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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“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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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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A commercial fisherman by trade, Corey Arnold has worked seasonally in Alaska since 1995, including seven years of crabbing in the Bering Sea aboard the fishing vessel Rollo. While from March 21 – April 27, 2019, renowned photographer Corey Arnold will present his latest body of work from his arctic expedition in Svalbard, through a solo exhibition entitled Hornsund at Charles A. Hartman Fine Art in Portland, we called Corey on the phone to discuss the extreme weather conditions at sea, the camaraderie between fishermen and his work entitled Aleutian Dreams, a »behind the scenes that normal people don’t ever experience«, able to document a world few of us will ever experience in Dutch Harbor in Alaska. Capturing the crab boats and trawlers, scavenging noble eagles, curious foxes, mountains of nets and crashing seas, Arnold’s work documents the visceral experience of life at sea.

Through a subtle series of pictures, Corey Arnold unveils his natural fascination for the ocean. »In recent trips, I joined fisherman at sea aboard crabbers and trawlers, and on land documenting the surreal landscape of the fishing culture that once captured my imagination as a young greenhorn.  Aleutian Dreams is a collection of new images from my journey through this wild and unforgiving frontier of Western Alaska,« he said. »Those who come here often possess a desire to escape the safety of home to work in an environment filled with risk and visual grandeur that is far from ordinary.«  Meeting.

How long have you been commercial fishing? What drew you to this work?

I started commercial fishing in 1995, working on a salmon boat in Bristol Bay, Alaska.  After skipping just a couple of years, I’ve worked on fishing boats for about 19 years of my life. What first drew me? My dad was addicted to sport fishing and loved the ocean. I grew up in Southern California fishing with my dad out of our small boat almost every weekend.  It was his escape from a busy work week as an avocado farmer and tropical plant grower. As small kid, there are pictures of me holding fish that I caught while wearing diapers. Fishing became sort of an identity to me and stories I brought home from my trips of strange encounters with sea creatures and adventure were a curiosity to my friends who didn’t fish. I started to understand that I had this unique and special experience in life that few get the opportunity to see. 

So fishing came first? When and why did you decide to combine fishing and photography?

I graduated from photography school at the Academy of Art, San Francisco in 1999. The whole time I was going to school, I was spending my summers in Alaska, commercial fishing for salmon. At that point, I never really thought of seriously photographing my life up there. I was making more conceptual artsy kind of photography work. I wasn’t influenced at first influenced by the documentary aesthetic but after assisting commercial photographers for a couple of years, I realized I didn’t really want to be stuck making commercial work that did not inspire me. I started crabbing because I could make good money doing work outside was physically strenuous but ultimately fulfilling. I thought the chances of making a living as a photographer would be very slim, and so running a fishing boat would another option that appealed to me equally. Then I started photographing my life as I fished and that’s when my Fish-Work series began to get attention on the internet and I began to get a lot of work as a photographer. 

You’re trying to photograph your world while actually working as a fisherman. Is that the most challenging part of it?

It is not possible to have my camera in my hand while working on the boat.  You often can’t capture the most dramatic moments while fishing because you are too busy dealing with a storm or maybe a problem with the fishing gear, therefore you miss out on a lot of incredible moments. In my new series, Aleutian Dreams, I returned to the Aleutian islands this time to photograph instead of fish in order to capture the life that I couldn’t previously. There is a collision of nature and industry up there that I find captivating and in this new work, I focused on elements of the place and the life at sea that inspired me as a young greenhorn. As a new fisherman going up there what is most striking is the scale of nature and the oversized tools needed to harvest and survive under such harsh conditions. I love the Aleutians because it feels like you’re in on a strange behind the scenes secret, and that ‘normal’ people don’t ever experience such things. 

Bald eagles, foxes, crazy seagulls, a dark sea, a literally frozen boat, huge waves looking like huge walls of water… it’s a wild place out there. As a fisherman, what draws you back to the wilderness year after year?

When I started crabbing I thought I would only do it for a couple of years and then move on. But once you start making friends and connections in that world, it  begins to shape your identity and I ended up working on the same boat for seven years. We became close friends and there’s this camaraderie, like we’re all in this together, battling for survival through sleepless nights. It is an exciting adrenaline rush, but none of us would do it if we weren’t making good money as well. No one would do this work for free, or just for fun. I liken it to those who run marathons or climb mountains. The struggle can be complete hell and very dangerous, but why are people willing to do it? They do it for the feeling of invincibility, the sense of achievement. It’s kind of the same thing. To me, I love that fishing is authentic and that we are doing something very tangible… feeding people. There also many people working as fishermen because it’s the only thing they know.  You don’t need an education to be a fisherman, all you have to do is outwork everyone to get ahead.

You recently said in an interview, I quote: »What lured me back wasn’t only the money, but the curious and often masochistic realization of the American dream happening in the Aleutian Islands.« Tell us more about that…

What I’m trying to say is like… for example »Make America Great Again«. Whose dream is that? What does the American Dream look like? The fishing industry in the Aleutian Islands, as dangerous it is, as messy as it is, you can go out there and you can find this American Dream. Its a dream that might look like a nightmare to some, but a certain breed of human thrives off its gritty reality. You can make good money and have this experience. The eagle, our national symbol, is not always the stoic icon we see on postage stamps and nature documentaries, it can also be a scavenger and opportunist feasting off human garbage in town. Their population is thriving because of the food fishermen have brought to the island, but is that “great”?  Maybe for the eagle or maybe not, its all about perception.  I’m very interested in these kind of themes.

You have some sick shots of eagles. How did you manage to be so close to this Bald Eagle?

Due to the amount of fishing boats coming in, the fish leftovers, nets on decks and all the garbage, the eagle population has been out of control. There’s 500 to 800 bald eagles living near the town of Dutch Harbor, Alaska. They’re feasting off human waste in garbage and pulling fish off the decks of boats everywhere. They’re so used to being close to humans that once I walked up to and eagle in a a garbage can and it was completely buried in garbage. It was very vulnerable but really didn’t care, it just screamed at me to go away.  They have become quite accustomed to humans since they are protected by law from harm. 

We mentioned the huge waves in the Bering Sea and the extreme weather conditions. Working on the Bering Sea is extremely demanding. Can you describe your most vivid memory of fishing out there?

Earlier this year aboard the f/v Arctic Lady, another crab boat travelling about 50km from disappeared without warning and 6 men vanished with no trace. A cold storm had struck with freezing spray that formed ice on our bow and crab pots on deck.  When you have freezing spray, the boat gets heavier and heavier as the ice begins to grow exponentially on itself. The boat was carrying a full load of heavy crab pots and taking on a lot of ice, combined with strong tides and wind and so it likely rolled over without warning, but no one will ever know for sure.  

I’ve been fishing in the ocean my whole life, but the first day that I worked on the Bering Sea, I saw waves twice as big as I’ve ever seen in my life. So it’s all very alarming and it doesn’t seem as if you could actually fish in this weather. It’s crazy but when you look around, you see the other guys and the captain just calmly going about their work.  Then you start thinking maybe we’re okay! After a while, you get used to it too. And the work becomes very monotonous, very repetitive, day after day. It’s a mental challenge to deal with the repetitiveness and sleeplessness.

Today, you live in an abandoned cannery in Bristol Bay, Alaska, during the salmon fishing season in June and July. What are the things you love about Alaska?

To me it’s a complete escape from the world of technology and email. I just want to get away from it. My photography is pretty demanding, working on images on a computer and emailing. Then when I go to my fish camp in Alaska, it’s two months of total disconnect. I really need that… it’s really important to have that time to reset. I want more of that feeling in my life and by the end of the season, I find it very hard to leave. It’s important to have that disconnect to re-evaluate what’s important in life. Out there, it’s all about relationships with all the other fishermen that live in the camp. We’re constantly hanging out, chatting, telling stories. No one’s looking at their mobile phone, texting. That’s mainly what I love.  Anything can happen, the weather changes so rapidly, there are so many unknowns, nothing is normal about life up there.

You’ve been documenting the visceral experience of life at sea for more than 15 years now. How would you describe your relationship with the the sea today? 

It’s a love/hate relationship. If you finally get a good nights sleep, then you wake up excited about the next day. Sleeplessness creates this psychosis where people can easily get grumpy. It’s crazy! There are lots of ups and downs emotionally in fishing. Sometimes you catch nothing for days, then, all of of a sudden, fish come en masse and adrenaline is pumping and it’s exciting. I love the highs and lows, and the uncertainty of it all, it makes for an interesting life.

What’s next on the agenda?

I’m doing these two exhibitions at Richard Heller Gallery in Los Angeles, and at Charles A. Hartman Fine Art in Portland. The last few weeks have been crazy because I shot a lot of the new work in February and only had a few weeks to print, mount and frame both shows. That was kind of nuts but its working out!  The work in Los Angeles is up on the wall and the second opening is April 6, 2017 in Portland. In June I leave once again to fish salmon in Alaska. Next year, I’m going to do a big project on fishing in Norway. I have already photographed quite a bit in Lofoten and Finnmark, Norway but I think I have grown a lot more over the years as a photographer so I’d like to revisit and work on a much larger project in Norway. 

Discover more about Corey Arnold’s work on his website.

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By Ted Danson and Andy Sharpless.

I love seafood — from succulent scallops to salty anchovies, seafood is an increasingly popular meal in my own home and across the United States. Yet consumers searching for sustainable seafood will find very little information about the seafood they eat. Even worse, the information that is available is frequently misleading or fraudulent. Recent studies by Oceana discovered that 33 percent of U.S. seafood Oceana tested was fraudulently labeled.

 

That’s why I was thrilled to hear President Obama announce his initiative to comprehensive federal program to combat seafood fraud and pirate fishing today, while attending the State Department’s Our Ocean conference. The evening before the President’s big announcement, I spoke to conference guests about how over-fishing, illegal fishing, and seafood fraud threaten both the health of our oceans and our food supply. As a longtime ocean activist, I know that, without a doubt, tackling seafood fraud and illegal fishing is one of the most important things we can do to protect our oceans.

 

Seafood fraud refers to the mislabeling or misidentification of seafood. This substitution can happen at each step of the supply chain — at the restaurant, the distributor, or the processing and packaging facility. It can also occur deliberately, when high-quality fish is exchanged for a less desirable, cheaper, or more readily available species.

 

Seafood fraud can occur anywhere. From 2010 to 2012, Oceana conducted one of the largest seafood fraud investigations in the world to date, collecting more than 1,200 seafood samples from 21 states to determine if they were honestly labeled. DNA testing found that an astonishing 33 percent of the samples were mislabeled, according to U.S. Food and Drug Administration guidelines.

 

Seafood fraud isn’t just a labeling problem — it directly threatens human health, as consumers may unknowingly end up eating a fish species riddled with contaminants, toxins, or allergens. Fraud also hinders consumers’ ability to make an informed and sustainable seafood purchases. It also disguises the true impact of overfishing by fooling the public into thinking that there is a ready supply of many overfished species.

 

Finally, seafood fraud harms fisheries and fishermen, by creating a market for illegal fishing. When seafood is not well labeled or tracked, it makes it easy to launder illegally caught seafood products through the U.S. market. Illegal and unreported fishing undermines conservation efforts and hurts honest fishermen. The intent of the Our Oceans conference, as Kerry described in his own editorial, is “to create a global movement to protect the ocean and its resources.” I am honored to have been a part of this historic event, and I am immensely pleased that our President is taking action to combat seafood fraud and illegal fishing. One of the ocean’s greatest resources is seafood, which already feeds millions of people each day. By cracking down on seafood fraud, we can ensure that the oceans remain a plentiful source of healthy food for generations to come.

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We hope this stamp issue goes a long way to help people make informed choices about sustainability and conservation of UK fish stocks.

Royal Mail has launched a Sustainable Fish Special Stamps issue. Launched on World Environment Day, the stamps are the first ever by Royal Mail to have been produced to help champion a consumer message around an environmental issue – that of sustainable fishing in British waters. The 10-stamp set highlights the beauty of marine fish as well as providing guidance and encouragement to consumers on how to conserve UK fisheries. Many familiar fish are severely threatened due to a variety of factors including overfishing. This stamp issue raises awareness of the threat and also provides a sustainable alternative.

The five species illustrated are fish that are currently threatened in UK waters. This includes Common Skate, Spiny Dogfish (sometimes called Rock Salmon), Wolfish, Sturgeon, and Conger Eel.  However, Herring, Red Gurnard, Dab, Pouting, and Cornish Sardine are species from sustainable populations which provide viable alternatives for fisheries and consumers. 

The plight of fisheries has caused increasing public concern in recent years. Some organizations offer advice to consumers on which seafood to purchase and supermarket chains actively informing their customers about making informed choices. 

Callum Roberts, Professor of Marine Conservation, University of York, who acted as consultant for Royal Mail on the stamp issue said: “Marine protected areas that are off limits to fishing could recover endangered species like those on the stamps as well as providing a boost to the fishing industry through recovered stocks. Only one thousandth of 1% of UK seas is fully protected from fishing at present.  To bring back endangered fish species we need a huge increase in the coverage of such protected areas.”

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