Call for entries for the SOSF Marine Conservation Photography Grant

SOSF Photogrant

In February 2014 the Save Our Seas Foundation launches its Marine Conservation Photography Grant. SOSF champions the use of powerful images to tell important conservation stories. We asked Save Our Seas Foundation director of conservation and National Geographic Magazine photographer Thomas P. Peschak to give us his views on the significance of this unique opportunity for emerging photographers.

What do you hope to achieve with the grant?

We fund some of the most creative and well-known marine scientists on the planet. Many of them are battling major conservation issues ranging from establishing marine protected areas to safeguarding endangered species. Many scientists need media support to translate their findings from the technical into the popular arena in order to reach a large influential audience. We want to use the foundation’s specialty in conservation media to mentor, uplift and drive the next generation of conservation photographers. Working with project scientists, these emerging photographers will create critical photographs and tell stories that drive conservation change all over the globe.

What are some of the major challenges for emerging conservation photographers?

Budgets are continually shrinking, especially in the magazine world. It’s becoming economically harder, especially for less established photographers, to tell stories with real conservation value. I think we’re losing a lot of great young photographers to other, perhaps more financially reliable, careers. I hope this grant will be a small step to changing this, and give us the chance to mentor younger photographers to tell honest, balanced and engaging stories.

What does ‘conservation photo­graphy’ mean?

If you Googled ‘conservation photo­graphy’ 10 years ago, you would have found pages about restoring old photo­graphs. Back then, there were only a handful of photographers regularly using their images to raise awareness about environmental and conservation issues. Today the field of conservation photo­graphy is entering the mainstream. At its essence, it’s a tool to break or rewire human habits that negatively impact our marine environment.

How do you believe conservation messages should be framed?

You can engage in conservation photo­graphy in two ways. One way is to show people the beauty and the biodiversity that remains. You can say, ‘This is what is at stake and what we still have left to protect.’ It’s about nurturing a connection between the audience and the species. The risk with this approach is that you can create the impression that nature is thriving, which makes people complacent. The other approach focuses on the problem. The truth is that the wonderful ‘Edens’ of biodiversity that appear in magazine articles and wildlife documentaries make up just a minute fraction of our planet. The reality is that our exploitation of the planet is having an incredibly detrimental and destructive impact. We’re at a point where our actions have shaped the planet as much as geological processes. This is not something people want to face and they often try to avoid images that portray this reality. It’s a challenge, but just because the images are hard-edged and sad to look at doesn’t mean these photographs are ugly. As a conservation photographer, I strive to create compelling and beautiful imagery that addresses disturbing subjects.

What are you looking for in photography grant recipients?

I expect all successful applicants to be exceptionally talented and creative photo­graphers. However, it’s also about drive. It’s about commitment. You have to be obsessed with wanting to tell a story that matters to you and making it matter to your audience. You also have to be in love with the process: the research, the science, and the hardships of travel. You have to be hungry and maybe just a little bit crazy to succeed in this profession.