Reflections and Diffractions: Photography, Conservation, and the Quantum Observer Effect

The water was calm that morning off the coast of Byron Bay, Australia, as I floated just beneath the surface, gripping my camera housing. The rhythmic sound of my own breathing echoed in my ears, steady against the silence of the ocean. Sunlight pierced the surface, scattering into beams that danced through the crystal clear blue water. Then, out of the blue expanse, a shadow emerged. A humpback whale moved with deliberate grace, its size and presence undeniable. At first, it seemed uninterested in me, continuing its migration from Antarctica. But then, something shifted - it turned, slowing, and fixed its gaze on mine. In that instant, I wasn’t just observing the whale; I was part of an exchange, one shaped as much by my presence as by its curiosity. I raised my camera and pressed the shutter, capturing the precise moment the whale’s pectoral fin stretched toward and touched me. The resulting photograph was not just a still image of a scene; it was the outcome of a dynamic interaction between myself, the whale, the ocean’s currents, and the light filtering through the water. This moment solidified a realization: photography is never just a passive act. Much like the quantum observer effect, where the act of observation alters the behavior of particles, photography reshapes what is seen. As the whale responded to my presence, its movements changed, and in turn, my choices as a photographer were influenced by its actions. The photograph was not a simple snapshot of the natural world but a collaboration between human and nonhuman forces, a process Jane Bennett describes as an “assemblage.” 

This notion of an assemblage, in which observer and environment continually shape one another, aligns closely with the observer effect, a principle underscoring how the very act of watching alters the phenomena under examination. “The ‘observer effect’… refers to the idea that the very act of observing changes the way the world around us operates” (Depatie). Photography makes this principle visible, offering a way to understand not just the physical realities of an ecosystem but the interconnected relationships that define it. It reveals how observation and participation are inseparable, making clear that even the smallest actions ripple outward, shaping the world in ways we may not fully realize. Photography transforms what might seem like a passive engagement into a reflection of the intricate connections between humans and the natural environments we enter. While this story is personal, photography, much like quantum physics, reveals larger truths about our role in shaping the natural world. It offers a lens to see these relationships more clearly and asks us to consider how even observation itself carries with it a responsibility.

My journey with photography began as a curious child with a camera. Over time, it evolved into a deeper understanding of my role as both an observer and participant in nature. I first picked up a camera at the age of ten and started taking pictures of birds in my backyard. At the time, I was fascinated by the details I could capture: the curve of a feather, the intensity of a bird’s gaze, or the way light played through the trees. What started as a simple hobby soon became a way for me to immerse myself in the natural world, teaching me patience and attention to detail. As I grew older, my photography expanded beyond my backyard. During my time in Australia, I began photographing marine life, from sea turtles gliding through coral reefs to the breathtaking sight of a humpback whale breaching the surface. These experiences deepened my appreciation for the interconnectedness of ecosystems. I started to see how the health of one part of an ecosystem, such as coral reefs, directly influenced the life forms that depended on it. Photography became not just a tool for observation but a way to understand and engage with these delicate systems. Photography, as I’ve come to learn, is “both an art and a science, drawing upon material and intellectual forms of knowledge” (Tucker, 236). This dual nature of photography is what makes it so powerful, it allows us to document and connect with the natural world while fostering a deeper understanding of it. This growing connection to nature through photography led me to recognize how observation is never passive and how photography itself can influence both the subject and the observer. Whether capturing the curiosity of a sea lion or the quiet beauty of a bird in flight, I began to see how my presence shaped the moment I was trying to preserve. What began as a hobby became a way to bridge the gap between humans and the ecosystems they may never encounter firsthand. Through my lens, I hope to share not only the beauty of these environments but also their vulnerability and the need for their protection.

The observer effect, a concept from quantum physics, helps us understand how photography alters the behavior of the animals we seek to document. In quantum physics, the observer effect refers to how the mere act of observation changes the state or behavior of what is being observed. This principle is not confined to the subatomic realm; it plays out vividly in the natural world, especially in wildlife photography. Animals often respond to the presence of a photographer, whether by shifting their movements, becoming more cautious, or even displaying curiosity. These interactions create unique, co-constructed moments, where the photographer’s observation is as much a part of the scene as the subject itself. As fellow photographer Max Depatie notes, “either way, it’s undeniable that the sheer presence of camera and photographer alter the people who are aware of its presence.” This holds true not just for people but for wildlife as well, where even the most careful and unobtrusive photographer inevitably influences the natural behavior of their subjects. These moments highlight the interconnectedness of the observer and observed, reminding us that observation is never a passive act. This concept not only applies to quantum particles or wildlife photography but also reveals a broader truth about human interaction with nature. Whether we are observing, photographing, or simply walking through an ecosystem, our presence leaves an impact, however subtle, on the environment. Photography brings this dynamic into focus, showing how observation and interaction are inseparable from the natural world. In photography, the observer effect becomes a metaphor for the inextricable relationship between humans and the natural world. Each photograph reflects this relationship, capturing not only a moment in time but also the unseen interactions that shaped it.

Photography, like Karen Barad’s concept of diffraction, reveals the relationships within an environment rather than simply reflecting its appearance. Diffraction, as defined by Barad, is the way interactions shape what we see, contrasting with the idea of a mirror-like reflection. In photography, this means that what a photograph shows is not just a reproduction of reality but a result of the interplay between light, subject, environment, and the observer. Each image captures a unique convergence of these elements, offering insight into the intricate dynamics of an ecosystem. This idea extends to the concept of assemblage, where photography becomes a collaboration of photographer, subject, and environment. For instance, the way light filters through the trees, the behavior of an animal reacting to a camera, and the photographer’s choice of framing all come together to create the final image. “Photography doesn’t just reflect the world but reveals how interactions shape it” (Depatie). This process shows how photographs are not isolated snapshots but are deeply relational, shaped by the interplay of all components involved. However, these relationships also highlight the ethical dimensions of photography. A photographer’s presence can impact natural behavior, and the stories told through images can shape public perceptions of wildlife and ecosystems. This is particularly significant in conservation contexts, where careful planning is necessary to protect fragile environments. For example, “minimising the total area of urbanised land close to the coast […] might create co-benefits for animals in both realms” (Ballantyne, 3050). Similarly, photographers must navigate their presence in natural spaces with care, balancing the need to capture compelling images with the imperative to respect their subjects and their habitats. This interplay between reflection, diffraction, and assemblage underscores the ethical responsibility photographers have in preserving the integrity of what they capture. Photography is not a passive act; it is an active collaboration that reveals the intricate relationships within ecosystems, offering not just an image but an opportunity to deepen understanding and appreciation for the natural world.

Photography makes visible the fragility and interconnectedness of ecosystems, emphasizing our role in their conservation. Through powerful imagery, photography fosters emotional connections that inspire viewers to care about the natural world. For example, animal portraits are designed to evoke empathy and engagement. As one study highlights, “Animal portraits […] grab attention, to get the viewer to make a quick connection to the subject” (Whitley, 856). These connections can spark curiosity, admiration, and a sense of responsibility, motivating people to support conservation efforts and protect the ecosystems depicted in these images. However, this emotional engagement also brings to light the challenges of conserving natural spaces, particularly as human influence continues to shape these environments. Our impacts “on ecosystems often transcend ecosystem boundaries” (Ballantyne, 3039) affecting interconnected realms. This means that even seemingly small actions, like entering a natural habitat to capture a photograph, can have ripple effects that extend beyond the immediate scene. Conservation efforts must therefore account for the broader, relational impacts of human activities, including those of well-intentioned photographers. Photography helps highlight the sensitivity of ecosystems and the ethical choices we must make to protect them. By showcasing the beauty and complexity of nature, it can drive awareness and action while also reminding us of the delicate balance required to preserve these environments. By bringing these relationships to light, photography inspires conservation while reminding us of the impact of our presence in every environment. Each image becomes a call to action, urging us to engage with nature in a way that protects rather than disrupts its fragile interconnectedness.

Looking back, my early photos were simple snapshots, but with the lens of theory, I see them as evidence of deeper connections between observation, interaction, and conservation. When I first started taking pictures, I was focused on capturing what I saw: a bird perched in the backyard or a stunning marine animal in its natural habitat. At the time, I didn’t fully understand how my presence shaped these moments or the ethical implications of being both an observer and a participant. Over time, concepts like the observer effect and diffraction have transformed how I view photography, showing me that each image is a collaborative process shaped by interactions between the photographer, the subject, and the environment. These ideas have deepened my commitment to using photography as a tool for conservation. By capturing the relationships within an ecosystem, photography can document not just the beauty of nature but its complexity as well as its vulnerability. Moreover, “the sensitive photographic film is the true retina of the scientist […] it faithfully preserves the images which depict themselves upon it” (Tucker, 237). By likening photographic film to “the true retina of the scientist,” Tucker is emphasizing photography’s role as both an objective witness and a reliable record-keeper. Much like the retina in our eyes converts light into images the brain can understand, photographic film (or its digital equivalent) captures the visual details of a scene without bias or embellishment. These insights not only shape my approach to photography but also offer a way for others to engage with the natural world more ethically and intentionally. Through the lens of theory, I’ve come to see that photography is never neutral; it reflects the relationships that make up our shared environment and invites us to consider our place within it. Photography reveals not just what is, but how we are all part of what happens. It calls us to act with care and responsibility. Every image carries the potential to inspire a sense of connection and stewardship, reminding us of our role in protecting the ecosystems that sustain us all.

In the end, photography transcends its initial role as a passive record of nature, becoming a means through which we recognize and engage with the world’s living systems. The whale that paused to acknowledge my presence off Byron Bay, the coral reefs silently shaping marine life below, and the birds lingering in my childhood backyard all highlight the reciprocal relationships that form whenever we decide to observe, document, and share. By interpreting these encounters through concepts like the observer effect and diffraction, we see that our presence alters what we behold, and that each image emerges from a complex web of interactions. Photography thus teaches a broader lesson: ethical responsibility is woven into the very act of looking. Every photograph we take can inspire empathy, raise awareness, and encourage preservation, reminding us that participation in the natural world is not optional, but inevitable. Ultimately, the stories we tell through our lenses matter because they invite others to join in seeing, and caring for, the fragile, interconnected ecosystems we all inhabit. I encourage you to look closer at the natural world around you, to appreciate its beauty, and to use whatever tools you have, whether a camera, a phone, or your voice, to advocate for its protection. Every action, no matter how small, contributes to preserving the delicate balance of our shared environment and planet.

Works Cited

A Depatie, Max. “Matter Deconstructed: The Observer Effect and Photography.” PetaPixel, 22 

Dec. 2020, petapixel.com/2020/12/22/matter-deconstructed-the-observer-effect-and-photography/. 

Ballantyne, Jasmine A., et al. “Cross-Boundary Effects of Human Impacts on Animal 

Assemblages in the Coastal Zone.” Biodiversity and Conservation, vol. 33, no. 11, 2024, pp. 3039–55, https://doi.org/10.1007/s10531-024-02901-1.

Barad, Karen

Bennett, Jane

Tucker, Jennifer. “Photography and the Making of Modern Science.” The Handbook of 

Photography Studies, 1st ed., Routledge, 2020, pp. 235–54, https://doi.org/10.4324/9781003103974-19.

Whitley, Cameron Thomas, et al. “Using Animal Portraiture to Activate Emotional Affect.” 

Environment and Behavior, vol. 53, no. 8, 2021, pp. 837–63, https://doi.org/10.1177/0013916520928429.