Environment| Environment

On 15 September 1971, the Greenpeace, a ship called Greenpeace, set sail on a fifty-year-old voyage to confront and end US nuclear weapons testing at Amchitka in south Alaska.

Two years later, a small boat named the Vega was launched by Ann-Marie Horne and Mary Horne. It sailed into the French nuclear testing site at Moruroa in the southern Pacific Ocean. Photographers have been using their images for many years to promote situations around the globe. Greenpeace, a young organization pioneering a new type of activism, was the first to realize that taking photos of what they were seeing and doing was vital in their work.

French commandos boarded Vega and attacked McTaggart, Ingram. Ann-Marie Horne managed to capture a few shots in the chaos and was able smuggle the film of the incident from her vagina. The pictures showed the commandos with knives and truncheons. The story and photos were therefore sensational news, fueling the nuclear testing debate.

Greenpeace pledged to take photographs of everything it did after the Vega incident. It quickly learned how emotive images can be powerful and powerful. This brought the world the shocking scenes of seal pups being hunted and the inspiring images of activists standing up for whaling ships.

In the mid-1980s, the rapidly-growing organization began to take seriously photography. They needed a communications division that could professionally handle the growing archive negatives and film rushes stored on office floors. Plus, a space to house state-of-the art image technology.

London was home to a film production area, a picture desk, and a darkroom. There was equipment from early AP Leefax transmitters to cutting-edge teletext machines for breaking news updates. A small, dedicated team was responsible for film processing, printing, editing and captioning as well as cataloging.

Images of Greenpeace would appear frequently on Reuters, AP, and the BBC. A core group of Greenpeace photographers was formed. These professionals were professionals in the field with empathy for Greenpeace ethics. They were mentally equipped to handle the hardships posed by the ambitious campaigns.

As the organisation grew, new national offices were opened around the globe to produce images for their national media in different styles and culturally sensitive formats. With two to three photographers sometimes being commissioned for one event, actions became more ambitious and grander.

The digital revolution has brought about a resurgence in the photo industry over 20 years. Many small agencies have failed to adapt to the new media landscape created by the overuse and saturation of photos on the internet. The viewer has the opportunity to learn more about the topic, be brought closer to the truth, interact with the story, and take part in it. Climate change, extreme weather and human displacement can all be directly connected to environmental issues, and these are the subjects of intense debate.

All distribution portals are covered by the Greenpeace picture desks worldwide, including its relationships with global wire agencies and established social networks such as Twitter, Instagram, Facebook. Despite the fact that digital photography has evolved over the past 50 years of Greenpeace, the basic principle of photo activism has not changed. The photographer captures the event in a way that is both controversial and unique. Then, a strategic decision is made about when and how the story should be released to the public.

Through the dedication to critical ecological campaigning and the bravery of activists, professionalism of photographers, discerning communicators, and the careful preservation Images of organisations.

Greenpeace, the pioneer of photo activism, has maintained its core values of exposing injustice in the environment through its imagery for 50 years.