Documenting coral reefs, underwater caves, and mysterious shipwrecks takes more than just a waterproof camera

Whether you are a professional photographer ready to make the ocean your studio, an intrepid scuba diver eager to document your underwater explorations, a scientist on a mission to study marine life behavior, or a surfer/snorkeler/river rafter/mermaid aiming to flood Youtube with epic waterlogged content, the importance of reliable equipment cannot be overstated.

Waterproof housing is a game-changing contraption that will revolutionize your aquatic imaging experience. From coral reefs bursting with vibrant colors to mystery-draped underwater caves and shipwrecks, numerous sights are waiting to be snagged by your lens. Documenting these moments appropriately takes more than just a waterproof camera.

Today, you’ll learn what makes the best underwater housing, unlock the secrets to capturing aquatic adventures, and discover how to bring the beauty of the underwater world to life through your lens. You’ll also find out where to buy underwater camera housing.

Just like all other camera equipment, underwater housing can be out of reach for many pockets. Luckily, Black Friday deals come to the rescue!

What is underwater housing?

First thing first, let’s drop the anchor on the underwater housing definition.

Underwater housing, also known as underwater camera housing, water housing, diver housing, or underwater case, is a special enclosure designed to protect cameras from potential water and pressure damage while submerged.

Imagine you have a high-quality camera that captures stunning photos on land. But what if you want to explore the wonders hiding beneath the waves? That’s where underwater camera housing comes into play!

Underwater housing is a sealed, waterproof casing, like a protective hug for your camera, which allows you to use it in its full functionality beneath the surface without compromising the delicate electronics within.

If you're having a hard time choosing where to start with your underwater photography adventure, Coron Island, the shipwreck diving capital of the Philippines, is highly recommendable!

Do underwater cameras need housing?

Underwater cameras are produced to shoot underwater, so normally they can be used without housing. These cameras however have limitations in quality and technology they use.

The underwater housing comes in handy when you want to bring the high-end camera you are used to on solid ground and be able to exploit all its performances underwater.

Benefits of using underwater housing

There are several benefits to using underwater camera housing:

1. Equipment preservation

The primary benefit of underwater housing is safeguarding expensive camera equipment from the corrosive effects of saltwater, the pressures of the deep, as well as accidental scrapes that could happen.

2. Image quality boost

Water can distort light and colors, leading to dull or blurry underwater images. Underwater housing mitigates these challenges by maintaining optimal optical conditions.

3. Creative versatility

Underwater housing transforms your regular camera into a versatile underwater imaging tool. It allows you to experiment with angles and perspectives, and create unique visual narratives.

4. Professional results

For those in the fields of marine biology, documentary filmmaking, or underwater research, underwater housing is a vital tool for obtaining professional-grade content.

Disadvantages of underwater camera housings

Every flipper has its flops. So even underwater housings have a few disadvantages:

1. Learning curve

It takes some time to learn to operate underwater cameras. If you plan to shoot underwater, first invest time in mastering the art of diving, as safety should be your priority. Once you’ve polished your scuba skills, proceed with learning hacks for underwater housings. One of the advanced lessons is licking the dome for a crystal-clear shot (we kid you not, your tongue has a secret sauce!).

2. Bulkiness

Underwater housing can be bulky, and not the most pragmatic piece of equipment to carry around and operate. Nobody said becoming underwater Spielberg would be easy.

3. Price tag

As they are not mass-produced, and use durable materials and the newest technologies to provide high-quality solutions, underwater housings can get quite expensive. The first deep dive could be – in your pockets.

Choosing the right underwater housing

Now you are wondering, “How do I choose underwater housing?” There are several factors to consider to ensure you make the right choice for your needs.

Firstly, it is crucial to ensure that the underwater housing you choose is compatible with your specific camera model. There should be a secure and precise fit, and the underwater housing should provide easy access to essential controls for seamless operation.

Next, you should consider the depth rating of the underwater housing, an indicator of how deep the housing can safely go underwater, without risking leaks or damage. Just like you wouldn’t want to use a snorkel to explore the Mariana Trench, you don’t want housing that can’t handle the pressure. Match your diving ambitions and shooting depths; some housings are designed for shallow waters, while those with a higher depth rating can withstand the extreme pressures of deep-sea dives.

Another important factor to consider is the material of the underwater housing. Most commonly, high-quality materials such as polycarbonate or aluminum are used. The plastic housings are lightweight and affordable, while the aluminum ones offer superior durability more suitable for professional use.

Of course, besides the housings themselves, you could be spoiled for choice with additional features that improve the underwater shooting experience, like trays, handles, lights, and other accessories.

Lastly, price is an essential element when finalizing the purchase. Underwater housing can range from budget-friendly (if you are a casual underwater explorer) to higher-end (a justifiable investment if you are a professional aiming for top-notch shots).

Types of underwater housing ports

An important accessory for your underwater housing, usually sold separately, is the lens port, your submarine window. There are wet and dry ports, and they will determine what kind of photography you can count on.

Wet ports come in a dome shape, and work great underwater. Additionally, this curved design allows a temporary formation of a thin water layer, without droplets, at the moment you lift the housing out of the water. That enables taking a photograph that shows the scene above the surface simultaneously with the part beneath the water line in a single shot (the so-called split-level photography). This also corrects optical distortions and disproportions caused by the different speeds of light above and under water. Dome port underwater housing works best with a wide-angle lens. The larger the dome, the better the image quality.

A dry port or flat port, on the other hand, is best used for close-ups and macro lens magic. Besides making it possible to see sea life up close, the design of dry ports is meant to eliminate droplets, which makes it a great solution for photographs on the ground, during rain or mist.

Ports can be made of glass (heavier and pricier, but less prone to scratches), and acrylic (everything opposite).

Lights and filters – secret weapons of underwater photography

As you gear up for underwater photography, let’s shed some light on accessories you should consider when planning to purchase underwater housing.

An important element is lighting. Water is denser than air and it absorbs light waves, which means you will be losing colors as you dive deeper and deeper into monochromatic depths. If you don’t want a color palette that’s heavy on the blues and greens, and instead capture all vibrant details, equipping your underwater housing with lights (strobe or video) is essential.

Lens filters are also useful accessories as they can enhance the colors and contrast of your underwater images. Red filters, in particular, help restore the warm tones that are seemingly lost in the watery abyss, resulting in more natural-looking photos.

Check out the blue and green tones Pipeaway's GoPro got when scuba diving in Naxos!

Top underwater housing brands

The underwater housing market has several reputable brands that offer high-quality underwater housing for various camera models. Some popular underwater camera housing manufacturers are:

Nauticam

First up is the Hong Kong sensation that has the underwater photography community buzzing. The innovative Nauticam offers a wide range of options, considered to be the very best underwater housings on the market. Their precision-engineered products are renowned for their durability, functionality, reliability, and ergonomic design.

Ikelite

On the more affordable side of underwater housing brands, there is Ikelite. This woman-led, family-owned manufacturer from Indiana, has been making waves since the 1960s, and built a trusted name in underwater photography. Ikelite’s underwater housings for a wide range of camera models make them a popular choice among beginners and enthusiasts.

GDome

Based in Cape Town, South Africa, the business that started by importing GoPro cameras surfed its way into developing its own pioneering products. GDome created the first affordable and universal waterproof dome housing for smartphones and action cameras but also offers XL versions for mirrorless and DSLR cameras, even those specialized for surfing.

Sea & Sea

The Japanese brand Sea & Sea is all about innovative, sleek, and user-friendly underwater housing solutions. Their considerably smaller products are designed to provide easy access to camera controls and offer excellent depth ratings. Compact, intuitive, and ready to dive deep.

Isotta

Isotta is an Italian family producing their own high-end equipment for underwater video since 1980. Recognizable by its red color, Isotta housing is like a Ferrari for your camera, but the one with a smaller size and price, and disproportionally growing in popularity.

Aquatica

Coming from Montreal, Canada, we have another brand worth mentioning: Aquatica housings are crafted from a single solid aluminum block with advanced technology. Aiming at both recreational divers and seasoned pros with DSLR and mirrorless cameras, this underwater housing brand is a solid choice.

Marelux

Marelux housings are manufactured in China by a company headquartered in California. While newcomers to the scene (they started the business in 2020), they already have a fan club, impressed by high-quality products in the domain of underwater photography.

Original equipment manufacturers

Besides third-party manufacturers, some companies offer underwater housing for their original equipment. You can find pre-owned models on eBay from brands such as Canon, Olympus, and Fuji. For Nikon camera models, use the housings from the top of this list (from Nauticam to Isotta).

Underwater solution for every device

If you’re itching to capture the wonders beneath the waves, we’re about to explore the world of underwater housing products. From mobile phones and pocket cameras to the big guns like DSLRs and mirrorless marvels, there are solutions that will open up the sights of the undersea which would leave even Moses himself utterly impressed.

1. Smartphone underwater housing

The easiest entrance into liquid universes is an underwater housing for a mobile phone. Practically everyone has a cellphone these days, and waterproof cases for Android phones or iPhones transform our precious devices into recorders that make our snorkeling or pool dive memories live longer.

The most convenient solution is GDome Mobile Pro V2 which should work with every smartphone on the market. But if you ever want to expand your skills with action cameras, you won’t have to purchase additional housing. Of course, as this underwater housing is designed for surface use, don’t plan to dive deeper than 5 meters. If you’re scared of dropping it, the good thing is it floats, so you won’t lose your precious phone.

iPhone dive case

Phones change all the time, but if you don’t want to go with a universal solution, you can also opt for a dedicated iPhone dive case. Check out Divevolk Seatouch 4 Max which is compatible with iPhone 12, 13, and 14, including Pro and Pro Max versions.

If you have an older iPhone model, SeaLife Sportdiver underwater housing works with all iPhones from iPhone 8 and up, and even most Android models. This iPhone case is expandable with Sea Dragon lights, so if you want an ideal underwater photography setup, go with the SeaLife Sportdiver Pro 2500 set.

Do waterproof pouches work?

If you don’t plan to dive but primarily want to use your phone while swimming or snorkeling, waterproof pouches can be an affordable solution. But beware of what you choose, as when protecting your phone, price should not be the only factor to consider. Pelican Marine has a maximal IP rating of 68 (protection against dust and water), a detachable lanyard, and air cushions that keep your phone floating in case you drop it. It’s not surprising it gets great ratings.

3. Underwater housing for action cameras

GoPro is one of the most famous underwater action cameras. As long as you’re not going deeper than 10 meters, and have a model between 5 and 11, you don’t need a GoPro underwater case. If you have Hero Original, 2, 3, or 4, your GoPro is not waterproof without housing. With so-called Standard Housing, you could go to depths up to 40 meters, and with GoPro Dive Housing – up to 60 meters. While GoPro does record sound with a waterproof case, it is often of poor quality.

If you want to achieve split-level water shots, also known as over-under shots, GDome again provides suitable GoPro dome ports for Hero 9/10/11/12, as well as underwater housing for the older models Hero8, Hero 5/6/7, Hero 3/3+/4, and GoPro Session.

DJI has Osmo Action 4 or earlier model Osmo Action 3, which are waterproof up to 18 meters, but you can extend this to depths of 60 meters with a diving accessory kit.

Of course, for split-level shots, you can always use the universal GDome Mobile Pro V2, or order specific case models designed for DJI Osmo cameras.

If you have an Insta 360 One X2 or Insta 360 X3, these pocket cameras are waterproof without housing up to 10 meters. With a dive case, you can go down to 50 meters. You can, however, get GDome solutions for Insta 360 cameras here.

4. Underwater housing for DSLR and mirrorless cameras

Whether you have a mirrorless or DSLR camera, there is a one-stop solution for your adventures in water, and it’s called the world’s first universal semi-rigid modular underwater housing – the GDome XL. It works with almost any mirrorless or DSLR camera out of the box.

DSLR undwerwater housing

If you insist on a dedicated DSLR underwater case, there are solutions for your kind too.

For instance, if you’re looking for Canon M50 underwater housing, Sea Frogs offers an underwater camera case for Canon that allows you to dive to 40-meter depths.

If you need underwater housing for Nikon Z6 or Z7, this solution comes with a wide-angle dome port.

Sony fans can make their Sony A7III waterproof with this model, while for Sony MPK-URX100A, head directly to the Sony store to get your underwater housing.

Underwater housing for mirrorless cameras

If you have a mirrorless camera such as Sony A6000 or Sony A6400, Mcoplus has a waterproof case that allows you to go to a 60-meter depth at its maximum.

If you own a Sony A7C, an underwater housing available in the Starbea store can withstand the pressure of 40 meters without leaks.

Fujifilm underwater housing designed for the model X-T3 has a freezeproof shell with an inbuilt leak detection sensor.

4. Underwater housing for compact cameras

If you have a simple point-and-shoot camera, you can still find a suitable underwater package.

For instance, if you own an Olympus TG6, housing is available directly from the Olympus store. You can safely take this Olympus TG6 case to depths of 45 meters. If you want a significantly cheaper option that is waterproof up to 60 meters, purchase your underwater housing at Sea Frogs.

Sony RX100 VII can be protected in the same store and allow explorations at depths of 40 meters.

Underwater housing by Polaroid is the cheapest option, and it should protect any ultra-compact lens camera.

For lovers of all things vintage, the underwater housings of yesteryears will make you nostalgic with these cool finds!

Maintenance magic

How to clean underwater camera housing?

To ensure its longevity and performance, proper maintenance and care of underwater housing is essential.

After each dive, submerge your underwater case in freshwater (rinse tank or any water container) for a good couple of minutes. Work those control buttons underwater to remove any lingering dried salt. Aim at these areas with running water too.

Use a towel or an air gun to thoroughly dry your underwater housing before opening it. You should close the housing as soon as you remove the camera to prevent any dust and moisture from entering.

As for your lenses and ports, blow off the dust, brush them with a soft brush, and then use lens tissue paper or lens cloth with a few drops of lens cleaner to wipe the glass.

Your underwater housing should be inspected before every dive too. The process should include removing the O-ring and wipe-cleaning the groove and the O-ring itself. Any sand, hair, or other underwater souvenirs should be removed. Lubricate the cleaned O-ring with a small amount of silicone grease, to maintain a watertight seal.

To reduce the opportunities for unplanned scratches, you should keep a neoprene cover on your dome port whenever it’s not in water. Store it in a cool and dry place, away from direct sunlight.

How to keep underwater camera housing from fogging?

To prevent the fogging of your underwater housing, always keep a couple of silica gel sachets inside. The desiccant will absorb the moisture.

Keep your underwater housing away from the sun, always in an air-conditioned space, or at least covered by a wet towel. This will minimize the potential for later condensation.

Tips for using underwater housing effectively

Using underwater housing effectively requires a combination of technical skills and an understanding of the underwater environment. Here are some tips to help you capture breathtaking aquatic adventures:

1. Master your buoyancy.

Achieving neutral buoyancy is crucial for capturing clear and steady shots underwater. Practice controlling your buoyancy to minimize movement and vibrations. The smoother you move, the sharper your images.

2. Use natural light to your advantage.

Light behaves differently underwater. Experiment with different angles and depths to capture the most flattering lighting conditions around your subject.

3. Experiment with different camera settings.

Underwater photography often requires adjustments to camera settings to compensate for the loss of color and clarity. Experiment with white balance, exposure, and ISO settings to achieve the desired results.

4. Get up close respectfully.

Taking a good photograph means getting close and personal with the subject without disturbing it. Respect the marine environment and never harm the creatures you encounter.

5. Be patient and observant.

The underwater world is full of unexpected moments and unique interactions. Take your time to observe the marine critters, anticipate their moves, and capture the shot when the time is right.

Being observant is important even on the firm ground. There might be someone recording you with a hidden camera at your vacation rental! Learn how to protect yourself from unwanted paparazzi!

Underwater camera housing – Conclusion

Waterproof camera housing opens up a world of possibilities for capturing the beauty and mystery that lie beneath the water’s surface.

Underwater housing preserves your equipment and unlocks your creative potential

Bringing your camera underwater can document rainbow reefs, mysterious caves, exotic creatures, and even dramatic shipwreck sites resting on the ocean floor since ancient times. It’s like giving your camera a scuba license, upgrading it from a mere paddleboard to a sleek submarine.

Whether you’re an amateur adventurer or a professional content creator, investing in the right underwater housing can significantly enhance your underwater imaging experience. It doesn’t just unlock the creative potential; this essential accessory preserves your valuable equipment.

Like any art, mastering underwater photography takes time. But practice, patience, and passion can combine for impressive results. There’s an entire universe waiting to be explored and immortalized in pixels. This is your chance to peek under the waves.

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Disclosure: This post may contain affiliate links, meaning if you click on them and make a purchase, Pipeaway may make a small commission, at no additional cost to you. Thank you for supporting our work!

The photographs in this article have been sourced through Unsplash and GDome.

In the order of appearance, the authors are as follows: 
Snorkeler (cover and pin image) - Neom, Unsplash
Woman with wet port - GDome
Snorkeler - Neom
Beaded man - Jakob Owens, Unsplash
GDome Xl parts - Gdome
Surfer and boat - Gdome
Blue selfie - Daoud Abismail, Unsplash
Freediver - Neom
Starfish - Ludovica Dri, Unsplash
Sunset - GDome
Split-level woman - GDome
Split-level pig - Jared Watney, Unsplash
Swimming with turtle - Neom

The post Underwater Housing for Your Camera: A Deep Dive Into Aquatic Adventures appeared first on Pipeaway.

It’s a scenario we have seen many times before, from the Javan tiger to the Mauritius dodo. Due to hunting and loss of natural habitat, animal species cannot survive on a planet ruled by humans. The most intelligent animal on Earth is causing the most irrational history of extinction.   

Photographer Matjaž Krivic captured the emotional essence of the bond between the second-to-last northern white rhino and her devoted caretaker

There are only two northern white rhinos left in the world. And both of them are females, Najin and her daughter Fatu. Sadly, the last male, Sudan, died in 2018. Today, the northern white rhino is a functionally extinct species.

Matjaž Krivic traveled to Ol Pejeta Conservancy in Nanyuki, Kenya, where constantly monitored by her guard Zachary Mutai, the 33-year-old Najin resists the faith of her ancestors.

In “The Last Two” photo series, this talented photographer captured the emotional essence of the bond between the devoted caretaker and the second-to-last representative of the oldest land mammal species in the world. The photographs of this companionship serve as a powerful reminder of the urgency to stop humanity’s reckless destruction of the planet’s wildlife.

Pushed to the brink of extinction by poaching, the population of two northern white rhinos could only be saved by a miracle. That includes the BioRescue breeding program that uses the sperm of dead males to artificially inseminate female eggs, and transfer the embryos to surrogate mothers of another rhino sub-species. If successful, the conservation program could bring the northern white rhino back from extinction. And if that happens, you can bet Matjaž Krivic will be there with his camera to capture the magic of a new northern white rhino baby.

Matjaž Krivic on passion and pleasure of photography

For more than two decades, you’ve been receiving numerous awards and recognition for photographing extraordinary places, people, and events. The most recent award comes with the title of the travel photographer of the year, but that work doesn‘t expose any typical content tourists associate with traveling. From the Canary Islands, instead of casual beach life you portray the untamable power of the eruption, and from Kenya, instead of the beauty of the world we’re living in, you’re depicting a beauty of the world that’s dying. There is a silent mindfulness behind your motives. Is that a vision of your photography work?   

I search for moments that portray some beauty and emotion, often filled with silence and grandeur. Whether it is a face, a motion, a mountain, a bridge, or a temple.

I have never looked at photography as an industry, but purely as my passion and pleasure. As a professional, it is vital to me to keep the enthusiasm of an amateur. I photograph genuine, pristine moments, never posed or fixed.

Total respect for any individual or group is of the essence. My work is about capturing true and natural beauty.

As a self-taught photographer, how did you end up falling in love with this art form in the first place?

It was not until the first travel that I discovered my love for photography. I was 16 and wanted to see the world. I have discovered that I am surrounded by so much beauty on my travels that I wanted to capture those moments to show them to my friends and family. Soon I realized that my photos are good and I loved taking them, so photography became my passion.

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The last remaining northern white rhino

Explain a little about how your “The Last Two” project came about!

The story was actually brought to light by my journalist friend Maja Prijatelj Videmšek. As a journalist for the Slovenian newspaper Delo, she started doing research about close-to-extinct species and wrote an article about the northern white rhinos. Soon we decided along with journalist Boštjan Videmšek that this is the story that needs more attention.

Wars, geography, shrinking of the natural habitat, climate change, the unsustainability of the economic model, (post)colonialism, and wild hunting are woven into the fate of this already functionally extinct species. At the same time, Najin’s story offers a hand of salvation.

What do you mean by that?

The northern white rhinos’ destiny is in the hands of their Kenyan caretakers and a team of scientists at the BioRescue international consortium, which is developing and using several different techniques to resurrect the species, including assisted reproduction and stem cell research.

The plan is to insert northern white rhino embryos into southern white rhino surrogate mothers as soon as possible. There is a real chance the first “new” northern white rhino baby will be born in 2024.

The world's last northern white rhinos were raised by the Czech Dvur Kralove Zoo. Institutions often regarded as controversial animal prisons are becoming crucial actors in conserving the threatened species. Basel Zoo in Switzerland, for instance, is involved in more than 40 breeding programs, including the one for the Indian rhinoceros.

Perceiving danger and respect

A typical impression of a rhinoceros is the one of a gigantic animal with thick skin and dangerous horns, yet none of that seemed to protect it. Despite having the largest horns in the rhino world, or actually, because of that very fact, the species of the northern white rhinoceros is functionally extinct, with only two females left. How do you perceive danger when standing so close to this vulnerable giant?

You don’t feel danger. You feel respect. Enormous respect. And you feel humble.

Even with their horns sawn off for their own good, Najin and Fatu still have 24-hour armed protection. Is there a risk that they could still die from human hands?

Currently, there is no fear of that. They’re being protected at all times.

Did you yourself, in all your years of traveling as a photographer, ever end up in a seriously dangerous situation?

Never really. I was arrested once in Rwanda in 1996, as a police officer said I was not allowed to take photos of the market. He requested money so I gave him what he was asking for. But shortly after, other police officers came by, apologized, and gave my money back.

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Rhino whisperer

What is your approach to the authenticity of documentary photography? According to you, can there be a certain degree of staging behind it?

In my opinion, staging has no place in documentary photography.

Can you tell more about this in the context of photographing Najin? How much time did you spend there? How hard was it to achieve these fantastic photograph motives?

I was in Ol Pejeta Conservancy twice, for a week. Each day, I was waking up early in the morning, along with Najin & Fatu and their caretaker Zachary Mutai, to follow them on their daily routine.

Their movement is slow, and so is the day watching them. You can only hear the light breeze, birds, and the sound of them grazing. And Zachary’s whispers, when he’s talking to them.

When you’re spending time in this serene atmosphere, surrounded by these magnificent creatures, it’s not hard to capture their beauty on camera.

What can you tell us about Najin’s relationship with her keeper? Obviously, you portray this connection with a very touching, almost intimate exposure of their togetherness. Do they operate like pets and pet owners?

Their relationship is really beautiful. There’s a certain intimacy between them that is hard to explain. He talks to her and it seems she understands him, she listens to him. I wouldn’t say that it’s like a pet relationship, they’re friends.

A man in Croatia cares for one of the largest animals on European continent - boškarin. Check out the photographs of this gentle giant!

Environmental photographer on the road

Are you an optimist? Do you think that we can indeed have a greener future?

No. We have the technology and know-how, but we’re too greedy.

What was the crucial moment in your career that ignited your interest in themes of environmental protection?

There was no crucial moment, I think. It was more gradual. The more I traveled, the more I witnessed the effects of climate change. I thought the issue needed to be spoken of more.

How does the life of such a travel photographer function in real life? Are there sources that can fund trips that document the ways we damage our home planet?

There are some grants that can help you but have limited capacities. It’s not so easy to get in. Mostly I fund the stories myself and get reimbursed later on by publishing them.

With continuous road trips and world travels, do you reflect on the impact and sustainability of your own traveling? Do you actively work on neutralizing your carbon footprint?

I’m sorry to say that I don’t.

What is the essential equipment you can’t see yourself traveling without?

I use a Canon R5 camera, with lenses RF15-35mm, RF50mm, RF100mm/macro, and RF100-500mm. The essential part of my traveling equipment is also DJI MavicPro 2 drone.

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Climate crisis – balancing pessimism and hope

From the poverty of the gold diggers, the wilderness of urban environments, and similar contradiction-fueled and sometimes saddening concepts, you did arrive at the project that paints more hope in our common future. What do you want to convey with “Plan B”?

That’s a collection of the most promising projects in the fight against the climate crisis.

So, we missed our first shot. Decades of warning signs didn’t cause us to avoid man-made global warming. But all around the globe, there are communities, countries, and companies refusing to resign to the dismal future of an overheated planet.

We have the means to revert climate change, but I’m a pessimistMatjaž Krivic

This is a story of what the transformation to a zero-emission world looks like; the people, the machines, and the landscapes that play a part in the shaping of our common future.

From a Swiss-based company capturing carbon dioxide from thin air, to sea-power developments in the Orkney Islands. From the electric-mobility revolution in Norway to the ITER project in France, where 35 nations are building a miniature Sun on Earth.

This is a monument to those delivering hope and damage control, the ones collecting and creating the knowledge, experience, and technology paving our way out – our plan B.

You did say you lack optimism for a greener future because humans are greedy. On the other hand, you explain “Plan B” through hope. Does that mean that you are not a complete pessimist after all, or do you just want to give your own contribution to the “better side of history”?

There is know-how. We have at our disposal the means to revert the change. But I’m a pessimist, estimating that there will be a lack of political will or that the corporations’ influence will be too powerful to actually implement the changes. Hopefully, I’m wrong though.

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Matjaž Krivic’s home and away

Originating from Slovenia, a tiny European country whose wildlife predators get no more dangerous than human fish, is that the reason you feel the urge to explore what you sometimes call “the distant Earth”?

I can’t really say if me being Slovenian has contributed to my travels (laughter). But since I was young, I was drawn to the outside world and wanted to explore it.

What place do you consider your home, and are there special corners of the world where you love to come back in particular?

Well, my home is my home. But the place I always come back to is Tibet. Being at a high altitude means bad headaches, you’re super cold, and the food is awful, but somehow I feel the best.

What is the secret of Tibet then?

Hard to explain. There is something sacred, and magical there. The harsh environment is accompanied by the warmth, kindness, and humility of its people. Being there, you just become at ease with everything, yourself and the surroundings, it’s like you find yourself in a different state of mind.

What’s next on your roadmap?

I’m continuing with the conservation and environmental stories in South Africa, Namibia, Georgia, and Romania.

The Last Two - the book

Besides being the name of the photo project, "The Last Two" is also the title of the book you can order here.

The authors, Slovenian journalists Boštjan Videmšek and Maja Prijatelj Videmšek, take you on a journey through the history of the northern white rhinos, whose numbers were brought to the brink of extinction due to wars, climate change, poaching, and the black market.

They also introduce the people fighting for the future of the species: the rangers, conservationists, and scientists.

Will science prevail, or is it too late?

From the reviews 

The story of the ravages of humankind's toll on innocent creatures who have fallen prey to poachers, conflict, and climate change, The Last Two is also an inspiring tale of the best of which our species is capable. From the conservationists in Kenya who care for the mother and daughter rhinos, Najin and Fatu, to the scientists in Italy, Germany, and Japan who are racing against time and daunting odds to snatch the rhinos from extinction's terrible grasp. Written with urgency and empathy and illustrated with stirring photos by Matjaž Krivic, The Last Two is at once a chronicle of disaster and hope. -- Kelly Horan, The Boston Globe

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The post Extinction in Focus: Matjaž Krivic’s Pictures of the Last Northern White Rhino appeared first on Pipeaway.

The sharp voices were raining from above while I was trying to regain my composure in a thirteen-meter-deep pit.

Still shaken by a conflict I engaged in, I was holding hands with a 5-year-old in a blue hood, my little human shield against reality. If only this nameless barefoot hobbit could have taken the magic ring out of his pocket and made us invisible!

I wanted to run. Far, far away! Away from an additional confrontation with a group of angry Chinese who wanted to beat the hell out of me. The situation escalated, and the police were about to get involved.

Suddenly, the imposing Church of St. George (Bete Giyorgis), carved out of Ethiopian mountain rock, felt more like a trap than an architectural wonder.

The bright skies above were an easy exit for birds. But for the wingless humans, there was no magical escape route. Without an invisibility cape, all paths out of this underground marvel of Orthodox Christian architecture led towards an ignited Asian bunch.

What seemed to have started as a relaxed Saturday morning of exploring the Lalibela churches, was quickly transforming into a tension-packed nightmare I just wanted to wake up from. Will I really have to go through police questioning now?

My decision to confront the Chinese was an instinctive one. It was certainly not a Christian thing to do. The locals probably followed Jesus better: If someone slaps you on one cheek, turn to them the other also (Luke 6:29).

At that moment, my threshold for tolerating bullies was rather low. When this Chinese group milked every single drop of Ethiopian politeness with extremely aggressive obsessive photography at an important religious site, I lost it. I wasn’t Jesus after all.

Photo shooting bullets

Years of traveling the world made me more aware of the impact our touristic self can have on local communities. The mere experience of a journey taught me to calm down the initial paparazzo impulse when approaching something exotic. We can and indeed should salvage and enjoy the moment without engaging in a photo-shooting mania.

Just because we are armed with photo cameras and not rifles, it doesn’t make them less of a weapon. Just because we are shooting pictures and not bullets, it doesn’t make us less responsible for the wounds we can inflict.

What I witnessed on that initially relaxed Saturday morning in Lalibela was a rape of privacy. Seeing it and not taking a stand would have made me an accomplice.

This group of eight Chinese tourists, heavily armed with a variety of camera bodies and lenses, were invading the Orthodox mass ceremony in a rather obstructive way. Making photo models out of regular churchgoers, and scenography out of medieval architecture, they were slaughtering the space with their Nikon machine guns.

Some of them even wore vests with the logo of the famous camera producer. They might have been here on a “serious” business.

Who knows, they could have even won some photography awards later with their extreme approach that was everything but documentary. They humiliated tradition, heritage, and silent tolerance of Ethiopians under their raping photography stampede.

Special places always seem to attract people with a serious problem of obsessive photography. Santorini sunset and Angkor Wat sunrise are just the most popular examples of touristic experiences ruined by the mania of claiming social media fame.

All Chinese are the same?

Since I was a child (and that was in the times of analog cameras, when one had to change the roll film after 24 or 36 shots!), the camera-clicking Asian tourist was engraved as one of the strongest race-based clichés in my memory.

Always in a group, always following the umbrella-carrying guide, and always making maximal use of a million photo opportunities. That cultural stereotype was later appropriated through movie scenes and the easiest solution of the mime games.

Even if I try to put this archetype aside, the idea of Chinese obsessive photography has constantly been reinforced during my travels. I knew that my entering the conflict in Lalibela was not just a response to the actions of these particular people. It was a reaction to the behavior of many before.

Being someone who utterly rejects reducing people to their nationality, already writing about the issue in this way made me question whether I am just perpetuating a stereotype.

I know Chinese persons who do not fit into this narrative. So clearly, I understand that all Chinese are not the same.

However, led by first-hand experience, I dare to think that there are peculiar, even when subtle, differences between, for instance, Japanese, Korean, and Chinese camera-equipped tourists.

Nothing can be generalized, but there seems to be a difference in the probability of a particular behavior being executed. More often than not, a Chinese tourist will embrace a certain level of pushiness and insensitivity towards the environment he/she tries to eternalize through instant photography.

When I read my writing, it does sound racist. So I did end up wondering: have I really, by defending one race in Lalibela, executed my latent inner racism?

The stereotype in the making

Before I dive deeper into what happened on that Saturday morning at one of the holiest sites in Africa, I feel I should share at least a few of the earlier episodes that surely shaped my newest response too.

1. No zen with karaoke

I have already written about my experience of staying at Hang Nga Guesthouse in Vietnam, also known as Crazy House Dalat. This peculiar hotel of strange architecture in Vietnam’s Central Highlands was more of an amusement park than an accommodation facility.

Hordes of tourists, many of them Chinese, were let into the hotel grounds to explore them, poke their cameras through the room doors, and peek through the windows. It was one of the strangest hotel experiences I’ve ever had.

In the Crazy House review, I didn’t mention that I also visited the Truc Lam Zen Monastery during my stay in Dalat.

On one side, Buddhist monks were trying to meditate while planting trees, and on the other, Chinese tourists laughed out loud, having wild picnics in the forest, practically real parties complete with gigantic sound systems and karaoke machines.

One had to see it to believe it. The word ‘zen’ in the name of the monastery lost all meaning.

2. Volcano party in the conflict zone

Danakil Depression in Ethiopia is the hottest place on Earth where people still live. Close to Eritrea, Erta Ale is an impressive active volcano. The real and political heat, the declared state of emergency, and even the killing of tourists made the climb to the volcano summit possible only during the night, with a military escort.

That didn’t stop young Chinese tourists from bursting into uncontrollable laughter, playing cheerful pop songs on a portable sound system, and generally disobeying the instructions by the soldiers.

They didn’t even follow the guide’s warning to mind where they step on, taking selfies from the unstable edge of the volcano rim. It seemed they didn’t care if tomorrow would come, or if they would join the faith of the German tourist coldly executed a few months earlier.

3. Drone attack on camels

Another group of nouveau riche Chinese tourists raised my eyebrows at Lake Assale, the Ethiopian salt flats where camels transport tons of the precious mineral every day.

Camel caravans are photogenic, and they attract many photographers to make their shots in the vastness of the desert.

A Chinese duo parked in their foldable armchairs and launched a large drone in the air. One would think a drone would be useful to get aerial footage of the caravan. But no, here it seemed to be just a substitute for laziness while following the animals on their route.

For one, flying close to the camels was disturbing them, as clearly they have never seen such a large mosquito in their lifetime. Secondly, this drone was practically in every shot of other photographers, completely erasing the naturality of the scene.

And these passionate aerial photographers were keen on shooting every single camel caravan passing by. I had to personally approach them and request to take into consideration everyone else trying to take photographs before the sunset, and only then did they realize that they were not alone in the world.

Possible explanations for Chinese obsessive photography

There are several possible interpretations for obsessive photography behavior among Chinese tourists.
 	
Insurance
China is a fast-changing country, and photographs enable memories to survive. Aaron from Eduncovered.com (a website that sadly ceased to exist) learned from his grandmother that despite China being an ancient civilization, many families do not have memories of fairly recent history. With the experience of Mao Zedong's Cultural Revolution, marked by the disappearance of documents and memories of the past, the Chinese obsessive photography instinct could be rooted in preventing forgetting history.
 	
Escapism
Mabel Kwong, an Australian with Chinese roots, points out that in a culture of high work ethics, where people spend up to 12 hours a day in the office, even mundane things become precious enough to memorize. "I see many of my Asians friends who work in demanding corporate jobs post photos on Facebook of the absolutely mundane things they see on getaways. A rusty bicycle. A trolley of luggage. A can of Coke", she writes.
 	
Showing off
Michele Galeotto is not the only one pointing out that Chinese obsessive photography could be explained through the reaffirmation of the social status of the middle class. She notices that they will often buy pricy cameras and lenses to execute their photography hobby. "Japanese tourists have usually a more introspective approach to their photos, they are mostly shooting at themselves, and this is why they prefer compact cameras. Their Chinese counterparts live instead photography as a tool for ‘sharing’ their experiences within their circle and community, this is why besides the status symbol of owning the flagship camera of the range, Chinese choose (D)SLR cameras: it adds value to the photos they share", she explains.

The Chinese invasion of Bete Giyorgis

There have been many ‘inconsiderate Chinese photographer’ droplets filling up my patience cup over the years. So when I showed up for sunrise at Bete Giyorgis, one of the most impressive Lalibela churches, and a Chinese group quickly followed, I could almost anticipate their illogical movement patterns.

It was not crowded that Saturday morning, yet the Chinese quickly became unavoidable, entering every single frame of mine, and erasing any hope of authenticity one would hope to capture at such a site.

I gave up on exterior shots from above and followed the trench to get downstairs. The church mass was in progress. I didn’t want to obstruct, so I waited outside.

But the Chinese group quickly showed up at the entrance, and immediately I felt embarrassed to be a foreigner while trying to shush their noise down.

They took off their shoes (seemingly the only courteous act they knew of), and entered the church, ignoring the fact that even local women were standing outside.

After some time, I started to follow and observe their erratic behavior. They tried to climb the chairs in the church for a better shot and directed churchgoers to their liking.

They had no boundaries, getting into people’s faces, and annoying them persistently with bizarre photo demands.

Director’s in da house

The Chinese photographers manipulated an older woman like a puppet, in order for her to stand at a very particular place, in a very particular pose. She had to stop her prayers and stand by the door, staring outside, sunrays hitting her wrinkles perfectly, for that unique National-Geographic-style shot.

The photo monsters had this preconception of what they wanted to have in their memory cards at the end of the day. And they were not open to compromises.

They were instructing their “models” into holding palms together in prayer (I assume, that’s how a Chinese person imagines every Christian). I haven’t seen any Ethiopian engaging in that gesture on their own. When locals wanted me to photograph them, they were crossing their hands over their chests, forming “angel wings”. But authenticity does not sell, I guess.

At one moment, our tourists even stopped the priest from executing the ceremony. Seeing him bring a large pile of Bibles into the church, they didn’t take a shot in time, but it was something they didn’t want to miss. One jumped in front of the priest, blocking his path, and yelled: “Stop!” He just had to have that shot!

When the priest smiled at him, the photographer yelled: “Don’t smile!” The priest had to carry the Bibles with a serious face, he demanded. It was a bizarre director’s cut, and everyone had to ACT as told.

An altar server carrying a processional cross was practically abducted for the photo shoot, even if his body language was clearly stating he needed to join the mass.

But these Chinese photographers didn’t care much for people objecting. I saw them shooting even those churchgoers who were hiding behind their netela (Ethiopian cotton scarf). That’s when I realized: this was a school example of photo rape, no?

If you are interested in the history of objectifying other races for entertainment, read my review of the Basel Zoo! The popular Swiss institution is one of the last European zoos that was exhibiting black people as animals.  

The price of surrender

In general, churchgoers complied with these demanding photographers’ commands, even if one could see they were not always doing it willingly.

If I could be so free to interpret this, I would say it was an act of conciliation. They were just ordinary believers attending the church mass, and we, the foreigners, were paying 50 USD (a fortune in Ethiopian terms) for the privilege to access the site. It’s hard to confront the demands of those who practically finance the church.

The possible interpretation for those who willingly participated could have also been the financial reimbursement for the photo they were hoping to get. It is not unusual for poor Ethiopians to ask for money in exchange for posing for a portrait.

My “colleague” with a hat was directing one older local to walk left and right, a gazillion times, until he made a perfect shot. At the end of a rather exploitative session, the old man said the only English word he knew of: “Money!” The Chinese guy pretended this was the only English word he didn’t understand.

He ignored the old man’s open palm, acting as if he doesn’t hear him, and continued shooting other motifs instead. I intervened and told the photographer that I believe this gentleman expects him to pay him for this modeling service. He still ignored both me and him.

Only when I came very close to him, did he open his wallet and hand over 5 birrs (9 cents) to the Ethiopian. It was the first small victory of mine in watching this exploitation unravel.

Fake one, take twelve: Fighting fire with fire

As I’ve learned in that Indonesian art gallery (check it out, it was Pipeaway’s most viral article), people do tend to act irrationally when confronted with a photo opportunity.

While the Chinese episode in Ethiopia did not have all the elements of the selfie mania I have witnessed on the bridge over the River Kwai in Kanchanaburi, Thailand, it still had elements of vanity too.

These photo aficionados from China were borrowing people’s netelas, entering their sleeping caves in the walls, and pretending to read the usurped Bibles for the photo.

Everything they were documenting that day in Lalibela was just fake. And they thought they could pay 5 Ethiopian bir for it.

Then this 5-year-old boy in a blue hood showed up. Later I would learn his name was Ashenafi Sisay. He politely approached one of the camera-clicking intruders and raised his hand for a greeting. But his handshake intention was ignored.

When you constantly exploit people for photographs, you might start confusing every raised hand for a financial demand you would prefer not to answer. This amiable boy just wanted to be a good Ethiopian, but he was invisible.

A young man, later I would learn his name was Sigey Melkame Bejena, was one of those churchgoers abducted for the Chinese photo needs. From afar, I saw he didn’t feel pleasant in the role, and I tried to use body language to signal to him that he WAS allowed to say ‘no’.

But even when Sigey raised his hand to protect himself from the lens, and demanded not to be photographed anymore, he was ignored.

At that moment, I just couldn’t hold it anymore. The instinct took over my actions. I took my photo camera, approached the Chinese, and started to shoot THEM from up close!

Mad in China

They were infuriated. This simple performative gesture of mine was all it took to stop them from molesting the Ethiopians. And now they turned to me.

“No, no!”, the Chinese with a hat screamed. He raised his hands, protecting himself from my lens, the similar way that Sigey tried to say ‘no’ to him just moments ago. But there was a difference. Sigey was not on the edge of becoming violent.

“Delete! Delete!”, the photographer requested in a huff.

“Why would I delete it?”, I asked innocently. “I will not delete the photos. You are exotic to me!”

“Delete!!!”, he insisted.

“What seems to be the problem?”, I played dumb. “You are photographing them, I am photographing you. We are all just taking photographs!”

My subtle lecture on ethical behavior in photography did not seem to hit fertile ground. Which was logical. If the Chinese could have ever imagined what they were doing was wrong, they wouldn’t have been doing it in the first place. So it seemed as if I was trying to communicate with someone who obviously didn’t speak the same language.

As a matter of fact, the language of my peaceful protest against the photography violence was confronted by – body language. His hands which were previously abusing Ethiopians with a click of a button, now aggressively came after me.

“Do not touch me! I’ll call the police!”, was all I managed to threaten with at that moment. I’m really not a scuffle boy. The unnecessary noise already was making me upset.

All this commotion made Ethiopians gather around. I don’t speak Amharic, and they do not speak English, but I kind of understood that they were taking my side, trying to protect me.

A wreath of Ethiopians in white netelas was surrounding me, almost like Bilbo’s ring of invisibility. But my foe-friends still had a physical fight in their mind.

Winner Blessing in my hand

Sometimes, all it takes is to wait out. The Chinese exited the church through the trench. It seemed it was over, even if it wasn’t. But at Bete Giyorgis, this marvel of architecture, it was just me and the Ethiopians now.

After being forced to participate in a ridiculous photo session for an hour, the netela-covered strangers started approaching me. A simple “Thank you” was all I heard. They were all speaking these two English words.

The gratitude for what I thought was a plain normal human action was incredibly touching. After hearing so many thank yous in a row, my eyes filled with water.

I had my own set of troubles in adapting to Ethiopia (remember that African bus episode?), and it was a strange feeling of connection that overwhelmed me at this moment.

“Don’t cry”, the church guardian told me. “You are the winner!”

The 5-year-old, Ashenafi Sisay (his name translating as Winner Blessing, later I would learn), took my hand and held it strong. He released it only for me to put the shoes back on.

The security officer from above reminded me that there would be aftermath: “Come on up! The police need you!”

My new Ethiopian friends, Sigey and Ashenafi Sisay’s mother Mame Esayte Woldemariam, tried to explain to the security guy what had just happened. He still wanted me to come up to talk to the police.

One modest family in Indonesia also touched me deeply. It all started when Fathin Naufal reached out to me on Couchsurfing. 

The art of disappearance

“Hurry up!”, he said, while I powerlessly pointed towards the 5-year-old’s hand slowly leading me out through the trench. There was not much space there, and this blue-hooded hobbit made sure not to let my hand go. Walking sideways like that seemed to last an eternity.

When finally outside, on the ground level, more and more netela-covered Ethiopians walked towards me to say two words only.

“Thank you!”

“Thank you!”

And then again: “Thank you!”

What was going on? Was I on live TV? There were not so many people witnessing the incident just a few minutes ago, but it seemed the news traveled fast. Quite a few Ethiopians wanted to approach me and make sure that I was okay.

One tour guide took me aside as he had heard that his Chinese tourists wanted to beat me up. He wanted to know what seemed to be the problem.

“I really don’t know”, I continued playing dumb. “There was no problem. We were all taking photographs, and then they suddenly got upset for some reason. But as long as I am concerned, there are no problems at all!”

The white tour van was parked at the entrance, at an unavoidable spot, and the Chinese were waiting for the conflict to resolve.

The 5-year-old and me, firmly holding hands and walking slowly like turtles, we passed by that van and went out of the complex with nobody ever noticing us. No police, no Chinese.

For that incredibly long moment, in the slowest escape ever, we seemed to be under an invisibility cloak.

Found in translation

Ashenafi’s mom invited me for buna, a coffee-making ceremony at her place. I don’t drink coffee, but I said: “Sure, I’d love to.”

It was a modest household in a slum, where no tourists ever walk through. Wildly built over Lalibela hills, this was an invisible home of real Ethiopia.

Poverty lived here, but the word ‘Happy’ printed out on a piece of paper and glued on their family home wall showed that it takes more to kill one’s spirit.

The 11-year-old daughter Tigist (meaning Patience) prepared coffee, offered me injera with shiro, and even washed my netela, bringing it back blindingly white and fragrant, ready for tomorrow’s mass.

Ashenafi was drawing and writing my name in Amharic, then taking photos with my camera and mobile phone.

Another daughter, Hanna (meaning Favored by God), studied textile engineering in Bahir Dar. Mame Esayte called her and proudly told her the church story.

This woman, dressed in a T-shirt with a ‘Lion King – Bilingual school’ imprint, had the face of a tired parent, exhausted by daily struggles, yet trying to provide the best life she could for her children.

“Do you eat bread?”, they asked me. I said yes, stupidly, thinking it was just a matter of curiosity. Soon, Tigist showed up at the door with freshly baked bread she just bought somewhere.

This humble yet invested single-parent family was doing everything they could to make my visit comfortable. It was warm and touching.

Mame Esayte Woldemariam would be calling my phone many times in the following weeks, and we would talk. Did I say that she didn’t speak English, and I knew no word of Amharic? Nevertheless, this woman felt deeply connected, enough to report on her daily life. At least, that’s what I thought she was telling me.

Unexpected miracles

Before I left their house on Saturday, these warm-hearted people gave me another present: a clay miniature of Bete Giyorgis church, and two printed photographs from their family album. That seemed like a precious thing to give away in the social reality they lived in. But they insisted I take their gift. I left them my own visa-style photo I accidentally had in my wallet.

We agreed to meet again the next day. After a mass in Bete Medhane Alem, the largest rock-hewn church in the world, we revisited the House of St. George. There were no more photography-obsessed visitors, and the world seemed different.

The church guardian, the one that proclaimed me a winner the day before, now guided me to see the treasures of the Church of Saint George that regular tourist visitors never get to see. Bete Giyorgis’s interior had hidden paintings of Saint George and the dragon behind the curtains, Lalibela’s chest with a special locking system, crosses on the wall…

I was able to take as many photographs as I liked and had people pose for me with no reciprocation expected.

The moral of the story, I guess, if my Chinese “colleagues” ever happen to read this, is that it doesn’t take much to reach other humans. The human approach can open up doors we never thought opening, and allow us, the photographers, to take images we never knew were there.

Something shifted in both me and the Ethiopians the days after the sad racial conflict at Bete Giyorgis. After being in the country for a month and a half, this was the first time I was walking down the street feeling truly accepted or blended in.

When there would be people stopping me, they would do it to say ‘welcome’, to ask how I was, or to compliment on ‘my wear’. I guess that bright, freshly washed netela did give me a Jesus-style glow.

Nobody was pulling my sleeve and asking for money. The (stereo)typical Ethiopia seemed to disappear.

I was wondering if prejudices and misconceptions are truly only in our heads. Or if the world can miraculously change once we contribute to the miracle.

Why the censoring of photos?
I am quite aware about the fact that internet can backfire. Hidden behind our screens, we can direct our frustrations towards people instead of behaviors (remember how that selfie girl became an easy target?). In order to minimize the danger of perpetual violence, I have decided to partially protect the identity of the main actor of this obsessive photography story. Until someone informs me that he has actually won some photography award for his "documentary work" in Lalibela, I believe his face will be less relevant than his actions. For the sake of improving our conversations with other people and cultures, I would prefer if we could focus on phenomena instead of trampling someone who is already down.

What are your views on Chinese obsessive photography? Do you believe it exists? Please comment below!
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A girl in love with car toys is already breaking stereotypes, but she is also the one taking seemingly insignificant objects and producing something much bigger: images of beauty that people can relate to. Toy cars, toy trucks, and even toy scooters travel with Kim to some grandiose places that become backdrops for photographs that take us on the retro journey – to childhood.  

Do you have a driving license?

Of course, I do.

As somebody who moved from Switzerland to England, how did left-hand/ride-hand side of street driving affect your sense of orientating in London or at home?

Like everything, you got to adapt yourself. I still travel back and forth a lot, and still, always go to the wrong side of the car whenever I’m in the UK, that will never change.

Vintage love for Vespa and Beetle

What is your favorite mode of travel? Don’t say it’s by the car?!

But it is!! I find that driving somewhere is the best way to be as free as you can possibly be. I usually try to have a bit of a mix to be fair; I usually get out of London by plane, arrive at the destination and, if it’s a city, I’ll walk and use public transport, then rent a car and discover what’s outside of it. But if I could choose one type of transportation for the rest of my life, it would probably have to be a Vespa or an old VW beetle!

I’ve always been quite an old soul. Already when I was just a kid, I would only listen to my dad’s musicKim Leuenberger

How did your love for small retro toy cars come about?

I’ve always been quite an old soul. Already when I was just a kid, I would only listen to my dad’s music, The Beatles, Supertramp, and Pink Floyd. I loved the sound, that unique universe, and the color of the music, so the love for retro cars came quite naturally with it too, as my whole family was into cars. The first toy as it were was gifted to me by my parents, and then I just found myself buying and receiving more of them with time going by!

For some people, kids and adults included, the best travel buddies are plush toys. Learn all about weighted stuffed animals!

Small cars as extra luggage

Now when you are traveling across Europe or Asia, what does it look like? With how many cars are you typically traveling?

I usually take about 2-3 cars with me when I’m traveling, different sizes, different models, and colors. I always find that one suits a situation more than the other, and it always depends on the light and the mood of the place that day. Let’s say, I’m very rarely carrying a light bag with me. I had to compromise on the camera and lens weight to allow more of it to be cars.

Do you travel already with the idea of the photographs you would like to create, or do the places inspire you when you arrive?

It’s usually the latter. I don’t like researching a place beforehand. I love getting there and taking it in by myself, without having things to tick off my bucket list (I still do that sometimes). But I found that the places I expected the least to be amazed by were usually the ones that stuck with me the longest. These places that you might just not have gone to, always end up being the best.

Every year, a group of grown-ups take their cars and travel to remote locations they never hoped to visit. These cars could easily play a part in the next "Mad Max" movie, and the exclusive event is called MadWay Rally!

Traveling until retirement

Your cars go to sunny places, snowy places, into the ocean, you name it. They are quite tough little things! Are you ever afraid of them going rusty in these various harsh climate conditions you put them through?

Have you seen the state of them? They’re completely bust and rusty. Everyone assumes that they’re very old models, but really they’re a few years old. I think these situations they go through add to their character and make them look unique and generic. Most of them are falling apart, and broken, and I fix them relentlessly up until the day I can’t take them out anymore, and then they sit on my shelves in my room, happy to have retired from their modeling duties!

What are the most dramatic adventures you brought them through, or plan to?

Well, I lost one of my big VW vans into the sea in Spain a few years ago. A big wave came by and surprised me and took the car away. It was early in the year, in February, but I ran after it and had water to my waist. I never managed to find the car again. The next day I went to the store where I originally bought it, and the salesman had the exact same one there, so I bought it again and got a discount.

Vintage toy cars wake a child

Your photographs obviously play with our perspectives, but also with nostalgia. What are the ideas you are trying to push with this work?

This work is a sort of self-therapy and childhood wonder and play for me. Once I’m out and about taking pictures of my cars, the child in me just starts taking over, and I’m having so much fun.

How did the experience of photographing small cars change the way you think about traveling? Does playing so much with little things makes it easier to – dream big?

It didn’t really. I think I’ve always been a big dreamer. It just makes my bag a little heavier.

What are the destinations you would still love to take your little cars to? 

I’d love to go to Cuba and explore more of South America, but also Australia and New Zealand. The dream would be Antarctica though!

To see more of Kim Leuenberger's vintage toy cars, visit her Instagram account!

The post Kim Leuenberger Photography: Vintage Toy Cars on the Road appeared first on Pipeaway.