The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
Like everyone, I struggled with the magnitude of the pandemic; how it insidiously spread and wreaked havoc everywhere it went. In March of 2020, as the virus swept around the globe, my world in NYC became my apartment. I knew that in order to keep safe I wouldn’t be able to access my studio, so I brought my camera home and constructed a small set next to a window.
My days began with looking at the NY Times and Washington Post online, hoping to find a glimmer of positivity. What I found were the maps, charts, and headlines, tracking Covid-19’s spread. Obsessed, I screen grabbed and printed them out to see how the disease had multiplied and moved, soon realizing that each of these little visual changes affected millions of people. The graphics were highly analytical, devoid of the emotional toll of those affected. It felt necessary to use them in my photographs, to help me process this devastating experience.
Eventually, images of the vast number of people who had died began to appear in the news. Grids of people’s faces filled the screen; most having passed alone without family or friends beside them. As the virus moved through the US, many of our political leaders refused to acknowledge the dangers that it posed creating devastation and death. The incredible loss and the politics of this period were incorporated into these photographs.
This series began in March 2020 when NYC was the epicenter of the pandemic. It is a reflection of my emotions and thoughts through those dizzying 18 months. By photographing the recorded data,combined with botanicals, my intent is to speak to the humanity of those affected by this epidemic.Motion in the images was utilized to help convey the chaos and apprehensions we were all experiencing. Once assembled, I now see that these images have created a visual diary of this period, the politics of the time, and the way it has affected our everyday lives.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her on Instagram
The winners of the second annual edition of The Nature Photography Contest have been revealed, with Christopher Paetkau crowned overall winner for a wonderful shot of a polar bear resting in a field of vibrant fireweed flowers. Alongside Paetkau’s “Photography of the Year,” Thomas Vijayan was named “Photographer of the Year” for demonstrating “his keen eye for composition, storytelling, and the delicate balance that governs the natural world” across various categories.
Among those different categories, of course, it was “Underwater” that we were most excited to see. DPGer James Ferrara’s perfectly framed shot of a sperm whale cruising through clumps of sargassum weed—featured in his DPG Photographer of the Week article—was the category winner among a wonderful selection of finalists by Simon Biddie, Ilaria Mariagiulia Rizzuto, Kwon Chan, Lorincz Ferenc, Wan Yong Chong, Remuna Beca, Andy Lambert, Jun He, and Theo Maynier.
Check out the “Underwater” category finalists below, and head over to the competition website to see the rest of the recognized images. The Nature Photography Contest 2025 is expected to launch in May.
Underwater Finalist: “A Sunrise Glide” by Simon Biddie
Underwater Finalist: “Bad Boy” by Ilaria Mariagiulia Rizzuto
Underwater Finalist: “Big Dreams” by Kwon Chan
Underwater Finalist: “Carp Love” by Lorincz Ferenc
Underwater Finalist: “Circle of Life” by Wan Yong Chong
Underwater Finalist: “Connection” by Remuna Beca
Underwater Finalist: “Jellyfish” by Andy Lambert
Underwater Finalist: “Pike Hunting” by Ferenc Lorincz
Underwater Finalist: “Place of Residence” by Jun He
Underwater Finalist: “Sous Ecorte” by Theo Maynier
Through images defined by curiosity and empathy, Fumi offers intimate portrayals of the people she meets and the time she spends with them.
As a Japanese artist now living in America, Fumi brings a unique perspective. Her projects often span years as she immerses herself in the communities that capture her interest. Documented in books like Marching Wolves (2022) and Dora, Yerkwood, Walker County, Alabama (2023), these projects reflect her desire to capture her subjects on a deeper level.
The images presented here are part of this ongoing project of capturing everyday life in America. Taken in New York and Texas in December 2024, they showcase tender moments of intimacy and connection, all reflecting Fumi’s compassionate approach to photography.
“Since 2016, when there was the presidential election, I didn’t really have much of an idea about America, except for New York and big cities. But that election made me curious about the country, and I started paying more attention to what was happening in this place that had been my home for such a long time,” Fumi says.
“When I started my project in Alabama, I had a friend who lived across the street, and she was from this small town. She took me to where she grew up. Apart from through her, I didn’t have access to small places in the U.S. I’m not from here. I’m from Japan.”
“People in New York are familiar with photography, but people in small towns aren’t to the same extent,” Fumi notes. “They might have taken photos for school yearbooks or everyday events like that, but photography isn’t as much a part of daily life as it is in big cities. So, in the beginning, it took time for me to make them trust me. A lot of people said no because they thought I was going to charge money or sell their pictures online. I had to build a relationship from the start to be trusted to take their photos for the first time. There was a lot of work outside of photography, and it became my life’s work. It became more than photography to me,” she explains.
Fumi says that, for her, it is essential to feel authentically intrigued by what she photographs. You get the sense that she invests a lot of emotional energy into her projects.
“I’m always open, but I have to be inspired to start a personal project. If someone tells me what to do, then it becomes more like a job. For my personal projects, it has to be about my vision. So, I always put myself in situations that challenge me and allow me to experience things first, to see if there’s something I can start, a long-term project. Since I like projects that last for years, I need to make sure that what I commit to is something I can really dig deep into.”
In her photography, she strives to remove all barriers that might stand between her and the individuals she portrays. “When I photograph people, I don’t want there to be a boundary between the subject and myself. I don’t want to be seen as ‘the photographer’ who takes photos of ‘them.’ It’s more about real friends spending time together, and I want to capture them being themselves. A lot of times, they get nervous or feel like they have to give me something. It’s very important for me to build trust.”
Where does she find beauty as a photographer? “I think beauty comes from within. I’m interested in intriguing people and their life stories. I see myself as a storyteller, and I tell the stories of the people I photograph. That’s what I see as beauty.”
Fumi became a photographer by chance. After high school in Japan, she studied hotel management and tourism but knew she wanted to pursue creative work. During a trip to New York, her life took a new turn.
“I didn’t come to New York to become a photographer, but to find a creative field I could pursue,” Fumi says. She met a Japanese hairdresser who was looking for a roommate and moved in with him. As it happened, her roommate had old issues of Street, a Japanese magazine focused on street fashion and culture outside Japan. The issues were all about London.
Since she lived in New York, she thought that photos of the city’s street life would be a good fit for the magazine. She pitched her idea to Street’s editor, who took a chance on her. When she turned in the images she had taken of people in New York, the editor offered her a job as a regular contributing photographer.
Although photography was never Fumi’s plan, it is now an essential part of her life, having grown naturally from her love for the medium. Today, she works with clients such as The New York Times, New York Magazine, and Vogue, as well as brands like Louis Vuitton and Dior. But what first drew her to the medium remains the same: meeting and connecting with people.
Photographer, Filmmaker, and Conservationist: Florian Schulz
Heidi: We are a culture distracted by screen and cell service – is your photography and film work partially an act of resistance? Floiran: As a photographer and filmmaker, I often find myself at the intersection of creativity and technology. While social media platforms like Facebook and Instagram are undeniably powerful tools for sharing work and connecting with others, I have a complex relationship with them. On one hand, they provide valuable insights into the work of colleagues and friends, as well as access to news and thought-provoking statements. However, I also see them as significant sources of misinformation, where quantity often trumps quality, and the loudest voices can overshadow meaningful content.
In my personal life, my wife and I have made a conscious decision to limit screen time for our children. Our 9- and 13-year-olds do not have cell phones, and screens are not used for entertainment. (We do watch nature documentaries on the TV) This choice has allowed them to develop remarkable creativity and a keen awareness of the world around them. They observe how excessive screen time affects their peers, and it’s heartening to see them thrive without the constant distraction of digital media.
In this sense, my photography and filmmaking can be seen as acts of resistance against the prevailing culture of distraction. By focusing on creating meaningful, high-quality content that encourages reflection and engagement, I aim to counterbalance the fast-paced, often superficial nature of social media. My work is about capturing moments that inspire, provoke thought, and foster connection on a deeper level.
Moreover, the process of creating art without the constant influence of social media allows me to tap into my own creative potential more authentically. It enables me to explore themes and ideas that might not fit into the algorithm-driven narratives that dominate online platforms. This approach not only enriches my work but also contributes to a broader cultural dialogue that values substance over spectacle.
Ultimately, my goal is to inspire others to step back from the screens and engage with the world around them. By doing so, I hope to contribute to a shift in how we consume and interact with media, one that prioritizes depth, creativity, and genuine connection. Nature is wild and she works on her terms – how has this lack of control informed your creative work and life? Yes, nature is wild and unpredictable. That is exactly what I love about my work! This career that I have chosen is not such much of a simple job, work, a career, – it is rather the inevitable path I had to walk because of my passion for wild places, the adventure that comes with it and the desire to be in the presence of wild creatures. To do my work well, I need to be out in the wild for extended periods of times. This has always been my goal and accordingly I have chosen projects that allowed me to do this. What is beautiful about it is that one has to let go of control and especially when documenting wildlife I have to give in to a more organic approach. Sometimes when I am waiting for hours for an animal to appear or a certain behavior to show this work has a meditative element. I have to be here and now in the present. The sounds, sights, smells – the wind and weather conditions. All of it is important to take in or to capture in a series of photographs to document an ecosystem with its wildlife. I love the idea that moments and images have to “come to you”. The animals have to present themselves, that is when the good images get taken. After doing this for so many decades I also realize that it is not just the final image that counts for me – but the entire experience. As all of this takes a lot of time, we are just now at a particular crossroads. Even though I have always tried to have my family be a part of the adventure it was only possible at certain times. We are now embarking onto a new path where we are going to be exploring the wild as an entire family. We will start with some of the most exciting wild places across Alaska. From the fjords and forests of South East Alaska to the Arctic Tundra of the North or the bears coast along the Alaska peninsula.
Does all your work come with a call to action? If a photographer wanted to get started supporting a cause, what’s the best way to start? You are right that a lot of my work over the past decades has been mission driven and often included a call to action. The hope to help with the conservation of ecosystems comes across in the stories I tell through my images. As a conservation photographer, my goal is to inspire viewers to care about the natural world and its wildlife. Whether it’s documenting the majesty of wild places or highlighting the challenges faced by endangered species, my work aims to raise awareness and encourage action.
For photographers looking to support a cause, I would recommend starting by identifying what truly resonates with them. It might be a specific species, ecosystem, or environmental issue. Once you’ve found your passion, immerse yourself in learning about the topic. Collaborate with experts, such as scientists or conservationists, to gain a deeper understanding of the challenges and potential solutions.
Networking is also crucial. Join organizations like the International League of Conservation Photographers (ILCP), which I co-founded, to connect with like-minded photographers and learn from their experiences. Engage with conservation groups and consider partnering with them to amplify your message.
Lastly, use your platform to share your story. Whether through social media, exhibitions, or publications, make sure your work reaches the right audience. Remember, the power of photography lies not just in capturing stunning images but in inspiring change and motivating others to take action.
In my own journey, projects like “Freedom to Roam” or the effort to help with the permanent protection of the Arctic Refuge have shown me the impact that visual storytelling can have on conservation efforts. By sharing compelling narratives and images, photographers can play a vital role in shaping public awareness and influencing policy decisions.
What cues do you recall when your first realized your photography/filmmaking gave agency to the biodiversity and landscape, presenting the Arctic as worth protecting rather than just a barren energy resource? I believe a big reason why conservation was such a big topic for myself from early on was me growing up in Germany. In Germany and across most European countries we had lost large interconnected wild ecosystems. While we have a 1000 year old castle around the corner from where I grow up, we had lost wild places. This feeling of loss, made me cherish the big wild places across North America. Whether it was the Greater Yellowstone Ecosystem where we would still find bears, bison, elk and wolves, or the wild coastlines or the Arctic where the ancient caribou herds would still roam. There was never a time where I could look at these great arctic landscapes as “barren wastelands”. The fight for the Arctic Refuge has been going on for many decades and I have been involved with the Refuge for the last 25 years. It has always been a collaborative effort to fight for the Arctic Refuge alongside the Gwich’in People and many conservation organizations. My images and film work have been a central part in a lot of these efforts and campaigns. From big live speaking tours, many magazine articles to massive signature campaigns, like during the #ProtectTheArctic campaign that inspire millions to take action. This campaign resulted in an unprecedented 6 million comments submitted to the U.S. Fish and Wildlife Service, effectively stopping seismic testing in the Arctic Refuge. Unfortunately, the battle the Arctic Refuge and other wild places is long lasting tug of war.
What can you share about this image from your coffee table book, To The Arctic? I near a group of muskox bulls and find myself wishing for a musk ox’s coat to protect me from the weather. Their long guard hair hangs from their bodies like beautiful overcoats. Underneath, their wool is eight times warmer than the highest-quality sheep wool. I feel the gripping cold, especially on my face, where the snow crystals lash my skin like grains of sand. But I am excited about this turn in the weather. It allows me to create photographs that show a true Arctic scene, with conditions these musk oxen have to withstand many times in the course of the year. The wind becomes so intense that the animals almost disappear behind a curtain of blowing snow, their long hair rippling around them like soft cloth. I try to get close enough to capture their image before the sun dips behind the ridgeline. Dropping to my knees, I frame the scene as the last rays cast pink light on the musk oxen’s fur. Then something magical happens. Three bulls take off from the group, heading directly toward the setting sun. For an instant they are in perfect formation. The blowing snow is so thick that it makes the three bulls seem to float magically above the ground. A photograph of a lifetime-and worth everything I had to endure to get it.
Patagonia celebrated your conservation work for ANWR in their Fall catalogs (2016 and 2024) both being election years, what feels different this second time around about impacts we can make as individuals and collectives? I’m honored to have been a part of Patagonia’s conservation efforts, including their campaigns highlighting the importance of protecting the Arctic National Wildlife Refuge (ANWR). The recent “Alaska Needs You” campaign underscores the urgency of our collective action. What is different today after the recent election: “ Alaska Needs You More Than Ever! “ However, it is not just about Alaska; many wild places are under threat due to a wholesale mentality of exploiting public lands and resources, which will ultimately rob future generations of their natural heritage.
The current landscape is complicated by attacks on democratic values, the environment, public lands, and marginalized communities. Misinformation is a significant obstacle, as it often misleads people into believing that exploiting public lands will benefit underprivileged Americans, when in reality, it primarily enriches corporations and billionaires.
However, I remain hopeful. There is a growing recognition of the need for collective action. By coming together as a community, we can fight against these challenges and protect our planet’s biodiversity. The power of collaboration, as seen in campaigns like “Alaska Needs You,” demonstrates that when individuals and organizations unite, we can inspire meaningful change and safeguard the future of our wild places.
One of the oil drill pads at the edge of the Arctic Refuge just west of the Canning River delta. Oil companies have pushed for opening the Arctic Refuge to the east of the Canning River for oil development. Canning River Delta, Alaskan Arctic
You’ve called Alaska home for the past 15 years, a place where mining, drilling, and extraction remain real threats to land, biodiversity, how are you thinking about your work these days? Every day we are chipping away at the last open spaces and wild lands. The current administration is doing this at a massively accelerated pace. Unfortunately, it is the same old story that is repeating itself. The main difference is, that we have less and less wilderness around us and the speed of exploitation is ever faster. What I am planning to continue to do is fight the same old fight but with different stories and from different perspectives. I personally have to pace myself and also consider my children. If I will always bring up all the critical things I see it is hard for them to be joyful. All this consciousness weighs hard on myself and that gets passed on to them. I want to let my children go and see the beauty of this planet with their curious joyful eyes. So in the coming years, that might be part of the way I will tell stories for us to protect earth for future generations. What are you working on now? I am currently putting on the finishing touches on a presentation I will give at the Patagonia Soho Store in New York City on March 19th. At the same time we are in the middle of planning multiple expeditions across Alaska. This spring we are hoping to document bears coming out of their winter dens. We will also be working in areas across the vast coastal areas of Southeast Alaska and later in the summer across Arctic Alaska. My family will be part of many of the expeditions.
Panasonic may have only just announced the arrival of their flagship photo-centric full-frame mirrorless camera, the S1RII, but Nauticam has wasted no time engineering their matching housing, the NA-S1RII. Much smaller and lighter than its predecessor, the S1RII—arriving five years after its predecessor—boasts a new 44.3MP BSI CMOS image sensor and L² image processing engine, which combine to produce some impressive numbers: 10fps burst shooting with continuous AF using the manual shutter (and 40fps with the electronic shutter) plus 8K/30p 10-bit video recording with 14 stops of dynamic range.
The new NA-S1RII housing offers all of the features we’ve come to expect from Nauticam: a full complement of dials, levers and buttons ergonomically placed around integrated handles; an M24 bulkhead for attaching external monitors or recorders via HDMI 2.0; full compatibility with the company’s water-contact optics (such as the FCP and EMWL); and vacuum check and leak detection electronics as standard. Built-in fiber optic bulkheads mean it’s a breeze to add a Mini Flash Trigger for rapid-fire manual flash triggering.
Available now from retailers such as Backscatter, the NA-S1RII is priced at $5,184.
When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.
PRESS RELEASE
INTRODUCING NA-S1RII
The Panasonic S1RII
The Panasonic S1RII seems more of a redesign than an evolution, both in terms of capabilities as well as form factor. The new S1RII is built around a 44MP 8.1K sensor that allows for both high resolution stills capture as well as 8K video at up to 30p with low rolling shutter effect. The S1RII can also record ProRes RAW or 422 at selected resolutions and frame rates. Promising improved autofocus, more in-line with its peers, the S1RII features phase-detection and enhanced subject tracking.
In addition to an overall smaller footprint, the S1RII also has relocated ‘Movie” mode from the exposure mode dial to a dedicated switch below the drive mode dial. This frees up the exposure dial to have 5 custom mode positions which have discrete settings for stills and video mode.
In addition to the high-resolution video capture specs, the S1RII also features Panasonic’s dual-gain ISO. A new Dynamic Range Expansion mode can be enabled when shooting in V-Log to gain an additional stop of highlight information.The S1RII also adds a false-color overlay of pixel brightness to help both still and video shooters prevent clipping. Support for real-time LUTs and Open Gate Capture show the S1RII is really a full-featured hybrid camera.
The Nauticam NA-S1RII Underwater Housing
The Nauticam NA-S1RII is a professional aluminum underwater housing that delivers fast and intuitive access to all the essential controls of the Panasonic S1RII camera underwater. Pairing the NA-S1RII with Nauticam’s extensive line of Water Contact Optics and accessories further enhances the camera’s already impressive still and video capabilities.
Premium Professional Optics
As with the NA-S1R, the NA-S1RII is built around the N120 port system and allows for those moving from the NA-S1R to carry over their port and lens configurations unchanged. This large port opening also allows for a wide range of lenses to be used as well as extensive integration with Nauticam’s Water Contact Optics that offer the best possible underwater image quality.
Mission Control
The NA-S1RII allows for efficient camera control underwater with most essential functions placed within easy reach of the ergonomic handles. The S1RII moves the video/still mode selection to a dedicated switch which is now easily accessed with a lever located atop the NA-S1RII allowing for rapid switching underwater.
Thumb levers near the left and right side handles actuate the image review and AF-ON buttons while levers for Af-mode and switching between the EVF and LCD are also within easy reach.
HDMI Output
The NA-S1RII is equipped with the large M24 bulkhead that allows for the use of Nauticam’s HDMI system to attached optional external monitors or recorders. The 8 1/4″-20 holes atop the housing provide a solid base for mounting these or other larger accessories.
Flash Triggering
For rapid-fire manual flash triggering, the NA-S1RII is compatible with the Mini Flash Trigger (26305) which uses small LED units to trigger external flashes via Nauticam Universal Fiber Optic Cables (26216).
Vacuum Check and Leak Detection System
The Nauticam vacuum check and leak detection electronics are shipped with the NA-S1RII as standard equipment. Combined with an optional accessory vacuum valve (PN 25625) this monitoring system provides constant updates on the water tight and safe-to-dive status of the housing. A simple color coded LED lighting system lets the user know that the vacuum is solid, or that the housing is losing vacuum. Leak detection is built into the same circuit, so if there is water intrusion, an audible and visual indication will occur.
The Nauticam system is temperature compensated, eliminating false alarms caused by a change in outside temperature, or from a camera heating up on an action packed dive.
What’s in the box
NA-S1RII Housing
90137 Spare main housing o-ring
2x Plugs for Optical fiber cable mount
2x Handles with mounting balls
Panasonic CR-2032 Battery (for moisture alarm)
Set of Allen Keys
Padded housing bag and shoulder strap
Recommended Accessories
Vacuum Valve
25625 M16 Vacuum Valve II (Pushbutton Release)
Viewfinder
32212 Nauticam Full Frame Straight Viewfinder (40°/0.8:1)
32214 Nauticam Full Frame Angle Viewfinder (40°/0.8:1)
87213 Reverse Angled Viewfinder for EMWL (40°/0.8:1)
87214 Reverse Straight Viewfinder for EMWL (40°/0.8:1)
*32212/32214, 87213/87214 are preferred
Hand Strap
28130 Hand Strap for 28113
Optical Trigger
26305 mini Flash trigger Fujifilm/Canon/Panasonic
Housing Mount
25221 M10 strobe mounting ball for housing
25224 M10 strobe mounting ball for housing (with hole for using with lanyard)
17959 Housing Mounting ball with 1/4” screws
17960 Universal Quadra-Pod Plate for Nauticam Housings
25218 mounting ball set for tripod
Surface USB-PD Power Bank
26325 USB-C Bulkhead with USB-C Connector *Can be installed on either M24 or M16.
26326 M24-M16 Adaptor for use with 26325
*for use with M24 only
HDMI Output
1) Required accessories for HDMI 2.0 Cable System
25086 M24 adaptor for HDMI 2.0 cable (incl. tightening tool)
25099 M24A2R200-M28A1R170 HDMI 2.0 Cable (for NA-a1 to use with Ninja V housing)
Compatible HDMI 2.0 Monitor Options
17922 Nauticam Atomos Ninja V Housing for Atomos Ninja V 5” 4kp60 4:2:2 10-bit recorder/monitor/player (excl. HDMI 2.0 cable)
17922S Nauticam Atomos Ninja V-S Housing for Atomos Ninja V 5” 4kp60 4:2:2 10-bit recorder/monitor/player (excl. HDMI 2.0 cable) with Atomos AtomX SDI Module
17926 Nauticam NA-Ultra5 Housing for SmallHD Ultra 5 Camera Monitor
2) Required accessories for HDMI 1.4 Cable System (can be installed on either the M24 or the M16 accessory port)
25033 Standard HDMI bulkhead with M16 thread (included in 17927)
26326 M24-M16 Adaptor for use with 26325
25075 HDMI (D-A) Cable in 190mm Length for NA-GH5/G9 (for internal connection from HDMI bulkhead to camera)
Compatible HDMI 1.4 Monitor Options
17927 NA-Shinobi II Housing for Atomos Shinobi II 5.2” HDMI Monitor
17922 Nauticam Atomos Ninja V Housing for Atomos Ninja V 5” 4kp60 4:2:2 10-bit recorder/monitor/player (excl. HDMI 2.0 cable)
25082 HDMI1.4 Cable for Ninja V Housing in 0.75m Length (for connection from Ninja V Housing to HDMI bulkhead) Required for use with 17922
Technical Specifications
Dimensions: 330mm(W) x 200mm (H) x 165mm (D)
Weight in air: 2.25kg
Buoyance in water: Positive 0.5kg (includes camera and battery)
In Ola Rindal’s photography, things seem perpetually on the verge of slipping away. Through a raw yet refined and nuanced aesthetic, a poetry of the everyday emerges, infused with understated melancholy.
We asked Ola to photograph moments that go unnoticed unless one pays attention. In December 2024, during journeys between his hometown, Paris, and his birthplace, Norway, he captured people and objects in states of transition.
Ola’s images may seem accidental, as if taken by someone getting a lucky shot with their first camera. But upon closer inspection, they reveal an artist in full command of his craft and intention. In the coincidental nature of everyday life, he uncovers hidden moments, transforming them into images of elusive beauty.
“I photograph quite a lot based on my everyday life. What I see around me. When I walk the kids to school, or if I’m just walking. If there’s something that repeats itself and that I notice I’m interested in, then I might start digging into it and try to build on it. It’s like discovering that you have a kind of theme that you’re intuitively drawn to,” says Ola.
“You ask yourself a question about the visual world around you. There’s a car over there, a tree over there, and a house over there. And people are walking by. And then you become interested in the spaces in between. Trying to give a language to the things you’re talking about that aren’t either one or the other. That isn’t the car or the house or the person in between. But something else, you know?” he adds. “Something that exists in the gaps. And that’s probably something I’ve been fascinated by and interested in—trying to give a language to what doesn’t have a language.”
In his photography, Ola searches for true, unrepeatable moments. “I want something to happen that I find interesting—like a bird landing on a branch, a small light on a wall, or a deer suddenly appearing in a clearing, creating a magical atmosphere. I look for things that don’t happen twice.”
These are moments that, in his eyes, have a sense of enigma. He says he thinks beauty often lies “very close to the ugly.” That tension and resonance which sometimes occur between things are essential to his photography. It raises questions in the viewer’s mind and makes us see everyday things in a new light.
When asked how he arranges his images for an exhibition or a book, he replies that he doesn’t think in terms of stories that much. He is more concerned with creating a rhythm. His approach is similar to composing a poetry collection. “It’s about creating a feeling. And by arranging the images in a certain way, you create an atmosphere rather than a narrative,” he says.
Ola’s preference for equipment is very much based on size and weight. “Some people say a good camera is the one you carry with you. If you have a big, bulky 4:5-inch camera, it can be good. But if it just remains at home all the time, then maybe it’s not that useful. So, in that sense, it can be good to have a practical camera that’s easy to take with you.”
“I’ve always worked with small, light cameras that I can take with me everywhere. Cameras that I can work with relatively quickly. That I can have ready when I see something,” he explains.
“And I like it if the lens is just the right length, not too long and not too short. I’m not one of those wide-angle people. I like 50mm. I have two lenses that I always use: a 50mm and an 80mm. I feel like I really don’t need much more. I guess it represents how I see the world, in a way.”
Ola’s venture into photography began with a stolen key and a borrowed camera. The key was to his school’s darkroom, and the camera belonged to his father. Growing up in Lillehammer, in the Norwegian countryside, there was very little to do, so he and his friends experimented in the darkroom and shot with his father’s camera for fun. “I got bitten by the photography bug that way,” he says when we speak with him about the images he shot with the BF camera. “I was quite shy, and photography became my way of speaking.”
He never considered any other forms of artistic expression. There was just something about photography that clicked for him. “At first, it allowed me to let things out. But over time, I realized photography is about saying something about my world and how I see it.”
Today, Ola lives in Paris with his family, working on commissions for top fashion brands and magazines. But his true joy comes from capturing the everyday world—whether it’s the streets of Paris or Tokyo, or the snowy countryside of Norway.
Photographers! It’s here! Click the link below to learn more about completing the @aphotoeditor and @hmphotoprof 2025 State of the Industry Survey!
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AOI is now shipping an innovative new product called the Aura Light System (ALS-01), an advanced LED torch and optical snoot designed to allow underwater photographers to “paint” with light of any desired color. The second addition to AOI’s “Signature Series,” the light was developed in collaboration with award-winning underwater photographer Ace Wu. (The first product in the “Signature Series,” the UH-GPx housing for GoPro, was a collaboration with underwater videographer Kay Burn Lim.)
The tech at the center of the Aura Light System (ALS-01) is a multicolor LED capable of producing a palette of 16.7 million colors—and here’s the ingenious bit—controllable wirelessly via your smartphone running AOI’s dedicated app. The software allows you to create 10 preset colors, which can then be recalled at the push of a button on the device. The light comes with an optical snoot, flipped into position when needed, which changes the beam angle from 90° to 7°. Power is via a single 18650 Li-ion rechargeable battery, giving the light a 2.5-hour runtime at maximum brightness.
The Aura Light System is available as a single light (ALS-01) finished in black, with snoot and clamp, priced at $530; and as the “Signature Series” package (ALS-01S), which bundles four lights finished in white, with snoots, clamps, and other accessories. Pricing of the Aura Light System “Signature Series” is not yet available.
When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.
PRESS RELEASE
Signature Series 2025 Edition: The AOI Aura Light System with Ace Wu
The Collaboration Continues
The inaugural Signature Series was officially introduced at the DRT Show Hong Kong 2023 with the intention of capturing the spirit of collaboration and pushing the boundaries of underwater imaging. The first instalment of the Series featured a collaboration between award-winning videographer Kay Burn Lim and AOI. The result was an underwater housing for the GoPro that redefined the possibilities for the device.
The Signature Series 2025 Edition marks a new collaboration, this time between AOI and award-winning underwater photographer Ace Wu. “Underwater photography is a reflection of art and mirrors my inner state of thought,” says Ace Wu.
At the heart of artistic expression lies the drive to push limits and break boundaries. In underwater photography, the challenges and constraints are plentiful.
Ace Wu is among the few accomplished practitioners of ‘painting’ underwater photos. “Colors add emotions, create a feeling, and are more than just elements in my images,” explains Wu. Currently, equipment used to ‘paint’ underwater images relies on colored filters placed in front of lights. However, the range of colors is often limited by the number of filters available, typically just a few. This limitation sparked the idea behind the Signature Series 2025 Edition: How could every imaginable color be made accessible?
No strangers to daunting challenges, the AOI design team explored a host of ideas, ranging from the unconventional to the traditional. The final product exceeded all expectations, earning its place in the Signature Series lineup.
The Aura Light System: Painting with Every Possible Color
The Aura Light System is a revolutionary departure from conventional underwater lighting. At its core is a custom-designed mobile app that allows users to select from a palette of 16.7 million colors. The app communicates with an advanced LED torch capable of reproducing the selected color.
This LED torch is equipped with an optical condenser that enhances the brightness of the colored beam. It can store up to 10 preset colors, while the app supports simultaneous operation with multiple LED torches. The result is an unparalleled ability to ‘paint’ underwater images with virtually unlimited color options. The Aura Light System also includes an optical snoot that is both compact and powerful.
The Aura Light System is a clear departure from typical thinking employed by many manufacturers, bringing software engineering and user interaction to the forefront of underwater lighting and photography.
The Aura Light System – Signature Series will consists of 4 LED torch complete with color coordinated mounts and optical snoots in white. The entire collection will be housed in a protective carrying case for convenience and security when traveling.
The Aura Light System can also be purchased individually, the standard version is in black and will include the matching optical snoot and mount.
The AOI-UW app is available for download at Apple’s App Store. The Android version will be available later.
Don’t limit your artistic expression to the tools available, be free to ‘paint’ with the colours you feel.
Sigma Ambassador Liam Doran with the 300-600mm F4 DG OS | Sports lens.
As outdoor photographers, there are places in the world that beckon to us to explore their photographic wonders. The pull of exotic landscapes bathed in warm light, and huge swaths of wide open areas packed with an abundance of wildlife, are draws impossible to resist for inquisitive adventurers. One of the places at the top of my to-do list was the incomparable Patagonia region of southern Chile.
A landscape to set the scene, shot with my main travel lens, the Sigma 24-70mm F2.8 DG DN II | Art.
There is so much to photograph and explore in Patagonia, so I decided to narrow my vision to Torres del Paine National Park, and more specifically, the wildlife that calls it home. Most prominent of these animals, and what truly piqued my interest, are the park’s famous pumas. With buy-in from local estancias (ranches) that border the park, the pumas have a massive area where there are free to be wild without persecution from hunting and trapping. Because of this, the puma population in Torres del Paine and the surrounding area is absolutely booming.
SIGMA 300-600mm F4 DG OS | Sports Sony a1 Camera 600mm, F4.5, 1/400s, ISO 1000
The ultimate wildlife photography zoom lens
My lens of choice for pumas, and all the wildlife I encountered, was the brand new Sigma 300-600mm F4 DG OS | Sports lens. This is a de-facto professional grade lens the likes of which have never been seen before and I put it to good use. In my time there, I saw 17 individual pumas over the course of about 25 encounters. As far as I know, this is not possible anywhere else in the world. That’s what makes this place so special. Of course not every encounter would result in photos but enough did that I was able to get plenty of great photos. In addition to pumas I was able to photograph Andean condors, grey foxes, rheas, an austral pygmy owl, black chested eagles, and of course plenty of guanacos.
SIGMA 300-600mm F4 DG OS | Sports Sony a1 Camera 600mm, F5, 1/1600s, ISO 1000SIGMA 300-600mm F4 DG OS | Sports Sony a1 Camera 600mm, F4, 1/1000s, ISO 1250SIGMA 300-600mm F4 DG OS | Sports Sony a1 Camera 395mm, F6.3, 1/500s, ISO 1250
The 300-600mm F4 DG OS | Sports was absolutely perfect for photographing wildlife in the park. The optics are stunningly sharp with nice contrast and great color. The HLA autofocus motor is ultra fast, and when using Animal Eye AF in my camera, it locked on to my subject and consistently yielded professional results. The lens is big and fairly heavy, similar to 500mm and 600mm F4 primes from other lens makers. However, in direct comparisons to other photographers’ setups, mine was usually a bit smaller and lighter. I was able to hand hold the lens for numerous images, but I also had it mounted on a tripod for many of my photos and videos.
This lens can be hand held, but a sturdy tripod makes a day in the field much more practical.
One of my favorite features of the 300-600mm F4 DG OS | Sports is the fact that it’s a zoom that shoots like a prime. There were times when the pumas would come incredibly close, and while other photographers were forced to swap lenses to get the shot, I could simply zoom out! I also love the fast F4 constant aperture. I shot it wide open while recording video clips in pre-dawn light. For still images, the F4 aperture was wonderful for isolating my subjects are rally making them “pop” from their environments. The bottom line here is that you are really getting four ultra-quality F4 prime lenses in a single lens. Oh…and did I mention it’s half the price of one prime lens? Just incredible.
SIGMA 300-600mm F4 DG OS | Sports Sony a1 Camera 395mm, F4.5, 1/1600s, ISO 1000SIGMA 300-600mm F4 DG OS | Sports Sony a1 Camera 561mm, F4.5, 1/2000s, ISO 1000SIGMA 300-600mm F4 DG OS | Sports Sony a1 Camera 600mm, F4, 1/1000s, ISO 1000SIGMA 300-600mm F4 DG OS | Sports Sony a1 Camera 600mm, F4, 1/2000s, ISO 160
Torres del Paine National Park is well known to landscape photographers for the combination of lustrous low-angle light of the southern latitudes and soaring rock spires of the Cuernos and Towers. While most of my efforts were focused on pumas, I had to get a few images of this iconic place. With the 300-600mm F4 DG OS | Sports, I had the versatility to try different compositions without moving or changing lenses, not to mention gorgeous compression for unique-looking landscape photos.
SIGMA 300-600mm F4 DG OS | Sports Sony a1 Camera 300mm, F5.6, 1/500s, ISO 400SIGMA 300-600mm F4 DG OS | Sports Sony a1 Camera 300mm, F6.3, 1/800s, ISO 400SIGMA 300-600mm F4 DG OS | Sports Sony a1 Camera 451mm, F5.6, 1/800s, ISO 640
My Sigma lens kit for travel and storytelling
Flying halfway around the globe to one of the most photogenic places on earth, I’d be crazy not to also shoot some landscapes and culture. To help me tell those stories I brought a few of my favorite lenses: the Sigma 16-28mm F2.8 DG DN | Contemporary, 24-70mm F2.8 DG DN II | Art, and the 70-200mm F2.8 DG DN OS | Sports. This kit has traveled with me all over the world and images from them have been used for cover shots, features length editorial stories and major commercial ad campaigns. I trust this lens trio to get the job done beautifully and once again they handled everything I threw at them.
SIGMA 16-28mm F2.8 DG DN | Contemporary Sony a1 Camera 16mm, F3.5, 1/320s, ISO 2000SIGMA 24-70mm F2.8 DG DN II | Art Sony a1 Camera 40mm, F16, 30s, ISO 250
SIGMA 70-200mm F2.8 DG DN OS | Sports Sony a1 Camera 192mm, F9, 0.6s, ISO 100
Another highlight was a visit to Estancia San Louis. This is a working sheep ranch long owned by a local family. While there, one of the gauchos was rounding up some sheep and even showed us how he sheared them. The gaucho working his dogs and sheep with the Towers in the background made for some very classic images of Patagonia and was a blast to photograph.
SIGMA 24-70mm F2.8 DG DN II | Art Sony a1 Camera 24mm, F9, 1/800s, ISO 800SIGMA 24-70mm F2.8 DG DN II | Art Sony a1 Camera 70mm, F6.3, 1/800s, ISO 400
I booked my trip to Patagonia though Chile Nativo. Their intimate knowledge of the area was evident, and the glamping (fancy camping) at Riverside Camp was incredibly cool. My guide, Santiago, was super helpful and made finding the pumas and the landscape areas very easy. The team was great to work with, and if you want to go I would highly recommend them. To get there, I flew to Punta Arenas and rented a car. You could also fly into Puerto Natales, which is closer to Torres del Paine, but is quite a bit more expensive.
Final thoughts
Whether you go for wildlife, landscapes or general travel, a trip to Patagonian Chile is something every adventure photographer should put on their list. If your itinerary includes wildlife photography, consider bringing the Sigma 300-600mm F4 DG OS | Sports lens. For me, it was critical to getting my very best images. And bring the rest of your Sigma lenses to photograph the people and the views. You won’t regret it. If you have any questions feel free to reach out. Hope to see you out there!
If you picked up this book, I’m betting you love photography enough to pursue a career in it, but you have no idea where to start. That’s where I come in. I want to be the resource and mentor I never had, so you don’t have to learn the hard way. I’ll be sharing the insider secrets of the photography industry that they don’t teach you in school. Because combining your passion for photography with a career can get a little messy. Being a great photographer is only half the battle. To thrive in this industry, you need to be a savvy entrepreneur, too. And that’s why I took it upon myself to fill in this much-needed gap. Instead of hoping things will change, it’s time we take control of our careers—and I’m here to help you do just that. This book will equip you with everything you need to know for a successful photography career. But you have to show up and put in the work.
The photo hustle is real. These days, it’s not enough to have talent. You have to know the industry—and it’s a tough one to break into. Most photography schools and workshops don’t teach you how to run a successful business. Rather, they focus on the latest gear and techniques. They’ll teach you about posing, directing clients, composition, and lighting. They’ll show you all the pretty editing tricks and how to set up a shot.
But actual business skills? That stuff rarely gets taught in the photography world. Marketing and branding? Not in most curricula. Sales and pricing strategies? I don’t think so. Client experience and retention? Doubtful. Financial planning and management? I’m not seeing it. Most photographers are expected to figure it out on their own, often through trial and error. But in reality, most photographers were never prepared for the “photo hustle” that exists on the flip side of their passion… I know I wasn’t.
Listen, I know you have the passion. I know you’ve dedicated your time to your craft. And I know you’re ready to get out there and share it with the world. Yes, photography is a tough road. But if you stick it out, get up when you get knocked down, and keep going, you can succeed. Keep pushing, keep creating, and keep capturing life through your lens. The world is waiting to see your visual eye.
There is no magic formula for making it in photography. If you’re hoping for a perfect path to success from Point A to Point B, I’m sorry to be the one to break it to you—it just doesn’t exist. No two photographers fall into success in the same way.
“I’ve done everything right, but nothing is working. How do I get in?”
It’s a question I get almost daily, but this time it came from a friend—let’s call her Michelle—over coffee. Michelle, an incredibly gifted photographer, had been struggling. Two years out of photography school, and she hadn’t landed her dream gigs…or anything close to them. Instead, she was building a business photographing families and pets. She was good—damn good—but it wasn’t her dream. Like so many photographers I talk to every day, Michelle had talent and drive, but couldn’t break into the industry. So, what gives?
I told Michelle what I tell all photographers: the industry has secrets they don’t want you to know. No matter how good you are or how many boxes you check, breaking in is tough. And if you don’t know what I’m going to share with you on these pages, then your chances of getting in are just as slim. Some photographers make it by luck, some hustle, and some are “discovered.” But believe me, there’s no perfect path, no magic formula—just straight talent and lots (and lots) of hustle.
When I was studying for my BFA, my dream was to shoot the cover of Rolling Stone magazine. That dream was shaken when, in September 2023, the president and founder Jan Wenner dismissed Black and female artists as not “articulate enough” for his book The Masters, a collection of interviews with rock’s greatest.2 His words hit hard, sparking the same frustration I felt following the George Floyd tragedy and the hollow promises made in light of his death. After fifteen years in the industry, I had become accustomed to being one of the few Black people on set, and I began to question why so many talented, hard-working photographers of all kinds were being sidelined. The answer is simple: the industry keeps a lot of information locked away. And I had become a part of the industry-wide gatekeeping that I hated so much. This book is the product of my determination to change that.
Spoiler alert: I’m not a professional photographer—I’m the person behind the scenes, hiring photographers, shaping art direction, and building brand stories big and small. I’m living my dream as a photo editor. Over the last fifteen years, I’ve had the opportunity to work for WIRED, Southern Living, Netflix, AARP, MasterClass, Square, and San Francisco Magazine. But the journey wasn’t easy—I faced a ton of job rejections that nearly shattered my confidence. But I refused to let them break me down—I chose not to let others dictate my worth or my future in the field. So, I took matters into my own hands and hustled hard for years. I even changed jobs fourteen times in sixteen years, transforming each of my setbacks into an opportunity to learn, grow, and improve my craft. My journey of hustle and hard work led me to where I am today. I even founded my company, Black Visual Queen, to change the industry and help photographers like you find their path to success in this highly gate-kept arena, where opportunities are often so elusive.
First, a word of warning: this is a tough industry, and brand photography isn’t for everyone. The road to that dream is a long one, paved with hustle, hard work, and lots (and lots) of rejection. But since you’re reading this book, I’m willing to bet that knowing this doesn’t deter you. You’re one of the photographers who have the determination to work with prestigious, big-name clients, and you’re not ready to throw in the towel on your dream just yet. If this is you, then listen up, because I’m going to teach you everything you need to know about the photo hustle—and how to get in. The photo industry is not just reserved for the elite; it’s for anyone willing to do the work. All you need is a little tenacity, talent (which you have), and the tips and tricks I’m going to spill in this book.
Through the years, I’ve seen top photographers ready to quit, exhausted by fierce competition and overwhelmed by technology. Many don’t know how to market themselves. So, if you’re frustrated by rejections, ghosting, or “we’ll keep your name on file” responses, just keep going. Keep hustling, keep honing your craft. The challenges are real, but don’t let them extinguish your passion. Embrace your uniqueness, stay motivated, and don’t fall into the comparison trap. Photography is rewarding, and the world is waiting to see your unique perspective.
In the following pages, you’ll learn everything photography school didn’t teach you and all the industry secrets the insiders don’t share. This is the book I wish I’d had back when I was starting out in photography: the tell-all (well, maybe not all—I’ve signed a lot of non-disclosure agreements!) about the photography biz, especially for editorial and brand work.
The book is split into two parts. Part 1 covers how to get in the room—in other words, how to break into the industry, how to pitch, how to market yourself, handle finances, and land the gig. We’ll be diving into your “why” as a photographer because knowing that helps you make the next right decision.
Part 2 explains what to do once you’re hired—how to navigate estimates, contracts, agents, photoshoot etiquette, avoid the dreaded blacklist (yes, it’s real), and how to redeem yourself if you find yourself on it.
Consider this book your trusted mentor. I want this to be the book you reach for when you land the gig and have no idea what an estimate looks like or what to watch out for in a contract. I want you to take this everywhere with you. Carry it in your purse. Stow it in your camera bag. Use it as a resource to help you navigate the tough business side of photography. By the end, I want you to feel encouraged, equipped, and confident to build the successful photography career you’ve always dreamed of.
Ready to find your “magic formula?” Let’s dive in.
