Exploring Human Connection and Water Conservation with Meaghan Ogilvie

Oceans contain more than 97% of the world’s water. Collectively, it's the largest ecosystem on Earth, and the planet’s life support system.

But what are we doing to protect the oceans? What steps are we taking to care for and preserve the marine ecosystems that live in these bodies of water. 

Every single one of us has a role to play in ocean conservation. 

Photographers Without Borders (PWB) caught up with Meaghan Ogilvie, a Toronto-based photographer and internationally-recognized visual artist whose work raises awareness about water conservation.

Specializing in underwater photography for the past 12 years, Meaghan is known for her unique style that explores what connects us to the ocean and waterways. Her work has been exhibited across North America and Europe and has taken her diving around the world. 

PWB Founder Danielle Da Silva sat down with Meaghan to talk about her work and her vision of the world we can all create and live in. 

Da Silva: Water constitutes a large portion of our bodies and a large portion of the planet. It’s such a beautiful medium. How did this path happen for you, Meaghan? 

Ogilvie: I want to share my first memory of water, which is a bit ironic now that it's such a huge part of my life, career and creativity. But my first memory of water was almost drowning when I was really small. When I think back to that, I don't remember the fear of it. I remember the muted sounds, looking up at the surface and seeing his beautiful light. I felt so weightless. The sensations that I felt is what now translates in my work.

About six years into my photography career, my dad was diagnosed with a rare disease. I wanted to bring awareness to it and use my creativity. So I decided to create a series that would be striking and beautiful. At that time, underwater photography was not as accessible as it is today. But I got friends together, we went to a pool and we learned as we went along. This became the momentum for my career to talk about issues that are important to me. I won a few awards, and it kept me on this path of understanding water on a more spiritual, physical and mental level. 

Images by Meaghan Ogilvie

Da Silva: Beautiful, wow. What’s the feeling of being in water for you? How has it changed? 

Ogilvie: I suffer from anxiety, like a lot of people do. But when I’m in water, it completely changes who I am. I come out of the water, and my mind is clear and calm. My body feels really good. I believe it’s therapeutic and healing, and that's why I’m so attracted to the sensations of water. I also like the playfulness that comes with it. It’s an adventure every time—you don’t know what you’re going to see and experience. It’s definitely a mental thing with freediving, as well. It helps you to go inward into yourself, believe in yourself and really focus on feeling the sensations when you’re in water. 

Da Silva: Can you tell us a bit more about some of the stories behind your images? 

Ogilvie: My work has been used as ways to raise money for conservation efforts. Personally, I want people to remember the connection that we have to water. When they see an image, they hopefully can relate to it because it feels familiar. And it becomes something they want to care for and protect.

Images by Meaghan Ogilvie

My work uses a lot of escapism. I didn't do that on purpose; it’s just what I was attracted to and the style that I create. I want to open people's imagination so that they imagine themselves in the place I’ve created. In this case, it can give people the inspiration to go in the ocean or in the water, and to want to feel what that’s like. 

Sometimes the nudity in my work is misunderstood as being sexual or a certain type of sensuality. But, for me, it's more about stripping away the layers of society—labels and everything—and being in your natural state. It's a raw moment reconnecting with something that is so beautiful and natural. It's also trying to portray that feeling of being in water and having it touch your skin. It’s simplifying the experience to its raw form.

Da Silva: I love how you were able to express water without being in water and how it continues to flow with the rest of your work. I’m curious about your method of storytelling. When you’re working with people or executing your own idea, where does your mind go when you’re trying to craft a photoshoot? 

Ogilvie: I’m more of an intuitive shooter. I have a concept or an idea in my mind, but I’m not stuck to it. I don’t like too many parameters. Take this image, for example. It was too cold to be underwater. So we chartered a boat looking for locations, and we found this beautiful little rock and really clear water. I was thinking about this image as symbolic of rising sea levels, loss of land and displacement of people.

Images by Meaghan Ogilvie

Da Silva: Do you have any tips for anybody who wants to get into water and potentially start making photographs? 

Ogilvie: Just get out there and do it—that’s the way I learned. It’s trial and error. The most important thing is that you’re comfortable in the water. 

Da Silva: What do you feel is the antidote to the disconnection we are facing to water? 

Ogilvie: I'm seeing it from the perspective of living in a big city. There's this huge disconnect because we see water coming out of our tap or we use it for recreational purposes. It's not about understanding. I believe there's a spiritual level and a healing aspect to water. We need to remember that water is a living thing that sustains us all. It gives us life. That lesson is what the Anishnaabe women really taught me and showed me. In the city, we forget that water is essential and precious—and should be protected.

To watch Meaghan Ogilvie's entire webinar, join our community by becoming a PWB community member. As a member, you'll have access to all "Storytelling for Change" sessions featuring notable photographer storytellers from around the world.

How Nitashia Johnson Inspires Voices of the Black Community

Using her talents to spark positive change in the world, Nitashia Johnson is a multimedia artist, an alumna of the Rhode Island School of Design and a winner of the 2019 Sony Alpha Female Creator-in-Residence Award. Her work revolves around educating and inspiring those around her. She is a founder of a creative arts after-school youth program called The Smart Project and the creator of The Self Publication—a photographic book series that shares reflections and images from members of the Black community.

Nitashia recently sat down with Photographers Without Borders (PWB) Founder Danielle Da Silva as part of PWB’s ongoing “Storytelling for Change” webinar series. Below are edited excerpts from the discussion which touch on mentoring, self-love, working with good energy and how to photograph political actions and be a good BIPOC ally.

Da Silva: You're an artist, a youth leader and are publishing your own magazine. How did you start on your path? 

Johnson: I grew up in a project in West Dallas, Texas. It wasn't the best, but we did what we could to get by. As a kid, I didn't always see the negative things happening. I was positive, and thankfully for my grandma and my step-grandpa, I held my head up high. My granddad told me to keep the innocence inside of me, because he noticed that I had a good spirit.

I grew up moving all over the place. I actually flunked the third grade because the year I stayed with my mom, I don't remember being in school the entire year. It was really disruptive. All of that took a toll on my life. But luckily, I did meet a lot of good teachers and mentors who believed in me—and they pushed me to the next level. I can honestly say that if it wasn't for them and the family members I had around me, I wouldn't be becoming the person I am today. So I'm trying to do the same thing that others have done for me.

Images by Nitashia Johnson

Da Silva: I'd like to talk about your work with The Self Publication. Can you tell us a bit about how you decided to start it, and what it is exactly?

Johnson: I would say my life inspired the magazine, but what really inspired it was when I went to grad school. There, I disconnected from friends and family and everything back in Texas. But I started to see harsh memes and stereotypes about the Black community being shared online. Some of those stereotypes impacted a lot of my friends, as well as myself. My friends were worrying about microaggressions at work, problems within their relationships, how they're viewed, how they have to compromise and sometimes change their voices or their stance to get jobs. It's all very draining on the human spirit. 

So I wanted to open up a platform for Black people to talk about themselves as a way to allow other people to relate. That's how The Self Publication began. It's hard, because I do it all alone, but I wouldn't change it for the world. I really love my culture, and I love the idea of people reading it and understanding it.

Images by Nitashia Johnson

Da Silva: How do you find the stories for The Self Publication? And what's some of the feedback you get from folks whose stories are included?

Johnson: When I look for participants, it's either by word of mouth or an online post. It's important to me to include people who are very thoughtful, who care about others, who believe in themselves and who are comfortable enough to share their stories. I don't want to force anyone to do anything. I'm all about good energy. I've met over 28 people with good energy, and they're just all for it. After the book is published, they usually say, "Thank you for allowing me to tell my story." But I thank them for wanting to share those stories with me.

To watch Nitashia Johnson's entire webinar, join our community by becoming a PWB community member. As a member, you'll have access to all "Storytelling for Change" sessions featuring notable photographer storytellers from around the world.

Exploring the Great Indoors and Outdoors with Erin Sullivan

Travel photography came to a halt in March 2020, with many photographers finding alternate ways to express creativity and make money during the pandemic. For Erin Sullivan, the world got much smaller. 

A travel photographer, outdoor expedition leader and host of the REI mini-series In Our Nature, Erin began to experiment with miniature photography. She crafted grand scenes of outdoor adventure from the confines of her Los Angeles apartment. 

The result: a photo series titled 'Our Great Indoors' that went viral on social media.

Brands such as Adobe, Nature Valley, Paul Mitchell and Cathay Pacific have since worked with her to create imagery or craft Instagram campaigns. Erin uses Instagram to not only showcase her work but expound on responsible tourism, ethics in travel photography and overcoming harassment as a female in the largely male-dominated travel photography space.

Recently, Erin joined with Photographers Without Borders (PWB) Founder Dani Da Silva as part of PWB’s ongoing “Storytelling for Change” webinar series. Below are edited excerpts from the discussion.

Dani Da Silva: Can you talk about the problems that exist in the travel industry that you're particularly concerned about?

Erin Sullivan: Right now, a lot of the world is awakening to systems of racial oppression and injustice that have been around for a long time. And I've been seeing that more specifically in my circles of travel photography and the outdoor industry. 

Within the travel industry, you have to think about the power dynamic that exists when there's a camera. Think about phrases like "taking a photo" or "capturing a photo." These words indicate a power structure. 

Say that I'm visiting an African country, like Kenya, and I have my camera. I'm walking around a village, and I'm taking photos. If I'm taking a photo of a kid, did I ask their parents for permission? Where are those photos going to end up? Am I perpetuating a negative stereotype? I also have to consider the history of colonization and the history of missionaries in these countries.

There are so many dynamics at play, so many things that storytellers need to consider because we can end up making photos that perpetuate a harmful stereotype. It can be totally unintentional and innocent. But unfortunately, it's not the intent that's going out there. The context is really important, no matter what your intention is. 

Images by Erin Sullivan

Da Silva: How does the way you position yourself influence the way you tell stories?

Sullivan: I can't remember the quote exactly, but someone said "When you're used to having all of the power, equality feels like oppression." Certainly, over the years, I've thought, "Am I going to lose jobs because I'm not a woman of colour?" I don't think we need to push those thoughts away. Instead, we need to catch them and think, "Oh, that's a triggering insecurity. Why is that triggering interesting?" 

Then, really look at it and figure out why it's uncomfortable. We often don't realize that people of colour haven't had many opportunities until very recently. And the way to move forward is to uplift all voices, especially the ones that haven't had a stake before. 

Da Silva: How has this awareness influenced your lens as a storyteller?

Sullivan: Personally, I'm on the road of unlearning and unpacking my privilege. I'm always asking myself how can I really contribute here, and how can I share a story rather than tell a story if it's not mine to tell? 

If I'm just inserting myself into a story that's not appropriate for me to be in, then I would rather make a connection that gets the story to the right place or to the right photographer. The biggest way that this plays a role in my personal work is that I end up being more collaborative because I recognize that I'm not right for every job. That's helping me learn so much more and to become a better citizen of the world. I really try to listen more than I speak. 

Images by Erin Sullivan

Da Silva: How can we become better travellers and photographers when we're not in our own community?

Sullivan: A way to collaborate is to listen first, and to share other people's work and words. As you do that, you'll make authentic relationships. From authentic relationships comes authentic collaborations that are based on similar values. 

Sometimes, the camera can be a good conversation piece. But I would argue that more often than not, it creates a separation because of the power dynamic that we talked about. So becoming a better travel photographer is to have our cameras out less and to form relationships first. So when you do take the camera out, there's a level of trust and comfort—and you have permission from the folks you're photographing.

To watch Erin Sullivan's entire webinar, join our community by becoming a PWB community member. As a member, you'll have access to all "Storytelling for Change" sessions featuring notable photographer storytellers from around the world.

Damari McBride Documents South Africa's Anti-Poaching Efforts

Damari McBride is a Brooklyn-based portrait photographer who shared his experience photographing the complexities and communities behind the poaching epidemic in South Africa on the "Storytelling For Change" webinar series. Below are excerpts from his session, where McBride discusses his work with the non-for-profit organisation Nourish and his experience as a part of Photographers Without Borders documentary "Beyond the Gun."

Danielle Da Silva: Can you tell us about the organisations you worked with during your anti-poaching photography assignment in South Africa? 

Damari McBride: Nourish is an organisation that's trying to solve the issue of poaching by solving the issue of poverty.

They believe that education is essential to prevent poaching. We visited one school that Nourish works with in the province of Limpopo, and it was cool to experience what the kids were doing to combat climate change and preserve the environment. They were extremely kind and independent. 

Limpopo has a lot of animal reserves where injured wild animals are nursed back to health before being released back into the wild. We went to this snake sanctuary with the school kids. The facilitator asked us, "Who's afraid of snakes?" I raised my hand. They asked me why? I explained that I'm not truly afraid; I just don't understand snakes. The facilitators assured me that by the end of the session, I'd understand them. During that time, I held a baby python and tried not to freak out. But I learned so much about snakes within that hour that when I left, my fears were gone.

Images by Damari McBride

Da Silva: That's a great example of the many activities Nourish does to bring kids in connection with animals in a healthy way. By developing love and compassion through education, kids have alternative options to poaching. I remember some of the Nourish staff said if they weren't working there, they'd likely be poachers. 

Damari and I also worked closely with an anti-poaching organisation called Protrack during our time in South Africa. Often when we think of anti-poaching, we think of guns. Vincent Barkas, the founder of Protrack, said that we've been stopping poaching and poachers all wrong. We've got to put our people first instead of putting our animals first. Can you talk about meeting Vincent and what you took away from talking with him?

McBride: I took away the fact they're hiring local people for the anti-poaching unit in order to give them a fighting chance at creating money, because that's why poaching happens. If I need money, I'm looking how to get it. In this case, poaching sounds like a good option. Poachers are basically hiring Black folks to work for a big payoff, which ultimately benefits those higher in the wildlife trade food chain.

Poachers are actively exploiting the deep poverty of Black Africans in the area. And poaching isn't easy. People are taking a massive gamble by going into the park at night to attempt to find a rhino, kill it, take its horn and make it out alive. It's incredibly dangerous. For example, elephants tend to be extremely aggressive at night and will attack people. So poachers are risking a lot, but they have to choose between not providing for their family, or meeting their needs for a certain amount of time. It's hard to realise that the choice of poaching comes down to people wanting to survive or saving the wildlife. It's like they're thinking, “While I admire and want to save wildlife, providing for my family is more important for me than the animals.” It's a complicated situation.

Image by Damari McBride

Da Silva: It's so complex, right? Apartheid created game reserves for white hunters and wealthy—often white people—to come and see the animals. But it was often at the cost of the local Black communities' lands. Apartheid, colonialism and segregation all had impacts on separating the people who took care of the land from the wildlife. It created economic disparity, which leads people to take the risk of poaching. One rhino horn can pay up to one million Rand, which is more than someone can make in a year from farming. 

McBride: Yeah, the median income for a Black farming family is about 5,000 Rand a month, or just over $400 Canadian dollars.

Image by Damari McBride

Da Silva: How did you feel after the project was finished? How do you hope that your images and your storytelling will make an impact going forward? 

McBride: The project made me more aware of social issues and speaking out about inequality. I used to be extremely shy about that. But it's challenged me to challenge people to ask the hard questions and, if they feel something is wrong, to speak up about it. The trip made me appreciate our environment and our planet more. For my work, I'm hoping that it will help people begin to think about issues around inequality and identity.

To watch Damari McBride's entire webinar, join our community by becoming a PWB community member. As a member, you'll have access to all "Storytelling for Change" sessions featuring notable photographer storytellers from around the world.

Cari Payer's Journey From Creator to Educator

Originally from rural Alaska, Cari Payer grew up seeing the outside world through the lenses of National Geographic photographers. The images inspired her to see what the world had to offer beyond her small community. This passion started her journey around the globe to photograph people, landscapes and cultural landmarks in America, Europe, Asia and Africa. 

Cari first became involved with Photographers Without Borders by attending Storytelling School in Mongolia. She later spent time in Nepal in 2018 capturing what she calls “small vignettes of life." During the spring 2020 lockdown in Tokyo, Cari created a photo series featuring her daughter titled “COVID-19 Spring Collection 2020.” 

Cari was in conversation with Photographers Without Borders (PWB) Founder Danielle Da Silva as part of PWB’s ongoing “Storytelling for Change” webinar series. Below are edited excerpts from the discussion which touched on teaching photography workshops, empowering stay at home spouses and small home business owners to use photography more effectively in their lives, finding opportunities during COVID-19, ethical travel photography, how to capture unique moments and the importance of sharing knowledge in the world of photography.

Danielle Da Silva: You grew up in rural Alaska and have lived and travelled in a lot of different places around the world. How does your personal experience come into your storytelling and love of teaching?

Cari Payer: I love being an educator. I gravitate towards that even more than being a full-time photographer because I like helping people realize their ideas. Just because we go to tourist destinations doesn't mean tourist destinations are what we need to photograph. It's important to get a little deeper and learn about the culture and interact with people. We're not just there to take pictures of people who don't look like us and move on. We're there to experience and be part of their life and to help lift their voices or educate our own. We can then bring that information back and help spread it so everybody can feel heard in the world.

Images by Cari Payer

Da Silva: How did you end up teaching workshops?

Payer: My husband works in multiple locations, so we've been lucky enough to spend time in Hawaii, Germany, Florida and Tokyo. But the flip side of that is I can't establish anything for very long since our average time in a location is 18 months.

I've been a food photographer and worked a lot of commercial jobs, but there were times when I reached out to other photographers who inspired me for help and was brushed aside. Frequently in the photography industry, there's an idea that the work is a secret. For example, if you Google how to do something in photography, the first blog post is “Top Five Secrets On How to Take Landscape Photos.” Here's what it says: stand in front of a landscape, click the button, and you've taken a landscape photo. It's not really a secret. I'm not saying it doesn't take a lot of practice and technique. But this idea that how to take photos is a secret—it drives me crazy. And that's the reason I spun into teaching workshops.

Image by Cari Payer

Da Silva: What do you like best about teaching people who are new to photography?

Payer: I love helping people achieve whatever they're trying to communicate. We sometimes don't have the tools or skills yet, but that doesn't mean we don't have the story, ideas or creativity. In the photography industry, it's hard to find people who are willing to genuinely help you figure something out. 

Sharing knowledge is crucial. One time, a student wanted to do a cool portrait shoot, and I'd never done anything like that. So I said, "Let's sit down and use the knowledge I have and the idea you have and try and come together and work it out." Having that human connection is one of the joys of teaching.

Image by Cari Payer

To watch Cari Payer's entire webinar, join our community by becoming a PWB community member. As a member, you'll have access to all "Storytelling for Change" sessions featuring notable photographer storytellers from around the world.

Tapping Into Limitless Creativity with Brooke Shaden

Johnny Pham (c) Johnny Pham Photography

Brooke Shaden is a conceptual fine art photographer specializing in self-portraiture that revolves around rebirth, death, beauty and decay. While exploring the light and darkness in people, she has received awards for her cohesion and storytelling abilities. Beyond self-portraiture work, Brooke is a dedicated philanthropist who teaches self-expression workshops for survivors of human trafficking. She also founded The Light Space, a photography school for survivors in India and Thailand.

As part of Photographers Without Borders (PWB) ongoing “Storytelling for Change” webinar series, Brooke joined PWB Founder Danielle Da Silva for a conversation on creativity.

Below are edited excerpts from the discussion, which touch on Brooke’s unique self-portrait style of photography, her creative process and inspiration, creating art in the midst of quarantine, the power of storytelling and how to create a self-sustaining business.

Danielle Da Silva: How do you approach storytelling? What makes a good story, and how do you find them?

Brooke Shaden: This is the topic I'm most passionate about. To me, the best storytelling comes from taking something you feel strongly about on a personal level and opening it up to a wide audience. I know a lot of artists are of the opposite opinion and say if you're a real artist, you don't create for anybody but yourself. I agree that it's always best to create because you feel called to do that. But 50 percent of the reason why I make art is to share it with people. I look for that connection. The best stories are the ones you feel called to create because you just have to make it. But where you can also equally think about how it might touch other people. 

The way I do that is through symbolism, finding universal languages everyone around the world can connect to and use to understand the story. In my images, I try to create this sense of universal symbolism where the locations, the props, the wardrobe, things that I'm using, have some resonance to anybody in any culture. Maybe I'll use a clock to represent time. I keep it really simple so my imagery isn't overwhelming but atmospheric enough to resonate with the widest audiences.

Images by Brooke Shaden

Da Silva: In this world, every action has a reaction. What reaction are you trying to get? What change are you trying to make?

Shaden: I'm trying to promote introspection. The most good comes out of people when they confront themselves first, so they can confront the world after. But we often do the opposite. People's natural reaction is to be social, to put themselves out there, to react to the world and then come back to themselves. 

When you have a midlife crisis or when something isn't in alignment, I really want to encourage people to start with yourself first. You'll only be able to truly touch the world once you've connected to yourself first and foremost.

Image by Brooke Shaden

To watch Brooke Shaden's entire webinar, join our community by becoming a PWB community member. As a member, you'll have access to all "Storytelling for Change" sessions featuring notable photographer storytellers from around the world.

AN INSIDE LOOK AT KRYSTLE WRIGHT'S CAREER IN ADVENTURE PHOTOGRAPHY

Image by Ben Sturgulewski

Driven by a passion to capture the unique perspectives not yet thought of, Krystle Wright is a pioneering photographer and director from Australia who's accelerating awareness of the world's most extreme sports and athletes. On a continual quest to challenge herself mentally and physically, Krystle consistently brings attention to the demanding adventures and landscapes the public is rarely exposed to.

Krystle's assignments have covered all seven continents in over 55 countries—from the Australian outback to the Antarctic. Her images have been published in National Geographic magazine, Outside magazine, The Times, GQ, Red Bulletin, and the Huffington Post. She's also a regular contributor to the @NatGeoTravel Instagram account.

To share her latest adventures and lessons learned, Krystle joined Photographers Without Borders (PWB) Founder Danielle Da Silva as part of PWB’s ongoing “Storytelling for Change” webinar series. Below are edited excerpts from the discussion, which touched on Krystle’s experiences storm chasing, her journey from sports photographer to adventure photographer, career advice for aspiring freelancers, how to kit-out your vehicle for adventure photography and what home means during the COVID-19 pandemic.

Danielle Da Silva: You have a tagline “curiosity over common sense”. What does that mean to you? And how did that come to be a thing?

Krystle Wright: I never said that until I did a project with Garmin where I went to Norway to free dive with orcas. Someone on their team made me a little patch with a hand-sewn orca and message that said “Curiosity over common sense”. It's one of my most favourite gifts. But when it comes to curiosity over common sense, it doesn't mean you can just be a moron and be excused for it. It's having a curious sense of the world around you without trying to overthink and reason everything. Gosh, if we try and reason everything we do, nothing makes sense. We have to let curiosity drive our photography because if we overthink, then we hold ourselves back.

Images by Krystle Wright

Da Silva: What are some realizations you've had during COVID19 regarding travel and otherwise?

Wright: When that pandemic hit, I know all of us have been on an emotional roller coaster whether we’ve wanted to or not. I was a freelancer—and I feel like most photographers these days are freelancers. It's tough because we're always taught to say yes to everything. You can say no later, but you never do. You say yes to everything, and you take on too much. 

The fear is, "Where's my next job coming? How am I going to pay the bills? How am I going to live?" Freelancers have the drive to work, to create, to be relevant. Personally, I was caught up in a cycle, and I didn't know how to stop it. Last year was one of my worst traveling years, because I was almost changing time zones every bloody week. It's almost like I needed the pandemic to actually reset. 

I've come to realize that I definitely don't need to travel as much. For the first time since 2007, I finally got to be home for the first winter change on the Sunshine Coast in Australia. I've always come home and appreciated it, but I'd forgotten the little things.

Images by Krystle Wright

Da Silva: What’s your advice for freelancers?

Wright: All I can say is don't sell yourself short. When I started my career, I did shifts for free because it was work experience. You know when it feels right and when there's going to be return from putting yourself out there. And then you know when companies are being downright cheap to use you and your social media and your skill set as a photographer. But you deserve more. You deserve to be paid.

I keep going back to social media because it has replaced a lot of traditional marketing, but companies still have a budget for marketing. They should be paying for your work. It’s so easy to go, "Oh, I love your idea! I'll do whatever it takes to make it work." But at the end of it, you don't get paid. When you really stand your ground and tell what you're worth, stick to it. People will have more respect for you. But I know it's tough to fight for what you're worth.

Images by Krystle Wright

Images by Krystle Wright

Images by Krystle Wright

Images by Krystle Wright

Images by Krystle Wright

Images by Krystle Wright

You can watch Krystle's entire webinar by becoming a PWB Member. As a Member, you'll have full access to all Storytelling for Change webinars that feature notable photographer storytellers from around the world.

CONSERVATION PHOTOGRAPHER CRISTINA MITTERMEIER ON PRACTICING STORYTELLING, PHOTOGRAPHY AND THE PANDEMIC

Image by Anna Heupel

CONSERVATION PHOTOGRAPHER CRISTINA MITTERMEIER ON PRACTICING STORYTELLING, PHOTOGRAPHY AND THE PANDEMIC

By Christine Alexiou

 Cristina Mittermeier is one of the most influential conservation photographers in the world, but her first love didn't involve a camera. Cristina's passion for the natural world, both above and below the surface, began in childhood and led to her career as a marine biologist, working in the Gulf of California and the Yucatan Peninsula in her native Mexico.

After realizing the power of photography to spark interest in conservation, Cristina picked up a camera to share stories from the farthest corners of the Earth. Today, she's a National Geographic contributing photographer, a Sony Artisan of Imagery, and the Co-Founder and Managing Director of the ocean conservation non-profit Sea Legacy. Known for her sensory storytelling, Cristina is the first female photographer to reach one million followers on Instagram and the editor of over 25 coffee table books on conservation issues.

Cristina sat down with Photographers Without Borders (PWB) Founder Danielle Da Silva as part of the ongoing “Storytelling for Change” webinar series. Below are edited excerpts from the discussion, which dove into the secrets of impactful storytelling, indigenous wisdom, biodiversity, lessons of the global pandemic and following your passions.

Danielle Da Silva: Cristina, you're one of the biggest change-makers I know. No problem seems too big for you. How do you find the energy to tackle these problems? 

Cristina Mittermeier: I share a network of friends and acquaintances that I've made throughout the years – people like you. Paying attention to the people around us is really important. But when I work with passionate people, it fills me with energy. I can't wait to get up in the morning and get out there.

I’m also a mom with three kids, and I think about the planet we live in today. Yesterday, I looked out the window and saw a gray whale feeding right out my window. I would love for my children to know there are going to be whales when they're older. That we're going to not have to worry about an apocalyptic future. So that's where I get my energy from – there's no choice.

Images by Cristina Mittermeier

Da Silva: What's most extraordinary about you is that you're always at the leading edge of stories pushing for change. Can you tell us about what makes a good story for you and why storytelling is so important?

Mittermeier: We are all born with the ability to tell stories. Somehow when we're young and are required to sit still and memorize mathematical tables, storytelling is forced out of us. So we have to remember how to tell stories. Some people get lost in the details, but those don't matter. The big themes in our lives are what matter. And if you're able to pay attention and pull from a lot of sources to make a story relevant, you're going to tell an interesting story.

Personally, I practice storytelling. You'll see me talking to myself in the car and telling stories to my neighbours, my mother-in-law and my children just to see what resonates. Usually, it's authenticity – to have a bigger purpose than simply entertaining – and being passionate. That means being fearless and not being embarrassed to care about the things you care about.

Images by Cristina Mittermeier

Da Silva: Do you have any advice for people who have a small audience and are trying to make an impact? 

Mittermeier: Every follower is amazing to have. When I give a lecture for 1,000 people in an auditorium, I feel lucky and happy if one person says to me at the end, "You've changed my life." If the other 999 were just entertained, that's okay. If you can change five people in your audience at a time, that's great. Because they're going to go and change another five. So the size of your audience doesn't matter. What matters is the depth of your messages.

Images by Cristina Mittermeier

Da Silva: Right now we are in the midst of a crazy crisis. What are your thoughts around what's going on around COVID-19?

Mittermeier: The thing about COVID-19 that really struck me, because it's not the first time a virus has jumped from a wild creature to humans, is that it didn't happen sooner. HIV gave a good try. Ebola had a foothold. But it took COVID-19 to shift the world. 

I was married for 20 some years to a primatologist who recently wrote a paper called the Coronaviruses and the Human Meat Market. It recognizes that complex animals like humans take a long time to adapt and evolve. But microbes, viruses and bacteria are quick. They mutate and adapt all the time. When you bring them into a market and give them the opportunity to jump from a wild animal, where they have been self-quarantined out in the jungle somewhere, to a domesticated animal and then a human, things get messy quickly. And that's exactly how COVID-19 started. 

Images by Cristina Mittermeier

Images by Cristina Mittermeier

Images by Cristina Mittermeier

Da Silva: We were having a conversation recently, and you said we need to put nature in quarantine. Can you share what you meant by that? 

Mittermeier: There are billions of humans on this planet, and we have forgotten the integrity of the fabric of life that gives resilience to the entire system. The only reason the ocean produces oxygen is because it's alive. But when we keep dumping sewage and pesticides and fossil fuels into the ocean or taking fish out, we're undermining the resilience of the system. 

COVID-19 is horrible, but thank goodness this is not the worst virus that could have hit. If we want to prevent the next pandemic, we need to make sure we're protecting at least half of nature on this planet. That means creating more national parks and monitoring marine protected areas. But the first order of business is to ban wildlife markets. If you're ready to help, sign the declaration asking governments around the world to ban wildlife markets. It's time.

To learn more about Cristina, explore her work or follow along with her adventures on Instagram @mitty. You can watch her entire webinar by becoming a PWB Member. As a Member, you'll have full access to all Storytelling for Change webinars that feature notable photographer storytellers from around the world.

AN OCCUPATIONAL THERAPIST SHARES TIPS TO MAINTAIN YOUR MENTAL HEALTH AS A SOCIAL JUSTICE ACTIVIST

AN OCCUPATIONAL THERAPIST SHARES TIPS TO MAINTAIN YOUR MENTAL HEALTH AS A SOCIAL JUSTICE ACTIVIST

By Christine Alexiou

Michelle 'Shel' Scott is an occupational therapist, storyteller and producer. In her work with clients, she blends therapeutic approaches, such as cognitive behavioural therapy, dialectical behavioural therapy and exposure theory, with other approaches like meditation and mindfulness. Shel explores the intersection of mental health therapy and activism, higher states of consciousness, and indigenous and ecological worldviews. She aims to come to a deeper understanding of all these topics and viewpoints in order to promote greater well-being among individuals, communities and the world at large.

Photographers Without Borders (PWB) Founder Danielle Da Silva recently chatted with Shel as part of PWB’s ongoing “Storytelling for Change” webinar series. Below are edited excerpts from their discussion which touched on facing mental health challenges during the pandemic, the importance of mindfulness, building community, forest therapy and indigenous ecological knowledge.

Danielle Da Silva: What’s your advice to activists for maintaining balance in their mental health when they feel overwhelmed by the big problems they're facing? 

Shel Scott: Burnout is very real and very high in the social justice sphere. Taking breaks, taking time off the internet and stepping away is really important. It's good to find other people who can validate and support you, and who you can support as well, so you don't feel like you're alone. 

It's super overwhelming to think about a huge goal like, 'Oh, all we have to do is take down capitalism.' Instead, think about one actionable thing that's happening in your society. And rather than trying to start your own thing, look at what other people are doing for whatever issue speaks to you most – whether it’s wealth inequality or food security. There are probably some initiatives that have already been started. Then, take action on that one thing. 

I know it's hard to pick one thing. But there are a lot of movements that have gotten traction and involvement in recent years where people are using the slogans, sharing the logos and meeting in the streets. A lot of that is very well-intentioned, but they don't have an ask or a small list of demands that they're coming down on. So that momentum hits the wall and dissipates rather than being a pressure point.

Instead of thinking about taking on the monolithic beast of capitalism or colonialism, for example, find one group or committee in your area that's doing something that you believe is important. Concentrate on that one thing, and change will feel more possible.

Photos by Shel Scott

Da Silva: Do you have any thoughts about accessible ways that people can nurture themselves during the pandemic?

Scott: Now that we're all relegated to the digital sphere, I recommend having conversations where you might agree not to talk about the pandemic. It's good to take a break from that. Remember, you are allowed to have time outside of that to kind of collect your thoughts. For example, forest therapy is a free way to nurture ourselves. So much psychological scientific evidence shows that just being around trees makes people feel safer, more at ease and less anxious — it really brings physical markers of stress down. Communing with the natural world is where the scientific and the spiritual intersect. 

Photos by Shel Scott

Photos by Shel Scott

Photos by Shel Scott

Photos by Shel Scott

Photos by Shel Scott

I live in a big city, but a couple of days ago, I went for a walk and just noticed all of the beautiful flowers. I spent time gazing into them and contemplating them and offering gratitude for them. It completely brightened my day. If you can’t get outside for whatever reason, simply having plants in your home provides similar benefits to forest therapy.

Of course, we can't talk about the value of communing with the natural world for therapy without talking about indigenous knowledge and traditional ecological knowledge. This worldview has been available to us for millennia, and it's a different way of being in and relating to the world. I'm not the best to speak to this because I'm not indigenous myself, but I imagine it to be the difference between being colorblind and then being able to see color. It's something that you can't actually describe. But the lessons are there, and the teachers are all around us.

To learn more about Shel’s work, visit her website, and follow her blog Running Around Being Passionate.

You can watch Shel's full interview, and the entire Storytelling for Change series, by becoming a PWB Member. To join our upcoming sessions, register here.