Sue Flood: How Persistence Led to a Career in Wildlife Filmmaking and Photography
In this episode of the SheClicks Women in Photography Podcast, I had the pleasure of speaking with Sue Flood, an award-winning photographer, filmmaker and zoologist whose work has taken her to some of the most extreme environments on the planet. From working on landmark BBC documentaries such as The Blue Planet and Planet Earth alongside Sir David Attenborough to photographing polar bears in the Arctic and emperor penguins in Antarctica, Sue has built a career that combines her deep love of wildlife with her passion for storytelling through imagery.
Listen to another episode of the SheClicks Women in Photography Podcast
Following a Dream: From Zoology to Wildlife Filmmaking
Sue's journey into wildlife photography and filmmaking was anything but straightforward. As a child growing up in North Wales, she was captivated by nature documentaries and dreamed of working with David Attenborough. However, when she shared her ambitions at school, she was told it was an unrealistic career path and advised to consider domestic science instead.
Undeterred, Sue pursued a degree in zoology and began writing letters to the BBC’s Natural History Unit in the hope of securing a role. Her persistence paid off when a letter landed on the desk of esteemed producer Mike Salisbury, who encouraged her to gain practical experience. This led her to work on various conservation projects, including volunteering in Australia’s rainforests, and eventually, after years of perseverance, she secured her first role as a researcher at the BBC.
The Challenges and Rewards of Wildlife Filmmaking
During her time with the BBC, Sue worked as a researcher, assistant producer and ultimately a producer-director, contributing to some of the most celebrated wildlife series ever made. She shared insights into the patience and dedication required to capture extraordinary footage, recalling months spent in the field researching, writing scripts, and tracking elusive animals. One standout memory was spending almost 10 weeks in Tonga filming humpback whales for Planet Earth, an experience that left a lasting impression.
Despite the glamour of filming in remote locations, the reality can be physically and mentally demanding. Sue describes the challenges of camping on Arctic ice for weeks at a time without access to a shower, and the discipline required to work in freezing conditions. However, the rewards far outweigh the hardships, with moments such as swimming alongside whales and standing among thousands of emperor penguins making it all worthwhile.
Conservation, Ethics, and Advice for Aspiring Photographers
As a passionate advocate for conservation, Sue highlights the importance of ethical wildlife photography. She emphasises that the welfare of animals must always come first and shares tips on how to approach wildlife responsibly, from using slow movements and natural camouflage to understanding animal behaviour.
For those looking to break into wildlife photography or filmmaking, Sue’s advice is simple: be persistent, seek opportunities to gain experience and never underestimate the value of networking. She encourages aspiring photographers to enter competitions, as doing so not only provides exposure but can also boost confidence.
A Life of Adventure
From photographing polar bears in the Arctic to being shortlisted in the Wildlife Photographer of the Year People's Choice Award, Sue's career has been defined by adventure, resilience and an unwavering passion for the natural world. Her ability to capture breathtaking images while educating and inspiring others makes her a true trailblazer in wildlife photography.
Connect with Sue
Episode Transcript
Sue Flood
That's definitely a message that I give to young people who are wanting to get to do something similar. Because, you know, I didn't have anyone in my family who did anything similar. I think everybody thought I was a bit mad with this pipe dream, and it was a real case of trial and error and taking voluntary jobs and trying to find my way around how things worked.
Angela Nicholson
Welcome to the SheClicks Women in Photography Podcast. I'm Angela Nicholson, and I'm the founder of SheClicks, which is a community for female photographers. In these podcasts, I talk with women in the photographic industry to hear about their experiences, what drives them and how they got to where they are now. This episode is with Sue flood, an acclaimed photographer, filmmaker and zoologist with a passion for adventure and wildlife. For 11 years, Sue worked with the BBC Natural History unit, working on documentaries such as the blue planet and planet Earth, and collaborated with Sir David Attenborough. Since then, Sue's photography has taken her across the world, packing in adventures such as living with Siberian reindeer herders, swimming with humpback whales, camping amongst emperor penguins and tracking bears in British Columbia. Hi Sue. Thank you so much for joining me today on the SheClicks Women in Photography Podcast.
Speaker 1
Thank you. Lovely to be here, and thanks so much for having me.
Angela Nicholson
Oh, you're very welcome.
Angela Nicholson
So let's start right at the beginning of your photography story. Where does your passion for photography, and in particular, wildlife photography, come from?
Speaker 1
Well, when I was a kid, my father and my grandfather were keen members of the local camera club, and they were always out with their cameras. So, you know, I was used to see them do their photography, although there was a standing family a joke about how awful my father's numerous pictures of girls around the world were. And then, when I was at school, I bought my first camera, sort of second hand in a local shop in north Wales at old Nichol. And it's funny actually, because a friend recently said, Oh, I always remember you always had a camera with you. But my very first photo I took when I was about two years old, and luckily, that was captured for posterity, which was me using my grandfather's old Canon when I was two.
Angela Nicholson
Oh, wow!
Sue Flood
to take a picture of a cockatoo at the local zoo. So I've progressed a bit since then
Angela Nicholson
Yeah, but so it really came early to you then.
Sue Flood
Yeah. And like I say, I was, I was always like many kids, you know, I loved wildlife and loved animals and loved having a pet and but we were fortunate to have a very good zoo, of course, or bad zoos and good zoos, but Chester Zoo was the closest one to me and my parents, my grandparents would often take me there. And so it was, you know, amazing to see these animals at the time, but I never dreamt I'd see them in real life, as it were. So yeah, it was really seeing animals and having that exposure. They projected to photography with my father and my grandfather.
Angela Nicholson
That's really interesting, because I've spoken to a few wildlife photographers, and it's actually been their love of wildlife that's come first, but it seems that yours were pretty much simultaneous.
Speaker 1
Well, I'd say more so the wildlife, more so the animals than the photography, to be fair. But it's funny, I have distinct memories of my grandfather cutting out letters out of a template to put on the carpet to make a title for his slideshow, things like that. So needless to say, things have moved on somewhat in the last few decades.
Angela Nicholson
Yes, gosh, yeah, that's old school. So how did it turn into a career for you.
Speaker 1
Well, at school, I remember being asked when I was about 15, what would you love to do when you leave school? And as a child, growing up in north Wales, both at primary school and at senior school in Chester, you know, I watch wildlife documentaries with my parents. You know, weekends sitting down to watch some David Attenborough documentary, as so many people did and still do. And you know, it was just this incredibly exotic world away from this little village in north Wales to see these incredible sites in the natural world. And when I was asked that question of, what did I want to do, I said I'd love to make wildlife films with David Attenborough. Now that's when I was 15, and it just seemed to me the most. Most incredible job to to if you were interested in wildlife and the natural world and conservation and travelling the world, it just seemed extraordinary. I was told, actually, by my teacher, well, no one gets to do that. How about domestic science?
Angela Nicholson
Oh, yeah, they're the same!
Sue Flood
Exactly, literally, for the world of cookery, that never happened. And then I, you know, I didn't get encouraged in that, although, I must say about oh, six or seven years ago, I was invited back to my old school to go and give a speech in Chester Cathedral on prize giving day, and was able to tell that story. And so, you know, of course, my message that day was, follow your dreams. Don't be put off by people. But yeah, so I started, that's when I sort of said I'd like to do that. And I went to university and studied Zoology at university, and kept writing. I started writing to the BBC to the Natural History unit, saying, I'd love to make wild rifles with David Attenborough. And I was very fortunate that my letter landed on the desk of a really lovely man called Mike Salisbury. And Mike was an absolutely brilliant producer who ended up producing many he was the series producer made many of the Attenborough series, like the bird series and many others. And he was just a brilliant producer and a very nice man, and he wrote a letter saying, sort of course, snail mail saying, Well, we do get lots of letters from people who want to be wildlife filmmakers. However, you know, if you can show us how keen you are by you know, we need to see months, something apart from a zoology degree, and it's like, oh, crikey. So I concentrated on trying to get experience that I thought would get the BBC to take another look. Because, as you can imagine, still, many decades on, lots of people still write to the Natural History unit saying they want to make films with David. So I did my zoology degree, and my really big break was, if you remember it, Operation Raleigh that used to be and then rally International, and that was being launched whilst I was at Durham, and a friend of mine said, why don't we apply for it? I said, Oh, God, you're never going to get on something like that. And she don't know, come on, let's apply, because I'd seen it on TV and wow, didn't that look amazing? So we applied, and I remember this slightly terrifying interview sitting in this room in the local college, being interviewed by these sort of fusty old men in suits and pocket watches and and it was, it seemed very stuffy and old. And I thought, well, I'm never going to get on. And I did manage to get on, and I worked. I volunteered in for the Queensland National Parks and Wildlife Service in Australia for three months, and it absolutely changed my life because it gave me the opportunity to do things that I never dreamt I would get to. I never thought I'd go to Australia. I never thought I'd work in a rain forest or go caving in the outback, or dive on the Barrier Reef, doing dive survey. So all these things, just it was the ability to, I guess, inspire me that look, you know, give it a try. And I so I came back from that determined to at least give it a go. And I thought, well, try and get this dream job with David Attenborough, and at least if you don't, you tried, and I said, I'll give myself a year. And then after a year, I was a bit closer, and then I'll give it another year. Anyway, seven years after writing my first letter to the BBC Natural History unit, I finally got my job. So it was, yeah, it was like winning the lottery,
Angela Nicholson
Fantastic. And what was your job title when you first started?
Sue Flood
I was a researcher, and it was interesting, because I had started applying for different jobs, and certainly the experience on Operation Raleigh was very helpful. And I'd applied for a job on the really wild show and got through to something like the last 20 and then never got the job. But the series producer, very nice man called Paul Appleby had said, Well, if you want to come to the studio. Studio and see how we make programmes. So I off, I potted and have this very exciting day in the studio in Bristol. And in fact, I was talking to Chris Packham about this at the wildlife Photographer of the Year awards recently, because he was very kind and encouraging back then, as he used to live, so I did that. And then the this producer, Michael bright who'd won, the people who interviewed me for that job said, Oh, well, let us know how you get on. And next time you're in Bristol, come and see us. And of course, I wasn't in Bristol. I lived in North Wales, but in an attempt to make my own luck, I caught a bus to Bristol and went and had a coffee with them there in Bristol. And very fortunately for me, someone who was meant to have started as a researcher that very day had not turned up. And Michael said, I don't suppose you've got any free time. We need this research doing. And I said, Yes, I could do that. And I started that afternoon. So it was, it was very fortuitous, yeah.
Angela Nicholson
Oh, that's amazing. It's really lovely, isn't it, that, although, you know, it does come down to numbers, they only needed one person, and you got down to the final 20, ut it wasn't right, the door is shut and bolted. It was left open and you had the courage to push it.
Speaker 1
Yeah, absolutely. And I think that that's definitely a message that I give to young people who are wanting to get to do something similar. Because, you know, I didn't have anyone in my family who did anything similar. I think everybody thought I was a bit mad with this sort of pipe dream. And it was a real case of trial and error and taking voluntary jobs and trying to find my way around how things worked and and when I got I got to the last two for a particular job and didn't get the job, and they said, Well, if you'd have had some TV experience, you'd have got it. But, you know, it was a catch 22 and then I started, as I say, started as a researcher. I got a three day contract, wow. And then I got a three week contract. And then they were looking for a researcher on round life, on one series presented by David Attenborough, of course, and that was my big break. So I was the researcher on that series. And then I heard that there was going to be this series called oceans, was the working title, which became the blue planet, right? And, you know, I'd done a lot of diving and other things, starting at university, and that helped me get, what was the dream job really.
Angela Nicholson
Oh, amazing. So did you work as a researcher the whole time when you were at BBC?
Sue Flood
No, I started as a researcher, then an assistant producer, then a producer, director. So, yeah, so that's, that was the trajectory. So I was, you know, on Blue Planet, I would be researching stories. And nearly everybody in the Natural History unit has come from a background as either zoologist in the field, they've usually got at least a first degree in something like zoology or biology or palaeontology, something like that. And some people, if they haven't got an academic background, they've certainly got amazing experience as field biologists. So you know, it's easy to easier to learn, to make the programmes than to learn about the animals. So people definitely have a real passion for the subject. So yeah, I was, say, researcher and coming up with stories, and then going out into the eventually, going out into the field, and then on something like the blue planet, because it was such a, it was such a big series that got a quite a small team. So you had, you know, myself and my colleague, Penny Allen, she and I spent a year researching stories, writing strips and budgeting things, and then going in the field for about three years. So it was, it was just an incredible thing to be part of it, really was. And of course, working with David Attenborough, so dreams definitely come true.
Angela Nicholson
Yeah, sounds like an absolutely fantastic role. And you worked on several projects and key documentaries. Do you have a particular favourite?
Speaker 1
Blue Planet was, I think it was just such an outstanding series at the time, it was the BBC most expensive ever wildlife series. So it was getting to do some things that I certainly never dreamt I'd do, whether it was swimming with novels or, you know, seeing polar bears or whatever it. Them to be and it was, it was a very steep learning curve, but I was working with world class cameramen, and they were, were all men on that series, unlike the more recent ones, and some of whom were extremely good stills photographers. So it was really good to have exposure to that so I could, you know, obviously, pick up some useful tips. But then also Planet Earth was another favourite, and on that I was I wanted, actually more of a field job so I could be in the field, because that's what I love doing. And then one stand out of there was going to film humpback whales in Tonga for actually, almost 10 weeks. It was, it was a bit of a lump slog that it was just magical to be, you know, in the water with this enormous marine mammal, you know, 15 metres long, and literally next to them, within an arms length of them, and having them, for want of a better word, accept you as you're swimming along with them in their car for a couple of hours. It was, yeah, magical experiences money can't buy really.
Angela Nicholson
Wow. Yeah. I mean, obviously, when we watch them on TV, we see the the absolute highlights. But as you said, you know, there are times when you're you're just out in the field for weeks and weeks, days and days trying to get those shots. Were there ever any moments where you thought, oh, crikey, what am I doing? Or do you or did you always have the end goal in mind and that kept you going?
Speaker 1
Well, there were definitely experiences where it was challenging, uh huh, and that said, Actually, some of the most challenging things were some of the best trips. I'm thinking of one in particular, where myself and the cameraman, Doug, Doug, who I actually, I worked with him, and then we ended up getting married after some time, but he and I were camping with some Inuit friends, and we were on the ice for six weeks. Now, when I'm at home, I like one or two showers a day, and I did not have a shower for six weeks. There was no shower, no loo. We're just in a little tent.
Angela Nicholson
Oh, crikey.
Sue Flood
All of us on the ice, so that that was quite a challenge. But yeah, my God, what an absolute, incredible privilege to get to go and spend time in the Arctic, seeing the amazing wildlife that, again, I've got had the privilege to see for the last few decades, whether it's polar bears or novels or belugas or then King guide us or just and it was certainly it was my time sort of working in the polar regions that that just really captured my Imagination. Hence me that's, I guess, the most beautiful place that I love to go. There's nowhere quite like the Antarctic.
Angela Nicholson
Because I was going to ask you about that, because I know you do go to warmer climes occasionally to photograph things, but you do seem particularly drawn to the cold areas. And you mean, I like skiing, I like surfing, but I have lots and lots of layers on and a winter wetsuit, even when it's summer and things like that. You know, I'm not a fan of the cold, so I just wondered, what is it that really attracts you? Is it just the beauty?
Sue Flood
I think the, certainly the beauty, the sheer scale, when you're there in a little zodiac, and you're cruising around icebergs that are the size of skyscrapers, or you're you know, I've been fortunate to travel to the Ross Sea a number of times, so to step inside Captain Scott's hut or Shackleton's hut, and to see these extraordinary places, these historic huts, that it feels as though someone's just walked out of them, to have some amazing experiences like swimming with leopard seals or standing on the ice in the Arctic and Watching polar bears. So certainly, you know the the fact that these wilderness areas are both remote and stark and also challenging. I mean, you know, that's north Wales can get cold, but, you know, not, not quite on the quite on the same scale.
Angela Nicholson
I could feel myself getting goosebumps when you were talking, and it's not thinking about the cold. It was thinking about the cold, it was thinking about the things you were saying, like, you know, Captain Scott's hut, and seeing some of those amazing animals and icebergs the size of skyscrapers. Like, it does sound awe-inspiring.
Sue Flood
Yeah, it really is. And, you know, I've had, oh gosh, it. Must be around 80 trips now to the Antarctic. And if you were going to say to me, you're allowed one more trip before you stop travelling, I would still pick the Antarctic. It's crazy, isn't it, and of course, you're trying always to think of what can you do about your carbon footprint. So I'm trying to do back to back trips. I'm trying to fly less. I'm doing more in the UK and more in Scotland, and going taking public transport and things like that. But trying to get to the other side of the world, to the Ross seas, obviously requires being on a boat, being on a ship, I should say. And so I've been fortunate to be asked to be what's called the photo ambassador for the French company, ponn and I go on board and teach people photography and help them get the best out of the trip. And get to travel to the Arctic, to places like the North Pole, literally to 90 degrees north, down to the Ross Sea and other unbelievable locations. So it's definitely the dream job if you like wildlife, like photography, like the polar regions, so.
Angela Nicholson
And you've got a big coat.
Sue Flood
Yes, and you've got a big coat, although I have actually swim at the North Pole in my swimsuit.
Angela Nicholson
Oh my word. Good grief. I can't even begin to imagine how cold that must have been.
Speaker 1
Well water, of course, it freezes at, let's see, minus 1.8 so at least we know sometimes it's warmer in the water than it is on the surface, true. So it's certainly very invigorating.
Angela Nicholson
Okay, so if you were making that final trip, so we know where you'd go, but is there a particular species that you would want to photograph one last time, or maybe for the first time?
Speaker 1
That's an easy one. There is nothing to beat an emperor penguin. So in the Antarctic it would be emperor penguins. They are the most stunning bird and just so well adapted to the extreme life that they have. And I'm sure we've all seen pictures of them where they're huddled together through the winter, I've been very fortunate to twice be invited to work at the most southerly emperor penguin colony in the world. And I'll be going back again in 2026 where you can fly into the Antarctic and just a small group of us get to go and camp near the emperor penguin colony and go and see those birds. It is just magical. And to be in the colony of 1000s of birds and just a few of you there is obviously, again, a huge privilege. And if it was the Arctic, then I guess my last trip, I'd want to do something with polar bears, which is just incredible mammals, and I've been very lucky to make a couple of films about polar bears with the amazing biologist Professor Ian Stirling, who's sadly passed away last year. But you know, and again, working with these extraordinary scientists and people like David Attenboroughs, again, like winning the lottery.
Angela Nicholson
Is there a species that you haven't photographed yet that is on your list that you'd like to photograph?
Speaker 1
Yes. Now, actually, in March, I am going to photograph tigers for the first time, and I'm very much looking forward to that. That was actually meant to happen in 2020 and I was in Japan, about to fly to India, when I got a phone call late at night. So you're not going to be able to go, and we all, of course, know why. So I had to return to the UK rather than flying to India, so I've been waiting all since then to go so, so that's certainly up there. But I, and I, I would love to photograph Siberian tigers, and that's a very tricky call, but, yeah, I I do like working in the cold, but I have been, I'm for the last, gosh, I think it'll be the 14th year I go to Zambia every year in the South Luangwa National Park, which is one of the world's great wildlife hotspots. So I do, I do love going there, and fantastic for leopards and other big cats, but I would love to see a pangolin, a pangolin or an Aardvark, both of which are that's a big ask, but one of these days,
Angela Nicholson
Yeah, I can imagine the sort of creature that you see them, and then you do a double take, because they are so unusual looking, aren't they?
Speaker 1
Yeah, absolutely, my it's funny. My husband, Chris, came out to join me on a safari a few years ago, and he'd never been on Safari, and on his first day got unbelievable. He got to see an Aardvark. Oh, and he just had the most extraordinary kind of, what I call beginners luck, of seeing wild dog, wild dogs hunting, and saw an Aardvark and saw a lion kill and all sorts of things. And I said, Yeah, it's not normally like this.
Angela Nicholson
Yeah, don't get used to it.
Sue Flood
Exactly.
Angela Nicholson
Now you've got an image shortlisted in the Wildlife Photographer of the Year People's Choice Award, and there's only 25 images shortlisted from almost 60,000 so that's an incredible achievement just by itself. You must be pretty excited and proud.
Speaker 1
Thank you. I am excited and proud, not to mention astonished I am. Yeah, I mean, obviously, well, my Photographer of the Year is such a prestigious competition, and I've been entering it for a long time, and it's really lovely to have made the last 25 who knows if I'll get any further? Maybe not, maybe, but just to got in the last 25 out of yeah, as you say, 60,000 entries is really lovely. I'm the only British woman, certainly the only Welsh woman. And it's really, yeah, it's really lovely to have made it that far. So, yeah, with a picture I took in the Antarctic. So we're Weddell seal, so I'm really pleased about that.
Angela Nicholson
Well, it's a lovely image, and I have shared it in Sheclicks, so I'm hoping that lots of people have voted for you, because it would be absolutely amazing to see you win it.
Sue Flood
Oh, thank you.
Angela Nicholson
You mentioned that there's not many women shortlisted. Do you have any thoughts on why that might be, or maybe women not entering so many competitions?
Sue Flood
I think that, you know, I think traditionally, it has tended to be quite a male dominated hobby. But though, of course, that's changing thanks to great organisations like girls who click and yourself with she clicks and people encouraging women in and girls in photography, I think that you know perhaps more traditional roles in the past, where perhaps the woman was staying at home with kids, and the father might have been going out to work. I mean, again, that's very traditional, isn't it? And things have changed now happily. But when I said I wanted to be a wildlife photographer, it wasn't met with great enthusiasm at home and it, you know, it is a hard job. And I remember someone saying to me, another woman saying, unless you want to do this more than anything else, just don't even think about it. And you know, I'm I don't have kids, so that's a consideration I haven't had. But then I know, really outstanding female photographers who were also filmmakers, like the amazing Vicky Stone, who sadly passed away quite recently, and she was a brilliant filmmaker and brilliant photographer working with her husband, Mark Deelel. And they had two sons who they had a very unusual setup and managed to make that work. But, course, that's the exception to the rule, but I'd say, generally speaking, it's probably a career that's quite difficult to run if you've also got a family at home, but not impossible. But yeah, I have hardly have enough time to look after myself. God knows how I'd managed to show if I got kid. But yeah, it can certainly be done and but I think it's not easy.
Angela Nicholson
Okay, so what advice would you give to anyone thinking of entering an image into a wildlife photography competition?
Sue Flood
Well, entering an image into a wildlife photography competition definitely do it. For starters, I remember years ago, fantastic photographer called Xena Holloway, and I'd taken a photograph of a great white shark, and she saw this photograph and said, You should enter it for a contest. And my first thought was, oh, well, there's no point. I'm not going to win anything in that incredibly positive way I have. And I thought, well, you know, somebody's got to win it. You know, you got to be in it to win it and all that. And so I did enter a competition. And then. And behold, I placed somewhere in the competition, which then encouraged me to have a go, bit like, you know, when I was on Operation rally, wanting to work with Dave lattenburg. And then I entered another competition, and actually won the competition overall. And as I say that, I'm still amazed with a photograph of this hunt, black whale, mother and calf, and it was the international conservation photography awards that art wolf had started up. So it was, it was really nice to get that encouragement. And of course, it gets your work out there. So definitely enter. But also just trying to look for something different. And now I guess I've got the experience that, generally speaking, you know, when I take a photo, you press the button, and you know that there's something about what you've just seen. And I can think of a shot in particular that I've actually entered for wildlife photographer of the year this coming year. They've just entries closed recently, and I was in the Arctic, and I was looking at something, and I thought, Whoa, that's amazing. And it it just was one of those moments when you thought there's something about this that is unusual. So it's a case of Yeah, trying to find something that's not run of the mill and that's special and artistic, however, so much easier said than done. Yeah. And also another good bit of advice, don't leave things to the last minute. And they always say these, don't they on the on the websites. And I'm fortunate to have something else in the finals of Travel Photographer of the Year this year, it's the first year when I've actually not left things to the last minute. So yes, do as I say, not as I do.
Angela Nicholson
Yes. Finally, taking the advice there, Sue.
Sue Flood
Exactly, exactly.
Angela Nicholson
But I think there is something to be said for planning when you enter. I spoke to someone a while ago, and they said that they have the competitions in mind because, like, you know, the wildlife photography year, it comes up every year, so you know it's coming. So stop preparing your images as you get them, or as you, you know, you come across something that could be one, yeah, process it. Get it. Ready. Prepare it. You might not enter it that week, but you can, you know, wait until it's time to enter it.
Speaker 1
Yeah, I think that's definitely good advice. And I did actually start putting aside things as I took them this last 12 months into a little folder, and then it's quite nice, because you can go back to them and think, you know, why on earth, as I pick that it's rubbish, or, Oh, actually, I quite like that. And then I work with a friend of mine often, and he's a fantastic photographer, and I will ask his opinion about things as he will ask mine. And it's funny, because we're both the same, where I'll pick something, and then he'll and actually, the photo in wildlife photography year, I wasn't going to bother entering, and he said, You should enter that. And so, and then, you know, I'll pick something, maybe that he's overlooked. So it's quite nice having that second opinion.
Angela Nicholson
Yeah, yeah. I hope you bought him a drink.
Sue Flood
I have indeed.
Angela Nicholson
Good. Okay, well, I think it's a good time to go to Six from SheClicks. I've got 10 questions from SheClickers, and I would like you to answer six please by picking numbers from one to 10. So could I have your first number, please?
Sue Flood
Seven, please.
Angela Nicholson
Number seven, what have you found the most difficult species to photograph in the way that you want, and why? And that question is from. Liz.
Sue Flood
Oh, well, thank you for the question, Liz, great question. I would say probably polar bears. Above on the so on the surface, cola bears, because the conditions can be really quite challenging. It's not just a case of, you know, drive along in your car, get out, go and photograph something, and then back home to a nice, comfy bed and a hot meal. So the conditions can be quite challenging if you're camping on the ice and so on. And, of course, the huge, huge mammals and potentially dangerous. And of course, like every other animal, has to be treated with respect. But I think that it's difficult in terms of the conditions and trying to get the behaviour. And when you're spending time camping on the sea ice here, that is definitely a challenge, but incredibly rewarding when it happens and then otherwise underwater. You know, humpback whales were definitely a challenge because, you know, it's one thing when you're on this. Surface. I remember having this conversation with a couple of cameramen at BBC, because you know, if you're on the surface and you're, say, in a safari vehicle, and you've got your long lens that you can balance on your tripod, mount or whatever, then you can be a long distance away from something and get decent behavioural shots. But if you're under water, you can't use that long lens. You're having to use a wide angle to be close to your subject. And so trying to photograph a, you know, 45 foot long, 15 metre long whale, and yet be close enough to it that you're going to be able to get a decent shot and be safe and so on. Is it's got its own challenges. And I did indeed end up. I was this shoot for planet Earth. I ended up, unfortunately, it certainly wasn't the whale's fault getting bumped into by this whale, and did end up having to go to hospital with a suspected broken ankle. But as I say, that was just a calf that was sort of flopping around in the water. But, you know, a wanton calf was, you know, you don't really want that bumping into you, but that was absolutely my fault, not the calf swap. But yeah, that was, that was a tricky one as well. But again, what a thrill looking me.
Angela Nicholson
Well, imagine getting out of the water with an injured ankle is a whole different kettle of fish from, you know, hobbling along back to the Jeep to get back.
Speaker 1
Yes, it certainly was. And it's funny because I when I went to the hospital in Tonga on the bus, long story short, and they didn't even have an x ray machine that worked. And then I thought, well, and the doctor would drive, resting up, of course. And then I thought, well, I'll go and get it seen too properly when I get back to Bristol to the BBC, which I did, and I went into the doctors, and she said, So how have you hurt your ankle? And I was bumped into my humpback whale, and just remember her starting to laugh.
Angela Nicholson
Of course, you were, yes, I can imagine, she's probably she's probably telling that story, and this woman came in that's amazing. Okay, could I have your second number, please?
Sue Flood
Three.
Angela Nicholson
As a wildlife photographer, what are the most important things to consider to capture a great image? How do you get close without disturbing the wildlife, for example, and how do you get attractive backgrounds? That question is from Carmen, and so that's probably three questions in one.
Angela Nicholson
Yeah, thanks Carmen. Well, the most important thing is, beyond everything else, welfare of the animal. You don't want to do things that are going to disturb the animal to make it change its behaviour or fly away, or run away, or swim away, whatever it is. So that's sort of number one consideration patience, as my mum used to tell me, how come you're so patient with animals and not with people? I can, I can spend ages just sitting waiting for something, and you know, it's, it's, it's a challenge, isn't it? It's sort of field craft. So it's, you know, knowing something about the thing that you're filming, and like everything else, the more you practice, and the more, the more you use those skills, the better you get, and learning about the behaviour. And actually, you know, no amount of observation is ever going to go to waste. Whether you're sitting watching birds in your garden, I've got a bird feeder out here. It's fantastic. I seem to be spending a small fortune on the moment, at the moment, feeding the birds. But you know, if you're photographing something like leopards in the south Wang war valley that in the National Park, then you know, if you're watching them stalking, and you can just sort of get into the mindset of that animal and hopefully predict what they're going to do. Now, you can't do that the first time you go and do it, but after many, many trips doing that, you can get to know the place, and, of course, working with the brilliant local guides who have become good friends over the last 14 years, and learning from them and definitely sort of practising for your skills and thinking about background so and just little things that, well, I say they're little, but just slow movements. You know, don't go with waving your long lens around. You just need to move slowly and quietly and keep your voice down or what. Wearing the right clothing. You know, if you're on safari, don't go wearing day glow me on colours and again, you know, slow, careful movements. And I know this is a funny thing, but it's remarkable the number of times when I'm teaching photography. And people will say that they just bought a new camera for a trip and and I can, of course, understand that, you know, excited about going on the trip, but learn how to use that camera before you go. I've got my camera set up so I've got, you know, my shutter button, my aperture, I can change everything without taking my eye from the viewfinder. But yeah, certainly hope that answers the question.
Angela Nicholson
Yeah, that's great. Thank you very much. Okay, so your third number, please?
Sue Flood
Ahh five.
Angela Nicholson
What advice would you give to anyone wanting to be involved in photography for television? So perhaps being a camera person, that question is from Janina.
Speaker 1
There's a number of routes that are open to you. And there's something called Wild Screen, which is very useful. That's a big wildlife film festival that takes place in Bristol every couple of years. There's an equivalent in the States, Jackson Hole wildlife Film Festival. There's something called the International Association of wildlife filmmakers, so trying to get out and, you know, learn from watching as well. I mean, there's some great behind the scenes videos. I mean, I love these. I love the making of some programmes. And so many people seem to like those. You know, how did we make these things so and also getting getting experience and often, you know, if you can find some kind hearted camera person who will maybe give you a chance to go and help out, volunteer, shadow them, then that can be invaluable. And I was fortunate to be encouraged fantastic cameraman, Hugh Miles, who made some brilliant documentaries, and he was very kind, letting me go along, tag along with him in the UK, and go filming in Scotland and so on. So, yeah, just trying to, and I have to say, Now, I think some things are easier, although there's, of course, a lot of competition, and things are a lot cheaper to be able to, you know, make your own short film. I mean, go, you can even do something on an iPhone for for that matter, but being a and the resources that are available on YouTube, so things that you don't have to pay for, and, of course, being able to film on on an SLR or a mirrorless whatever, and to be able to make films without having to invest in something like an arafx or a Bolex that used to be the case many years ago. So certainly, those costs have come down. So that is what I would advise. And also, you know, fantastic courses available where you can whether it's a degree course or, you know, a shorter term, sort of getting your foot in the door type course, and anything you can do.
Angela Nicholson
Okay, would you like to pick your fourth number, please?
Sue Flood
Eight.
Angela Nicholson
Number eight. What are your views on the environmental impact of photography tourism, on the Arctic. Is it still sustainable? And will it stay sustainable? That's also from Janina
Speaker 1
Thanks Janina. Is it sustainable? I think that organisations like AECO, where they're looking at, for example, Arctic operators going to photograph wildlife in the Arctic and places like Svalbard and so on, and Canadian Arctic, and you have to adhere to guidelines not approaching within a certain distance and so on. So those regulations are there to protect the wildlife. I'm a firm believer that, and I'm paraphrasing David Attenborough here, but you know, you have to show people how beautiful something is for them to want to protect it. And those images, that's what grabs people's attention. If you're flicking through a magazine or a newspaper, you know, you'll see that image. You're on the TV, some you'll see an image and you're drawn to that rather than the written word. Not that the content of the written word isn't important, but, yeah, absolutely. I you know, we have to make conscious decisions about, I think, limiting tourism to the Arctic and. Arctic and and to other places as well. And I think that the pressure that's on the natural world, and it's only going to get worse, I think, is something that wildlife photographers well, that anybody has to consider, how do we get there? Are we can we travel in a more sustainable way? Can we we're going to be using local guides. Can we do back to back trips? Is your is the money that you're spending on your holiday, is the money going into local conservation projects. There are certain operators I know who will work and invest some of the money that they are making from your holiday back into conservation projects on the ground. So I think making an intelligent choice, an informed choice about which operator you're using, and making sure they're operating in a in a responsible way is something that it is. I'd highly recommend. But at the end of the day, you know, we, we all have to do that, whether we're someone who's going on a holiday, somebody who's doing this profession, or maybe a bit of both, just thinking as well about photography in the polar regions, maybe particularly the Arctic, it's taking images that might be able to tell a story and raise awareness of a particular situation. For example, it could be the percentage of what's called multi year sea ice, which is massively decreased since I've been working in the Arctic. So of course, polar bears need sea ice as a hunting platform to hunt for ring seal, their favourite prey and and the most numerous seal in the Arctic. Now there was a wonderful photo that won People's Choice last year of a polar bear on a small piece of ice sleeping. And fantastic photo. And it's sort of images that tell a story, and that can, you know, bring attention to what is happening to the planet, to a particular species. And some of those images are very hard to look at, but they're important. And you know, I think that that's the upside of being able to go and photograph in places and you don't forget these images.
Angela Nicholson
No, well, they're not probably the images that you want to put on your wall and look at while you're eating your breakfast, but they are potentially competition winners because of the the message that's behind them. And therefore they get spread around, or they they may feature in all sorts of magazines, which has a lot of impact as well.
Speaker 1
Oh, absolutely, yeah, good point.
Angela Nicholson
Okay, thank you for that. Could I have your penultimate number please?
Sue Flood
Uh, nine.
Angela Nicholson
Number nine. What is the hardest part of photographing in sub-zero conditions, and how do you overcome it? That's from Caroline.
Sue Flood
I far prefer it when it's a bit colder. What I don't like is when it's slushy at around about zero. That's what I really don't like. I find it much easier when it's about minus 10 or a bit colder, because it's nice and crisp. I have to say, I'm very fortunate to have good circulation, and often, in fact, it's quite funny. I use get so tripods, and I'd made this short video with the help of my colleague Ian Dawson, using my get so in the Antarctic. So I was standing there using it at a place called F oy Island, photographing a daily penguin. And someone had written in and said, this woman obviously isn't in the Antarctic. She's just filmed this afterwards, because look, look at the way she's dressed. And yeah, I mean, I've got a light gore tex on, which was over a thick sweater. And I wasn't actually wearing any gloves at the start of it. And it has to be pretty cold for me to start wearing gloves, and I, yeah, I wasn't wearing gloves. So this Doubting Thomas as it was a Thomas thought that I wasn't in the Antarctic. I was faking it. But this was not fake news, I really was there. So yeah, the cold can be a challenge.
Angela Nicholson
Okay, so your final number then, please?
Sue Flood
Oh, one, please.
Angela Nicholson
What advice do you have for protecting camera equipment in harsh conditions, and are there any mistakes to avoid?
Sue Flood
Good question, I've just been trying to get myself very organised for a trip I've got to the Canadian Arctic. And when I'm on a zodiac, I would always have my kit in a dry bag. And so I will wrap my cameras, rather than having them in a hard case, I'd have them in, wrapped in what I call my camera nappies. So just like neoprene covers, soft Lea cream covers that I can roll them up in and then put them into a dry bag, and then that way, if you get some sort of splash, then you're gonna, you're gonna have your kidney kits safe if it's raining, unless it was something like the Loch Ness Monster, I would not have, I would not have my camera out in the rain. I travel with three bodies, usually, so that if there was some sort of disaster, I've got a backup or two. And actually, the photograph that's in the final of Travel Photographer of the Year this year, I took in heavy snow, and my camera did get a bit damp, so it's just I did have a cover on it, but the snow, it was really coming down thick and fast. So when I got my camera back on board, what I would always do is I would leave the bag. My dry bag sat closed up. I would let it acclimatise in a warmer cabin for a couple of hours before I opened it, so I'm not getting a problem of condensation. And same thing with you taking a camera out of a warm environment into the cold. So I will you, I'll pack my gear up. I'll have it in the dry bag. I'll put it out on the deck beforehand and let it cool down so that there isn't that problem with condensation and whatever you do. Oh dear. Uh, I remember someone coming to me with their camera, saying, I took the lens off and I was drying it with a hair dryer. No. Oh, dear. So yes, definitely, that's that's not, not A, not A top tip. So just yeah, look after your gear. And yeah, always good to travel with maybe a Ziploc bag and some packets of silica gel, just in case, if you need to remove a bit of moisture.
Sue Flood
Yeah, good advice. Thank you. Well, Sue thank you so much for answering all those questions. It's been absolutely fascinating chatting with you.
Sue Flood
Oh, well, thank you so much for having me. You know, I'm very, very fortunate to do a job I love and which I never take for granted. I always say I have the best job in the world, and it's really lovely when people enjoy your images, and it's lovely to have the opportunity to speak to people. So thank you so much for having me, and thank you everyone for your questions, it's really nice.
Angela Nicholson
You're very welcome. Bye, bye, bye. Thanks for listening to this episode of the SheClicks Women in Photography Podcast. I hope you enjoyed it. Special thanks to everybody who sent in a question. You'll find links to Sue's website and social media channels in the show notes. I'll be back with another episode soon, so please subscribe to the show on your favourite podcast platform and tell all your friends and followers about it. You'll also find SheClicks on Facebook, X, Instagram and YouTube, if you search for SheClicks net, so until next time, enjoy your photography.
