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| Photo by Brian Skerry/National Geographic Magazine |
| A harp seal pup makes its first swim in the icy waters of Canada's Gulf of St. Lawrence. |
Q. How does shooting underwater differ from shooting on land? What special considerations do you take into account that you'd never run into on land? How do different lighting situations affect how you shoot?
Perhaps the biggest difference in underwater photography is that you need to be really close to your subjects. With terrestrial wildlife, photographers can often use telephoto lenses to make pictures of animals from a distance. This isn't possible underwater. We need to get within a few feet of our subjects, which means using either wide-angle lenses or macro systems. Lighting is also a real challenge. Water wreaks havoc on light with refraction, reflection, scatter and absorption of color. Visibility is also highly variable. Conditions on a tropical reef are very different than in temperate zones or beneath ocean ice. I almost always bring down at least two wide-angle strobes and sometimes also use hot lights to make pictures.
Q. How did you begin shooting for National Geographic magazine? What projects have you worked on for the magazine?
I have been working for National Geographic magazine for just about 10 years now. My first assignment came when a friend of mine that was a veteran photographer at the magazine had two assignments at the same time; one he didn't want to do. He graciously offered to recommend me for the other job, but warned that it would be a difficult shoot. He said that this assignment had a high likelihood of failure and that with NGM I would have only one chance, so I might want to wait for a better opportunity. I decided to go for it and really worked my butt off, eventually delivering the goods. After that, NGM decided to "develop" me as one of their regular shooters. I trained in various departments within the magazine and even spent time in the field with some of their other shooters. The first few years were slow in terms of assignments, but have picked up a lot over the last several years.
I've had nine stories published in the magazine and have two scheduled for 2008. I am presently working on three new stories. Among the features I've had published are Harp Seals: The Hunt For Balance, Squid : Beautiful and Beastly, Beneath Irish Isles, An Eden For Sharks, Still Waters: The Global Fisheries Crisis and Blue Havens: New Zealand's Marine Reserves.
Q. As someone who travels and embraces their passions as part of their career, what do you do to unwind? Do you often travel or go on dives while on vacation?
Unwind, … Ha! I think I've forgotten how to relax! Well, I am writing this from a ship called the National Geographic Sea Lion in the middle of Mexico's Sea of Cortez. I am leading a NGS Expedition here for tourists. It's not a photo assignment and I am able to bring my family, so this is a wonderful treat. It has actually been quite relaxing. I also like to just get out in nature on my own when I can. Just getting out in a forest or desert or being on a small boat somewhere, anywhere gets me back in touch with nature in a relaxing way. Time like this reminds me why I want to do what I do.
Q. You mentioned leading a tour group for National Geographic; what do you find attractive about that program? Do you participate in other professional activities that don't involve shooting on assignment?
I enjoy leading these tours because it gives me a chance to connect with people who equally love nature and the sea. I am also available to help guests with photography and discuss everything from shooting techniques to how to work with wildlife. I do lectures during the trips as well and have time to really talk with folks about their experiences and concerns. I also do other speaking engagements when my assignment schedule permits in locations worldwide. I speak at large corporations, schools and photo or dive shows. It's a great opportunity to meet with people and discuss not only my work, but to learn about what others are doing.
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| © Brian Skerry/National Geographic Magazine |
| A school of Blue Mao-Mao fish swim over thick kelp in New Zealand's Poor Knight Island Marine Reserve. |
Q. What would you recommend to aspiring underwater photographers? Is underwater photography something you can excel at without a lot of training or does it take years to be capable of capturing a prize-winning shot?
I suppose anyone can make a prize-winning shot with a bit of luck, but if photographers are serious about this type of work, training and practice cannot be substituted. Being comfortable underwater is key, which typically requires many hours of diving. And practicing your craft, making lots and lots of pictures and learning from this is very important. Photographers need to learn the fundamentals, then experiment and push themselves. Try to develop your own style and be critical of your work in an effort to make it better. I learned by a lot of trial and error. I studied the work of pros and tried to figure out how images were made. Then I went out and worked on making my own pictures. I often made notes and tested equipment under controlled conditions (such as in a swimming pool). Today the learning curve can be much faster with digital, but there is no substitute for mastering the basics and shooting a lot.
Read other interviews from the Behind the Lens series
• June 2008: Robert Hanashiro
• May 2008: Steve Winter
• April 2008: Preston Gannaway
• March 2008: John Moore
• February 2008: Martin Schoeller
• December 2007: Jasin Boland
• November 2007: Norm Barker
• October 2007: Cameron Davidson
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