Documenting Illegal Logging and Conservation Efforts in Papua New Guinea: A Photographer’s Reflection
In this post, I’m revisiting one of the most meaningful photography assignments of my career — a project that took me deep into the heart of Papua New Guinea and parts of Borneo, documenting illegal logging and conservation efforts for a group of NGOs.
Shot back in 2013, this assignment pushed me beyond the usual photojournalism work into storytelling that blended photography, video reporting, and real-world immersion in some of the most remote communities I had ever visited.
Behind the Scenes of the Assignment
Armed with my Nikon D800, I traveled solo across Papua New Guinea’s countryside, photographing communities affected by illegal logging practices. This wasn’t a luxury assignment — logistics were complex, infrastructure was sparse, and navigating unfamiliar territories required total trust in local contacts and quick decision-making on the ground.
At that time, I was grinding hard as a young professional photographer, leveraging editorial work with outlets like The New York Times into projects that allowed me to tell bigger, more meaningful stories. It was also an era where photographers rarely shot video, but I took on the challenge of recording interviews and B-roll footage for the client, which made me more versatile — and ultimately, more hireable.
Challenges and Lessons Learned
Working in remote areas comes with a different set of challenges. Language barriers, cultural sensitivities, and the obvious tensions surrounding illegal logging operations meant I had to rely heavily on my instincts, my fixer’s advice, and my ability to blend into situations quickly.
While photographing these communities, it became clear that corruption was enabling much of the deforestation. You can’t exactly hide giant trees floating down rivers, yet enforcement was minimal. Witnessing these environmental struggles firsthand was heartbreaking, but it also fueled my passion for conservation photography and storytelling that matters.
Another personal challenge was the sheer volume of travel during that period of my career. I was living out of a suitcase for 80% of the year, juggling assignments, wedding shoots, hotel photography, and NGO work — often back-to-back. Looking at these images today, it’s bittersweet; there are faces and places I vividly remember, and others that blur together from the sheer pace of life back then.
Ethical Storytelling and Emotional Reflection
One of the biggest takeaways from revisiting this project is understanding the responsibility we have as photographers. Ethical storytelling — giving dignity to the subjects we photograph and accurately representing their stories — has always been a cornerstone of my approach, even when deadlines were tight and the conditions challenging.
At the time, I was just doing the work, hustling to make a living. But now, with more experience and perspective, I appreciate the importance of slowing down, connecting deeper with subjects, and truly honoring their stories.
Final Thoughts
This assignment was a major chapter in my development as a photographer. It taught me about adaptability, ethics, and the emotional weight that comes with telling important stories. Revisiting these images years later is both a humbling and therapeutic experience.
For those of you looking to grow your career in documentary photography or NGO storytelling, my biggest advice is simple: be versatile, be ethical, and never lose sight of the humanity behind your images.
If you’re interested in improving your storytelling skills, check out my 1:1 photography coaching sessions or join me for one of my Northern Vietnam photography workshops at askmott.com.
Watch the full episode on my YouTube channel below.
