Rodney Dekker- The award winning documentary photographer from Australia is mainly interested in documenting the human condition of environmental consequences. He has extensively photographed the aftermaths of floods, droughts and bushfires in rural Australia and Bangladesh to communicate the effects of climate change on humanity and natural environments. Dekker’s work has been published in several renowned publications like Australian Geographic, The Age and The Big Issue.

After completing your Masters in Environmental Analysis and International Development, how did you take to photography as a career?
I was completing my Masters when I was introduced to photography. This resulted in two passions, art and the environment, being drawn together. When I decided to photograph with the aspiration of being a professional photographer, I chose to focus on subjects that mattered to me and be dedicated to this end. From this, I have managed to build a strong collection of images about climate change in Australia and Bangladesh in a short period of time.

What does photography mean to you?
I am a storyteller through visual communication and this provides a means of extending the anecdote to a wider audience. In terms of the message I wish to communicate, climate change and its affects on humanity and natural environments are central to what I photograph. I feel that I have a chance to make a difference while doing a job that I love and am passionate about.

Furthermore, I’m interested in telling complete stories through long-term projects rather than spot news. I feel this provides a more interconnected picture of reality. It is not exploitative and closer to the truth.

Your work has been published in several renowned publications like Australian Geographic, The Age and The Big Issue. How difficult has it been to reach the top of your photography career?
It’s difficult to maintain a career as a freelance documentary photographer given that most of what I shoot is on speculation. This involves me to self-finance projects and then sell them to newspapers and magazines. The process is simply unsustainable without support from business, government or grants and much of my work at the moment is looking for funding for future projects. I have had a few lucky breaks but on the whole I’ve worked very hard for my accomplishments.

You have done a lot of work on the effects of droughts, floods and bushfires in Australia. What is the most difficult part of photographing a natural disaster?
Probably the most difficult part is gaining access to stories of real interest. Often people are suspicious of one’s intention and a balance of persistence, diplomacy and being respectful, above all else, is necessary to build trust. Photographing the drought, in particular, has been challenging as many farmers are quite sensitive given the difficult state of agriculture in Australia. This means I have a responsibility to ask questions in a sensitive manner. The one thing that always helps me build a nexus with farmers is the Australian humour and their laid back approach.

The single most difficult and emotional experience was when I was commissioned by the Australian Red Cross to meet and interview people in the immediate days after the Victorian bushfires. My approach was different to that of a newspaper journalist and on all occasions I spoke to people respectfully and tried to capture elements of dignity.

What led you to Bangladesh to document the struggle for survival of the native populous?
My passion for understanding the consequence of climate change, given that Bangladesh will be gravelly effected, saw me travel to the country. People’s way of life is under threat and these photographs can illuminate their struggle against climate change and poverty with a view of influencing collective consciousness.

I’m interested in telling complete stories through long-term projects rather than spot news.

Can you tell us some more about your upcoming photography project on climate change?
I am planning trips around Australia and Bangladesh but I need sponsorship to achieve this. Currently I am writing grant applications and seeking interest from publications.

You are also an accomplished multimedia content producer. So in your opinion, how does photography fair in comparison to audio visuals to put across a strong message?
Audio visual multimedia storytelling adds so much to understanding a person. Their mannerisms, humour and approach to life are reveled to a greater extent. So I am a founding member of Lumenagency, a new multimedia storytelling collaborative.

Apart from shooting the environment, which other genre of photography do you enjoy the most? Why?
I’m mainly interested in the human condition of environmental consequences. So by extension, I have an interest in social justice in particular issues around health. I’ve just been signed up by a new agency in Australia called Obscura Photos and I intend to feature my work through this portal.

You were recently rated among Australia’s top ten photographers in the Photojournalism category. How did you celebrate this monumental achievement?
I really can’t remember how I celebrated; I probably had a beer and checked my emails.

	Quick 4: Your Favourite Shoot: Photographing in Bangladesh. Your Preferred Location: Remote Bangladesh & Rural Australia. Favourite Photographer: Sebastião Salgado. Toughest day at work: Immediate days after the Victorian bushfires

Photos by Rodney Dekker | Fotosocial