Florian Ledoux on Saving The Arctic With an Aerial Perspective

As a vocal conservationist, one of your aims is to use your photographic work as a vehicle to help expand marine conservation areas in the polar regions. Do you feel that as an artist you have more agency than you might have realized before embarking on this journey? What tips do you have for other photographers who share your concern for the environment and also want to make a difference?

My work has been growing at a pace I could not have imagined possible. As my audience has expanded I’ve been able to have more influence and to bring more awareness than I would have expected. Recently our team working on Greenland was asked to join a meeting of the ICUN (International Union for the conservation of nature) to explain what we documented in Greenland this May – an early melt of the ice-sheet.

As a self-taught photographer, I learned along the way that a powerful image is an image at the cross points of art (creativity), conservation (story) and science (information). For upcoming photographers, I would suggest creating not only stunning images, but to concentrate on storytelling that might make a difference. To pursue relevant imagery that hasn’t been seen before and to focus on bringing attention to the compelling stories of endangered species.

In your biography you highlight your purpose as a photographer to, “witness, document and protect.” What inspired you to base your documentary work on these tenets? Was it something that you set out to do before you became a successful nature photographer, or did your experience as a photographer guide you to embrace this motto?

The idea evolved with time and practice, but these concerns were on my mind long before my work became successful. It’s the nature of my sensitive mind. I traveled to witness, I started to document, then naturally came the need to protect.

You are a self-taught photographer, yet your technical skill is evidenced in your striking compositions and flawless palette of azure skies and waters, set against perfectly rendered pearly islands of ice and snow. Are there any tools and techniques that you felt were especially helpful in mastering the craft of photography?

The main thing is that you need to become one with either your camera or drone. You need to be able to work with your eyes closed when it comes to technique. As for the rest, composition, creation and inspiration – for me, I compose with my heart, the point at which my entire soul joins in union with nature. When I am out there in those magical and wild places of the polar region, I am somewhere else. 

Pataniali said “When you find yourself inspired by some great purpose, some extraordinary project, all your thoughts break their bonds. Your mind transcends limitations, your consciousness expands in every direction, and you find yourself in a new, great, and wonderful world. Dormant forces, faculties, and talents become alive, and you discover yourself to be a greater person by far than you ever dreamed yourself to be.”  It is exactly what I feel when I photograph.

Your work has been published in magazines like National Geographic, TIME, Géo France, Géo Spain, Oceanographic and National Geographic Traveler to name a few. What do you feel played the greatest role in establishing relationships with your editorial clients? Promoting your own work through your website and social media, or participation in photo competitions and the resulting prestigious awards that you’ve collected over the last couple of years?

The editorial work almost exclusively arose out of the large number of prizes that the bear imagery received. That work brought me visibility, and with the exposure came many contacts.

Another major success is your upcoming collaboration with the Netflix series Our Planet. What can you share with us about this new exciting endeavor?

Indeed last spring had three images published in the book “Our Planet.” I was first thrilled to discover that the foreword was authored by Sir David Attenborough, the producer of Planet Earth, Blue Planet. Later when I saw the series I was even more moved and honored to be part of this beautiful project. I was also very grateful to find my work amongst photographers such as Paul Nicklen and Vincent Munier, both of whom I considered my mentors during childhood (and in many ways still are).

In addition to working as an editorial photographer and filmmaker, you also work with organizations that promote wildlife conservation. Tell us about your work with the International Union for the Conservation of Nature. In what ways is this organization engaging you as an artist and image maker to help advance the cause of conservation?

For some time now the International Union for the Conservation of Nature has used a selection of my images to bring greater awareness to the cause. Most recently as part of the Arctic Arts Project, our collaborative team has been asked to present our work from Western Greenland at the World Nature Congress 2020 conference in Marseille, France. This opportunity provides a truly exciting chance for our team to reach an important audience with imagery that helps to elucidate the current state of the Arctic. 

Over the course of time that you’ve spent photographing the arctic and its wildlife, have you personally noticed any changes in the landscape?

Yes, I have. Especially the noticeably warmer temperatures, such as what we experienced this last May in Greenland. Most days I was comfortable wearing a t-shirt, which was abnormally warm for the season! It is scary! But I’ve not spent enough time in Arctic to speak to my own experience alone. What’s certain, is that the scientists and climatologists that I have met all agree on climate change and the impact on the Arctic and it’s diminishing ice.

You’ve sailed more than 6,000 km in a period of 8 weeks from West Greenland through the Arctic. How do you prepare as a photographer for such a long journey, emotionally or technically, with the expectation of shooting a high volume of images for so many days on end?

In taking part in this long sail I was most humbled by the two incredible Captains, Hayat Mokhenache and Peter Madej, that made the journey – and ultimately the capture of my images – a reality. Emotionally and physically, it was a very long expedition. It can be complicated to be confined on a boat for such a long time. In terms of photography, you need to be very organized prior to setting sail and come prepared with everything you may possibly need for the trip. You learn with time and practice, but in this case I had just about 2 weeks to prepare. The opportunity came by surprise, which meant that I had to suddenly withdraw from the navy,  where I was working up until that time, and dash to stock up on all necessary supplies in order to join the expedition in time.

Of the many documentary expeditions that you have now completed, what was the most extraordinary photographic moment that you witnessed?

The pinnacle of my photographic career, is undoubtedly, the opportunity to enjoy close encounters with the majestic yet gentle animals that are the polar bears. For me, there is no better feeling than being in close proximity to those magnificent mammals and sharing a space with them. I will always remember the moment when I saw my first polar bear. I discovered a bear swimming and by the time I lowered my binoculars to announce it to our captain, I had tears in my eyes. I continued to cry during the entirety of the three hours we stayed close to them.

In your biography you share the story of your first encounter with a polar bear and how the experience brought you to tears. In what way does such a profound emotional connection with your subject effect how you approach image making?

I think it’s really important to be connected with your subject. It helps in creating profound images. As I said earlier, I compose with my heart. In this way, once connected to your subject it’s as if you are in transcendence and harmony with it, allowing you to disappear from the scene.