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On the job at Cape Crozier, Antarctica. Photo by Chris Linder, WHOI

When I wrote the “Live from the Poles” proposal with the WHOI Director of Communications, this was our justification and plan for the embedded media team:

“Insightful writing and compelling images are the heart of every successful publication. The core of this project is support for a professional science writer and field photographer to join each expedition. Scientists are frequently working around the clock when in the field, and have little time to describe their fieldwork with written dispatches and photography. They also cannot be expected to have the training required to produce professional photographs and video clips. To ensure that the groundbreaking research conducted during this historical period [International Polar Year] is properly documented, support for the writer/photographer team is critical to this proposal. The team will be responsible for filing daily dispatches including science updates, logistical challenges, team member profiles, and life at sea (or on the ice). The team will also coordinate real-time phone patches from PIs [Principal Investigators] in the field to museum audiences, National Public Radio stations, Scholastic magazine, and manage student Q&As with scientists. An experienced shore-based team at Woods Hole Oceanographic Institution (WHOI) will manage Web updates from the field, and prepare publication of photo essays and articles in Oceanus magazine, which receives 30,000 visits online each month.”

To summarize, we were cognizant of the lack of quality photographs coming out of scientific expeditions and saw an opportunity to assemble a professional team to tell visual stories from the field. The trick was to do it daily from some of the most remote places in the world.

So why photograph science fieldwork? There has never been a more important time to understand how our planet works. Glaciers and Arctic pack ice are shrinking at an unprecedented rate. Rising temperatures are causing profound shifts in ecosystems. In the October issue of Scientific American, John Holdren, a Harvard physicist and President-elect Obama’s White House science adviser, wrote that “the ongoing disruption of the earth’s climate by man-made greenhouse gases is already well beyond dangerous and is careening toward completely unmanageable.” According to the most recent Intergovernmental Panel on Climate Change (IPCC) report, a consensus of the world’s scientific experts, we (human beings) are causing unprecedented changes to our climate.

Don’t get me wrong; I’m not a doom and gloom kind of guy. Despite the challenges that rising global temperatures will present in the coming years, I believe in human ingenuity and resilience. And scientists are out there in some of the harshest places on our planet, like the Greenland Ice Sheet and Antarctica, collecting data on past and present changes so we can better predict future conditions.

I’m an idealist; I see science as a noble, selfless profession. By photographing scientists in the field, I am hoping to communicate a deeper understanding and respect for the scientific process and profession, and to urge people to use scientific knowledge of the world to help sustain it.

Chris's work for Woods Hole Oceanographic has led to other jobs, like this project photographing the construction of the new Yankee Stadium. © Chris Linder

While my projects with Woods Hole Oceanographic Institution (WHOI) take up most of my time, I now spend roughly a quarter of my year running my own freelance photography business. The reputation I have established through my WHOI work has led to some tough but rewarding assignments, like documenting shellfish farmers on Cape Cod, construction workers at the new Yankee Stadium, and medical students at a summer internship. Although the people and the settings could not be more different, the general theme is the same: people working outdoors.

A second tangible extension of my photography for WHOI is my involvement with the International League of Conservation Photographers (ILCP). My efforts in communicating conservation science topics like climate change led me to cross paths with ILCP Director Cristina Mittermeier several years ago. She encouraged me to apply, and I joined the ILCP as an Emerging Member in 2007. Working with world-class photographers who have been covering environmental topics for decades has been a life-altering event. I participated in a RAVE (Rapid Assessment Visual Expedition) in May 2008 to document the impact of oil and gas development in Wyoming and will be participating in another RAVE focused on the environmental consequences of the US-Mexico border wall in January-February 2009. Working alongside photographers that share my passion for the environment is inspiring. Many of the ILCP Fellows, like Frans Lanting, Gary Braasch, and James Balog have been role models to me as I have developed my own photographic vision. Working alongside them on RAVEs and other ILCP projects is an incredible opportunity.

The Field Museum in Chicago is one of eight museums Chris partners with for the "Live From the Poles" projects. Photo by Chris Linder, WHOI

One of the biggest hurdles you face as a photographer when writing an education and outreach grant is: How do you get your message out there? Who is the audience and how do you reach them? You may have the best idea in the world for communicating science, but if your audience is your 58 Facebook friends, chances are you’re going to end up with a “Proposal Declined.”

To increase the audience for our “Live from the Poles” proposal, we teamed up with eight science and natural history museums across the country: the Museum of Science, Boston; Liberty Science Center, Jersey City; Carnegie Museum of Natural History, Pittsburgh; the Smithsonian National Museum of Natural History, Washington, DC; the Houston Museum of Natural Science; The Field Museum, Chicago; Birch Aquarium at Scripps, La Jolla, Calif.; and the Pacific Science Center, Seattle.

This collaboration has been one of the highlights of the “Live from the Poles project. It’s very symbiotic—the museums deliver kids and adults that are eager to learn about science and we provide the content: cutting-edge polar science, explained in an easy-to-digest format (daily photo essays from the field and live question-and-answer talks via satellite phone). It’s very satisfying to me, as a native Midwesterner, to teach kids in Chicago about polar oceanography through a public program at the Field Museum.

In addition to the live talks while we are in the field, museums use my still images for exhibits and slideshow presentations. Working closely with the Field Museum, I created a photography exhibition titled “Exploring the Arctic Seafloor” that is currently touring natural history and science museums across the country (at The Field Museum in Chicago from Feb. 22 to July 6).

There’s no question that effective partnerships make you more attractive to proposal reviewers, especially if each partner brings a strong component to the proposed work. Analyze your proposal for weaknesses and then find a partner that specializes in those weak areas. It takes a lot of phone calls, e-mails, and meetings to keep the team organized, but the rewards are substantial.

Many of Chris Linder's photographs, like this image, are made while helping with research. Photo by Chris Linder, WHOI

Although there are a number of federal agencies that fund science, including NASA, the Office of Naval Research (ONR), and the National Oceanic and Atmospheric Administration (NOAA), the bulk of my grant-writing experience has been with the National Science Foundation (NSF). Each funding institution is different, so I will focus on the NSF process.

I know of only one National Science Foundation (NSF) grant that supports artistic endeavors: the Antarctic Artists and Writers grant. That is an unusual grant since it provides logistics support and access to the Antarctic continent only; no other funds are supplied.

If you want to photograph science and be paid for your work through an NSF grant, you need to either partner with a researcher submitting a scientific proposal or get your own science education grant.

1. Collaborating with a researcher
All proposals to NSF are evaluated based primarily on two criteria: “Intellectual Merit” and “Broader Impacts.” Intellectual merit is straightforward: are the proposed scientific advances worthy of funding? NSF more loosely defines broader impacts as “how well does the activity advance discovery and understanding while promoting teaching, training and learning?” More »

"On my first expedition for Woods Hole Oceanographic, I photographed researchers at work in the Irminger Sea east of Greenland." Photo by Chris Linder, WHOI

When I started at Woods Hole Oceanographic Institution (WHOI) nearly ten years ago, I was an avid photographer but had no idea that I would someday be paid to photograph researchers on the Greenland Ice Sheet and Antarctica. My first oceanography cruise for Woods Hole, in the summer of 2001, was a month aboard the 177-foot long research vessel Oceanus studying the turbulent waters west of Iceland. My job was to stand a science watch. That entails helping wrangle unwieldy instruments over the side of the ship and making sure that all of the equipment is recording data properly.

When I wasn’t on watch, I indulged my passion for photography. But it wasn’t the photographs of pilot whales and icebergs that caught the chief scientist’s eye — it was the photographs of people working aboard the ship. As a member of the science party, it was easy for me to capture candid moments of people working on deck, analyzing water samples, and playing cards. At the time I had no idea of the value of what I was doing. But when I returned home from the expedition, the photographs were used in calendars, annual reports, and presentations.

The following year, that same scientist hired me to document his 3-year project working in the Arctic Ocean’s Chukchi and Beaufort Seas. In addition to documenting the work with my camera, I also wrote daily first-person essays describing the experience and facilitated direct communication between the scientists and school kids. It was a tremendously rewarding experience, and for the first time I discovered the power of photography as an educational tool. It was also the start of a new niche for me at Woods Hole—that of a field photographer and outreach specialist. Now, although I still help with analyzing data and publishing papers, science photography and other education projects make up the bulk of my work.