Canon EOS-1D X Mark II
Durable, fast and ultra-sharp, this camera is ideal for fast-moving action and tough climates. "I use this camera for all my jobs that are in more arduous terrain – it is bulletproof," says Brent.
Profile
Documentary photographer Brent Stirton's images are not for the faint-hearted – they're powerful, emotion-packed, and often uncomfortable viewing...
Brent's award-winning images have seen him become one of the world's most celebrated documentary photographers. In 2017 he won the Wildlife Photographer of the Year award for his harrowing image of a black rhino slaughtered for its horn (pictured below), and to-date he has received nine World Press Photo of the Year awards.
Location: California, USA
Specialist areas: Documentary
Favourite Kit:
Canon EOS 5D Mark IV
Canon EF 24-70mm f/2.8L II USM
His work has also helped to serve multiple charity organisations including the WWF, Clinton and Gates Foundations and the World Economic Forum, which have seen him earn a variety of philanthropic accolades, including a Peabody Award. Brent spends most of his time on long-term investigative projects for National Geographic Magazine and Getty Images but his work also appears in publications including Time, GEO, Le Figaro, Stern and The New York Times Magazine.
Brent has a reputation for compelling imagery and his photographs depict a cross-section of the human condition through global sustainability, environmental conflict and conservation issues. "I think it's possible to shoot most things in a way that can be justified, but I wouldn't shoot something that was deliberately exploitative," Brent explains. "There can be a fine line on occasion. Our job is to document what is happening out there but, at the same time, it's also our job to do it in such a way that it can reach the biggest possible audience. Framing, technique and experience all come into how you do that."
Originally a print journalist, Brent took his first step into the world of photography in 1994, when the newspapers he was working with asked him to team up with a photographer. He had a better idea. "I was covering the political violence on the east coast of South Africa at the time so I saved my pennies, bought a Canon A1 and read the manual. When the international media came to South Africa that year for the democratic elections, I was able to work with them and learnt a great deal in a short space of time." By 1995 Brent was a full-time photographer. "It became an obsession from the moment I realised it was possible to tell a whole story in one image."
More than 20 years later, Brent's compelling imagery still teems with an ingrained journalistic narrative. "I try not to come at something with a preconceived agenda; I am always looking for a scenario where all the elements come together to make a scene that will resonate emotionally with people. Ideally you are fortunate enough to make images that will be good enough to transcend literary and cultural boundaries. I think if you get that right, then you're doing your job," he says. "I'm very lucky to have this career and I'm always trying to be mindful of that. I'm just trying to make meaningful images and if I can make an image that moves you, I'm very happy."
How do you prepare for a commission?
"The A to Z of the issue needs to be researched, both online and with specialised contacts. I pack clothing that makes sense for the job, as well as cameras, lighting and sometimes recording gear, and a minimum of two hard drives and backup lenses. Visas are important, as is a support person. Vehicle hire and some form of accommodation should also be pre-booked."
How do you decide who to photograph?
"Ideally you should have already set this up before you leave – this is why research is key. Your fixer/translator should be a big help with this. Approaching people should be based on honesty and openness as much as possible. You should have a basic coverage plan in mind before you get on the plane."
How do you know what not to shoot?
"If all of the photographers are clustered around a scene, you probably don't want to be there."
How do you work with light?
"If I cannot wait for good light I may add my own, which means working quickly to maintain the spontaneity. I use a light meter; if you learn how to use it, you'll know how to use hard light to make interesting images."
What advice would you give someone keen to go pro in this genre?
"Show your work to editors but don't think you can walk into the top publications and agencies; start smaller, go to portfolio reviews and do more listening than talking."
Facebook: @brentstirtonfans
Instagram: @brentstirton
Twitter: @BrentStirton
Website: www.brentstirton.com
"Research is key, for any kind of photography. If you know your subject, location, issue etc. then you will make more informed, relevant images. You owe it to your subjects to understand them as well as possible. That's respectful, and they will respond to you better if they think you have made the effort to understand them. Be humble. Make sure your gear is reliable and that you have some kind of backup – it's not acceptable to travel to a remote location and have your gear fail on you. National Geographic has a quote I always remember: 'We publish pictures, not excuses.'"
The key kit that the pros use to take their photographs
Durable, fast and ultra-sharp, this camera is ideal for fast-moving action and tough climates. "I use this camera for all my jobs that are in more arduous terrain – it is bulletproof," says Brent.
With a fast aperture and image stabilisation plus a Nano USM motor for silent focusing, this lens lets you instantly capture moments in excellent image quality. "It offers me the same quality as a prime lens, is good in low light and with the Mark IV gives the best colour fidelity to be found in a DSLR."
This standard wide-angle lens is beloved by reportage photographers for its natural perspective, low-light capability and extraordinary optical performance. "The 35mm is just such an amazing lens. It has superb three dimensional quality," says Brent.
Engineered for fast frame-rate shooting, this flash can be used off-camera or in the hotshoe, giving you the versatility you need to take complete control over lighting. "These flashes and the radio controller have been invaluable for lighting in the field and they are small enough not to give me a problem with weight."
Light meter
"I came up using slide film. It was so critical in terms of exposure that I learnt to always use a light meter."
ARTIKEL
Mit weniger als 30.000 lebenden Nashörnern hilft Brent Stirtons Projekt „Rhino Wars“ maßgeblich dabei, uns ihr Leid ins Bewusstsein zu rufen.
ARTIKEL
Canon Botschafter Brent Stirton erprobte das neue EOS R System von Canon auf einer 5-tägigen Tour, um die Landschaft, Tiere und Menschen Namibias zu dokumentieren.
STORIES
Canon Botschafter Brent Stirton erzählt uns, was er beim Fotografieren von Blinden und der Ärzte, die sie behandeln, gelernt hat.
ARTIKEL
Der französische Fotojournalist zeigt, wie er sein preisgekröntes Projekt fotografierte, und gibt Tipps für die Arbeit bei extrem wenig Licht.
Erfahre, wie das Ambassador Programme funktioniert, und triff die phänomenalen Fotografen, die ausgewählt wurden, um Canon zu repräsentieren.
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