Justin Gilligan is an award-winning conservation photojournalist specializing in ecosystem-based stories across Australia. His work for Australian Geographic and collaborations with institutions like the Natural History Museum, London, have driven global conversations on plastic pollution and invasive species management.
Gilligan’s career began with a fascination for marine ecosystems, which evolved into a professional commitment to conservation journalism. Early projects centered on Australia’s Great Barrier Reef, where his underwater photography highlighted coral bleaching events. By 2017, his image of a seahorse clinging to a plastic cotton bud—a stark commentary on ocean pollution—went viral, cementing his reputation as a storyteller who merges artistry with advocacy.
This groundbreaking piece exposed the visceral reality of plastic pollution through a mosaic of 403 plastic pieces extracted from a seabird’s digestive tract. Gilligan collaborated with Adrift Lab researchers to trace the journey of microplastics from urban waste streams to remote ecosystems. The article’s accompanying imagery, starkly arranged against a black background, became a rallying cry for policymakers, leading to renewed debates on single-use plastic bans in Australia.
“The image is touching and powerfully questions us about ourselves.” —Luciano Candisani, Wildlife Photographer of the Year Judge
Gilligan’s documentation of Lord Howe Island’s rodent eradication program used a mummified rat as a symbol of ecological recovery. By juxtaposing the rat with poison pellets, he highlighted the ethical complexities of conservation interventions. The piece underscored the resurgence of endangered species like the Lord Howe woodhen, whose population doubled post-eradication.
This Australian Geographic feature explored the symbiotic relationships between marine species and their habitats. Gilligan’s lens captured rare behaviors, such as octopuses using discarded shells as tools, while interviews with marine biologists emphasized the need for holistic conservation strategies. The article influenced grant allocations for reef restoration projects in New South Wales.
Gilligan prioritizes narratives rooted in specific Australian ecosystems, such as mangrove restoration or kelp forest recovery. Pitches should include access to field researchers and high-visual-potential subjects. Example: His 2023 coverage of seagrass regeneration in Shark Bay paired time-lapse photography with Indigenous ecological knowledge.
Stories bridging science and community action resonate strongly. Proposals involving partnerships between biologists and local NGOs—like his work with Adrift Lab—are ideal. Avoid purely technical studies without human or policy angles.
While Gilligan has covered iconic animals like koalas, he increasingly focuses on lesser-known species (e.g., the flesh-footed shearwater). Pitches about invertebrates or plants driving ecosystem health will stand out.
Gilligan’s dual wins in the “Oceans: The Bigger Picture” and “Conservation Stories” categories marked the first time a photojournalist swept these sections. The Natural History Museum’s competition, renowned for its rigorous judging, recognized his ability to contextualize ecological crises within broader human narratives.
His portfolio of Tasmanian devil behavior under climate stress earned the top prize, highlighting his knack for capturing behavioral ecology. The award solidified his role as a leading voice in Australasian conservation journalism.
At PressContact, we aim to help you discover the most relevant journalists for your PR efforts. If you're looking to pitch to more journalists who write on Environment, here are some other real estate journalist profiles you may find relevant:
