“Studying and photographing coral is almost like science fiction.”

biologist and photographer, Martin Colnolly He has been working for more than 11 years Reconstructing the Indonesian coralnecessary for the survival of local communities and the preservation of biodiversity.

This persistent dreamer managed to turn the marine deserts into new oases. Thanks to her link Coral GuardianMartin Kolonoli and those who joined him began farming 48,000 corals in Indonesia, multiplying by 30 the number of fish in local waters.

writing coral Published by Hemeria Editions It confirms its commitment and public awareness through images. In total, 133 color and black-and-white images—a bias that taps into a full palette of photographic perceptions—make up this solicitation, built on 6 years of work and reporting. Martin Colognoli blends scenes from the daily lives of fishermen with monochrome shots at the heart of coral reliefs and textures: like an X-ray view of the mysterious animal that shadows the coral.

Aside from the corals, which fascinate me, I am first and foremost a lover of aquatic environments. I worked for a company that specialized in exporting tropical fish. It is a very ambiguous environment based on human and animal exploitation. Most fish and corals are still harvested legally and many die during the many transports that lead them to the aquarium that will be their final resting place. This experience made me aware of this and allowed me to discover Indonesia where I stayed.

Can you briefly explain your successful coral transplantation in Indonesia?

I founded Coral Guardian in 2012 to protect coral reefs by involving local communities. The empowerment and autonomy of these actors is critical to keeping volunteers and staff employed full-time. The program was implemented near Komodo Island, west of the Flores Islands. In this region, dynamite fishing was still widely used. This very aggressive method of bottom fishing has led to the desertification of the sea floor, which in effect has forced the fishermen to venture further and further, risking their lives.

By converting this 1.2-hectare area into a marine protected area and setting up a 500-square-meter coral farm there, we have been able to observe that biodiversity is replenishing there at a high speed. The coral branch grows at a rate of 1 cm per month for the fastest. The day after the coral transplant, we notice many marine species returning. After 3 years we are back to balance. Dynamite fishing is now illegal, but the real problem in this area where human pressure is now limited remains global warming: rising ocean temperatures are causing coral reefs to die.

What is the relationship between your activity as a biologist and that of a photographer? Does your strong knowledge of marine ecosystems influence your approach as a photographer?

The photography was initially intended as a documentary. I wanted to trace how coral farming works and make our work to raise awareness among teams and the public more visible. Little by little, I moved away from my scientific approach to adopt a more artistic approach and pay more attention to the aesthetics of my photos. But it is true that in diving I realize some curiosity thanks to my biological knowledge, and then I give way to the photographer to illuminate this curiosity.

What arbitration do you make between black and white and the color in which they coexist coral ?

Black and white allow the texture and geometry of the corals to be revealed; These are the details that the color seems to take away from. Black and white also seems more contemplative to me. Alternating monochrome pictures, color pictures, portraits, and underwater images permeate the reading.

What makes underwater photography so special?

We often describe the seabed as a space of calm and silence, which is wrong. There is always something going on! Life is plentiful there and noise is everywhere, like the song of whales in the distance. Air is empty space, but the smallest drop of water contains thousands of microorganisms. It is the land of life: diving there must be aware of this, even if most of these creatures are not visible to the naked eye.

Underwater photography can beautifully highlight the bond that can unite two species fighting for their survival, but it can also lend a helping hand. In one of my photos, we see a giant clam in captivity, but also protected by a reef, growing together.

Some of the photos are taken at the edge of the roof where the color and light are still present. Going deeper, we lose this spectrum of light. Most of the photos in the book were taken between 1 and 15 meters deep. I don’t have heavy equipment: I use two remote flashes plus a waterproof housing for the camera. By placing these flashes to the side, it allows illumination around the subject without photographing the suspended matter placed in front of the lens. I dive mainly in apnea although a few trips resulted in a few dives.

Does the immobility of corals make expression more difficult? Compared to photographing animals for example…

Studying and photographing corals is almost like science fiction. It is a living, motionless creature that can be seen from space! There are many different types. I find this coral reef image oddly lung-like especially.

I am not a wildlife photographer or wildlife photographer. The essence of my approach to photography is to highlight the impact of humans on their natural environment. To show the link that unites us to the oceans and those who inhabit them: the subject of my photographs is therefore human as is coral reefs. It has been voluntary not to make whales, turtles or sharks the main subject of my photos. Showing that once restored the ancient marine desert attracts sharks and fish, this is the angle that interests me.

coral They also look like photos taken out of contact with local communities, so is it also a way to show and communicate to those most vulnerable to climate change?

The images of these fishermen came out quite naturally as I had spent most of my days with them both on the island and at sea, and I also wanted to highlight their way of life above the surface. At first they were a little shy and worried my presence would scare the fish away. When they saw that this was not the case, they relaxed and began to appreciate my presence and look for the presence of my device.

I arrived in Indonesia with a scientific outlook, but I learned a lot from them, they have an empirical knowledge of nature and how it works. These men and women are ancient nomads. Their culture is the same as that of the ancient hunter-gatherers: they take from the natural environment what they need to live. So they understood the interest of conservation, because their survival is directly related to the survival of biodiversity, so are we, but we are less aware of this, we are cut off from this connection with nature.

coralIt deals with the beauty of the sea floor and our sympathy for these environments, but it is also the story of our connection to nature and food sovereignty.

Every year I distributed prints of my photos to the islanders, a moment of joy and exchange. There was no question of ‘stealing their image’ for me, they were at the center of a joint venture.

I came up with the idea for the book later while incarcerated. I wanted to create a story with the large number of images I had at my disposal. It was then that coral appeared to me as a real central element in this story and fishing as the link between humans and this logo. I wanted to blend art, science, humans, and coral reefs by paying homage to these fascinating and little-known species.

When you take these photos, are you keen to immortalize the disappearing cultures and ways of life?

It is an illustration of change in action. They are already stable. They live without permanent electricity or running water and their survival depends on the ocean. They are at the crossroads of worlds and cultures. This is clearly seen in this photo where one of the girls is holding a smartphone, which is a no-brainer here when there’s no network. In the distance, a low wall vainly protects them from rising water, a band-aid too old for what threatens their village.

Given the success of this restoration project, what’s next? Are you planning to leave for other regions to carry this message of hope and reconciliation with nature?

The project has worked beautifully in Indonesia and local associations have now taken charge of keeping this ecosystem alive. We continue to support them, but the flame has already passed. A similar program was implemented in the Mediterranean in southern Spain at La Herradura. The book carries a message of hope and positive testimony. It is still possible to work towards biodiversity conservation, it’s never too late!

What are your projects?

I am now fully devoting myself to documentary and artistic photography. I also want to act more domestic, if only to limit my air travel.

Thanks to Martin Colnolly for answering our questions.

coralavailable in French and English, published in Hemeria Editions (156 pages, 25.5 x 34 cm). The book, which retails for 59 euros, is available in bookstores and on the website of Hemeria editions.

Find Martin Colognoli’s work in his profile Instagram account and his Website. the actions you performed Guardian Coral is discovered on Association website.