Jun 29, 2019 - National Geographic Explorer

It was a little tough for this photo instructor to be sidelined with a knee injury when I’m used to getting out and about with guests on landings and Zodiac cruises. On the bright side, it gave me even more time to contemplate the stunning landscape of Svalbard from the outside deck. At recap, I gave a short presentation on features of the iPhone camera that many people don’t know about—how to adjust the exposure to best capture high-contrast scenes, for instance. All the images in this report were taken with an iPhone. It’s a wonderful and convenient tool for telling the story of an expedition, and as the saying goes, “the best camera is the one you have with you when inspiration strikes.” More often than not, in this digital age, it’s the one in your pocket.

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About the Author

Andrew Peacock

Naturalist/Certified Photo Instructor

Andrew was born in Adelaide, South Australia and (mis)spent his youth surfing and kayaking in the ocean, as is the case for many Aussies! After graduating from medical school, he spent a year working as a surgical resident in Santa Barbara, California where he also began rock climbing. Taking up this new activity with a passion, Andrew began to explore the mountainous regions of the world and volunteered his medical skills in Nepal and India where he has since led numerous treks. Documenting his experiences with a camera led Andrew into the world of professional photography and he began contributing photos to what was then the Lonely Planet image library. So began a ‘side-line career’ using the creative side of his brain.

About the Videographer

Ashley Karitis

Video Chronicler

Ashley was raised in Central Oregon where she spent her childhood ski racing, riding horses, playing classical piano, and working summer jobs on a dude ranch. She then attended the School of Cinematic Arts at the University of Southern California in Los Angeles earning degrees in cinema-television, history, and international relations. Although immersed in the studies of narrative filmmaking, she gravitated toward the process, deeper on-camera conversations, and scientific and human themes explored in documentary production.

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