Conservation photography occupies a unique space, blending the art of visual storytelling with the urgency of environmental advocacy. Cristina Mittermeier, a pioneering figure in this field, has spent decades capturing the fragile beauty of our planet while amplifying the voices of its stewards—particularly those often overlooked in mainstream narratives. Her lens does more than document; it inspires action and offers hope in an era overshadowed by despair.

Raised in the semi-rural outskirts of Mexico, Mittermeier’s early love for nature blossomed in an environment where exploration was encouraged, and books about ocean explorers and pirate adventures fueled her imagination. This passion led her to study marine biology, a field she initially pursued with the dream of studying whales but soon realized came with the stark realities of environmental degradation. Witnessing the devastating impacts of industrial fishing firsthand catalyzed a shift in her trajectory. “What I wanted to do was scream at the top of my lungs for the whole world to understand how important and fragile the ocean is,” she explained in a recent exchange with Mongabay. Science, while essential, felt insufficient to galvanize the broader public. Photography, discovered serendipitously, became her chosen medium—a universal language that could bridge the gap between data and emotion.

Her career has taken her from polar regions to equatorial rainforests, capturing the interconnectedness of humanity and biodiversity. Mittermeier’s images are as much about storytelling as they are about advocacy, offering viewers a glimpse into the lives of Indigenous communities, the resilience of ecosystems, and the fragility of species under threat. She has coined her work a form of “visual medicine,” balancing the stark realities of environmental crises with a call to action steeped in optimism. Her recent book, Hope, epitomizes this ethos, presenting a narrative not of doom but of possibility—a future we can collectively strive to build.

Yet Mittermeier is no idealist lost in the clouds of artistry. Her approach to conservation is rooted in practicality and inclusivity. She rejects historical, colonial models of conservation that have excluded local communities, advocating instead for solutions that honor the traditional knowledge and stewardship practices of Indigenous peoples. “The traditional values, practices, and knowledge of the original guardians of biodiversity…are emerging as a critical component of conservation success,” she notes. This perspective informs her co-founding of SeaLegacy, an organization dedicated to amplifying the efforts of unsung conservation heroes working on the frontlines of biodiversity protection.

A key theme in Mittermeier’s philosophy is the concept of “enoughness,” a counter-narrative to hyper-consumerism that emphasizes fulfillment through community, purpose, and connection rather than material accumulation. It’s an idea that resonates deeply in her work, which challenges viewers not only to appreciate the natural world but to reconsider their relationship with it. The visceral impact of her photography, such as the viral image of a starving polar bear in 2017, demonstrates the power of visual storytelling to awaken collective consciousness—even as it faces the challenges of misinformation and denialism.

Mittermeier’s latest venture, the crowdfunded Hope, underscores her commitment to reimagining conservation communication. By engaging a global community in the book’s creation, she transformed a solitary artistic endeavor into a shared movement. “We didn’t just eliminate the financial risk of the project; we created a sense of community and shared purpose,” she reflects. The book’s 130 photographs, spanning two decades, are curated not by geography or species but by themes that weave together a tapestry of life on Earth, viewed through the lens of connection and interdependence.

Through her work, Mittermeier continually seeks to empower the next generation, emphasizing the role of youth in reshaping the planet’s future. Visual storytelling, she argues, holds immense potential to galvanize young people into action—not through fear but by spotlighting solutions and celebrating victories, however small. “There is a morbid temptation to focus only on disasters,” she acknowledges. “But it is the heroes on the frontlines, the occasional policy victories, and the small wins that fuel the larger movement.”

Cristina Mittermeier’s journey, from a curious child exploring her backyard to a globally recognized conservationist and photographer, is an example of the transformative power of art with a purpose. In an era defined by climate anxiety, her work stands as a reminder that while the challenges are immense, so too is the human capacity for ingenuity, resilience, and hope. Her lens captures not just what is but what could be, urging us all to envision—and work toward—a future where the harmony of nature and humanity is not an anomaly but a norm.

AN INTERVIEW WITH CRISTINA “MITTY” MITTERMEIER

Mongabay: What originally inspired your interest in nature? And why did you become a photographer?

Cristina Mittermeier: Every child is born with an innate curiosity about nature and wildlife. Parents and teachers are the ones who either foster or squash this interest. I was lucky to grow up in a semi rural part of Mexico, and to have a mother that allowed me to explore nature, a lot of siblings to play with, and a big back yard to roam free. I was also allowed to “waste a lot of time” reading fabulous books about ocean explorers or pirate adventures. When choosing a career path, I decided to become a marine biologist, mostly because I was hoping to spend time in close proximity to wild animals. I was naive to think I would be studying the secret lives of whales, instead, I spent many hours in a laboratory, looking at the wonders of the ocean through a microscope. I learned about the quasi miraculous alchemy that exists between the ocean and its creatures, and the atmosphere, and how that is the non-negotiable chemistry keeps this planet alive. I also learned about industrial fishing and even as a very young person, I could see how the wholesale hunting and slaughter of marine wildlife is such a threat to the health of the ocean. I knew I didn’t want to be a part of that. What I wanted to do was scream at the top of my lungs for the whole world to understand how important and fragile the ocean is. Initially, I thought that becoming a scientist and publishing in the peer-reviewed scientific literature would be the way to inject urgency into ocean conservation policy, but I quickly realized that science rarely resonates with politicians and audiences of non-experts. I discovered photography by accident and almost from the beginning, I could see that images are a great tool for engagement. It is a language we all understand and we all are comfortable being curious about. I didn’t know my career as a photographer would take me so far, but after all these years, I think I made the right choice. Photography allows me to reach large audiences and it has given me access to a loud microphone I can use to keep advocating for the ocean.

Mongabay: “Hope” embodies optimism amid environmental challenges. How did you balance conveying the urgency of conservation with the uplifting tone of your book?

Cristina Mittermeier: Although the initial intention of the book was to foster a sense of optimism and hope, the blunt truth is that I needed this book to become my personal life raft. Perhaps it is because those of us who spend a lot of time working on the frontlines, close to the catastrophe of biodiversity loss where the climate chaos is unfolding right before our eyes. Many of us, myself included, often struggle to feel hopeful. I wanted to make a book that would float my own sense of gratitude, awe, and wonder and that would remind others that some of us have not given up hope yet. HOPE is an important book for my own mental health but also for that of all the people who, like me, suffer as we witness the lack of action to solve these existential issues. As an artist, my world is made up of the choices I have made to frame my art, the inspiration I have found in activists/philosophers like Martin Luther King Jr., who in his famous speech told us he had a dream, not a nightmare. Hope is about presenting the picture of the future I want to inhabit, not the nightmare we are headed towards. Art is a balm that is created to save the human soul. As long as there is hope, there is a chance for humanity.

Mongabay: Your decision to crowdfund “Hope” is an unusual publishing model. What insights or lessons did you gain from this approach that you believe other photographers could benefit from?

Cristina Mittermeier: Making this book was a beautiful experience that truly buoyed my sense of purpose. I didn’t want to produce something else for people to buy. I wanted to build a sense of community and shared purpose with the many people who follow my work and especially the young people who look up to me for hope. The response I got truly took me by surprise. We set up some basic benchmarks for success, and we exceeded our own expectations manyfold. The most rewarding aspect of the crowdfunding was not just eliminating the financial risk of the project; it was the community that gathered around the project and all the people who came together to create a sense of hope. On the business side of things, I also wanted to challenge the way photography books are made so that other storytellers can find a similar way to publish the book of their dreams.

Mongabay: Many of your images highlight the intersection of human culture and biodiversity. Can you share how these themes shape your storytelling and inspire action through photography?

Cristina Mittermeier: I grew up surrounded by the mysticism of Mexican culture. My family roots, like so many other Mexican families, come from a “mestizo” or mixed-race background. That is perhaps why I have always felt an intense affinity for the values and knowledge of Indigenous people. It makes complete sense to me that across thousands of different ethnic groups and tribes all around the globe and going back thousands of years, the system of values that compels people to be mindful, grateful, generous and, more than anything, careful with the precious resources of our planet.

On the surface, conservation seems to be simply about saving wildlife. The truth is that conservation can never be achieved in the absence of community participation and involvement. Colonial conservation has failed us. Drawing boundaries while excluding the people who live on the land has never worked. The traditional values, practices and knowledge of the original guardians of biodiversity, however, are emerging as a critical component of conservation success.

Mongabay: You describe photography as a tool for conservation. Can you talk about a specific moment where one of your photographs directly impacted a conservation effort?

Cristina Mittermeier: For decades, we have approached conservation as a science-first discipline, and that is where most of the conservation dollars go. Although it is true that robust science is paramount to guide our actions, especially when we have limited financial resources to support conservation, we have failed at engaging the larger global audience in the urgency of our work. Most conservation groups have very limited operational budgets, and communications are almost always an afterthought. How can we win at shifting human and corporate behavior if our audiences are mostly clueless about what’s happening? Having compelling, informative, and, most importantly, beautifully-crafted imagery to engage all audiences, from politicians to corporations to regular people, is critical to success. How can people support conservation efforts and reject exploitative and destructive policies if they are not aware of the consequences for their health, their financial well-being and at a larger scale, for humanity and the future of the planet? Photography works because it is accessible but also because the photographer becomes a powerful and effective advocate, bringing news from the frontlines and bearing witness to the natural history of our planet.

Mongabay: “Hope” features over 130 photographs spanning 20 years. Given the number of photos you’ve taken and the experiences you’ve had over that period, how did you decide which stories and images to include, and what guided your narrative choices?

Cristina Mittermeier: I had to battle the traditional approach to making a book that is organized by either geographies or subjects. My imagination works in a very different way. I wondered how an alien ship might see our planet if we were visited from another galaxy. The view from space would include the history of our planet and how its resources were “managed” by the careful stewardship of indigenous people. It would also be seen as an ocean planet since that is the largest and most defining ecosystem on Eartht. The incredible beauty and importance of our polar regions would definitely not go unnoticed, and the miracle of interconnectedness, which is often overlooked, felt like an important aspect of this book. If I had had more pages, I would have included a whole section on the role of women and the promise of girls, but alas, even HOPE books have limits.

Mongabay: You’ve mentioned the importance of fostering a community around your work. How do you envision “Hope” inspiring collaboration and solidarity among its readers?

HOPE has already broken the mould in many ways. We involved the community in the selection of the images and we included the names of all the people who participated in the crowdfunding campaign. We also asked people to share quotes about hope, and a selection is also included in the book. To keep fostering a sense of community, we have an Instagram channel dedicated to Hope, where we stay in touch with over 10,000 people. If I had my dream come true, we would have the resources to build a web platform around Hope where people could interact, donate to projects around the world, find volunteering and mentoring opportunities, etc.

Mongabay: The cover image, “Wildflowers in My Hair,” has a notable backstory. How do you approach building trust and connection with the people and communities you photograph?

Cristina Mittermeier: For a long time, I believed that being a woman was a handicap in my profession until I realized that my gender is a superpower when it comes to building trust and connection with my subjects. The first key element is honesty and authenticity. I always introduce myself, whenever possible, ask people for their name and try to show genuine interest in their lives. I am also keenly aware of the importance of giving back to the people I photograph, especially when I am generating profit from my work. Often, there are no formal government or NGO structures to send funding to communities I have photographed, so I send money back through tour operators, other photographers and even tourists who visit these locations. I often ask that instead of cash, items like food and medicine are brought to the community and given to the women. Giving back is more important to me than getting credit for it, and I think more photographers should do the same.

Mongabay: Your work often challenges hyper-consumerism and environmental exploitation. What role do you think art and visual storytelling play in reshaping our relationship with nature?

Cristina Mittermeier: The big realization I had early on when I started spending more time with Indigenous communities, is that the sense of fulfilment and happiness that all humans aspire to has always been better achieved through non-material stuff: our sense of community and purpose, kindness, the dopamine we get from participating in rituals and traditions, the joy of having a sense of belonging to a group, a tribe, or even a religion. In Western society, we have been marketed to believe that our sense of happiness and well-being comes from purchasing stuff. I call it Enoughness, and this is a “feeling” we each can cultivate by being more present in our family and community life, by giving more purpose to our actions and by practicing generosity and kindness. By now, all of us know that the initial rush of dopamine we get when a new package arrives or when we walk out of the store with a new purchase very quickly goes away and needs to be immediately topped off with anther new purchase. It is a never-ending cycle that is killing our planet, our connection with each other and our hope for a just and healthy planet.

Mongabay: As a pioneer of conservation photography, what advice would you give to aspiring photographers who want to use their work for environmental advocacy?

Cristina Mittermeier: The simplest advice I can give to aspiring photographers is to find purpose for their work. Photographers whose sole goal is to make money will fail at making work that transcends craft and moves into the realm of art. Yes, you have to find a way for your photography to float a business, but to be a successful photographer, the work must have something to say about the world, about society, about injustice. Find that passion and frame your photography around it, and you will find a powerful motivator to carry on with a career that can be challenging, lonely and frustrating.

Mongabay: You co-founded SeaLegacy to merge art, science, and conservation. How does the mission of SeaLegacy align with the themes of “Hope”?

Cristina Mittermeier: Ten years after my husband, photographer Paul Nicklen and I founded SeaLegacy, we have come to the realization that the goal of our organization is to find the hopeful warriors working in the remote frontlines of ocean conservation and shine a spotlight on their efforts. It is not about us as photographers. It is about using our skills as communicators to make sure the people who are toiling on the frontlines, underfunded, overworked and overwhelmed by the enormity of the injuries inflicted on nature, are not invisible. The people working to protect whales from ship strikes, or preventing plastic from reaching the sea, restoring bleached coral reefs, or releasing baby sharks into the wild are the heroes. All we do is make sure the world knows about them.

Mongabay: The environmental crisis can be daunting, especially for younger generations. How do you think visual storytelling can empower youth to take meaningful action?

Cristina Mittermeier: There is a morbid temptation to focus only on the disasters. Human and animal suffering tugs at our heartstrings and moves us to engage, but it is also exhausting, so people often turn away. That is one of the reasons we focus on finding the hopeful solutions: the heroes on the frontlines, the occasional policy victory. All of these seemingly small wins are the fuel that propels the larger movement. There are millions of people who care about what’s happening and who are taking action to be part of solutions. We need to galvanize those efforts into a larger, unstoppable revolution, one that refuses to surrender the future of life on Earth to the corporate greed of corporations and billionaires.

Mongabay: Looking back on your career, is there a particular project or image that encapsulates your evolution as a conservationist and photographer? How does that relate to the message of “Hope”?

Cristina Mittermeier: I have made thousands of images that buoy my love of nature and my sense of hope, but by far, the image that has had the largest impact on the way I approach my work was the image of a starving polar bear that went viral in 2017. It showed me that there are millions of people who are aware and terrified of what’s happening, but it also showed me that there is a massive investment by those who wish to carry on with the destruction and exploitation of nature for profit to spread misinformation, to market themselves as harmless or even good for the environment and who will do anything to discredit the work of people like me, who are trying to stop humanity from going off the cliff, like a bunch of indoctrinated lemmings.