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King Penguin, Bay of Isles, South Georgia Island, UK ©Art Wolfe

Antarctica remains the last great wilderness in the world. The continent encompasses a vast array of environments, from the lifeless high plateau surrounding the South Pole, where miles-thick ice presses down the bedrock, to ice shelves extruding into the sea and the dry valleys where snow seldom falls. The Antarctic Convergence, the boundary where cold and warm water meet, rings Antarctica hundreds of miles from land. It extends so far north that it encompasses South Georgia, where tens of thousands of King Penguins nest on beaches beneath glaciated mountains 11,000-feet tall. Elephant seals guard their harems, and albatrosses soar above the waters.

The Antarctic Peninsula is an extension of the Andes. There is no other place on earth, including Alaska and the fjords of Patagonia, where such an impressive sequence of large glaciated peaks continues unbroken for so far. As you cruise south along the peninsula’s west coast, it’s easy to imagine yourself on the Orient Express through the Himalaya.

No animals larger than micro-organisms live at the Pole, but the northern tip of the Peninsula abounds with life. Penguins and blue-eyed shags nest in the rocks where a few hardy plants have taken root. Crab-eater seals loll on flat icebergs where the top predator, the leopard seal, is less likely to attack. Minke whales patrol the bays, surfacing with an explosive exhalation. Gentoo and Adelie penguins porpoise as they approach the shore either to confuse the leopard seals, or for the sheer joy of it.

A snow overhang on the Antarctic Peninsula. © Art Wolfe

The scenery here is so grand, and the animals so numerous and spectacular, that photographers often find themselves with a common problem. How do you avoid the image that has already been taken a thousand times? Your eye is naturally pulled toward one postcard view after another. How do you endow an image with a deeper power or a sense of surprise? Here are a few tricks I use:

1. Change your perspective. Get off the ship. Unless you set off on a different route, you are limited to a single point of view (although a battery of lenses can add some flexibility). Once on shore or in a Zodiac boat, you can place an iceberg or a rack of whale ribs in the foreground, wheel around to position an animal against a good background, or crawl behind a curtain of icicles.

2. Get Closer. A close up shot usually has a better chance to be involving. In Antarctica, the rules prohibit approaching wildlife too closely. But they don’t prohibit the wildlife from approaching you. I often find if I set up in the general vicinity of penguins or seals, one of them will come to investigate, nosing right up to my lens. This isn’t for everyone, since it usually means you are sprawled in guano, and more than once a curious elephant seal pup has crawled right up on top of me.

3. Skip Dinner. It is an unfortunate coincidence that dinner is inevitably served when the light is best. You can eat later — you may never have the chance to shoot this place in this light again. Always take advantage of unique opportunities.

For more tips and hands-on instruction, join me on my next two trips to Antarctica, in November 2009 and 2010. For details, check my website, call my office at 206-332-0993, or email info@artwolfe.com.

• This week marks the 20th anniversary of the Tiananmen Square Protests. The iconic image of the “Tank Man” is splattered all over the internet, except on the Great-Fire-Wall-bound Chinese internet. The New York Times photo blog, Lens, has a great interview with photographers explaining how their version of the Tank Man came about. Most interesting of all, though, is a follow-up post yesterday showing a never before published photo of the Tank Man getting ready for the confrontation.

• Have you seen The Vendor Client Relationship video yet? If not, you might be the last one. Go check it out now and we won’t tell anyone ;-) It’s a hilarious take on the real world situation for those who work in the photography and advertising business.

• A Photo Editor pointed us to another noteworthy new online video — Michael Almereyda’s documentary about photography icon William Eggleston on Snag Film, William Eggleston in the Real World. The fillmmaker followed Eggleston on various trips around the country, capturing his complex personality and how it affects his work.

• The winning images of the PDN Photography Annual 2009 are now available on its website. We want to give a big shout out to our friends and contributors Alan Chin and Ed Kashi, who won the Photojournalism/Sports/Documentary and Corporate Design/Photo Products categories respectively.

One of Ann's signature dog images. ©Ann Hamilton

Miki Johnson: Tell me about how you got started in photography.

Ann Hamilton: We all have turning points in our lives and, for me, it happened in January 2000 when I was laid off from a dotcom company. A few months later, and still unemployed, I was interviewed by a reporter from U.S. News & World Report about my experience working at a dotcom. During the interview, the reporter asked what my next plans were. Without thinking, I said, “I’m going to be a professional photographer.”

My only experience with a camera was a disposable plastic one. I didn’t know what an SLR was, or what “aperture” or “shutter speed” meant. Subconsciously, though, I think I had always wanted to be an artist. And having worked in the corporate world for nearly 10 years, I was ready to start a business of my own.

The article hit the newsstands in May, and the following month I interviewed with a local portrait photographer who had done a handful of weddings on the side. I had no portfolio or any knowledge of photography, but I was willing to learn and very enthusiastic. I told the photographer that I would work for free in exchange for experience. I was hired on the spot and wound up assisting all summer, getting a taste for weddings and learning about every aspect of photography. In October, I photographed my very first wedding, in Mendocino on a bluff overlooking the ocean. That was the day I fell in love with weddings.

Now dog portraits also make up a significant part of my business. That became viable in 2005 when I opened a storefront studio with my colleague and friend Gene Higa. Gene encouraged me to launch my dog portrait business, and having a permanent studio to work in made that possible. My logo of a bride walking a dog (left) was inspired by my pug, Bogie, who was the inspiration for my dog portraits and was by my side since the inception of my photography business.

MJ: How were you able to parlay the skills you learned as a wedding photographer to photographing dogs?

AH: I’ve always been attracted to clean lines, natural light and negative space in my wedding work. It was only natural for me to use a clean background for my dog work too. I also use a single strobe because I don’t want the images to look too artificial. I had to adapt to shooting my dog portraits in a 330-square-foot storefront studio, cutting down a 9-foot roll of seamless to 6 feet because of the small space. Having to work within certain confines also helped define my shooting style.

At weddings, I crop everything in camera, so what I deliver to my clients is the full-frame image. But with dogs, because our studio space was so small, I would shoot everything wide and crop later. Now, I’m working out of a new studio space, a tri-level loft in the Dog Patch neighborhood of San Francisco. The new space has afforded me more room in which to work, with the added benefit of being able to work out of my home, with a separate entrance for my business.

As my dog portrait business grew, I found that I needed to define the two areas of my business with two different brands. I hired the Collective Lines design firm to create a logo specifically tailored for my dog work. The result is a clever dog tag design (below).

Now that my wedding and dog brands are distinct yet complementary, it  is easy for my clients to cross over. Many of my wedding clients have dogs, and I end up doing dog portraits as well as shooting their wedding. And it’s not uncommon for my dog clients to inquire about my wedding photography services. Plus, having a niche has helped set me apart from other wedding photographers in the Bay Area.

My dog portrait business has become an important supplemental income to my wedding photography business. Weddings are seasonal — dog portraits are year round. By diversifying, I’m able to maintain my normal wedding rates and not feel pressured to booking every weekend throughout the year. It allows me to have a greater level of flexibly and balance in my life and work.

Ann's beloved pug, Bogie. ©Ann Hamilton

MJ: Is it a harder sell to convince people to spend significant money on dog portraits?

AH: Dogs are the new “fur babies,” especially here in San Francisco where there are so many services catering to dog “parents.” Doggie acupuncture, massages, and hotels are the rage. Photography is another of those services.

It’s important for me to market my business to the right client — someone who understands that a dog portrait session is a luxury item, yet someone for whom price is not the deciding factor when booking a session with me. There is value in what I’m offering and my clients understand that. The photographs are something to remember their dogs by, now and long after the dog is gone. I know this all too well as I recently lost my beloved Bogie.

MJ: Do you have advice for photographers who are considering expanding into dog portraiture?

AH: Dogs are not always easy to photograph, but I’m always up for the challenge; I never go into a shoot thinking I’m not going to get the shot. My dog clients come to me with certain expectations. They want their dog photographed just like the images they see on my website. Sometimes the dog has other ideas, though. Especially when I’m shooting a puppy or more than one dog, getting the dog to stay focused can be a challenge. It takes a lot of patience. Dogs can also sense if you are a dog person or not. You have to have really love and respect animals to do this.

My advice to photographers considering dog portraits as a career is to follow your passion, work hard, and be original. Take a photography class or workshop, attend a convention like WPPI (Weddings & Portrait Photographers International), or shadow a few photographers whom you admire and absorb as much as you can. Be prepared to put some time and effort into your career. A photographer I apprenticed with when I was starting out once told me that there are no shortcuts in business. In an industry where we all have access to the same tools, it’s very easy to be influenced. The challenge is to be original.