Working as a deckhand in Alaska since more than two decades, Corey spent seven years aboard a Bering Sea crabbing vessel. Today, he is the captain of a wild sockeye salmon fishing operation based out of an abandoned cannery complex called Graveyard Point.

Earlier last year, renowned photographer and commercial fisherman by trade Corey Arnold  went to the icy archipelago of Svalbard, meeting those people lucky enough to live at 77° N. From March 21 – April 27, 2019, he will present his latest body of work, entitled »Hornsund«, from his arctic expedition in Svalbard, halfway between Norway and the North pole. His solo exhibition will take place at Charles A. Hartman Fine Art in Portland. 

Words by Corey Arnold: »In 2013, I landed by ship at the Polish Polar Station, an outpost maintained by Polish scientists located on the remote Norwegian archipelago of Svalbard in a fjord named Hornsund. At 77˚N latitude, the station is a rare human outpost in the far North, on an island with few year-round inhabitants aside from native polar bears, arctic foxes, and an abundance of tiny reindeer. In early September the sky never grows dark, and I spent long days trekking across chossy valleys and crumbling mountains, exploring the many glaciers that rest and rumble within a 24-hour walk.

Some days I’d join a glaciologist on their mission across vast glacial landscapes to check their field instruments and on other days, I would walk alone hauling a heavy backpack of camera equipment with an old WWII rifle strapped to my back for protection from white bears.«

More infos on Corey Arnold’s website.

Read our interview with Corey Arnold.

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At number 50 Avenida de Navarra, behind the large windows of the San Sebastian-based Blue Factory, Dani Garreton draws at her desk, reminding the visitors her enthusiasm to paint daily. On one of the sunny days of an endless Spring season, the Chilean artist receives me with smiles, folk music blasting out and her adorable little Shiba Inu laid on a pillow.

When we enter the former abandoned building converted into a high ceiling creative space, we are struck by an inimitable fascination for the blue color. Seafarers, surfers, seagulls and fish canvas sit near windows that touch the ceiling. A penchant for the ocean is clearly visible through the Chilean artist’s work who finds »all sea creatures so fascinating«. Stuffed full with wooden planks, watercolor paint sets, drawings on paper, buckets of pencils and brushes, Dani’s studio is an opportunity to better understand her innate creativity.

As a youngster, Dani left Chile for Europe. A few years later, she settled down in the Basque Country where she enjoys every single piece of surrounding nature. »Nature is my first love,« she says. »It helps me keep my sanity.« As we discuss  her childhood in Chile, her attachment to the Panthalassa Society family and desire to raise awareness through art, Daniela reminds us that the ocean is what keeps her creatively moving forward. »Using my art as a message for a more conscious living. Expressing myself and finding that freedom I had as a child.«

Let’s get started. Can you begin by telling us how you would define yourself?

I was born in Chile, a very long country with more than 4000 km of coasts. From an early age, I was influenced by the sea. I still remember those endless summers at the beach with my little sister, collecting shells, building fantastic worlds in the sand, swimming and just having this feeling of total freedom. I grew up in a very creative family and we were always pushed to express ourselves through art.

How has your approach to drawing and painting developed over the years?

I think there is this rollercoaster with drawing and painting through the years. When you’re a kid, the creative process is very organic and intuitive. It’s purely about feelings and emotions. A splash of color, some crazy lines and suddenly you have a giraffe! Everything is allowed. When you approach the teenage years, you become more perfectionist, you try to draw realistic, you want to learn to draw and paint as perfect as possible and finally get the perfect technique. Then the challenge is to unlearn all this and find the freedom you had as a kid. Be able to let yourself go and not be obsessed with getting the perfect result but the closest to your real emotion. Feed that confidence you had as a kid. As Picasso said “Every child is an artist. The problem is how to remain an artist once we grow up.”

Based in San-Sebastian today, you tend to immerse yourself in nature. Can you tell us a bit about your daily routine?

Nature is my first love. It helps me keep my sanity. First thing I do in the morning is kiss and pet my dog, then same to my man. Then we go for a walk with my pup, I breathe, I admire the ocean, and we walk to the Blue Factory where I have my studio. I never take the car in the city, I walk or ride my bike. Being able to get to your workplace without the need of a car or public transport is a major privilege. You get to work with such a good mood. In  the evening, we take a long stroll in the beach with my pup and if the sea is gentle, I go for a surf or swim.

What does the ocean mean to you?

The ocean is life. Its change. Its constant movement. It teaches you so much. It really forces you to be in the present moment, be aware and in synch with nature’s rhythm. Life starts floating in amniotic fluid, which has a similar composition to ocean water, so I feel we have this very primitive connection to the sea.

A penchant for the ocean is clearly revealed through your work since you depict water, capture seafarers, surfers, seagulls and fish on your canvas. What kind of sea creatures or ocean-related characters do you find particularly inspiring?

I find all sea creatures so fascinating. After I read the book DEEP I became so fascinated by whales and how the communicate. It’s out of this world.

Panthalassa translates the ocean into stories with powerful voices. Today, you’re one of them appearing as a major member of the Panthalassa Society. Can you tell us more about this collaboration?

Panthalassa embodies all the love and respect I feel for the ocean. I have been a part of the Panthalassa society since the beginning and it’s like a family. We are all driven by the same force of blue love so it’s really a perfect match for me to collaborate with them.

Today, through your work, you bring awareness to some environmental issues. You’ve been part of numerous projects like the recent “Stop Sucking: Say not to plastic straws!” campaign, reminding us that 500 million plastic straws are used every single day in the US today. According to you, do you use your creativity as a tool for climate action?

I think communicating through art is such a powerful tool, art knows no language, it speaks to the emotions so you feel touched and want to be a part of the solution. As individuals, we all have a responsibility to support a good cause we feel close to our hearts. First hand, I see how plastic pollution is destroying our oceans, how climate change is killing entire ecosystems so I do whaterver I can to help.

Do you have a favorite artwork so far?

Probably one of the first fisherman I ever draw that was inspired by Jacques Cousteau, named “Jacques”. I hold that one dearly because it really opened some kind of doors I had locked inside.

Earlier this year, you set your studio in the Panthalassa’s Blue Factory in San Sebastian, an interdisciplinary place, crossroad of the Panthalassa Society. Can you pay us a visit?

I used to work from home and was pretty much like a lone wolf. I had convinced myself the life of an artist was that of solitude. After a few years, it really started messing with my head and I found harder and harder to draw the border between work life and home life. Having my own studio is the best feeling in the world. Having my own space is sacred. I cannot wait for Mondays because I love coming to the Blue Factory so much. It has such a nice vibe, you can breathe creativity, you can smell the ocean. Since we opened it, a lot of people just knock at the door and come in. We’ve had people visiting from all over the world and it has this awesome sinergy going on.

Looking to the future, what can we look forward to coming up with you?

I am working on some collaborations and a future exhibition next summer at the Blue Factory Gallery.

Discover more of Dani Garreton’s work on her website.

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In many of my images I aim to create a compositional waltz between the subjects and their own shadows.

Over the years, composition around food has made photographer Suzanne Saroff’s reputation. Arranging items, playing with fish, fruits and flowers, New York-based artist alters our perception of everyday objects.

In this series of still-life photographs, the photographer is looking for experimental explorations. Oranges, lobsters, mangos, watermelons, avocados or papayas slowly become abstract, strange and beautiful. Through light, colors and evolving shapes, food and flowers are first stretched then multiplied.

Using glasses and cylinders of all shapes and sizes filled with different amounts of water, Suzanne Saroff distords the shape of the original object, thus changing the perspectives and the way viewers interact with well-known objects.

Follow Suzanne Saroff’s work on her website.

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As a true pioneer in his country, Sumer Verma tends to raise awareness of the ocean by showing the beauty of biodiversity. Considered the first underwater photographer and cinematographer in India, Sumer also works as the managing partner at Lacadives India, the country’s first dive centre.

After two decades spent under the surface of our oceans, the 42-years-old photographer dedicates his work to spreading a message to the world and the young generation about the state of our oceans. »Even after almost 20 years of diving and 10,000 dives into the ocean, I’m still totally blown away by the abundance of marine life,« he says before mentioning the dying reefs and the loss of fish diversity. »But the ocean has dramatically changed. The amount of problems is catastrophic now and causes coral damages. Overconsumption, cruelty to animals, shark finning, overfishing for consumption, plastic pollution, pollution based on dumping, global warming… Everything is damaging the ocean. We reached the critical point.«

Lately, Panthalassa had a great talk with India’s best-known underwater and marine life photographer Sumer Verma, evoking a few solutions to global warming as education and making marine life documentaries to sensibilize people to the beauty of the planet.

Hi Sumer, do you remember your very first scuba diving experience?

I was born in Mumbai and after college, back in 1997, I dived for the very first time near Lakshadweep Islands. Before that, I’ve only been swimming. I’ve never done any snorkeling or diving before. Then, on a vacation, I got my scuba diving certification. At age 21, that’s when it all started.

Would you say this transformative trip was the beginning of your passion for the ocean?

I used to live in the city so, until then, I wasn’t exposed to any pristine ocean. Mumbai is situated by the coast and we’ve always loved the ocean, we would even go to Goa on beach vacation, however I never really experienced the sea or nature in its pristine form. In 1997, it was the first time I looked into the sea though an eye mask. When I made the trip to Lakshadweep, I’ve been blown away by its white sandy beaches, crystal clear waters, the turquoise lagoons and pines trees all around. I was not expecting that, I’d never seen something like that before, I was not aware that something like that even existed. At least in India! It was a complete positive chock to see how beautiful this area was. The water looked like glass, you could see 20-30m below when underwater. It was amazing to see how clear and clean the ocean could be.

That’s how you got naturally introduced to cinematography?

From that precise moment, the only thing I had in mind was « I need to live here, I need to do more diving and need to be surrounded by a place like this rather than spend time in the city. » So I took a lot of diving courses. After 50 or 60 dives, I decided to capture my passion through video. At the time, there was no information about underwater photography so it took me a long time to turn myself to photography. I first started video just to capture moving pictures of the ocean, sunsets, turtles and the light.

Photography came after then?

Yes, I slowly realized that being a cinematographer was very difficult, especially with the heavy material. You definitely need a lot of hard discs for example (laughs). And frankly, most of the time, the videos you create are dedicated to Instagram or internet only. So I was collecting a lot of footages but felt there was no way to really use them, or possibly think of a story. I felt it was a very restrictive use. Photography helped me to focus on my work. So, after a few years, I shifted to still cameras and housing. Ten years ago, there wasn’t any underwater photographer in India. Today, I’m glad to see the diving community in India growing a lot. I would say there’re currently 10 digital photographers and housing users in India. There are maybe 100 point-and-shoot camera users doing underwater photography. But at the time, there was nobody doing underwater photography.

Today, you’re considered the first underwater photographer and cinematographer in India. How does it feel?

To be honest, I’m very happy to be able to travel and jump from an assignment to another. Whether it be for music videos or feature films, all my videos are water-related. I have a catalogue of different commercial clients, going from Vogue to surfing publications. Being able to do all theses things is definitely a great feeling because it’s always been a dream to run an independent career.

What do you like the most in your job today?

Being able to work with passion is what I love the most! Although the last ten years have been pretty intense, when I’m underwater with my camera, I really don’t feel like working. It’s pure pleasure, passion and love. Turning the passion into profession and get paid to do what I love is a great feeling for sure!

In a recent interview, you said »What you see on the surface of the ocean is nothing like what’s underneath. It makes you realize just how vast and beautiful it is.« How would you describe the underwater world?

The underwater world is pure magic. Even after almost 20 years of diving and 10,000 dives into the ocean, I’m still totally blown away by the abundance of marine life. There’s so much life down there! The colors of all the fish, the movement of some larger fish like manta rays or sharks are pure magic. You can’t believe it’s real, it’s so beautiful.

You spend most of your time underwater all over the world. Over the years, did you notice a change due to climate change?

To be honest, in 10 years, the ocean has dramatically changed. The ocean is getting totally destroyed. In 1996-1997, there was an important coral bleaching, in 1998, El Nino had a huge impact on coral reef. IN 2010, there was another bleaching and another one in 2015. Global warming is the very first factor. Today, despite the apparent pristine clear water on the islands, 90% of the coral reef is bleached. That’s why the fish population is also going down. The amount of problems is catastrophic now and causes coral damages. Overconsumption, cruelty to animals, shark finning, overfishing for consumption, plastic pollution, pollution based on dumping, global warming… Everything is damaging the ocean. We reached the critical point.

That’s why you an active member of ReefWatch Marine Conservation, an NGO dedicated to protecting damaged coral reefs. Tell us more about your actions.

ReefWatch Marine Conservation is very engaged to educate the youngsters. We try to raise awareness here in India. We’re currently working on a project aimed at pushing consumers to use biodegradable packages. For example, we recently worked closely with restaurants to convince them to use bamboo straws. The movement is on, however you can’t help yourself feeling powerless sometimes because whatever you’re doing, despite your small efforts, the global issue remains huge.

 According to you, what would be the solutions?

We need to raise awareness about the ocean. We’re currently working on a project done through ReefWatch Marine Conservation, in which we encourage more and more sustainable practices in urban areas. Big cities gather millions of people, the problem is real there. We organize beach clean-ups and work on consumption habits with people. We need to make people feel part of it, close to it, and they need to be told what to do. It’s constantly about getting people involved. We work with schools because who can help the world except the next generation? Kids are very positive, open and concerned towards ocean awareness. We keep passing on a message of living in some kind of balance with nature. Individual become very conscious of consumption. We can’t blame other people or blame the government, we need to change our own actions. Recycling and garbage management are an everyday question we need to ask ourselves. We’re part of the problem. So it’s all about educating and inspiring people in a gentle positive way.

Today, you’re one of the most renowned marine life and wildlife photographer with more than 20 years of experience. What are you the most proud of so far?

I started a film project between 98 to 2003. I got a lot of footage in my library and decided to make a film out of it, a project about what’s happening in the area I was based. So we made a film called « Trouble waters » about global warming and its effects in an area so isolated yet so devastated. It reflects what’s going on elsewhere. I won a national award, the best cinematographer and best of the show. It is still a very beautiful moment because the film has been screened in a thousand schools across India, it’s been translated in many languages, and continues to be screened during festivals. Today, there’s not many similar films in India anymore, so still 10 years later, it gives me a lot pride. To me, more than photography, more than articles, films are the most powerful tool that we got to tell stories about the ocean, and show the stack degradation of the ocean.

You’re a managing partner at Lacadives India, the country first dive centre. You’re also currently opening a diving school in The Andaman Islands between India, to the west, and Myanmar. Tell us more about this coming amazing project!

Indeed, I’m proud to be a partner at Lacadives India, the centre where I first got introduced to diving 22 years ago. The season is going to start next week so I’ll spend some time with my instructors there. A number of our clients involve schools programmes who come for snorkeling and scuba dives, walks and talks with marine biologists. We also host a number of internships who come to do photography internships for example. We don’t deal with mass tourists but rather with niche clients as we’re situated in a very isolated spot. So we’re lucky to work with very like minded people. We trained more than 10,000 people so far. Scuba diving is set to become one of the mainstream adventure sports in India.

What are your next projects?

I have more film projects with Bollywood in November and December. The wildlife is very passion-based. For the moment, the opportunities are very small but through the NGO, we’re getting a lot of good feedbacks concerning the ocean. Keep going, keep going!

Follow Sumer Verma’s work on his instagram.

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“Because, underneath all of this is the real truth we have been avoiding: climate change isn’t an “issue” to add to the list of things to worry about, next to health care and taxes. It is a civilizational wake-up call. A powerful message—spoken in the language of fires, floods, droughts, and extinctions—telling us that we need an entirely new economic model and a new way of sharing this planet. Telling us that we need to evolve.” ― Naomi Klein, This Changes Everything: Capitalism vs. the Climate.

That’s how we should start an interview with Sergio Penzo. The German creative director’s beginnings lay in Haiti and Dominican Republic. Studying business and design in Chile, he’s then been irresistibly caught up by European culture. Fascinated by the sea, Sergio Penzo wanted to create both a whole universe and a collective dedicated to and united by a common passion. »I felt there was a need for a more fluid platform that harnesses creativity and uses the power of storytelling to put a spotlight on our dependence of our fragile oceans and the immense influence it has on us.«

As an aesthetic and creative connection to our oceans, Panthalassa was born with the intention to reflect on our changing world. Today, our journal discusses contemporary culture and our unique relationship with our oceans, bringing together multiple talents, from photographers, filmmakers, writers and graphic designers. « We want to surprise our readers and bring people who are not necessarily receptive to ocean themes through beautiful aesthetics and unexpected stories. » Meet the ship master behind the creative boat.

Tell us more about your background.

I was born in Germany but spent all my childhood in Haiti and Dominican Republic. My family then moved to Chile where I finished school and studied business and design. I guess I have a nomadic spirit. I can’t keep down so I decided to try my luck in Europe. A few months later, I started working for Jung von Matt, one of the world’s biggest creative ad agencies. Influenced by authors like Naomi Klein, back then I believed in the power of brands to change the world for good or worst. So I started my own brand called TWOTHIRDS, a beautiful experiment which would lay out the blue print for what is today Panthalassa.

As a creative director, you’ve been working for prestigious clients and brands. What have been the lessons learnt along the way?

As a creative and strategist, I learnt to work around brands or companies that needed help. The solution was often a new idea, where nothing was defined. By putting together the brightest minds and talented creators, we’ve been able to shape a thought. I found this whole process fascinating and kept asking myself ‘what if we channelled this powerful energy into a good purpose?’ The essence of my work today hasn’t changed much, but the purpose has entirely shifted.

Who or what ignited your passion for the ocean?

Probably the fact of spending my childhood on an island surrounded by water did. Also, when I was 10, my mother started studying marine biology. We would spend afternoons studying together, I would do math while she’d be preparing her exams. 

Give us an insight of what your routine looks like today.

I get to our studio around 8. It’s only a 5-minute walk so I take the longer way alongside our local beach. I like the fact that the sea always looks different, so that already breaks the routine. There’s nothing certain about the sea, and I try to keep this unpredictability in my creative process. I make a break around 1 to get some things to cook at the local market, If you live in San Sebastian, eating pretty much dictates your life! I leave work around 7 and try to get some surf before the sun goes down.

You recently discovered sailing and free-diving. Tell us more about these two new water hobbies.

I just started free-diving two years ago. It was a huge discovery. Some people embark on a transformational journey through meditation or other practices. For me, it was free-diving. It made me confront many fears and embark on a shift of consciousness that is still taking place today. I only started sailing recently. It’s a total new way of experiencing the sea and, to my own surprise, it can be as exciting.

When and why did you decide to create Panthalassa? 

I was still involved with Twothirds but I felt it had shifted from a purpose driven brand. I felt there was a need for a more fluid platform that harnesses creativity and uses the power of storytelling to put a spotlight on our dependence of our fragile oceans and the immense influence it has on us.

The Panthalassa Society is an important element of the creative process. Can you officially present your team of talents? 

The Panthalassa Society is just a fancy word for our community of incredibly talented creators: They’re like-minded individuals who have a a great sensibility and love for the ocean. We have been able to attract some amazing people who give us their time, energy and talent because they feel that when we connect and collaborate we can contribute to something bigger than ourselves. 

Panthalassa is known for its avant-garde approach towards ocean-related stories. Tell us more about your editorial vision.

We keep this journal as a way to remind us the fascinating relationship we have built as a species with the ocean. We want to surprise our readers and bring people who are not necessarily receptive to ocean themes through beautiful aesthetics and unexpected stories.

Throughout your different projects, you tend to depict a certain philosophy of sustainability. Why is it so important to raise awareness of sustainable fishing and cooking today?

During the past few years, we’ve been working close with NGOs like Oceana and the Marine Steward Council supporting their efforts to end overfishing. We will need fish to feed the 9 billion people on this planet, and the only way is to secure healthy oceans and bring back the abundance our seas once had. I believe we can play a critical role by telling stories of sustainability and helping shift the narrative of the seafood industry.

What’s next for Panthalassa?

We are about to open a collaboration space in San Sebastian, a dream I had since starting Panthalassa. But I don’t want to give too much away. You will find out more about it soon.

Short Film: Technogym / C41 Studio

Creative director: Luca Attilio Caizzi

Photos : C41 Magazine

Read the full story on C41 Magazine.

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Currently based in Chiang Mai, Thailand, award-winning documentary photographer Taylor Weidman’s work focus on the effects of modernization and human rights issues.« Riding in -20°C weather with Mongolia’s reindeer herders, diving with Thailand’s sea gypsies, and photographing Kazakh ice fishermen were all unforgettable experiences. » After spending two months in Central Asia between Kazakhstan, Kyrgyzstan, Tajikistan and Uzbekistan, Weidman produced a long-term series of pictures for National Geographic about the Aral Sea, considered the world’s fourth-largest freshwater lake decades ago. However, in the 1950s, the lake became the victim of the Soviet Union’s agricultural policies. Water was intentionally diverted causing a massive ecological disaster.

Today, thanks to large-scale restoration efforts, the Aral sea have seen a resurgence of fish. Fish catch in the North Aral Sea has grown six-fold since 2006, bringing commerce back to the inland town of Aralsk, Kazakhstan. « The Korkoral Dam surpassed all expectations, leading to an 11 foot increase in water levels in just seven months. Today, fishermen say 15 different species of fish have returned to the sea. » We wanted to learn more about the situation and the fishermen community photographer Weidman met during his journey.

Currently based in Chiang Mai, Thailand, what do your surrounding look like?

Chiang Mai is a beautiful, small city in northern Thailand. The city is known as the ‘jewel of the north’ and has a vibrant arts scene and cafe culture. It’s very relaxed and is surrounded by hills, jungles, and waterfalls, which make for fun hikes or motorbike excursions on weekends and holidays.

Working for important medias like The Wall Street Journal, BBC and CNN, what have been your most vivid memory as a photojournalist?

As a photojournalist, I have opportunities to travel and see things that I would never be able to in any other line of work. Riding in -20°C weather with Mongolia’s reindeer herders, diving with Thailand’s sea gypsies, and photographing Kazakh ice fishermen were all unforgettable experiences.

You recently produced a long-term report about the Aral Sea for National Geographic. What did bring you to Kazakhstan?

I spent 2 months in Central Asia between Kazakhstan, Kyrgyzstan, Tajikistan and Uzbekistan. I’ve been to Mongolia nearly a dozen times, where the country’s Soviet past and the rise of nearby China make for a fascinating landscape to work in. I’d always wanted to go to Kazakhstan and other countries in Central Asia since they face a similar situation and coverage from these areas is scarce.

In 1957, the Aral Sea produced more than 48,000 tons of fish. However, in the 1950s, water was intentionally diverted causing a rise in salinity and the death of freshwater fish species. What has been the impact on the fishing industry and fishermen community?

The Aral Sea, straddling Kazakhstan and Uzbekistan, was once the fourth largest freshwater lake in the world. But by the 1990s it was a shrunken ruin, thanks to Soviet policies that diverted water for agricultural purposes from the lake’s two river sources. When fish stocks plummeted due to increased salinity, the surrounding fishing villages found themselves hungry and jobless; many residents left in search of better opportunities. For example, in Tastubek, a fishing village on the Aral Sea, so many of the fishermen left that there were only 9 households remaining.

Today, the lake is said to be a tenth of its original size. What does the lake look like today?

You can see from satellite images that the Aral Sea on the Uzbek side is a sliver of its former self. The lake dries more and more each year and the remaining water is too salty for fish to survive. I had the chance to visit the former fishing port of Moynaq in Uzbekistan. Here you can see lines of boats rusting on the former sea bed, although the shores of what remains of the Aral Sea are now around 150km away. When the fish disappeared, everyone engaged in the fishing industry had to search for new jobs. Today, the economy is mostly reliant on seasonal remittance work in Russia.

Despite the disaster, in 2005 a dam was constructed to help Kazakhstan’s North Aral Sea’s fate. Tell us more about this revolutionary project.

Financed by the World Bank, an eight-mile dam was constructed in 2005 on the Kazakh side of the Aral Sea, just south of the Syr Darya River. The Korkoral Dam surpassed all expectations, leading to an 11 foot increase in water levels in just seven months. Today, fishermen say 15 different species of fish have returned to the sea.

Did this project bring optimism and hope to the community?

Absolutely. Many of the former fishermen were able to go back to their jobs and are again earning a good income. Local fishing communities were shrinking, but now are again growing. Tastubek, the fishing village I mentioned that shrunk down to just 9 households, now has 34.

You met a local fisherman named Omirserik Ibragimov. Tell us more about this man, his daily life and fishing habits today…

Omirserik was a fun, brash 25-year-old who lived in a fishing village called Tastubek. He fished each day with his father, Kiderbai. During the winter, the two men would ride out on the ice in Russian jeeps where they would drill holes in the ice and hang nets below the ice, then come back a few days later to collect the fish.

To what extent is the sea the source of life for the community?

Fishing communities like Tastubek continued to exist after the fish died off because they also kept camels. However, it was difficult to make ends meet and many residents left the village. Now that the fish are back, the communities are again growing since fishing provides a solid income for families.

This recent prosperity surprisingly generated negative consequences like illegal fishing. Tell us more about that…

This was one of the most surprising revelations we found. I had assumed that local residents, after experiencing firsthand the vulnerability of the fishing ecosystem, would be motivated to safeguard the fish stocks. Unfortunately, instead we learned that fishermen were trying ignoring long-term harm by chasing short-term profits and it was common for today’s fishermen to use illegal fishing methods – employing nets that are cheap and easily torn/lost and fishing during the breeding season.

As a photojournalist, you’re a witness of the ecological situation. What would be your message for the future generations?

My message would be for this generation to think about the environmental legacy they are leaving for future generations. Over and over, I see unsustainable, yet extremely common practices decimating fish stocks, clear cutting rainforest, polluting the air and water, and abusing the environment in myriad other ways. Environmental regulation, where it exists, is often undercut by corruption. We need to ask ourselves what kind of a world we want our children to grow up in and work together to build that future.

What are your next projects?

Throughout Southeast and Central Asia, China is an increasingly powerful actor, and I think my next project will concentrate on China’s ambitious One Belt One Road plan as it builds infrastructure and exerts influence throughout the region.

 Discover more of Taylor Weidman’s work on his website.

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As a kid, Slovenia-born photographer Ciril Jazbec, dreamt of becoming a photographer for National Geographic. Today, aged 32, his dream came true. A few years ago, he headed up to Greenland and witnessed a way of life disappearing.

Since a young age, growing up in a countryside village in Slovenia, Jazbec has been deeply struck by climate change. « I grew up surrounded by nature, by its authenticity and brutality. I assumed nature’s graphic style – strong contrasts, clean lines, multilevelness. I feel overwhelmed by nature. By the climate changes it has been showing. By our primal feelings, directing us into the closest intimacy possible. »

In his series of pictures entitled « On thin ice », Ciril Jazbec pays tribute to the people whose daily routines are affected by rising temperatures and tides. In this remote village of 250 people in northern Greenland, higher temperatures mean shorter seal hunting seasons. « My first experience of the Arctic and the first chapter of a long-term project concerned with the human face of climate change. In the tiny island town of Uummannaq on Greenland’s west coast, vanishing sea ice is rapidly altering traditional hunting and community life. »

He met Unnartoq Lovstrom, 70, one of the last remaining people sticking to tradition and living as subsistence hunters, described as “the Clint Eastwood of Greenland » by the community. « I don’t speak Unnartoq’s language, so hand gestures and honesty become an even more important factor of communication than usual. For a European, the conditions in Greenland are extreme; low temperatures require one to be exceptionally strong-willed, and the will to live is what has always driven the traditional hunters to survive. However, the daily life of these hunters is changing due to climate change, unpredictable weather, higher temperatures, and the resulting thin ice. »

Throughout a photojournalistic and documentary dimension, Jazbec’s body of work manages to reveal the emotion and real-time situation of their changing landscape. « The sea used to be frozen for eight months a year, but nowadays it only freezes for a few months, threatening the traditional methods of seal hunting. The story also touches upon globalization worming its way into every nook and cranny of the world, as well as upon global interconnectedness driving youth away from tradition and self-sufficiency. » Left in April, the ice was thin in Greenland and hunters began falling through the ice. « In Greenland, young people are moving to the cities, self-sufficient hunters are disappearing and a 1000-year tradition of hunting and survival in the most extreme of conditions is being forgotten. »

On a wooden sled pulled by six to 10 dogs, communicating through body language, line fishing through a hole made on ice, photographer Ciril Jazbec created a powerful relationship with the community and Unnartoq .“It’s difficult as a photographer to get close enough to someone who lets you live with them,” he said to the New York Times. « It’s hard to gain trust; that’s why it’s special to me.”

Discover more of Ciril Jazbec’s work on his website.

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Preparing and cooking fish everyday is a privilege and something I don’t take for granted. We all need to make good decisions when purchasing, storing and cooking our fish.

In September 2016, Chef Josh Niland and his wife Julie opened Saint Peter, a small fish eatery in Paddington, Sydney, where meals are driven by his childhood connection to the wonders of cooking. As a 8-year-old kid, Josh suffered from a serious illness that made him regularly missed school. Entertainment and excitement were often found in cooking shows and recipe books. Today, Saint Peter is an early dream come true, realized through creativity, dedication and passion. We had a chat with chef Josh Niland to learn more about his inspirations, his sustainable approach and the importance of offering seafood sourced from Australian waters.

What did come first : your passion for cooking or your fascination for seafood? 

A passion for cooking definitely came before my infatuation with fish. What fascinated me about fish though, from quite early on, was how difficult it is to wok with & the level of care that is involved from sourcing/ storing/ butchering & cooking. It was a challenge and that intrigued me.

Over the years, you’ve been working for chefs like Steve Hodges at Fish Face. Who ignited your passion for seafood?

Stephen was a unique individual amongst many that really got me excited about Australian seafood. He was so deeply passionate about his work that, after the time we worked together, I realized I had picked up a truly unique and original skill set that is now the real platform I stand on as a chef.

A couple of years ago, you opened Saint Peter, a seafood restaurant in Sydney’s Paddington, with your wife Julie, one of Sydney’s most promising young pastry chefs. Tell us a bit about your new adventure and your restaurant’s mission.

Julie and I opened Saint Peter, an Australian Fish Eatery, with a desire to reimagine fish preparations, cooking techniques and methods of storage with the information and technology now available in 2018. The restaurant represents 10 years of Julie & I being together. Every meal, every experience we have ever had, has been rolled up and then articulated into what we love most about a restaurant. Our sustainable approach sees the majority of our fish line caught by unique fishermen all around Australia. Our kitchen utilises the whole fish. We now have a recipe for every part of the fish (except the gall bladder). All our seafood is sourced from Australian waters. We are really proud of Saint Peter and what we have accomplished so far.

Tell us more about the products you use and the fish you offer… Why is it important to have a sustainable approach on a daily level as a restaurant? 

Sustainability is a broad word with multiple meanings. The sourcing of sustainable fish species is so critical at Saint Peter as there are so many fish being too heavily fished for their popularity or convenience in the market place. When we purchase fish from either the market or direct from fishermen, we never choose what exact fish we take. I ask for the best and most sustainable which are ideally line caught species, and in turn usually means we receive the very best. When you work with your suppliers like this then you will always get great diversity in species but also good prices as you are taking what was caught today or yesterday. The other part to the word sustainable comes in the form of minimising food waste. Fish is a very expensive commodity, and to run a 34 seat restaurant efficiently and adhere to strict food costs, there must be a plan for the whole fish not just the glamorous 40%!

We appreciate this philosophy of sustainability. How do you make sure no part of the fish goes to waste?

It has taken trial and error to make the organs of a fish desirable and delicious to a western palate. Ten years ago, when I cooked myself a fish liver on toast with a little parsley, I thought it was brilliant and wondered why isn’t this on everyone’s menu. That dish still remains a favorite among with the fish eye chips, utilising the roe in a raw or cured state, smoked heart, cured spleen, fish stomach sausages, caramelised fish heads, glazed fish throat, salt & vinegar scales, fish blood pudding, fish fat salted caramels, etc. It’s all about thinking about the many recipes and methods that can be applied to an animal and applying them to a fish. Basically, if it doesn’t taste delicious, it does not make the menu.  

You technique of dry-ageing fish is very interesting. Tell us a bit more about the concept.

Dry ageing of fish is something that I did out of necessity at Saint Peter. Prior to opening, I knew I wanted to buy the best fish I could and knew that the fish would need to be stored in the correct environment. Our fish fridge sits between 0 and 1 degree at the restaurant. It’s not as if this cabinet is magical and any fish that goes in will come out 2 weeks later with an incredible flavor profile. So much of the ageing process of fish depends on the raw product on day one and how you handle the fish. If all those variables are carefully looked after and the conditions are consistent throughout that maturation stage then, because of moisture loss, you will find nuances in the flavor profile of the fish that may not have been present on days 1 to 5. We intend to explore further ideas around dry ageing when we open our fish butchery this April.

Give us an insight of what your menu looks like. 

Our menu is very simple: it consists of up to 8 oysters at the top of the menu, then 3-4 small dishes using the like of sea urchin, fish offal and other shellfish, then a further 2 or 3 entrees. We then have 5 main courses with one of the dishes always being a fish and chips. Desserts are simple: lemon tart, custard tart & a selection of a few Australian cheeses that I love. The menu changes every service and is totally dependent on what I can get my hands on. It is likely certain dishes gain popularity and then, due to weather or season, they change. This is always the tricky part letting down customers that have come specifically for a certain dish. But over the past 18 months, our customers know how to use Saint Peter and appreciate the everyday broad offering of fish. 

You have a very nice way to show your dishes on Instagram. Would you say social medias are crucial in promoting sustainability?

Most of the staff at Saint Peter and some of my friends disagree with me when I say I put down 50% of the success of Saint Peter to Instagram. In the beginning, I just wanted people to see what I had the privilege of seeing everyday, and it caught on fast. I hope my photos inspire chefs, home cooks and anyone really to value and appreciate excellent fish and be proud of what we have available to us in Australia.

How do you envision the future of food, fish and seafood?

I believe there will definitely be a broader understanding of fish and how to utilise the whole fish in a commercial setting. I do hope the curriculum in culinary colleges are adjusted to break the 60/40 logic of loss & yield for a round fish and start explaining to young chefs that the possibilities are endless. I do though believe there will be challenging times ahead with declining stocks in some species around the world. One can only hope that the farmed fish industries and unique individuals line catching and other innovative methods continue to excel and provide Australians and the world with beautiful fish. Preparing and cooking fish everyday is a privilege and something I don’t take for granted. We all need to make good decisions when purchasing, storing and cooking our fish. Hopefully, Saint Peter can aid in some way towards this future. In the long term, I hope to make a difference in a culinary sense to the way we work with fish from fishermen to table.

Discover more of Saint Peter Restaurant on their website.

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8 million tons of plastic garbage end up in the oceans each year, killing 1 million sea birds. That’s a reality. “Great Pacific Garbage Patch”, also known as the Pacific Trash Vortex is a gyre of marine debris in the central North Pacific Ocean. Discovered in 1997 by Captain Charles Moore, the massive dump of floating garbage is hard to accurately measure but is said to be twice the size of France. Two advertising creatives came up with the idea of imagining the « Trash Isles » as an official country recognised by the United Nations.

Thought up by ad creatives Michael Hughes and Dalatando Almeida, the campaign has been designed to raise awareness of climate change and pollution. Today, the campaign even has its own flag, passports, official stamps and a currency, “Debris,” designed by Mario Kerkstra and made of 20, 50 and 100-banknotes featuring whales, turtles and seals brutalized by floating trash. « We wanted to come up with a way to ensure world leaders can’t ignore it anymore, a way to stick it under their noses, literally, » say Hughes and Almeida to Creative Review.

Titled « Trash Isles », the campaign got the support of big names like Judi Dench, Mo Farah, The Plastic Oceans Foundation and publisher LADBible. The two partner organizations recently co-signed a letter sent to the United Nations requesting the recognition of the trash island as nation state in order to oblige other countries to clean it up under the UN’s Environmental Charter. 

As the country’s first citizen, former U.S vice president and environmental activist Al Gore made his first declaration : « We don’t want anymore plastic added so let’s come up with biodegradable materials instead of this junk. We’ll also have a price on carbon which will also affect the economic attractiveness of plastic, » he said. « 50 billion tons over the last 60 years, it’s completely aberrant. Plastic adds to the climate process, and, of course, it’s absolutely harming the oceans and some of them shows up in the fish that people eat now. It’s disgusting. The oceans are crucial to our survival and we need to protect them. »

As another trash island bigger than Mexico has been found in Pacific in July of this year, with microscopic plastic, resembling confetti floating off the coast of Chile and Peru, it’s more than ever important to get people to pay more attention to this rapidly growing issue. 

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Quiet. « Qui-et ». Say it slowly in a low voice and you’ll get the general feeling of what it’s like to enter the fjords of Western Norway. During Oceana’s first North Sea expedition, the Panthalassa Society took a couple of days to discover one of Unesco fjord’s heritage and treasures of nature. French photographer Sarah Arnould was part of the crew and came back with stunning shots of this unique journey and frozen retreat out north.

Divers, scientists, boat crew, oceanographers, ambassadors, and engineers keep busy aboard Neptune, the icelandic vessel sailing the dark waters of the North Sea. Despite the cold and tumultuous sea, they’re here for one same goal: Collect precious data on species and habitats and make a positive change during this unprecedented at-sea study. « Leaving to Norway, and being able to capture passionate and committed scientists sailing the seas and oceans to fight against overfishing, has been a very enriching experience » says photographer Arnould. « I’d never been in the open sea before. For days, we had to withstand heavy rains and tumultuous currents. Working in these conditions was not an easy task but the beauty of the landscape, and the environment all around, helped us forget those small details. To witness the greatness of such a magnificent sea, makes you feel small and spiritually impressed.»

On their way to the region of the fjords, the crew stopped by a small village stuck between giants of land. Waterfalls cascading down mountainsides, spectacular glaciers and breath-taking viewpoints. Western Norway is home of « Jostedal Glacier », the largest glacier on mainland Europe, covering an area of 487 square kilometers. In that region, the red barns run alongside the peaceful river, boats are parked like cars in a garage, and green is in vogue. « We met a fisherman in the freshness of a Norwegian fjord. He carried us aboard his boat to make us discover the fjord that shelters the village where he lives. Far from big fishing boats sailing the North Sea, this fjord was of a spectacular beauty and teemed with life. I felt that was a place that allowed humans and animals to live in total harmony. » The crew ended up fishing herrings, sharing some blinis and a good coffee in the cabin of his wooden boat. « Under the rain showers of the Norwegian summer, we had that feeling that time stopped, » explains the French photographer. « This experience taught me a lot on my photography skills and concerning my personal commitment as well. This is the kind of adventure that helps us realize the seriousness of the situation. Being able to see these people’s commitment towards the environment gave me new hope, but it doesn’t depend only on them. »

Discover more of Sarah Arnould’s work on her website.

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