Few photographers push their kit to the limit more than Canon Ambassador Chris Fallows. "Kicked by elephants, bitten by great white sharks and covered by salt spray on an almost daily basis, from -50°C in the Arctic to 50°C in the Zambezi Valley, from blizzards and snowstorms in South Georgia to dust storms in Etosha in Namibia – if it can survive what I put it through, it will be good for almost anybody," he says.

It's clear that Chris photographs a range of wildlife in diverse demanding settings, but it's his images of great white sharks for which he's best known. Working between art and science, the South African shark expert creates visually stunning monochrome wildlife photos while unearthing new information about predatory behaviour – and all on Canon kit.
Here, Chris talks about the breakthrough discovery that helped launch his photography career, his iconic Air Jaws image, and why the Canon 澳门现金网_申博信用网-官网5 is his camera of choice today.

Hear more of the conversation in this episode of Canon's Shutter Stories podcast:

You must have found yourself in some extraordinary situations while photographing sharks. What's been the most difficult?

"One of the most challenging has been trying to get a wide-angle, extreme close-up shot of a great white shark breaching from the low angle of the ocean surface. I needed to have a specially designed towing craft built, which I put my camera on less than 30cm above the water's surface, with the front of the lens completely exposed to the elements. The camera was then towed less than three metres away from where we hoped a shark would jump.

"Each day was terrifying, as having very expensive gear next to the water and a one-tonne shark jumping so close, possibly sending hundreds of litres of water over the camera, was high risk. I needed to send a signal from a handheld remote to another receiver, which would be relayed to the camera trigger to open and close the shutter, so I needed very fast reflexes, as a breach lasts less than a second. For two weeks I held that tiny trigger, my heart in my throat, waiting for that split second of action. We tried to pick days with clouds to add drama to the scene and light winds, so that meant having to sit on shore a lot until we had these conditions, as I wasn't going to risk all my gear for anything less than an exceptional chance.

"With just one day to go, everything came together, and suddenly a three-metre shark launched itself into the air with an unbelievably high breach, all while turning in perfect profile at the apex of the jump. It was the ultimate shot I could have hoped for, one which does the athleticism of these amazing predators justice. High risk, high reward."

You shot Air Jaws on the Canon EOS-1V. What camera do you use today?

"I love the Canon 澳门现金网_申博信用网-官网5. With the new full-screen focus point selection, I can compose my image more effectively and creatively. Coupled with the great autofocus and crazy frame rate, this makes it perfect for high-speed action such as flying sharks. As a fine-art photographer creating large, limited-edition prints, I like the large file sizes, which allow me to reproduce my work at two metres or more across.

"When I use my camera in a housing on land, I shoot with a remote, so the ability to detect an animal, or even better an animal's eye, helps me achieve a far greater degree of success.

"Another big plus with the Canon 澳门现金网_申博信用网-官网5 is that it's so quiet. When I'm close to lions or elephants, outside of a vehicle with no protection other than my experience, having a quiet shutter is a significant milestone to achieving an environment where you do not surprise or frighten an animal."

Your black and white images are acclaimed for the atmosphere, drama and emotion they convey. How do you compose these epic scenes?

"I choose my subjects, weather and backgrounds very carefully. It is not by chance that the male lions I photograph have black manes or are magnificent specimens, or that the elephants have huge tusks. I am after the finest example of each species.

"It is not by coincidence there are clouds in many of my works, or that the backgrounds are clean, with no trees or clutter. I try to combine aesthetics that complement my primary subject, rather than detract from it. I seek out clean, open terrestrial landscapes with harsh elements like cracked earth or dust, and then have the umbrella of a moody sky to add atmosphere.

"I purposefully stay away from creating photographs in which animals are charging, growling or running. I like my subjects to look natural, as if I'm not there."

What advice would you give to young wildlife photographers who want to evoke a similar 'epic' feeling?

"Get to know your subjects, spend time with them, find out how to make them comfortable with you – respect them. By observing an animal, you understand what makes it tick, and under what conditions it's likely to do certain things. For example, when I want to photograph a predator hunt, I watch the prey, and position myself where I think the predator may run or swim to catch it. If you don't do this, you're always chasing the action rather than being at the finish line – and often you're also disturbing the possible outcome.

"Then look at their environment. Do you want saturated images? If so, then shoot in the green season at first light when everything is vibrant. This is how I started out, and you get lots of beautiful images. I now want the harshest conditions possible to create a mood that sums up the reality of how tough it is surviving in these places. Get to know your seasons and what you hope to achieve, and plan trips to coincide with these weather conditions.

"My wife and I choose to go to places with few people. This involves living in rough conditions, camping and surviving with basics. The upside is that we can spend a lot of time with our subjects, letting them get comfortable with me, often at close quarters. Animals like a constant – when you introduce change, you reset the boundaries and you need to start over again – so the fewer variables, the better. Take time to watch; don't just look through a viewfinder."