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This profile was last updated on 12/11/14  and contains information from public web pages and contributions from the ZoomInfo community.

Photographer

Phone: (202) ***-****  HQ Phone
National Geographic
1145 17Th Street N.W.
Washington, District of Columbia 20036
United States

Company Description: About National Geographic Kids: Through award-winning magazines, books, website, apps, games, toys, television series and events, National Geographic Kids inspires...   more
Background

Employment History

  • Freelance Photojournalist
    National Geographic
  • Photographer
    Jeff Wignall Adorama Academy
  • Meet National Geographic Photographer
    Jeff Wignall Adorama Academy
  • Photographer
    Self Employed (Self-employed)
  • and Span>
    Self Employed (Self-employed)

Education

  • master's degree , photojournalism
    University of Missouri
  • bachelor's degree , business
    University of Southern California
149 Total References
Web References
BRMA - The Moderator - Summer 2001
www.b-reactor.org, 11 Dec 2014 [cached]
5/18 Tour at B Reactor and a visit by Peter Essick, a photographer for National Geographic.
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After the tour, Dee, Roger, and Paul take turns sitting at the main control panel so Peter can shoot their portrait.
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It will be interesting to see how those photos are used, because Peter is out here for an article about nuclear waste, to be published some time next year.
Lumiere Fine Art Photography Gallery » Blog Archive » Peter Essick
lumieregallery.net, 25 May 2011 [cached]
Peter Essick | artist page | Select Here | To view Peter Essick’s artist page SELECT | Next Lumiere Fine Art Photography Gallery > Blog Archive > Peter Essick
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Peter Essick - Tracy Arm, Alaska, 1996 / Pigment Print - available in multiple sizes
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Peter Essick - Tracy Arm, Alaska, 1996
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Peter Essick - Sanibel Island, Florida, 2004 / Pigment Print - 12 x 18
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Peter Essick - Sanibel Island, Florida, 2004
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Peter Essick - Torres del Paine National Park, Patagonia, Chile / Pigment Print - available in multiple sizes
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Peter Essick - Torres del Paine National Park, Patagonia, Chile
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Peter Essick - Sea Ice, Tierra del Fuego, Chile, 2009 / Pigment Print - available in multiple sizes
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Peter Essick - Sea Ice, Tierra del Fuego, Chile, 2009
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Peter Essick - The Quelccaya Ice Cap, Peru, 2004 / Pigment Print - available in multiple sizes
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Peter Essick - The Quelccaya Ice Cap, Peru, 2004
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Peter Essick - Kiukakongas at sunrise, Finland, 2009 / Pigment Print - 12 x 18
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Peter Essick - Kiukakongas at sunrise, Finland, 2009
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Peter Essick - Boreal Fen, Finland, 2009 / Pigment Print - available in multiple sizes
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Peter Essick - Boreal Fen, Finland, 2009
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Peter Essick - Taivalkongas, Oulanka National Park, Finland, 2009 / Pigment Print - available in multiple sizes
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Peter Essick - Taivalkongas, Oulanka National Park, Finland, 2009
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Peter Essick - Oulanka National Park, Finland, 2009 / Pigment Print - available in multiple sizes
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Peter Essick - Oulanka National Park, Finland, 2009
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Peter Essick - Jyrava Falls, Oulanka National Park, Finland, 2009 / Pigment Print - available in multiple sizes
Peter Essick - Jyrava Falls, Oulanka National Park, Finland, 2009
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Peter Essick - Spirits Creek, Ozark Highlands Trail, Arkansas, 2008 / Pigment Print - available in multiple sizes
Peter Essick - Spirits Creek, Ozark Highlands Trail, Arkansas, 2008
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Peter Essick - White Rock Mountain, Arkansas, 2008 / Pigment Print - 12 x 18
Peter Essick - White Rock Mountain, Arkansas, 2008
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Peter Essick - Pam's Grotto, Arkanas, 2008 / Pigment Print - available in multiple sizes
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Peter Essick - Pam's Grotto, Arkanas, 2008
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Peter Essick - Hurricane Creek, Arkansas, 2008 / Pigment Print - available in multiple sizes
Peter Essick - Hurricane Creek, Arkansas, 2008
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Peter Essick - Little Mulberry Creek, Ozark Highlands Trail, Arkansas, 2008 / Pigment Print - available in multiple sizes
Peter Essick - Little Mulberry Creek, Ozark Highlands Trail, Arkansas, 2008
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Peter Essick - Wathumba Creek Estuary, Western Coast, Fraser Island, Australia, 2009 / Pigment Print - available in multiple sizes
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Peter Essick - Wathumba Creek Estuary, Western Coast, Fraser Island, Australia, 2009
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Peter Essick - Moonlight, Champagne Pools, Fraser Island, Australia, 2009 / Pigment Print - available in multiple sizes
Peter Essick - Moonlight, Champagne Pools, Fraser Island, Australia, 2009
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Peter Essick - Greenland Iceberg, 2010 / Pigment Print - available in multiple sizes
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Peter Essick - Greenland Iceberg, 2010
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Peter Essick - Tasermiut Fiord, Greenland, 2010 / Pigment Print - available in multiple sizes
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Peter Essick - Tasermiut Fiord, Greenland, 2010
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Peter Essick - Juniper Prairie Wilderness, Florida, 1998 / Pigment Print - available in multiple sizes
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Peter Essick - Juniper Prairie Wilderness, Florida, 1998
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Peter Essick - Altamaha River, Georgia, 1998 / Pigment Print - available in multiple sizes
Peter Essick - Altamaha River, Georgia, 1998
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Peter Essick - Sturgeon River Gorge, Michigan, 1998 / Pigment Print - available in multiple sizes
Peter Essick - Sturgeon River Gorge, Michigan, 1998
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Peter Essick - Kalmiopsis, Oregon / Pigment Print - available in multiple sizes
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Peter Essick - Kalmiopsis, Oregon
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Peter Essick - Rainbow Lake Wilderness, Wisconsin, 1998 / Pigment Print - available in multiple sizes
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Peter Essick - Rainbow Lake Wilderness, Wisconsin, 1998
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Peter Essick - Deer Creek, Arizona, 1997 / Pigment Print - available in multiple sizes
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Peter Essick - Deer Creek, Arizona, 1997
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Peter Essick - Organ Pipe Cactus, Arizona / Pigment Print - available in multiple sizes
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Peter Essick - Organ Pipe Cactus, Arizona
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Peter Essick - Monarch Butterflies, Mexico / Pigment Print - available in multiple sizes
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Peter Essick - Monarch Butterflies, Mexico
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Peter Essick - Sturgeon Forest Floor, Michigan / Pigment Print - available in multiple sizes
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Peter Essick - Sturgeon Forest Floor, Michigan
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Peter Essick - Afternoon Thunderstorm, Garnet Lake / Pigment Print - available in multiple sizes
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Peter Essick - Afternoon Thunderstorm, Garnet Lake
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Peter Essick - Reflection of the Minarets in small pond near Cecile Lake. / Pigment Print - available in multiple sizes
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Peter Essick - Reflection of the Minarets in small pond near Cecile Lake.
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Peter Essick - Moonlight, Summit Lake with dead Lodgepole pine. / Pigment Print - available in multiple sizes
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Peter Essick - Moonlight, Summit Lake with dead Lodgepole pine.
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Peter Essick - Small stream near Clark Lakes / Pigment Print - available in multiple sizes
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Peter Essick - Small stream near Clark Lakes
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Peter Essick - Dusk, Shadow Creek / Pigment Print - available in multiple sizes
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Peter Essick - Dusk, Shadow Creek
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Peter Essick - Moonset, near Donohue Pass / Pigment Print - available in multiple sizes
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Peter Essick - Moonset, near Donohue Pass
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Peter Essick - Sunrise from Summit Lake with high winds / Pigment Print - available in multiple sizes
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Peter Essick - Sunrise from Summit Lake with high winds
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Peter Essick - Minarets from Nancy Pass, afternoon thunderstorm / Pigment Print - available in multiple sizes
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Peter Essick - Minarets from Nancy Pass, afternoon thunderstorm
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Peter Essick - Sunrise from Summit Lake with high winds / Pigment Print - available in multiple sizes
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Peter Essick - Sunrise from Summit Lake with high winds
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Peter Essick - Fall colors in Parker Lake region / Pigment Print - available in multiple sizes
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Peter Essick - Fall colors in Parker Lake region
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Peter Essick - Sunrise from Summit Lake with high winds / Pigment Print - available in multiple sizes
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Peter Essick - Sunrise from Summit Lake with high winds
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Peter Essick - Aerial of the Ansel Adams Wilderness, California / Pigment Print - available in multiple sizes
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Peter Essick - Aerial of the Ansel Adams Wilderness, California
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Peter Essick - Depleted Uranium, Kentucky, 2002 / Pigment Print - available in multiple sizes
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Peter Essick - Depleted Uranium, Kentucky, 2002
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Peter Essick - Sinkhole near Bowling Green Kentucky, 1996 / Pigment Print - available in multiple sizes
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Peter Essick - Sinkhole near Bowling Green Kentucky, 1996
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Peter Essick - Oil Sands Tailings, Alberta, Canada, 2009 / Pigment Print - available in multiple sizes
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Peter Essick - Oil Sands Tailings, Alberta, Canada, 2009
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Peter Essick - Acid Mine Drainage, Colorado, 2000 / Pigment Print - available in multiple sizes
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Peter Essick - Acid Mine Drainage, Colorado, 2000
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Peter Essick - Gold & Silver Mine Tailings, Nevada, 2000 / Pigment Print - available in multiple sizes
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Peter Essick - Gold & Silver Mine Tailings, Nevada, 2000
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Interview with Peter Essick, National Geographic Photographer
www.jeffwignall.com, 6 Sept 2012 [cached]
Peter Essick Profile
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Meet Photographer Peter Essick
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Another very interesting photographer that I was asked by Outdoor Photographer to interview is National Geographic shooter Peter Essick. Peter is what can only be called a "photographer's photographer. He has circled the globe countless times on assignment and is one of the few photographers that has been given the honor of photographing an entire issue of the magazine from cover to cover. As you'll see in the story that follows, there is very little that Peter won't do to get a photograph--and sometimes what he has to go through for that single photograph seems more like an endurance test than the mere persuit of a photograph!
I had a great time interviewing Peter and he was very forthcoming about all that is involved in his "normal" life as a National Geo photographer. I think you'll find Peter to be a fascinating person and his story should dispell any daydreams most of us have about running away with a camera and joining the Geographic!
You can read Peter's own notes on his gobal warming assignment on the National Geographic site. Peter also sells prints of his work on the web at Ray of Light Photographs.
Here's my story about Peter--enjoy!
Peter Essick
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Veteran Geographic shooter Peter Essick is no exception to the tradition; in fact, he is probably the very definition of that type of photojournalistic obsession. In shooting more than 20 feature stories for the magazine, Essick has had to endure some epic journeys to get the shot and bring it back home.
Take, for example, his picture of a scientist counting a roost of Adelies penguins on Torgersen Island in Antarctica. To get the shot Essick hired a private 50-foot yacht to sail him (sail-as in hoist that mainsail) through the notoriously turbulent Drake Passage from Ushuaia, Argentina on the southernmost tip of South America to Palmer Station in Antarctica. The trip took seven days (in each direction) and much of that time was spent in 20-foot seas and 70 mph winds and, says Essick, it was even less pleasant than it sounds: "You can't really go up on deck when it's like that so you spend your time down in the hold. There were five of us onboard and it was kind of stuffy in there; we had to really work to not get seasick."
Essick didn't know it at the time, but seasickness was among the least of his worries. "It wasn't until after the trip that the skipper, a Swiss guy named Eric Barde, confessed that during the height of the storm he felt he'd reached the limits of the boat's capabilities," says Essick. "He had to take down all the sails and we were really at the mercy of the seas."
Once in Antarctica Essick had less than a week to shoot his photos and get back on the boat for the return sail. "I had never been there before, it's a difficult place to go for one shot. says Essick who has an almost poetic gift for understatement. "You can't fly there because there is no air strip. Most of the researchers who man the research station go in by icebreaker in November and stay through March-a time frame that Essick's fast-lane shooting itinerary didn't allow him to follow.
Ironically, says Essick, at one time there was enough sea ice in the region to prevent getting into Palmer Station without an icebreaker leading the way-even during the brief Antarctic summer--but because of global warming, the sea ice no longer extends to that area. "That's one of those global warming things," he says. "Years ago you couldn't even sail there."
The Antarctica shot was just one of dozens he shot for three separate essays that ran in the September 2004 special issue of National Geographic devoted to global warming ("Global Warning: Bulletins from a Warmer World"). Each of the three essays was devoted to one aspect of global warming: "Geosigns" looked at physical changes like rising seas and melting glaciers, "EcoSigns" dealt with the effects on flora an fauna (like the penguins) and "TimeSigns" explored the scientific research into climate change. In total his essays ran more than 60 pages in the magazine-a hefty spread even by Geographic standards.
The story was the brainchild of Geographic environmental editor Dennis Dimick, who Essick says directed the entire project.
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"A lot of people don't even believe in global warming," says Essick. "So it was important up front to say that we're assuming that there is climate change and that we're going to go by scientific voices, rather than follow the pseudo-science people that are trying to debunk it."
When it came to choosing specific subjects and locations, Essick got a basic outline of the concept but did much of the research and found many of his subjects himself. A lot of leads were found by reading scientific journals-a bit of intellectual curiosity the Atlanta-based shooter says he picked up at a young age from his father, a high school science teacher. "My criteria was that I would try and find scientists that had published a peer-review paper that detailed their research on a specific topic," he says. "Then I would contact them and see if they were doing any field work and if there was anything that I could photograph."
All told he spent more than six months on the road during a nine-month period shooting an average of eight weeks on each of the three essays. "It was like doing three stories at once," he says, "but I shot them at the same time and was doing pictures for each of the three on the same trips.
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In addition Essick, who travels without an assistant, says he carries a lot of backup gear-chargers, batteries, screwdrivers: "You have to fix your own stuff when you're working like this."
Each of his hard shell Pelican bags, he says, average about 70 pounds. "I carry as much as I can put on one of those smart carts in the airport and still push it myself," he says. "It would be nice to be specialized and just do one thing, you could go a lot lighter, but with a story like this you have to go heavier on gear."
Essick says he typically shot about 400 rolls of film on each of the three essays-which worked out to about 10 rolls of slide film a day. For the round-the-world portion of the assignment he found he could carry about 300 rolls of film in one rolling carry-on suitcase. The film itself was packed in Op/Tech lead bags-which he says tricks security personnel into hand inspecting. "I used to always ask for a hand check but that got to be very difficult, especially after 9-11" he says. "Now they say they can't see anything and so they take it out and hand inspect it anyway."
And although he says some photographers at the Geographic are starting to convert to digital, he still works exclusively with film on assignment. One of the downsides of shooting film, he says, is that often he doesn't see processed film for weeks, even months, after he's shot it. "On this assignment I worked for several months without seeing a single shot," he says. "I did about four fifths of the story without ever seeing a picture. That is hard to do. You really have to rely on your past experience and your knowledge not only so you know that your camera is working, but you have to know that you've got the shots."
The most fascinating aspect of the long assignment, says Essick, was getting to work with the many scientists who are studying global warming around the world. Particularly interesting were the paleoclimatologists who study things like ice cores and stalagmites to see what the climate was like in the distant past and what it might be like in the not-too-distant future. "For me these people are almost like detectives, they look deep into the past and they can see how fast the changes have happened-which is pretty fast," says Essick.
"That's kind of a distortion," says ...
www.esquire.com, 25 Sept 2014 [cached]
"That's kind of a distortion," says Peter Essick, an award-winning National Geographic photographer who has worked with the Forest Service before, as well as the other agencies that oversee American wildernesses for years to produce truly remarkable work.
"When the Wilderness Act was created in 1964, there were plenty of people doing photography," he says.
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Coincidentally, Essick spent lots of time photographing the Ansel Adams Wilderness, named for the famous photographer, for his own book.
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"There would be less photography done," Essick says.
"That's kind of a distortion," says ...
slashdot.org, 3 Oct 2014 [cached]
"That's kind of a distortion," says Peter Essick, an award-winning National Geographic photographer who has worked with the Forest Service before, as well as the other agencies that oversee American wildernesses for years to produce truly remarkable work. "When the Wilderness Act was created in 1964, there were plenty of people doing photography," he says. "Nothing in the Wilderness Act says photography is not approved or banned. When he goes out to shoot, Essick takes the utmost care to the follow the rules of "leave no trace," and he does it with 65 pounds of gear on his back. He's a nature photographer: Not trashing the place is pretty much rule number one.
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