What was your first camera?

As a child I remember having a Brownie Fiesta. Later I had a Graflex Speed Graphic and then the Konica field camera.

What type of equipment do you use most frequently?

Canon EOS Professional Series of cameras for 35mm imagery, which comprises approximately 98% of my work. The Canon EOS-1, 1N, and 1V for film and the Canon EOS-1Ds, Canon EOS-1D Mark II and Canon EOS-1Ds Mark II for digital. The Hasselblad Xpan for panoramic imagery and the Mamiya 645 Pro for medium format. Gitzo carbon fiber tripods.

What kind of film do you use?

Fujichrome Velvia 50 and Fujichrome Provia 100F and 400F slide film.

Where were you born and raised?

I was born and raised in West Seattle, and my parents were photographers/artists. Wedding photography was the only work they did as a team, but there were always cameras and tripods around. Just by being exposed to photography encouraged me and got me interested. I was also enrolled in weekend arts school. Although I resisted initially, they felt that it was necessary for me to learn more about the arts.

When did you start taking pictures?

I always had the freedom to enjoy hiking and exploring the woods in my own backyard. As I began to travel to more remote locations, cameras naturally came along with me.

Where did you study?

I was a student at the University of Washington and graduated with degrees in Fine Art and Education. I knew I wanted to have some sort of outdoor occupation and had always thought Forestry would be the answer, not realizing until then that what forestry involved was chopping logs and cutting down trees. Asking myself 'What is it you really want to do?' I came to the conclusion that where my real talent lay and what made me the happiest was being in the art world. So after satisfying all of the required credits, I marched myself up to the fine arts department and, for the next three years, I took nothing but painting and art education classes.

How did you get started as a professional nature photographer?

I became very involved in mountain climbing after college. I was invited go to Kilimanjaro, and eventually went on an Everest expedition. Photography became the reason for going on the trips, when initially it had started out as merely documenting my trips. So there was a big turnaround at that point.

I am also very self-motivated, creative and hard working. I looked for any opportunity to work with magazines, as well as galleries, to display and sell my images. I received a great break when I was introduced through a friend to one of the main editors at National Geographic. I flew to D.C., presented my portfolio and was given an assignment to do a story on long-eared owls. That was in 1979, I was 28 years old--just a year and a half after college.

How do you prepare for an expedition?

I first try to anticipate the photographs I hope to take, even sketching out some ideas. I then get organized by pulling out the proper equipment and begin my research. The web is a great resource for location information, including: best time of year to travel to a specific destination, weather, terrain, wildlife habitat, accommodations, contact information and travel restrictions. I also acquire the necessary maps and travel books prior to my travel. Any special permits or visas for a particular location are researched beforehand. I also rely on guides or a guide service during my visit. Then I plan all the connections, from the massive jetliner, to the smaller prop plane, to the boat and finally to the trail leading into the place I have been thinking about for the previous months. Friends and associates are also a reliable resource when researching my trips.

How much equipment do you take when you go on a photo expedition?

I always carry two camera bodies, wide-angle and zoom lenses, and my tripod. The number of lenses depends on travel limitations and takes into consideration what I hope to photograph: landscapes, wildlife or people.

What besides camera equipment do you pack?

I pack maps, proper clothing, hat and boots, tent, food and water, itinerary, passport, permission forms, model releases (if needed), film, back-up batteries, computer, contact information, and cash.

How do you plan so many trips a year and still have time to prepare, market and sell your work?

I have a wonderful staff of nine people that work year around. They manage the different divisions of our business and my personal arrangements since I am on location most of the year. I don't know what I would do without them.

What is it like being a wildlife photographer?

Great! I get to travel year round to unique locations, hike, climb, and interact with wildlife one would normally only see in a zoo.

What do you like to do in your spare time?

Traveling and photography are at the top of the list as well as going out to dinner and a movie and working in my garden.

How does it pay? Is it hard to make a living from it?

Working as a wildlife photographer means you work for yourself. The challenge in this competitive field is getting your work seen and then sold. With a variety of avenues, like stock, it is possible to make a living. Learning to market yourself in a business world is extremely helpful.

What, in your opinion, is your favorite photograph?

My favorite photos usually are from my latest travels all over the world. I try new techniques and equipment, as well as new locations, so each successful trip brings new favorite images.

What subjects do you love to photograph the most?

I enjoy being behind the camera, so it is difficult to pick a favorite subject. Owls, wolves, and bears are very charismatic animals and are continuous favorites of mine, but there are so many others that the list would be too long.

Have you ever counted how many photos you have taken as an artist?

I once took a strongly educated guess based on how many rolls I take a year and how many pictures are in a roll, and the total came out to be more than 1 million.

Where has your work been published?

In many magazines and books around the globe, such as Nature's Best, National Geographic Traveler, Smithsonian, Outdoor Photographer, various travel publications, and nature magazines in Europe and Japan. There is a page on my website that shows a sampling of magazine covers that have featured my work.

Do you exhibit your work in galleries? If so where?

Though our Seattle Gallery is currently closed for renovations through April 2006, we exhibit at our main gallery in Seattle, WA. We have also exhibited at the Carnegie Museum of Natural History in Pittsburgh, the Frye Art Museum in Seattle, a Canon Exhibit in Orlando, among many others.

Who were your early influences?

M.C. Escher, the Impressionist painters, and photographers Ernst Haas, and Elliott Porter.

What time of day is best to shoot?

Although daylight film is designed for sunny conditions, midday sun is usually the worst for photography. During midday the sun generally produces flatness of form and washed-out colors. Early and late in the day, the tonal rage is less extreme and film can record more subtle gradations of tone.

What is a typical shooting day like for you? Are you shooting all the time or do you have certain hours you like to work?

If it's a sunny day, or if it's just a cloudless day, we'll shoot early in the morning. When the sun is high and the light is flat, we'll use that part of the day to scout locations for the sunsets. We won't shoot at all from about 9 a.m. until around 4 p.m. All that time is spent relocating and sometimes traveling a great distance.

In the southwest of the United States, for example, we often cover three or four hundred miles just to be at the right location late in the day. Most of the time, though, we'll travel l50 or 100 miles during the day. If it's a cloudy day we shoot all day long. We change our subjects from grand landscapes or vistas to more intimate details, but we keep shooting.

Do you think that new technologies will have an impact on the careers of nature photographers, as well as your own career?

Digital has been the biggest impact on all aspects of photography. In some ways, it eases travel giving us fewer worries about film. But there is much more equipment to carry with digital and the post-production workflow issues are rather enormous and still being refined. The industry, as a whole, is much more competitive because of these changes. There are many fine photographers with images out in the marketplace. Marketing and strong business practices are vital to any business owner.

What was your first book?

I started my first book, which was called Baskets of the Northwest Coast during the early 1980's. Once I started working on books, I became less intrigued by doing magazine assignments. I liked the way books portrayed my work. I have since published more than 60 books, some in five languages.

How do you receive work from a publisher?

I am strictly self-assigned. I always have books waiting for publication. If you are wondering how to approach potential employers, you may wish to network through local camera clubs and business associations. You can go online to any publications you are interested in.There you will find submission guidelines if they are accepting work for review.

How can I prepare now for a future in nature photography?

Join organizations that will offer education, networking and support to your profession throughout your career. The American Society of Media Photographers and the North American Nature Photographers Association are two. You might consider joining a local camera club or mountaineers organization. Interning or assisting with one or more photographers is another way to gain more experience in your chosen career. Learn marketing through college classes. Your local small business association will have information on resources and business practices.

What advice would you give to young photographers who want to start their own business?

Keep shooting and run as much film through your camera as you can to improve your skills. Take marketing and business classes. Finish college. There is a lot to owning your own business and these basic tools will help you if you wish to remain independent. We are more and more reliant on computer skills, not only for running our own businesses, but because the latest photographic technologies demand it.

I think it's important to get an understanding of art. Whether or not you feel you can draw or paint, some formal training can really help your artistic vision. It still comes down to the quality of the image; whether computer generated or traditional, the success of an image depends on whether the composition works, the nuances of light are interesting--all the things that art directors look at.

It's a much bigger world out there and a lot more people are taking pictures, so there is more competition. The most important thing to remember is that just making money from your work does not validate whether you're a good photographer or not. You can't think about these things too much--you just have to dive in and do it. You should go into the business with your eyes wide open.

Who designed your website?

The ArtWolfe.com website was designed in-house and is maintained by our in-house webdesigner/webmaster.