Hosted by Mitch Stringer, join Art on his many trips around the world—or to his own back yard. With audio recorded on location, gain insight into the concepts and places integral to Art’s workshops, seminars, and other events.

Legendary nature photographer, Art Wolfe, explores the visual highlights of Namibia in this episode of ‘Where’s Art?’. The series of short videos, feature a montage of Art’s latest images and insider location advise—a great primer for scouting locations, planning and inspiring your next photographic adventure!

Over the course of his 40-year career, photographer Art Wolfe has worked on every continent and in hundreds of locations. Wolfe’s photographs are recognized throughout the world for their mastery of color, composition and perspective. Wolfe’s photographic mission is multi-faceted: art, wildlife advocacy, education, and journalism inform his work.

Wolfe is the host of the award-winning television series Art Wolfe’s Travels to the Edge, an intimate and upbeat series that offers insights on nature, culture, and the realm of digital photography. It now airs worldwide.

Wolfe has released over eighty books, including Earth Is My Witness, The Art of the Photograph, Vanishing Act, Human Canvas, and The Living Wild. His photos have appeared in magazines worldwide, including National Geographic, Smithsonian, Stern, GEO, and Terre Sauvage.

Education is a major component of Wolfe’s work, whether it is about the environment or about photography. He leads photographic tours and gives seminars worldwide.

Along with his numerous book and television awards, Wolfe is the proud recipient of the Nature’s Best Photographer of the Year Award, the North American Nature Photography Association’s Lifetime Achievement Award and the Photographic Society of America’s Progress Medal. He is an Honorary Fellow of the Royal Photographic Society, a Fellow of the International League of Conservation Photographers

Wolfe maintains his online gallery, stock agency, and production company in Seattle, Washington.

Brent Stirton sees his camera and craft as a ‘license to look’—with genuine interest and curiosity for people, he seeks the stories which challenge our view of the world. Winner of Wildlife Photographer of the Year 2017, his coverage of rhino poaching in South Africa impressed judges as both gritty and graceful. In this issue, Brent talks candidly with BE Journal about the unvarnished side of photojournalism, and explains why he is committed to creating confronting images that are beautiful to look at. We also discuss his policy on principled photography, the value of celebrating good people through social media, and the importance of supporting effective conservation through informed advocacy.

We also explore a new UK initiative, Back from the Brink, aimed at sparking interest in local wildlife. The project reminding us that endangered wildlife exists within our own neighborhoods. RSPB Photographer, Simon Roy, loves exploring his garden for images of timid and tiny things and shows us life in places we don’t think to look… under bramble, in a boot, amongst moss and mushrooms live chubby and cheerful bank voles. Inside a chestnut, on a clothes line, atop a garden fork, or bottom’s-up in a yogurt pot you will find doting owls, naughty squirrels, and nesting frogs.

In our biggest issue ever, we present a Showcase of Visual Storytelling—from miniature wonders in the garden, to monstrous discoveries beneath the ice. Exploring the Arctic with Art Wolfe, learning about Sacred Nature with Jonathan and Angela Scott, and meeting Ken Drakes ‘Animal Beings’.

As Art Wolfe says, Explore. Create. Inspire.

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Lume Cube, creator of The World’s Most Versatile Light, brought some of the world’s greatest athletes to Interlaken, Switzerland to step out of their comfort zones and into the night. Watch Jamie O’Brien, Sean “Poopies” McInerney, Austin Keen, Nick Jacobsen, Kalani Chapman, Kaikea Elias and more do some of the most insane adventure sports up in the Swiss Alps, all in the middle of the night with 250 LUME CUBES!

Create by Night @LumeCube,

Without question the most treasured possessions a photographer owns, are the images which reflect their journeys in art and exploration. Long hours in a hide, serendipitous moments, archives of time, fortuitous encounters, creative breakthroughs—photos bring stories to life and are the livelihood of artists and journalists. As such photographers take care to prioritise backups and protect their hard drives…unfortunately, sometimes this is not enough.

Drive Genius 5: A Photographers Secret Weapon

The most overlooked and common catastrophe a photographer encounters is an undetected failure to their backup drive—they were running a backup, or thought they were, but the backup drive failed months ago and they had no idea!

This is where Drive Genius by Prosoft comes in. With Drive Genius installed and Drive Pulse running in the background the software will check your drives whenever they are idle so you will be warned before ever suffering from a data loss. With cleanroom recovery prices a hard drive recovery can be anywhere from $500-$2500 depending on who you ask, and maintaining the health of your drives should prevent you from ever needing the service.

Drive Genius is built and designed to prevent a user from running into a data loss situation, and unfortunately photographers and musicians are some of Prosoft’s most popular clients.

Drive Pulse

The best part of having Drive Genius installed on your system is the built in Drive Pulse utility. Drive Pulse will scan your drives when your computer is in idle mode, this means that only when your computer is not processing information will these scans be run. You will never need to be concerned with the software slowing down any work your are doing on your system. The scans run by Drive Pulse are going to be all the tools included in the software Protect Section: Extended Physical Check, Consistency Check, Repair, Rebuild, Fix Permissions (not included in 10.10+ OS restriction) as well as checking for fragmentation status.

The scans run by Drive Pulse are the best indication to your hard drives health. The drive pulse icon which is visible in the menu bar on the top right hand corner of your screen will be black by default, but will change to yellow with a minor issue, and change to red when there is something that requires immediate attention.

The goal with Drive Pulse is that the user never needs to worry about taking care of there drives, let the software take care of them for you and just keep an eye open for any major issues.


When it comes to photographers there are hundreds to thousands of photos being uploaded, and edited on a daily basis. All this saving and moving of files on your system is going to lead to your drives becoming fragmented, which will cause your system to noticeably slow down. The Drive Genius defragment tool is easy to use and will get your drives back working at peak performance.


With up to thousands of photos being added on a daily basis it becomes hard to keep track of all your files, folders and projects. The new Repartition tool included in Drive Genius is the easiest to use repartition tool on the market allowing you to add, resize and move any of your partitions.

Partitioning your drive is essentially splitting the drive to be recognized as multiple drives, this helps with organization as well as helps isolate corruption to a single partition.


The Clone tool in Drive Genius will do a full system clone, including your Operating System. This makes it ideal when setting up a new computer that you want to be exactly like your old one, or when you need to swap out your internal hard drive for a newer or faster drive. Prosoft is mainly a data recovery company, so they like to put backup tools in as many of their software’s as possible and heavily stress that their customers run regular backups. Hard drives are designed to last about 3-5 years but most people, especially in businesses, will use the same hard drive for 10 years without every backing up or checking their drives.

A Suite of Security

The health of hard drive health is crucial if you are in the photography or video editing business. You can’t re-take every photo. Your data reliability needs to be 100% secure. Drive Genius automates your hard drive protection for you. The software automatically scans your hard drive for physical and logical errors, and repairs them when found. Photographers and video editors can rest assured that their hard drive is cared for when they purchase Drive Genius 5.

Prosoft’s award winning Data Rescue software is also relevant and topical for photographers. Digital photography companies come out with new personal file types often. If you are facing a data loss scenario while using a new file type, where other data recovery softwares can’t recognize the file, Data Rescue can recover your photos. Data Rescue has a feature called File IQ which can learn new file types. Show the software 5-10 examples of the new file type, and Data Rescue can search through your hard drive for the specific file type.

Software details and demo available from:

Have you ever seen a heart beating on a glacier, in pitch-black arctic darkness?

This is exactly what commercial photographer Vaughan Brookfield brought to life, in the latest installment of his series titled The Nameless Project. Canon Australia is excited to launch Vaughan’s stunning series through its ‘Show Us What’s Possible’ platform that supports professional photographers in turning their ideas into reality.

Vaughan takes us on a journey through Tasman Glacier on New Zealand’s South Island where he seeks to raise awareness of man’s impact on the planet, evidenced by the drastically vanishing ice sheet.

The project consisted of a four-day expedition, where Brookfield and light projectionist Tom Lynch projected stunning visuals onto the glacier. The imagery was shot using the Canon EOS-1D X Mark II DSLR camera and EF 24-70mm f/2.8L II USM and EF 70-200mm f/2.8L IS II USM lenses, and was carefully chosen to highlight the dramatic reduction of Tasman Glacier over the past ten years.

To reinforce their message of environmental threat, the duo projected imagery, using the Canon XEED WUX6010 projector, of a heart beating onto the glacier, bringing it to life. The still projections were then captured by Brookfield and documented by filmmaker Heath Patterson using Canon’s EOS C300 Mark II cinema camera.

Vaughan’s images reflect a new creative frontier—integrative art installations which employ conceptual imagery as a tool for conservation. Projecting photos of nature in our cities is a popular form of urban art, but Vaughn’s concept reverses this on a much grander scale—casting a vision of human impact onto a melting glacier to capture a photograph which strongly evokes a connection and responsibility to nature.

The artists vision in his own words…

Why did you call this photographic series ‘The Nameless Project’, especially given the concepts strong environmental message?

We started projecting imagery a few years ago now, and at first we were just doing it to see what we could create with the projectors. People started to love our work and asked us what it was called. We didn’t have a name so we just called our work ‘The Nameless’ and it stuck.

What inspired the concept of integrating projected imagery onto a glacier?

We had been projecting on to natural landscapes for some time and a glacier had been in the back on my mind for a while. For projecting in the natural environment we need a flat vertical surface that’s dramatic to make it all work. I had done location work on the glaciers before and knew it was a perfect place to bring this project to life and send the right message.

What made the Tasman Glacier in New Zealand the perfect location to highlight our human footprint?

I visited the Tasman Glacier in New Zealand when I was a kid and I was astounded at how far back the glacier had receded. I hope in choosing the Tasman Glacier as the location for our adventure we can remind people of the effects humans are having on the environment.

What were the practicalities of bringing your concept to life?

I captured these images by projecting still images and moving animations onto the landscape, then once the light was perfect, I shot using a Canon 1DX Mark II and Canon 24-70 2.8mm and Canon 70-200 2.8mm. At an altitude of 2,200 metres, our campsite was ferociously cold. We were lucky to get a solid good weather window for 24 hours as it was constantly changing. Night time temperatures drop to below -13C, making it difficult to keep the water in our drink bottles from freezing, let alone trying to run projectors that were made to be used indoors. So many things could have gone wrong but we got extremely lucky. I’m pretty sure it’s the first time one of these large projectors would have been taken out onto a glacier at 2,200 meters altitude in -13 degrees C.

Have you pioneered an original form of photography with this method?

No, I don’t think so. People have been using projectors in photography for a while now. A big part of creating photographs is light, so a light projector is a great tool to have. I haven’t seen anyone use them the way we have and we are trying to be original with our work.

Which photo best reflects your vision, and embodies the story you hope to tell?

The best photo from this incredible adventure was capturing the projection of a beating heart. It conveys a strong direct message that the glacier is alive which ties back to exactly what we want to depict.

How do you foresee conceptual photography evolving?

I think in general there are more and more creatives out there doing amazing work. Who knows how conceptual photography will evolve, but I’m sure people will keep pushing the limits and creating more interesting and intriguing work.

The project is part of Canon’s ‘Show Us What’s Possible’, what possibilities does your project reveal?

This was quite a challenging project technically. We need really powerful projectors that are only just becoming available on the market, and cameras capable of operating in low light, to make this work. We have to push all the equipment to its limits in this environment. We are trying to extend the boundaries and create interesting works that are original.

What equipment and techniques did you use to produce the series?

I shot using a Canon 1DX Mark II and Canon 24-70 2.8mm and Canon 70-200 2.8mm. My friend and projectionist Tom used the Canon XEED WUX6010 projector. While we were shooting it took a lot of work to look after our gear; cameras were pushing really high ISO, meaning they were extremely sensitive to the light and projectors were running at ridiculously low temps.

How is Canon and this platform helping innovate conservation and visual-storytelling?

It is great having Canon back us on this project. They gave me complete creative freedom, they are not just in it to promote their brand. Chris and the team there have been very supportive and helpful. They let me tell my story in the way I wanted, and I feel that comes through in the short film we created.

What do you love about Canon (equipment, support, innovation)?

I have been using Canon equipment for a long time now. Their cameras are perfect for a lot of my work. The 1DX is amazing in low light and can handle the harsh conditions I shoot in. It’s a workhorse and performs so well, and you can capture those magic moments in low light without having to worry about quality loss.

Brookfield’s short documentary film on creating his installation can be viewed online on the Canon Stories website, along with a gallery of these breathtaking images.

Australia and New Zealand based professional image makers are urged to be part of ‘Show Us What’s Possible’ by submitting an idea to Chris Macleod, Pro Marketing Manager via For details, please visit:

For more information, visit: