Media WatchAn International Peer Reviewed Research Journal in Communication and Media

www.mediawatchglobal.com

ISSN 0976 0911e-ISSN 2249 8818

Volume 5 | Number 3 | September 2014

Indexing & Citations

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Prof. Jyotika RamaprasadDean, Knight Center for International Media, School of Communication, University of Miami, Florida, USAProf. Bill EdwardsDepartment Communication, The Columbus State University, Georgia, USAProf. Daya Kishan ThussuDirector, India Media Centre, Communication & Media Research InstituteUniversity of Westminster, United KingdomProf. Krishna Sen FAHAWinthrop Professor & Dean, Faculty of Arts, The University of Western AustraliaProf. Naren Chitty A.MChair in International Communication, Faculty of Arts, Macquarie University, Australia.Prof. Brian ShoesmithEmeritus Professor, Edith Cowan University, AustraliaProf. Arvind SinghalSamuel Shirley and Edna Holt Marston Professor, Department of Communication, The University of Texas at El Paso, USAProf. Radhika GajjalaProfessor, School of Media and Communication, Bowling Green State University, USA Prof. Siva VaidhyanathanRobertson Professor in Media Studies & Chair, Department of Media Studies, University of Virginia, USAProf. Gloria P. RuizDirector, Institute for Communication, Entertainment & MediaSchool of Leadership Studies, St. Thomas University, Florida, USAProf. Sree SreenivasanProfessor & Chief Digital Officer at the Metropolitan Museum of Art, New York, USAProf. Sundeep MuppidiProfessor & Director, School of Communication, University of Hartford, USAProf. Sujata MoortiProfessor, Gender, Sexuality and Feminist Studies, Middlebury College, USAProf. Mark GoodmanProfessor, Department of Communication, Mississippi State University, USAProf. Kavita KaranProfessor, School of Journalism, Southern Illinois University, Carbondale, USADr. Cherian GeorgeSchool of Communication, Hong Kong Baptist University, Hong KongDr. Nina WeerakkodySchool of Communication and Creative Arts, Deakin University, AustraliaDr. Adrian AthiqueFaculty of Arts and Social Sciences, University of Waikato, New Zealand Dr. Rajinder DudrahSchool of Arts, Languages and Cultures, The University of Manchester, UKDr. Susan KoshyAsian American Studies, University of Illinois, USADr Usha M. RodrigueSchool of Communication and Creative Arts, Deakin University, AustraliaDr. Sukhmani KhoranaSchool of Social Sciences, Media & Communication, University of Wollongong, AustraliaProf. Zakir Hossain RajuSchool of Liberal Arts & Social Sciences, Independent University, BangladeshMr. Callum GilmourSchool of Arts & Social Sciences, Monash University, MalaysiaProf. Vijay DevadasSchool of Media, Film & Communication, University of Otago, New ZealandDr. Lalitha GopalanDepartment of Radio-Television-Film, The University of Texas at Austin, USAProf. Vijay MishraFaculty of Arts, Murdoch University, Perth, AustraliaDr. Manisha BasuDepartment of English, University of Illinois at Urbana Champaign, USAProf. Radhika GajjalaSchool of Media and Communication, Bowling Green State University, USAProf. Kiranjit KaurFaculty of Communication and Media Studies, University Technology Mara, MalaysiaProf. Lynn Schofield ClarkEstlow International Center for Journalism & New Media, University of Denver, USADr. Pradip ThomasThe University of Queensland, AustraliaDr. N. V. PrasadDean, School of Information Technology, TMC Academy, Singapore

Editor-in-Chief: Dr. Sony Jalarajan RajEditor: Dr. R C Pattnaik

Editorial BoardDr. Madhavi MallapragadaDepartment of Radio-TV-Film University of Texas at Austin, USADr. Aurogeeta DasSchool of Humanities, University of Hertfordshire, Hatfield, UKDr. Afsar MohammadDepartment of Asian Studies, College of Liberal Arts, University of Texas, Austin, USADr. Sarita MalikSchool of Social Sciences, Brunel University, Middlesex, UKDr. Nathan Rambukkana School of Communication Studies, Wilfrid Laurier University, Waterloo, CanadaDr. Vinita SrivastavaSchool of Journalism, Ryerson University, CanadaDr Amit SarwalCentre for Citizenship and Globalisation, Faculty of Arts & Education, Deakin University, AustraliaDr. Sameer DeshpandeFaculty of Management, University of Lethbridge, Canada.Dr. Vikrant KishoreSchool of Design, Communication and Information Technology, University of Newcastle, AustraliaDr. Avantika RohatgiCollege of Humanities and the Arts, San Jose State University, USAMr. Pradeep Kumar AVDepartment of Communication, Ministry of Higher Education, CAS-Sur, Sultanate of OmanProf. J. S. YadavFormer Director, Indian Institute of Mass Communication, New DelhiProf. B. K. KuthialaVice-Chancellor, Makhanlal Chaturvedi National University ofJournalism & Communication, Bhopal, IndiaProf. Jayashree JethwaneyIndian Institute of Mass Communication, New DelhiProf. J. V. Vil’anilamFormer Vice-Chancellor, University of Kerala, IndiaProf. M SarngadharanDirector, SNES Institute of Management Studies & Research, Calicut, IndiaProf. T. T. SreekumarMudra Institute of Communication Ahmedabad (MICA), IndiaProf. Suresh JnaneswaranProfessor, Department of History, University of Kerala, Thiruvananthapuram, IndiaProf. Kiran ThakurAdjunct Faculty, Department of Communication & Journalism, University of MumbaiProf. T. S. Girish KumarProfessor & Chair, Department of Philosophy, MS University of Baroda, IndiaProf. J. S. Giri RaoDepartment of Mass Communication, Berhampur University, IndiaProf. Sreedharan Josh School of English & Foreign Languages, Kannur University, Kerala, IndiaDr. Soumya JoseSchool of Social Sciences and Languages, VIT University, Vellore, Tamil Nadu, IndiaProf. Anjali MonteiroSchool of Media and Cultural Studies, Tata Institute of Social Sciences, Mumbai, IndiaProf. K.P. JayasankarSchool of Media and Cultural Studies, Tata Institute of Social Sciences, Mumbai, IndiaProf. Anjali Gera Roy School of Humanities & Social Sciences, Indian Institute of Technology, Kharagpur, IndiaProf. Kiran PrasadSri Padmavati Mahila University, Tirupati, IndiaDr. Siby K. GeorgeSchool of Humanities, Indian Institute of Technology, Mumbai, IndiaDr. Manisha Pathak-ShelatAssociate Professor, MICA School of Ideas, Gujarat, IndiaProf. Manish VermaProfessor, Fashion Communication, National Institute of Fashion Technology, New Delhi, IndiaDr. Baliram N. GaikwadChair Department of English, Acharya and Marathe College, University of Mumbai, IndiaDr. Swapna GopinathDepartment of English, Sree Narayana College, University of Kerala, India

Media WatchVolume 5 Number 3 ISSN 0976-0911 September 2014

Impact Factors: SJIF (3.276), IIFS (0.993), ISRA (0.834)

EDITORIAL

261 SONY JALARAJAN RAJSONY JALARAJAN RAJTr Publish or Perish: The Predatory Trends in AcademiaTransitions and Turbulent Timesin the edia Spectrum

ARTICLES

TIMOTHY R. GLEASONPseudo-Events as a Mesocyclone: Rethinking Boorstin’s Concept in the Digital Age

FELICIA McGHEEJournalistic News Framing of White Mainstream Media during the Civil Rights Movement:A Content Analysis of the Montgomery Bus Boycott

SKYE C. COOLEY & MARK GOODMANThe Hegemonic Dance Partners: United States and North Korea

MICHELLE I. SEELIGVisual Exploration of Environmental Issues: Photographers as Environmental Advocates

LEE YUEN BENG & TAN KHOON YANPress and Corporate Reputation: Factors Affecting Biasness of Business News Reportingin Malaysia

SOH, WENG-KHAI & NGO, SHEAU-SHII am Pretty and I know It: Redefining Masculinities in The King and The Clown

HELENA LIMAPortuguese Democracy and Patterns of Transformation in National Newspapers:A Comparative Model Approach

V. SAI SRINIVASMedia Management Trends, Techniques, and Dynamics: An Indian Experience

GOVIND JI PANDEYSocial Movements and Digital Storytelling: Challenges and Prospects in India

SHALINI NARAYANAN & JYOTI RANJAN SAHOOMass Media Preference and Consumption in Rural India: A Study on Bharat Nirman Campaign

ATANU MOHAPATRA & K G SURESHRegional News Channels in India: A Study on Viewers Perspective

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© Media Watch 5 (3) 306-320, 2014ISSN 0976-0911 e-ISSN 2249-8818

Visual Exploration of Environmental Issues:Photographers as Environmental Advocates

MICHELLE I. SEELIGUniversity of Miami, USA

Photographers of recent years document land, nature, and the environment toreveal to the public, politicians and lawmakers decay or spoiled lands, endangeredcultures and wildlife, and other issues affecting the degradation of Earth’s naturalresources and all its inhabitants. Different from their predecessors, contemporaryphotographers use all media to expose and make the public aware of wide-rangingenvironmental concerns. Therefore, the purpose of this research was to explorehow photographers visually document environmental issues. Interviews andanalysis of environmental and nature photographers’ websites are the primarysources for this exploratory study. Findings reveal photographers do not justdocument the environment, they engage in media as activism. More than wordsand pictures, media activism comprises a myriad of mediated content from stillphotos, to moving images, graphics, audio, web and mobile devices, as well associal media all in an effort to improve society.

Keywords: Photography, environment, land, nature, visuals, advocacy.

Near the end of the twentieth century, photographers started to merge the practice ofphotography with other media platforms and emerging technologies to communicateenvironmental threats that pose risks to people, places, and spaces on planet Earth. Differentthough is a shift from photographs portraying the beauty and splendors of Earth and advocatingfor their preservation, to photographs and other mediated content showing what has becomeof planet Earth wrought by humanity’s domination of land and nature. These photographersvisually reveal to the public, politicians and lawmakers decay or spoiled lands, endangeredcultures and wildlife, threatened ecosystems, global warming, and other impacts related tothe degradation of Earth. The purpose of this research, then, is to explore how photographersportray environmental issues and how they use all media and emerging technologies to raiseawareness, change minds, affect policy, and compel action.

BackgroundPioneering photographers such as Daguerre, Talbot, Emerson and others used photography

Correspondence to: Michelle I. Seelig, Associate Professor, School of Communication,University of Miami, Coral Gables, FL 33146, USA, E-mail: mseelig@miami.edu. All rightsreserved with Media Watch. For permission and re-print, please mail to:mediawatchjournal@gmail.com

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to discover and preserve beautiful landscapes, exotic places and rare animals for all to see(Corbett, 2006; DeLuca & Demo, 2000; Spaulding, 1995; Wells, 2011). In the nineteenthcentury, photographers were commissioned to photograph urban and rural scenes that wereproduced as postcards for mass circulation, picture books, as well as for tourism and advertising.As society quickly urbanized and industrialization speed up manufacturing, photographersmoved away from portraying the sublime and picturesque of land and nature to convey apristine world not yet affected by human presence (Blewitt, 2010; Sandweiss, 1991; Wells,2011). British and French photographers displayed their gothic heritage; photographers inAmerica photographed nature in raw form, untouched by humans, images of trees, flowers,water, sky, and other scenes depicting humankind’s harmony with the natural world. Americanphotographers also introduced the public to the unexplored land out west (Becker, 1975;Sandweiss, 1991; Ward, 2008; Ware, 2011; Wells, 2011). Long before Ansel Adams’sphotographs of Yosemite and Yellowstone, Carleton Watkins, William Henry Jackson andothers were commissioned by the U.S. Geological Survey and Army Corp of Engineers todocument America’s westward expansion and documented the lands across the United States(Corbett, 2006; DeLuca & Demo, 2000; Spaulding, 1995; 1996). These photographs wereincluded in government reports; and, politicians and activists used images to gain publicsupport for land preservation. Almost from the start, politicians in America recognized thepotential of photographs to influence policy and, these photographs helped establish theNational Parks program still in existence today. These photographs are significant becausethey set the tone for visualizing environmental issues, and aided the birth of environmentalism,at least that is, in America.

Until the 1960s, environmentalism for the most part fought for preservation of landand nature. Around this time, Rachel Carson and others changed the rhetoric and positioningof environmentalism from preservation to impact on humankind (Corbett, 2006; DeLuca,1999; DeLuca & Demo, 2000; Hansen, 2011). Despite shift in tone, visuals in the mediagenerally are of spectacular scenes of land and nature. Past research found mainstreammedia routinely used symbolic imagery such as billowing smokestacks, coal-fired powerstations, pollution, traffic congestion, to a lone polar bear on a floating piece of ice, or meltingglaciers, and dramatic actions of protesters (Blewiit, 2010; Corbett, 2006; DeLuca, 1999;Doyle, 2007; Hansen, 2011; Hansen & Machin, 2008; Lester & Cottle, 2009; Remillard,2011; Seppänen & Väliverronen, 2003). They use iconic images of the natural world tosymbolize the environment rather than images local to the audience. By doing so, environmentalissues do not resonate with the public at a local level. Instead, they are largely perceived asimpacts to people in remote and distant places, therefore, most Americans consider threatsto the environment low priority (Hansen & Machin, 2008; Hansen, 2011; Moser, 2010; Oreskes& Conway, 2010; Pew, 2009a; 2009b; 2012). The media also have difficulty showing therelationship between environmental issues and impact to humanity. Research also uncoveredvisuals typically display natural disasters such as oil spills, chemical pollution and disasters;nuclear power fallout; deforestation, the ‘hole’ in the ozone; melting glaciers; and, rare andhurt animals. Standard visuals of the environment in news photos and advertising andpromotional media mostly consist of large and endangered animals, and sublime images ofland and nature. In this way, the media have galvanized visuals of spectacle, which certainly

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create awareness to the issues, but does not necessarily equate to engagement and actionwith the audience.

Visualizing nature was once about the beauty of land and wildlife in its natural formand less how humanity is contributing to its demise. Photographers of recent years are nolonger interested in capturing the beauty and pristine of the natural world. Instead,photographers use their cameras to document what was once beautiful is now damaged anddestroyed due to human activities. In 2005, several photographers joined to form theInternational League of Conservation Photographers (ILCP) (Archibald, 2009; ILCP, 2013;Schonauer, 2007; Ward, 2008). Members of ILCP participate in visual expeditions to documentendangered and threatened environments around the world. They pursue “a far more activistapproach than any preceding photography organization, the imagery resulting from the ILCP’sRAVEs is purposefully used to advance their goal of environmental protection” (Archibald,2009, p. 21). ILCP photographers are driven to document changes to the natural worldwrought by humankind. These photographs show environmental threats so the public, politiciansand lawmakers see the deterioration of Earth’s natural resources and their impact to at riskpopulations. They also demonstrate global warming is real and human activity is largely thecause of these problems (IPCC, 2013; Nixon, 2010; Oreskes & Conway, 2010; Parks &Roberts, 2010; Pew, 2009a; 2009b; 2010a; 2010b; 2012; U.S. EPA, 2013). Despite all theevidence, government action and change in policy has been slow responding to the scientificevidence. Therefore, the purpose of this research was to better understand how environmentalphotographers advocate to the public as well as politicians not only these threats are real thatsomething has to be done. Specifically, how are modern photographers embracing all mediaplatforms and emerging technologies to communicate environmental issues and evokemeaningful action?

MethodologyInterviews and analysis of photographers’ websites are the primary sources for this exploratoryqualitative research. For convenience, photographers were recruited based on informationposted on environment and nature organization websites such as Blue Earth Alliance (BEA),International League of Conservation Photographers (ILCP), National Wildlife Federation(NWF), and National Geographic (NatGeo). These organizations were selected as theyactively work with photographers to visually communicate environmental issues relevant toconserving and protecting our natural resources. Due to lack of mainstream media coverage,traditional media were excluded from this study (Brossard et al., 2004; Dawson, 2009; Doyle,2007; Mazur, 1998; McComas & Shanahan, 1999). Photographers were mostly interviewedvia email due to limitations of access and availability to photographers, or via phone perrequest of the participant during the winter and spring 2011 using the same interview guide.Email interviewing was used because it is advantageous for accessing hard-to-reachparticipants (James, 2007; Mann & Stewart, 2000; McCoyd & Kerson, 2006). I sent emailrequests for interviews to 291 photographers and 53 photographers volunteered. Emailinterviews were structured similar to open-ended survey interviewing and formatted usingHTML and CSS. Questions addressed a range of subjects such as what motivatesphotographers to photograph the natural world (e.g. endangered cultures, threatened

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environments, and other social issues regarding our natural resources); why do they perceivemainstream media have been unsuccessful reporting environment stories; how are they usingemerging media and technologies; and, what do they ultimately hope to see happening as aresult of their work.

Following interviews, a content analysis was conducted of photographers’ websitesin the summer and fall 2011. Websites were compiled from the list of photographers initiallyrecruited for interviews; 291 websites were retrieved, 32 not working. The unit of analysiswas the entire website. Both the researcher and a graduate student coded websites. Aftertraining, intercoder reliability was .84 and higher using Scott’s Pi formula (Riffe, Lacy, &Fico, 1998). Items coded included affiliation with environmental or nature organizations; typeof photography; biography or profile; contact information; display of work; use of color;social media used; events or activities the photographer engages with the local community;and news or press information.

FindingsSimilar to other qualitative research, interviews were transcribed and analyzed with thematicanalysis (Gibson & Brown, 2009; Marshall & Rossman, 2006; Strauss & Corbin, 1998).Photographers’ responses were analyzed for patterns of agreement and commonalities, aswell as differences across responses (Marshall & Rossman, 2006; Strauss & Corbin, 1998).Three dominant themes emerged from the analysis: inspiration, mediating environmentalism,and visual advocacy. The following subsections describe and analyze themes.

Inspiration for Environmental PhotosIn pursuit to photograph their love of nature many of these photographers were

awakened by what a photo reveals about the world we live in, and for that they have beeninspired to do more. For example, Jan Vermeer said, “It starts first with taking photographsof the natural world. Without a plan. Later on I discovered that the same photographs opensthe eyes of people. Now I do still the same, I try to make superb photo’s but with in my mindthat I can used them also for protection purpose” (personal communication, February, 9,2011). Similarly, Michael Ready wrote, “Powerful imagery is direct, fostering concern andaction faster and more efficiently than editorial text alone. In general, people are very separatedfrom the natural systems that they rely upon. Photography can help make that connectionand increase the awareness of what is out there. It can be used to show how conservationand sustainability are a benefit to us — and how the damage of ignorance could eventuallydo us in” (personal communication, March 14, 2011). Like this, photographers are inspired tovisually document the beauty of the natural world in the hopes that they inspire respect andappreciation from those viewing their photos so they too will be inspired to do more.

Several photographers started with nature photography, however early on, thesephotographers strongly connected to the environment. Early on, these photographersconnected strongly to the environment. Many of these photographers grew up with parentsand grandparents with a love for nature and wildlife and this was impressed upon them froman early age. Photographers also grew up watching television shows by Jacque Cousteau,reading National Geographic, and watching nature and wildlife programs on PBS and the

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BBC. They were also influenced seeing the work of Cartier Bresson, Bill Allard, GalenRowell, Nick Nichols, Paul Nicklin, Edward Burtinsky, Frans Lanting, W. Euguene Smith,Ansel Adams, and others, have been influential to their work and inspired them deeply.Seeing these powerful visuals inspired them to visually document the environment. Somephotographers also shared inspiration emanated from writers such as Edward Abbey, CarlHiassen and James Lee Burke.

Even though photographers agreed there is a difference between nature andenvironmental photography, both genres of photography start by photographing the naturalworld and all its inhabitants such as plants, animals, ecosystems, nature, land, water, andremote cultures; what is different is the purpose for producing the photographic image.Nature photography depicts the aesthetics and beauty of nature and wildlife, whileenvironmental photography has a documentary purpose to reveal to the viewer issues aboutconservation, climate change, impact of humankind on nature and all its inhabitants, as wellas vanishing and endangered cultures and wildlife. A few photographers shared that theypursue environmental photography because without it, it is unlikely that the public will eversee new species, so photographing one in a beautiful way has the potential to generate valueand interest. For example, Piotr Naskrecki said, “My photography focuses on organisms andplaces few people are aware of, often species yet unnamed by science. My goal is to alertthe world to their existence, which is the first and most important step in conservation. Ipromote understanding of their behavior and ecological roles. In my opinion understanding isprerequisite to caring, and caring is critical for saving” (personal communication, March 16,2011). Likewise, Clare Morrison said, “To develop a sense of our connectedness with theenvironmental world and how we rely on it to survive, thereby fostering feelings in people ofrespecting nature etc and wanting to protect it” (personal communication, February 10, 2011).However, John Pickles candidly remarked, “Perhaps unfortunately, I have no plan with respectto this question. I simply hope my photographs will give a few people pleasure. Perhaps afew images will raise the social awareness of a few people and contribute to social issues. Itruly doubt that they will. Many photographers expound at length as to why their photoscontribute to saving the earth. I suspect very few truly have saving the earth as an objectiveof their photography” (personal communication, January 22, 2011).

Many photographers continue to practice land and nature photography for economicreasons, however their passion and inspiration is environmental photography so the public isaware of what is at stake and with any luck stir their emotions so they will move people toaction. For example, Camille Seaman said, “My goal is to remind people that we are notseparate from nature and through my images encourage some visceral or emotion response.in short change their point of view” (personal communication, March 11, 2011). According toDaisy Gilardini, “My passion for the natural world has grown into a lifelong commitment todisseminate conservation messages and inspire others to respect and preserve our fragileplanet. I strongly believe in the education of younger generations, impressionable minds thatwill one day become the decision-makers of the future” (personal communication, March 2,2011). Further, Chantal Bekker responded, “Alert people and make them act. Change therelationship between man and nature. Stop destroying our planet and live a cradle to [sic]cradle, people planet profit, sustainable lifestyle. Stop global warming before we exceed the

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tipping point above 2 degrees warming” (personal communication, February 18, 2011). Sameas their predecessors, modern photographers are inspired by photography’s potential as atool to do more (DeLuca, 1999; DeLuca & Demo, 2000; Spaulding, 1995; 1996; Ward,2008). Photographers want to protect the world we live in and sustain it for future generationsto come. They want to inspire the public with the hope that they too will want to make adifference. These photographers combine their love of natural world and skill as a documentaryphotographer to protect all of Earth’s inhabitants and natural resources. In this way, themajority of photographers believe by visually revealing the natural world the public willultimately be inspired to do better.

Mediating EnvironmentalismDespite lack of coverage and poor communication of environmental matters in

mainstream media, photographers expressed mixed feelings regarding media’s reporting ofenvironmental issues (Boykoff, 2005; 2008; Carvalho, 2007; Corbett & Durfee, 2004; Hansen& Machin, 2008; Krosnick, Holbrook, & Visser, 2000; McComas & Shanahan, 1999; Moser,2010; Nisbet, 2010). Some photographers believe a handful of mainstream media are doinga great job covering the environment such as New York Time, National Geographic, VanityFair, and Washington Post. A few photographers shared that the mainstream media havenot failed in covering environmental stories. Rather, they are concerned the public is inundatedwith too much content so it is hard for them to decipher all the information. For example, “itisn’t mainstream media’s fault that society has a shallow and short attention span for subjectsthat matter” (David Evans, personal communication, March 11, 2011). Some photographersdid comment that mainstream media poorly communicates environmental stories by providingconflicting and complex information; practice balanced reporting and rely heavily on certainsources over others, as found in media research (Boykoff, 2005; 2008; Carvalho, 2007;Corbett, 2006; Corbett & Durfee, 2004). For example, Robert van Waarden said, “I feel thatthe mainstream media has failed all around in coverage of climate change. Their [sic] desireto present two sides of the argument when there are not two sides, does a disservice toeveryone and endangers the planet. The visual documentary evidence and the scientificevidence leave no more room for debate” (personal communication, February 2, 2011).Further, Bob Martin replied, “As long as the mainstream media feels that they have to cover“both sides” of the “global warming debate”, there is little hope. I try not to “go” there andstay focused on Spirit, nature and heart. The media will do what it is lead to do” (personalcommunication, January 17, 2011).

A few photographers also implied mainstream media are afraid to get behind theseissues and serve the political agenda because too much information is controlled by corporateentities. Chantal Bekker remarked:

The media doesn’t like to talk about long-term problems that have a slow change, butonly reports about spectacular, entertaining short-term developments. It sometimesseems the media is not for the people, but only there to serve a political agenda.Climate change is by far the biggest treat we face today, but the media only talks about‘imminent’ treats like terrorism & safety, jobs and economics, oil prices, naturaldisasters and does not place them in a bigger context. Visual communication can be apowerful way to alert people and the media is lacking in using this power (especially inthe USA) (personal communication, February 18, 2011).

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According to Ed Kashi, “…the problem is less about the materials existing and beingshown and more about the competing political dialogues that reduce the veracity in people’sminds. We need to unite in believing what is all too real and trump the political agendas thathold us back from improving ourselves and making our world a better place” (personalcommunication, January 20, 2011).

Some photographers are skeptical of mainstream coverage because the media aretoo concerned with profits and environmental stories are not profitable unless media focuson the spectacular such as disaster with the Gulf Oil Spill or the earthquake in Japan; thesefindings were also supported in media research (Boykoff, 2008; Doyle, 2007; Hansen &Machin, 2008; Mazur, 1998). For example, Annie Griffiths said, “I think that the Americanmedia gives far too little coverage to the issue of global warming and climate change. It’sdisappointing to see hours and hours of coverage of minor celebrity nonsense, and onlyperiodic coverage of the biggest global crisis we have ever faced” (personal communication,February 10, 2011). According to Jaime Rojo, however:

It is not the mainstream media who has failed. Unfortunately they are driven by contentand rating. It is us, environmentalists and conservationists, who haven’t done ourhomework in making wild nature conservation an attractive subject for the generalpublic, and therefore, the media. Global warming was already a reality in the 70’s andnobody spoke of it with the passion and intensity that it is done today. It is not themedia’s responsibility but our’s to make things change. The media should be consideredas a tool (personal communication, January 20, 2011).

The problem expressed by several photographers is a salient and serious way tocommunicate environmental issues that is both meaningful and informative to the public.According to Bridget Besaw, “I think the mainstream media fail to acknowledge much ofwhat could be useful in communicating the reality of the human condition...so there is littlepoint is relying on them to convey useful information that might inform our decisions. Insteadwe must find other ways to make our imagery and stories accessible. (web MM, books,exhibits, visual media events etc)” (personal communication, January 18, 2011). For thesereasons, photographers have sought alternative media to tell environmental stories andsupplement what little coverage there is in mainstream media.

Photographers seek out alternative media because of mainstream media’s failure tokeep environmental issues on their agenda. Mainstream media uphold existing ideology so itis up to environmentalist and conservationists to push the issues in a way that is useful,interesting and informative. Alternative media provides a specialized and expressive outletfor content given that mainstream media are controlled, produced, and disseminated by bigcorporations, making it harder for specialized stories to penetrate mainstream media (Durham& Kellner, 2001). According to Ralph Lee Hopkins, “For sure. There is a lot of misinformationabout climate change and most of the important work simply preaches to the choir. Thechallenge for photographers is to find mainstream venues for publishing important new work.Easier said than done...” (personal communication, January 31, 2011). Similarly, MicheleWestmorland said, “I try to contribute as much as possible via social networking, generatingstories for on-line or print publications and giving lectures” (personal communication, February9, 2011).

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Not all photographers attribute fault solely to the media. The problem is that mostenvironmental stories are not photogenic and consist of complex information that requirestime to report. For example, building a dam in a beautiful valley is photogenic, though problematicto visually portray harmful chemical substance such as xenobiotic and impact on surroundingcommunity. Carsten Peter said:

In the first hand global warming is very difficult to visualize, unless you do it like JamesBalogh, who covers glaciers over years and is able to show the melt down directly. Anyother changes and damages are indirect and can be interpreted different. It is a complexand multidirectional topic and difficult to communicate. Even political actions againstglobal warming like pushing for biofuels is often contraproductive, driven by lobbyismand can be negative in terms of reducing carbon emissions. (Transforming primaryforest into oil palm fields can set us back for a centennial in the carbon balance - ifyou imagine the growth of oil palm plantations it is currently one of the most devastatingeffects.) (personal communication, January 18, 2011).

Some photographers also are concerned that a small portion of the public alreadyunderstand and are devoted to the cause. They are viewing these messages. The problem ishow to reach audiences not tuning in and change their minds. Alternative media providesphotographers with the opportunity to visually demonstrate how human activities arecontributing to the demise of Earth’s natural resources and endangering all its inhabitants.Therefore, photographers use all means to reach a larger audience to convey environmentissues, as these photographers believe the more voices the better.

Table 1. Engagement with the public Activities or events of photographers Frequency Lectures 89

Public talks and discussions 82

Exhibits/exhibitions/gallery 24

Workshops 17

Book Tours 9

Presentations 3

None 54

Despite all the criticism, photographers resolve that mainstream media are still an

important outlet to disseminate information to mass audiences, whereas alternative media isespecially useful to reach local and specialized audiences. Michael Aw said, “I would sayboth complement each other very well. And I will never suggest one over the other as a ruleof thumb. Depending on the target audience we should be able to apply these tools in anaccurate manner” (personal communication, January 21, 2011). Similarly, Ed Kashi expressed,“both must work hand in hand to develop similar narratives and compliment each other

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towards developing a fuller understanding for our readers/viewers” (personal communication,January 20, 2011). Nowadays, photographers are distributing mediated content through blogs,RSS feeds, email, websites, podcasts, social media, Apps, etc. In this way, reach targetedaudiences devoted to the issues with alternative media, while at the same time use mainstreammedia casting a wide net reaching those not yet convinced of the issues to reach as manypeople as possible.

Table 2. Photos on display Display of Work Frequency

Still images only 129 Multimedia (slideshow, photo gallery, flash, etc.) 138 Video 29 Movie 4 None 2

Analyses of photographers’ websites found photographers have started to use their

websites as an alternative venue to reach the public and convey environmental issues. Manyuse their websites as a vehicle to market themselves and communicate directly the storiesthey want to tell. This entails establishing a clear mission or declared vision as to the type ofphotography they practice. Either directly on the homepage of their site or a sub-page typicallylabeled ‘about me’ photographers’ express what they do and why. Nearly all photographerspost activities and events to interact and engage with the public ranging from lectures, publictalks and discussions, to exhibits, exhibitions and gallery openings, workshops, book tours,and presentations of their work (see Table 1). Press and news information, as well as contactinformation are posted on their sites. Photographers’ also display their work so it is easilyaccessible for those interested to see what they do and better understand what is at stake(see Table 2). Some photographers have started to use social media and other media such asblogs, RSS feeds, ezines, podcasts, and email to interact and share with the public upcomingevents and activities, and how they too can get involved (see Table 3).

Table 3. Interacting with alternative media Social Media Frequency Blog 91 Facebook 76 Twitter 54 LinkedIn 13

RSS 42 None 120

Visual AdvocacyNot only do photographers create visual stories about environment issues, several

photographers regularly give presentations to both children and adults regarding a wide-

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range of environmental issues that pose threats to Earth and our livelihood. In these lecturesand workshops, they make connections between the photographs and the scientific evidenceso the public better understands what is happening on this changing planet and what they cando in their everyday life to make a difference. For example, Daisy Gilardini said, “I regularlygive presentation to all kind of audiences (kids to adult) related to the issues of climatechanges and what we can do in our everyday life” (personal communication, March 2,2011). Jaime Rojo reported, “I have been involved in several projects with strong policy andpublic awareness components, giving talks, organizing conservation forums, editingconservation book series, and other activities” (personal communication, January 20, 2011).

A few photographers also said that they create these visuals in the hopes of persuadingpolicy makers’ for a sustainable future. Chantal Bekker said, “I’d like to present my futureprojects to the IPCC/COP meetings, so I have a direct influence on the politicians. I want toshow people the bigger picture and inspire them to place their every day choices in a biggercontext. I’d like to meet many inspiring artists and other people in the world who have thesame goal” (personal communication, February 18, 2011). According to Peter L. Johnson,“This is part of my job as an artist. Presently I am using my art work to try to get gasolinethat has been streaming into the Mississippi River cleaned up. The emails I send or talks Igive are all part of my responsibility [sic] as an artist to be of service. I also believe we needartists at the table with equal voices as the scientists and politicians to make a leap awayfrom the business as usual approach to ecosystems” (personal communication, January 18,2011). Further, Jose B. Ruiz revealed, “Yes, I try. My exhibition 100% Natural was thelargest ever done in Spain, touring for 3 years the main cities. It was outdoor and backlighted.More than 3 million could see any of the project issues (website, indoor exhibitions...) It wasto spread the importance of wildlife for mass audiences. Now my name here is associated tonature conservancy” (personal communication, February 14, 2011). Gordon Wiltsie also said,“I think that it is my responsibility as a respected photographer to raise awareness andchange people’s opinions - especially opinions of policy makers. I do think that my pictures ofAntarctica - which ran in National Parks Magazine and were distributed to every U.S.Senator - might have had an influence on their ratification of a stronger Antarctic Treaty anumber of years ago” (personal communication, March 20, 2011). In this way, photographersbelieve the more they visually document and reveal environmental issues, the more they willbe influential generating awareness to more explicit goals a change in policy. In fact, many ofphotographers recognize photographing environmental issues does not end in a book ordisplayed on a wall in a museum. They keep the conversation going by engaging in a rangeof activities from generating awareness to enacting policy whether talking with localcommunities, organizing conservation forums, to meeting with scientists and politicians.

Not all photographers identify themselves as an activist, although, what they do isvisual advocacy even if they are not directly responsible for policy. For example, BridgetBesaw said, “The work of photographers specializing in environmental issues is actually thecombination of social and environmental activism. Straight ‘nature photography; is responsibleto inspiring the viewer and connecting them to a love of nature in (hopefully) all of us, where-as environmental photojournalism is responsible for taking that consciousness to the nextlevel of being more aware of the human effects on nature and the need to protect it” (personal

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communication, January 18, 2011). Rich Reid also said, “Ultimately you would like to seeenacting policy which requires awareness. Most projects I settle for creating awareness”(personal communication, January 20,2011). According to Rob Sheppard, “Creatingawareness, definitely. Without photography, a lot of people literally do not see what is goingon in the world. I will photograph threatened environments and other challenges to my subjectmatter. I want people to be aware of these issues and to really ‘see’ them. Nature photographyis, in many ways, the ‘eyes’ of the public, allowing the public to experience things they mightnever otherwise see. This is also true for environmental photography” (personal communication,February 9, 2011). Even though not all photographers see what they do as making an impact,they produce these stories because they deserve attention as it is in the public’s best interestfor these stories to be told. For example, Ben Horton said, “I would say I’m more of anactivist. I don’t have the capacity to enact changes to policy, but I can inspire others morecapable on that front” (personal communication, April 6, 2011). According to Piotr Naskrecki,“My work does not shape policies directly, but it teaches the public of the value and richnessof neglected and misunderstood elements of the biodiversity, such as invertebrates and other“non-charismatic” organisms” (personal communication, March 16, 2011).

Simply, photographers look to raise awareness and educate these issues for thebetterment of others and hopefully contribute to the improvement of life on Earth. Even ifwhat they do is perceived as only generating awareness, they believe every bit counts.According to Ethan Welty, “Although I’m relatively new to more systematic, focused, andself-directed projects, even just the act of sharing the images with an audience outside of anenvironmental frame is an opportunity to inform, bring awareness, inspire and ultimatelynudge perception and policy” (personal communication, February 14, 2011). Likewise JasonHouston said, “I am an activist and have an agenda, but approach it with journalistic principlesin place - ala, Concerned Photography. I don’t always think I have the answers (not usually)but see myself as a conduit for the information to audiences that can use it to think moreabout what solutions might need to be” (personal communication, January 17, 2011). Robertvan Waarden said, “One can not be a climate change photographer, learn about theconsequences and not become an advocate for change” (personal communication, February2, 2011). Whether direct or indirect, these photographers do influence the outcome ofvisualizing the environment in a meaningful way that words alone cannot, awareness of theissues and ultimately the need for action. And so, they construct powerful images that aid theaudience’s understanding of environmental issues.

ConclusionThis was an exploratory look into recent photographers’ visual documentation of theenvironment. Much like their predecessors, documentation of the environment throughpowerful imagery continues today known better as environmental photography. Photographersadvocate for the environment, however different today is the use of the camera along withall media and emerging technologies to reveal the decay or spoiled lands, endangered culturesand wildlife, and other impacts related to the degradation of Earth. Although photographershave mixed feelings as to media’s portrayal and reporting of environmental issues, the widelyheld perceptions of these photographers’ use all media to generate awareness and compel

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action. Photographers use alternative media to supplement mainstream media and manywork independent of news and media organizations to reach local and specialized audiences.Alternative media also provides photographers the opportunity to cultivate media partnershipsand alliances with specialized entities to those interested in this content.

This research is encouraging. Photographers are looking to all media and emergingtechnologies to communicate environmental matters. Much of this content is mediated throughblogs, RSS feeds, email, websites, podcast, social media, public exhibitions and presentations,and direct interaction with the public. This change in telling stories includes using technologyin ways not previously thought and keeps the conversation going. Further research is neededto determine if alternative media initiatives have moved beyond just generating awareness tosome form of action. The findings of this research should also be interpreted with caution asit draws from a small sample of professional photographers willing to participate in thisresearch project. Given limitations of access to photographers and lack of travel funds, emailinterviewing was advantageous. However, there are weaknesses to email such as cannedanswers or lack of depth, inconsistency in flow of questioning and lack of follow-up, as wellas absence of non-verbal cues such as gesture, tone of voice, and facial expressions.

While photographers revealed they use alternative media to convey the issues to thepublic, analysis of websites revealed content is limited. It is likely that these photographersare limited in the content they provide on their personal websites as much of their work iscoordinated through larger nature, environmental and conservation efforts and these largerentities manage and market content. Future research should examine how such organizationsas the BEA, ILCP, NatGeo, and WWF are communicating environmental stories. It wouldalso be interesting to expand this research to mainstream media to determine if coverage ofenvironmental issues has improved. Moreover, to determine how mainstream media haveincorporated alternative media into their mix of communicating issues to the public andpromoting pro-environmental action.

In summary, photographers document the impact of humankinds’ actions on theenvironment and continue the practice of visual advocacy by using their craft in an effort toimprove society and advocate for change. It is their belief, only when the public sees theirnatural world destroyed or the impacts on their livelihood will they act or engage in behaviorsconnected to action. These photographers are participating in a form of activism. For thesereasons, I put forth the construct media as activism to symbolize photographers practice ofvisual advocacy whereby mediated stories are created with a conscious goal: awareness,change minds, to affect policy, and ultimately make a difference. The notion is not a newone, going back almost as far as the invention of photography itself. These photographersillustrate to the public environmental issues are a vital concern to our survival on this Earth.In this way, photographers are not just documenting the environment, they engage in mediaas activism, which is more than words and pictures; it is using all media available in an effortto improve society.

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Dr. Michelle I. Seelig is an associate professor in the Department of Cinema and InteractiveMedia, at the University of Miami, USA. Dr. Seelig teaches courses in photography, film,interactive media, alternative media activism, communication theory, and research methods.Her research interests focus on the role of content producers in visual communication,particularly photographers as social agents for change. She is currently exploring the use ofalternative media and emerging technologies to enrich the publics’ understanding ofenvironmental and social issues.

Exploration of Environmental Issues: Michelle I. Seelig

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