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IMAGING
84
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SPRING 2012
When I see the quality of the images in
this year’s Ocean Views photo contest, two
thoughts come to mind. The first is how
impressed I am with the talent and vision
of the contestants. As one who has spent
most of my adult life underwater, I cannot
help but be amazed — and perhaps a little
intimidated — by the caliber and ability of
the photographers at work today. It gives me
hope and excites me to know our craft
is evolving and that new technology and
ideas keep emerging.
To those who believe everything that could
be photographed underwater has been, I have
only one thing to say: Keep an eye on this
new crop of underwater photographers.
Clearly there is much more for us all to learn.
Even more important, this next generation is
telling stories with its cameras at a time when
storytelling is needed more than ever. These
images add the critical visual dimension to the
urgent questions confronting humankind today.
The second thought that comes to mind
is the extreme level of commitment required
to create photos like these. As a National
Geographic photographer tasked with delivering
images from some of the most inhospitable
parts of the globe, I am keenly aware of the
willingness to risk life and equipment — as
well as personal relationships — required
to bring back images like these. This type of
work demands boundless energy, unflagging
enthusiasm, a spirit of adventure, the ability
to survive in difficult circumstances and the
courage to confront danger. It is all consuming,
making for lonely mates and neglected families.
It is frenetic, exciting and sometimes hazardous,
but every minute is worth it.
But there is much more to being on
location than personal sacrifice; shooters
must also think about the practicalities of
photography. I’ve adopted a methodical
workflow that allows me to make sure
my equipment works correctly and get
my images safely back to my editors in
Washington, D.C. This workflow includes the
use of several indispensible pieces of software
(including Photo Mechanic and Lightroom)
as well as a very strict naming convention,
backup protocols with multiple redundancies
and the application of metadata embedded
in the images. Sticking to the workflow takes
discipline; it’s not easy while living on sea ice
at -30 F°. The simpler the system, the better.
Preventative maintenance of gear
in the field is extremely important to
any photographer working in a remote
destination far from repair or replacement
equipment. Often the best pictures require
we walk a fine line between creativity and
personal risk, and once there you want to
know for certain your camera, strobe and
dive gear won’t let you down.
The images on these pages remind me
a good photograph is one that arrests the
eye but also invites reflection. The best
pictures are the ones that evoke emotion. As
underwater storytellers we must remember
a good image becomes an experience shared
with thousands of people who might never
get a chance to be immersed in the amazing
places and situations we photographers and
divers encounter. Each image becomes an
ambassador for an ecosystem very much at
risk. Through them, we all are gifted with a
larger vision of the world.
AD
O c e a n
V i e w s
2 0 1 2
by Paul NickleN