Wildlife Photo Chat: Episode 253 — Brian Matthews
Date: April 7, 2026
Host: Ray Hennessy
Guest: Brian Matthews
Episode Overview
This episode of Wildlife Photo Chat features renowned UK-based wildlife photographer Brian Matthews. Ray and Brian have an in-depth conversation about Brian’s unique approach to wildlife photography, particularly his groundbreaking work photographing seabirds, such as puffins, in and under the water. The discussion covers Brian’s creative evolution, technical challenges, influence of environmental changes, and the importance of understanding his subjects.
Main Themes & Insights
Early Spring in the UK & Seasonal Changes
- Brian opens by describing recent weather in the UK, noting an early spring and the impact of climate change on seasonal cues.
- “The spring flowers are coming out in the UK. The first of the real sort of spring inkling...They've just started to appear further south in England, so it's pretty early.” [01:49]
- Notable species arrivals: puffins, guillemots, northern gannets, ospreys [01:49–02:43]
Shooting Beyond Seabirds & The Allure of Unique Wildlife
- Brian enjoys photographing more than just seabirds—mountain species in Jura (chamois, ibex, stoats), underwater scenes in Egypt, etc. [03:06–04:21]
- Humor about “holiday skiing with people” while in the Jura. [03:49]
Creative Evolution: From Local Birds to New Perspectives
- Brian’s journey began with birds in his youth, expanding from local birdwatching to remote, challenging environments post-university.
- “...the difference between spending time in places and sort of passing through places.” [05:03]
- Importance of long-term observation—40 years on certain seabird islands—providing valuable perspectives on species shifts and climate-change impact. [05:46–07:09]
- Quote:
"There's been a big shift in the last 20 years where people might think everything's always been like this, but it hasn't." [06:32]
Balancing Passion and Commercial Viability
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Brian acknowledges the need to fund his work but allows for personal projects without commercial concern.
- “I always try and do something that results in, like, commercial return...and occasionally once a year, you might get one of those shots.” [08:09]
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Notable example: Underwater puffin shots, now recognized and sought after, were once unprecedented.
- “...puffin in the water are probably an example of that, because people hadn't really seen those type of images.” [09:10]
The Birth of Underwater Seabird Photography
- Two main inspirations:
- Diving with grey seals during COVID lockdowns in the UK, gaining underwater skills [10:34–11:44]
- Experimenting with puffin decoys—custom-made, painted to attract birds and tested for effectiveness, even employing UV paint after learning about puffin visual cues [12:51–14:03]
- Collaboration: Works closely with “Ollie,” who ensures safety and assists in the water. [09:37]
- Description of typical shoot: Pre-dawn start, out by sunrise, returning before tourist boats, sometimes with up to 20 days in the water per season. [14:03–15:09]
“We’re in the water at three in the morning, Ollie arrives and then we head straight out for sunrise. So this is pretty mid-summer. So the sun’s rising sort of 4, 4:15.” [14:03]
Technical and Physical Challenges
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Long lenses with underwater housings: Unstable, physically demanding, even more so in cold North Sea waters (9–14°C).
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Uses a Cressi 2-piece 7mm spearfishing wetsuit for warmth; explains why wetsuits are better than drysuits for this application (mobility, less buoyant). [18:22–19:47]
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Emphasizes the necessity of experience, physical fitness, and the risks involved—frequently dissuades would-be copycats.
- “...sometimes I’m in the water for three hours.” [18:00]
- “A lot of people ask me to take them out...I think it's just such a high risk to do.” [17:23]
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Drift techniques: Often drifts with currents, careful positioning for background, light, and safety.
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Signature images include the sky due to extremely low shooting angle—can only be achieved by being physically in the water. [21:10–22:37]
Underwater Wildlife Behavior
- Unique personal experience of seeing guillemots and razorbills interact underwater—“they will dive under and then literally swim towards you.” [22:56]
- Insight into puffin morphology and adaptation:
“...when they're on the surface they use the legs to move around and then as soon as they dive, they put the legs back and the legs don't move at all. They just exclusively use the wing.” [24:46]
Photographic Style & Gear Choices
- Prefers shallow depth-of-field and out-of-focus foreground/background, even underwater. Still experiments with wider lenses for dynamic split shots. [25:10–26:50]
- Moving to Canon R5 Mark II with 15-35mm f/2.8 for upcoming season, excited about better focus and composition capabilities versus older DSLRs. [26:50–28:03]
- Highlights difficulty of working with ultra-wide lenses and floating rigs with GoPros to document both still and video. [29:43–30:21]
“We've used floating rigs with GoPros on, which have worked unbelievably well...some of the video that you'll see associated with the images is taken using that technique.” [29:43]
Purpose and Impact of the Imagery
- Photos are part of a larger UK coasts & biodiversity project, culminating in a book and educational material to connect with GCSE Natural History curriculum. [30:57]
- Uses photos to educate about coastal wildlife, climate change, nuanced conservation stories, and the “strange” stories of places like St Kilda and its snowy owl, Snedge. [30:57–34:05]
- Explores challenges of balancing renewable energy development and seabird migration/conservation.
“It's informing people about these places that exist, the strange stories, the interesting research...” [34:05]
Real-World Impacts & Resilience
- Discusses recent mass puffin deaths due to extreme storms, concern about future counts and conservation status. [34:05–35:55]
- Notes some seabird populations are rebounding since avian flu, evidence of adaptability:
“...kind of fascinating to watch sort of the resilience of these birds.” [36:58]
Dedication to Subject and Iterative Creativity
- Brian emphasizes the importance of long-term engagement:
- “I don't do a huge amount of that sort of stuff...I very rarely take a portrait photograph of a seabird between nine in the morning and eight in the evening anymore...” [39:14]
- Always striving for innovation—contrasts, lighting, behaviors, and new technical challenges.
“You're continuing to try and come up with new ideas, more creativity, more interesting approaches...That's just part of your DNA, isn't it? You can't just kind of keep doing the same thing over and over again, right?”
“No, I enjoy trying to do something sometimes just a little bit different, but working on it, working and keep on developing it.” [46:43]
The Importance of Subject Knowledge vs. Technical Skill
- Brian finds both critical, but leans toward the deep value of understanding animal behavior and natural history, especially given modern gear’s capabilities:
“I really enjoy learning about and watching, observing and gathering information on the subject...I think learning the subject is, is really, really important once you've got...a level of ability with your camera equipment and that takes a little step up when you're doing it in the water.” [42:03–43:18]
- Suggests starters try surface-level, GoPro setups before investing heavily in dangerous and expensive equipment. [43:19–44:44]
- Technical settings tip:
“...literally put it on speed control, good old tv, stick it at thousandths of a second, put auto ISO on, and then...take and add a little bit of light using the rear dial to exposure comp.” [44:44]
Notable Quotes & Memorable Moments
- “The easiest way to avoid it [the gray, wet UK winter] is leave the country.” – Brian [00:50]
- “It's got a level of risk to it as well. You need to be very comfortable in the water.” – Brian [09:11]
- “A weird guy floating around with a camera and like decoy puffins around him.” – Brian [14:50]
- “You need to do make sure you're physically fit enough as well.” – Brian [17:23]
- “To get that low is very, very difficult. You have to be in the water. You can't do it off a boat.” – Brian [22:37]
- “GoPro is the entry drug.” – Brian [43:56]
- “I enjoy trying to do something sometimes just a little bit different, but working on it, working and keep on developing it.” – Brian [46:43]
Key Timestamps for Important Segments
- 00:49 — Spring wildlife changes, seabird arrivals
- 03:06 — Variety of subjects: bluebirds, stoats, ibex, scuba trips
- 05:03 — Creative evolution & inclination for unique locations
- 08:09 — Balancing passion with commercial fishing
- 10:34 — Origin of underwater seabird work, decoys, safety logistics
- 14:03 — Practicalities and risks of sunrise seabird swimming
- 18:22 — Gear, wetsuit vs. drysuit for cold water
- 21:10 — Drift techniques and “split” water shots
- 22:56 — Underwater bird behavior; morphological observations
- 25:10 — Preference for shallow DOF, wide vs. tele underwater
- 26:50 — Mirrorless camera advantages in water
- 30:57 — Photos’ role in biodiversity projects, tales from St Kilda
- 34:05 — Climate, wind farms, migration, and conservation impact
- 35:55 — Puffins’ resilience, avian flu & recovery
- 39:10 — Selectivity and commitment over “tourist shots”
- 42:03 — Subject knowledge vs. photographic technique
- 43:19 — GoPro as a starting point; warnings on difficulty
- 44:44 — Simple, effective underwater exposure settings
- 46:11 — The drive to continually innovate and go further each season
Conclusion
This conversation is a masterclass in combining technical mastery, perseverance, and deep naturalist curiosity. Brian Matthews exemplifies the synergy between knowing your subjects intimately, pushing creative boundaries, and sharing the wonders—and plights—of British seabirds with the world. His emphasis on safety, long-term perspective, and environmental impact offers both inspiration and practicality for aspiring wildlife photographers at any level.