outside that green circle.

Wasteland

Over the past years I’ve spent many weeks on landfill sites and recycling centers in Southern Europe. I was working on a photo story about white storks and noticed large flocks of birds foraging on mountains of municipal waste. A scene I can not explain, but a story with desperate need to be told.Being confronted with the enormous amounts of waste we produce on a daily basis is truly horrifying. Walking through fields of empty bottles, plastic bags, food leftovers and toys still brings me to tears. I lie awake at night, embarrassed to be part of our consumer society. We have to turn the tide. This story is not about storks anymore. It is about us. Look into the mirror and imagine all fables about storks symbolising new life being true. Well…than this is how we threat new life, longevity…our future.We are all connected. The air we breathe, the water we drink, and the foods we eat unite us in caring for our world. The International League of Conservation Photographers ILCP is dedicated to furthering conservation and the health of nature through photography. We do so by sharing our pictures and stories of what we hold most dear – – our connections to the land, water, wildlife and all of nature.*click on HD for higher quality screening*#1frame4nature #1f4n #challengetochange #sustainability #recycle #notimetowaste #conservation #conservationphotographers #plasticwaste #plastic #wasteland #canonnederland #shareifyoucare

Posted by Jasper Doest on Monday, 6 March 2017

You are on the jury for Wildscreen’s inaugural Photo Story Panda Award. Why do you feel it’s important that Wildscreen is including stills photography within the Panda Awards and the Wildscreen Festival?

I think it’s time to start looking outside our individual boxes. And while film and stills photography are two completely different languages that allow you to connect with someone’s emotions in a completely different way, it’s good to understand that the two can complement each in the mission of raising awareness for the story topic. We’re all visual storytellers and we need each other. So to me it makes perfect sense that Wildscreen has decided to include stills photography within the Panda Awards and the Wildscreen Festival.

What advice would you give an emerging talent photographer starting out on their journey today?

Try to find something that makes your heart beat faster, a story that really affects you personally. Something that wakes you up at night and is still dominating your thoughts the next morning. If you do so it doesn’t take any effort to walk the extra mile and take your work to the next level.

Lastly, if you had the opportunity to create a photo story of any animal or aspect of life on Earth that you want, what or where would it be and why?

Since working on my latest story I have become extremely fascinated on the human perception of animal life. People are strange…they are the only species I can think of that actually destroys its own habitat. And while I would love to work on any animal in true wilderness, it’s the intersection between humans and the rest of life on Earth that really has my attention as I try to bridge the gap between the two as we have been separating us from the rest of the planet for way too long now.

______________

Thanks to Jasper for taking the time to share his thoughts. We’re really excited to see him and all the incredible photo stories at the Wildscreen Festival 2018!

You can find Jasper on InstagramTwitter and Facebook, or visit his website jasperdoest.com.

Revisit the Arkive blog soon to meet the rest of the Wildscreen Photo Story Panda Award jury.

May 14

To celebrate the launch of the inaugural Wildscreen Photo Story Panda Award at this year’s Wildscreen Festival, Arkive is getting to know the award’s amazing jury, who are themselves international photography professionals. Here we meet Peter Cairns.

 

Peter Cairns

Tell us a little bit about yourself?

I spent my childhood in the English Midlands, but I’ve been based in the Cairngorms in the Scottish Highlands for over 20 years now.

I’ve been a freelance nature and conservation photographer since 2000 and am a founding director of The Wild Media Foundation, a social enterprise that generates conservation media through projects such as Tooth & Claw, Highland Tiger, Wild Wonders of Europe and 2020VISION.

In 2015, I founded SCOTLAND: The Big Picture, a company dedicated to producing compelling visual media that promotes the benefits of a wilder Scotland.

I am also Board Member of Scottish rewilding charity Trees for Life, and a Senior Fellow of the International League of Conservation Photographers.

 

View over Glen Einich in late summer, Scotland | © Peter Cairns

What was your exposure to photography growing up?

Very little until my early adult life. My Grandad was a keen photographer but I took little interest until my mid-twenties. He did however, instil in me a passion for birds and when that resurfaced in later life, it provided the catalyst for my early attempts at wildlife photography.

Black grouse (Tetrao tetrix), Scotland | © Peter Cairns

What in your opinion makes a good photo story?

There’s a word that I use a lot in evaluating stories I document myself and those covered by others: Compelling. Is this story compelling?  Does it captivate my interest and perhaps more importantly, does it move me? Our job as conservation photographers is firstly to inform. If we can then inspire, that’s a bonus. The Holy Grail however, is to influence. If a story influences a change in mindset or motivates an action, it’s been successful.

Do you have any memorable photo stories of your own?

I tend to forget pretty much everything I’ve done as soon as I’ve done it! I’m not one for dwelling too long on the success, or otherwise, of my own work. There’s always so much more to do. That said, certain stories do have a habit of bouncing back to life years ahead and that is true of some work I did on Scottish wildcats which is still doing the rounds ten years after the images were taken.

Scottish wildcat (Felis sylvestris) stalking along track in pine forest, Cairngorms National Park, Scotland | © Peter Cairns

You’re Project Director of SCOTLAND: The Big Picture, why is rewilding important to you and Scotland as whole? And how do you best communicate your rewilding vision to a wider audience?

Most of the projects I’ve been involved with over the years, and the lessons learned from them, have culminated in SCOTLAND: The Big Picture. In some ways it brings me back to working very close to home where I know the lie of the land physically, culturally and politically. It’s important to understand the context of a story to tell it effectively.

Despite notable conservation success stories, Britain is one of the most ecologically depleted nations on Earth. All of our large carnivores have gone. Most of our large herbivores have gone and across huge areas of Scotland the land is degraded and pretty much devoid of life. Rewilding offers an opportunity to revitalise vast landscapes and to restore the natural processes that sustain all life.  This cannot and should not be achieved at the expense of people but to the benefit of people. In terms of communicating what is quite a complex message, we tend to tease out individual stories within the wider story, using species like red squirrels or ospreys as “ambassadors” of the wider rewilding narrative.

There’s no silver bullet at work here. It takes time to change people’s belief systems and we’re on that journey of change. Every now and then we see a glimpse of success – from someone reading our books or attending a presentation perhaps -and that spurs us on. Visual storytelling does make a difference.

Red Squirrel (Sciurus vulgaris) on the edge of a woodland pool, Cairngorms National Park, Scotland |             © Peter Cairns

You are on the jury for Wildscreen’s inaugural Photo Story Panda Award. Why do you feel it’s important that Wildscreen is including stills photography within the Panda Awards and the Wildscreen Festival?

When I look back over the last 20 years, there are images that are seared onto my mind. They made me think differently and act differently.  I want as many people as possible to see compelling images created by talented photographers and to feel differently as a result. Wildscreen is providing the mechanism for that to happen and I’m delighted to be part of it.

If you could give 18 year old you one piece of advice for building a career in photography, what would it be?

Think hard before you jump – you need to be financially sustainable to enable your voice to be heard – that’s not easy these days. Let your head rule your heart, not the other way around.

Secondly, build relationships – they will become your greatest asset. There, that’s two bits of advice!

______________

Thanks to Peter for talking to us, and we look forward to seeing him and the fantastic array of submissions at the Wildscreen Festival 2018!

You can find Peter on Instagram, Twitter and Facebook, or visit his website petercairnsphotography.com

Revisit the Arkive blog soon to meet the rest of the Wildscreen Photo Story Panda Award jury.

About

RSS feedArkive.org is the place for films, photos and facts about endangered species. Subscribe to our blog today to keep up to date!

Email updates

Sign up to receive a regular email digest of Arkive blog posts.
Preferred frequency:

Arkive twitter

Twitter: ARKive