


Boats Big and Small
The first thing to consider when preparing for your trip is the size of the vessel, because this will dictate what bags and protective covers you will pack. In many cases you’ll be preparing for several different scenarios, as it is common for larger vessels to also use zodiacs for excursions and putting ashore. Ask questions before you join a tour: how long is the ship? How will you be transported to shore? How many clients will travel together on zodiacs? What is the weather like that time of year? The more you can anticipate the likely weather and sea conditions, the better prepared you will be to capture those fleeting moments—and be comfortable doing it.
Carrying Your Gear
On ship-based expeditions, I use a small backpack to carry my equipment (I prefer the ones that are narrow across the shoulders so I don’t get wedged in narrow doorways) or a ThinkTank camera holster and beltpack system. Currently, I am using the ‘Backlight’ series of backpacks from MindShift Gear. Not only are they narrow in width, but they also allow you to rotate the camera bag in front of you and access the contents without putting it down on the deck. On smaller vessels like zodiacs, you may be shooting in close quarters, often elbow-to-elbow with other photographers. If I’m photographing from a zodiac, I carry two camera bodies on neck straps: one with a telephoto zoom like a 70-200mm or an 80-400mm, and another with a 24-70mm lens. Don’t make the mistake of bringing your entire lens arsenal on zodiac rides—you will waste valuable time and shots changing lenses (not to mention running the risk of exposing the inside of your camera to sea spray). However, if I’m riding the zodiac on a transit to a shore excursion, I will take my small backpack and have a single body and lens around my neck for shots of opportunity.
Protecting Your Equipment
There are hundreds of different options for protecting your camera from the damaging effects of splashes and salt spray, ranging from a humble shower cap to an underwater housing costing thousands of dollars. The tricky thing about protective covers or wraps is to find one that provides the right amount of protection without being too onerous to put on or shoot with. You are less likely to need a cover for your camera if photographing aboard a large passenger liner or icebreaker—these ships are generally extremely stable in all but the worst storms. When working on a smaller ship or a zodiac, unexpected wave splashes and salt spray are much more likely. In this case, I use small, lightweight camera covers made by Vortex Media. They are available in multiple sizes and have two cinchable openings—one for the lens hood/body and one for the back. Cinch it tight over the hood (and yes you are definitely using a hood) and leave the back opening wide enough to see the eyepiece and monitor. This kind of cover allows you to access all of the camera controls directly but protects the lens and the front and top of the camera. This solution is not 100% splash proof, so if you start taking waves, stow the gear. I carry lightweight waterproof roll-top bags from Outdoor Research for this purpose. I also use clear glass protective filters on all of my lenses when the sea spray is flying. If a camera or lens gets salty, wipe it down with a damp towel (moistened with fresh water) afterwards. To clean the front elements of my lenses, I use a soft cotton towel to soak up the water and then polish away streaks with a pre-moistened lens wipe or a LensPen.
Stabilizing Your Camera
Nearly all of my shipboard photographs are shot handheld. The human body is an excellent shock absorber, damping out vibrations from both the ship’s engine and waves. Handholding also allows you to quickly adjust ever-changing compositions on the fly. It is critical to use proper handholding technique: that means elbows pinned to your body, one hand cradling the lens from beneath, and the other holding the camera body. If the waves are rough, keep your legs apart and knees bent so you’re not thrown off balance by an unexpected wave. It is certainly possible to use a tripod, and I always pack one. Since the ship is moving relative to the environment, I use a tripod primarily to photograph the ship itself. A tripod also allows you experiment with slower shutter speeds, such as blurring the waves or ice the ship is traveling through. When working on vessels with limited space along the rail, remember to be considerate of fellow passengers and make sure your tripod does not become a trip hazard.

Very general information. Seems like all you want is more money.
great article! Thank you for sharing. I have learned the hard way while cruising to carry protective gear for my camera and leave the extra lens onboard. I look forward to reading more of your work.