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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 »

In August our routine was to get up around 5am and to be in place with the cowboys at first light. We basically tried to shoot and illustrate various things the cowboys were doing. Working with the horse, herding the cows, etc. We would shoot until about 10am as it gets very hot in the middle of the day. The cowboys don’t do much outdoor work during the heat of the day. During lunch we would download cards or review images. At 3pm we were back out with the cowboys for that late afternoon sun.

It was a breath of fresh air to get out and make this kind of storytelling imagery again. It reminded me of the things I loved about journalism and why I stayed in journalism for so long. I felt like I had found my roots again and re-awakened a deep passion inside me. I loved every minute of it.

The trip has reinforced in my mind how important personal project are to photographers and other creative people. There has to be a certain amount of work to pay the bills, but you have to find some time to keep the creative fire burning inside. I always knew it was important to do personal projects, I just never found the time to fit them in. I had sort of reached that point in my life where I worked to live, not live to work. I had stopped looking for projects like this. I’m so glad that Duda connected me with Izan and we have been able to spend this time working on this project. More »

Ed's son Eli and wife Julie in the back of a rickshaw in Jaipur, India, in January. © Ed Kashi

1.2.09

I am on a rare vacation with my family, traveling around Rajashtan, India for two weeks over the Christmas, New Year break. My nearly 11-year-old daughter Isabel is gaga over animals and continues to fall in love with every stray dog, monkey, cow or other animal, of which there are countless on the streets of India. We are in Udaipur, a lovely city tucked in the hills of southern Rajashtan, where today our rickshaw driver suggested out of the blue that we go to a place called Animal Aid. It is an animal shelter and rehab clinic run by an American couple and their 19 year old daughter, who moved from Seattle seven years ago. Just earlier today we had been talking to Isabel about going to a veterinarian to watch how they care for animals, so it was providence that brought this suggestion to us. Once we arrived, it dawned on us that not only had we chanced upon a discovery for Isabel that could lead to a summer volunteering opportunity, but we might also have found a story idea for one of our clients back home. As I say over and over again to students, keep an open heart and open mind, and you never know what life will bring you. Here was a perfect example of that.

I was connected with Izan Petterle through Duda Escobar, the show manager for PhotoImage Brazil and the reason I’d come to Brazil in the first place. She invited me down to give the keynote address on wedding photography.

During the planning she asked if I would be interested in teaching a post-convention workshop with Izan in a Brazilian wilderness area called The Pantanal. I didn’t know anything about Izan and was a little nervous about jumping into something unfamiliar in such a remote area. I was also concerned about leaving my business for almost three weeks in August. Initially I declined.

After thinking about it a bit, I decided it was a great opportunity to get out and see a very remote part of a beautiful country. And after speaking to Izan I was completely at ease. Izan has been doing PhotoExpeditions for years and he is a wonderful, kind person. We decided to proceed with a PhotoExpedition after the PhotoImage Brazil conference.

Because I was so late agreeing to do the expedition, there was precious little time to promote the workshop. The day I left for Brazil, no one had signed up yet. Izan and I almost canceled the trip, but he kept assuring me that Brazilians are spur-of-the-moment people. He felt certain we would get some students.

In the end we decided to do the trip with or without students; it was a great chance for both of us to stretch our creative legs a bit. Since leaving journalism in 2000 I have mostly photographed women in white dresses each Saturday, and it was time to do something new. Sure enough we ended up with three students, all of whom signed up just a day or two before the start of the expedition! More »