As a wildlife photojournalist and naturalist guide aboard Ponant cruise ships, Margot Sib sails the world’s oceans, from the most remote territories of Antarctica to the lagoons of the Pacific. For nearly a decade, her lens has captured the raw beauty of the wild and the human encounters that punctuate her journeys.
Although she is based in Saint-Malo, Margot has been traversing the globe for about ten years, from subantarctic islands to isolated Pacific archipelagos, including Norwegian fjords and African coasts. As a wildlife photojournalist and naturalist guide on Ponant cruise ships, she documents the most remote territories, where nature dictates the rules and humans are merely transient guests.
Her journey is no accident. From her childhood dream fueled by an early fascination with animals to her career as a photojournalist, this radiant and passionate 36-year-old reveals in the first installment of this report a path shaped by determination, pivotal encounters, and a life spent at sea, close to the elements.
How did photography become a part of your life? Was there a particular memory that made you pick up a camera to capture what you saw around you?
It started very young. I’ve always had a passion for animals that came out of nowhere. In my family, we never had contact with animals; we never lived on a farm. On the contrary, we lived in social housing! We didn’t have a cat or a dog; it was an animal desert. But I was immediately immersed in it, and it became a passion.
Initially, I imagined myself in care, wanting to be a veterinarian, but my teachers didn’t help me much with orientation. They quickly told me I was terrible in science subjects and that I wouldn’t make it. We were still in that mindset thirty years ago. I realized I needed to combine what I loved with what I was good at. I excelled in visual arts, so I thought, “What combines art and animals?” It was wildlife photography. It became a life choice, and I was determined to become that.
And in fact, I never let it go. I was self-determined, convinced it couldn’t be any other way. This led the course of my career, and my father told me, “Okay, I’ll support you. However, you have to aim for a high level of expectation, even if it means coming down lower later.” Then, I met a wildlife photographer named Michel Gunther, who became my mentor. I did several internships at the BIOS photography agency where he was employed. He took me under his wing and taught me the basics of photography, although ultimately, this passion came from my father, who is an artist. At the time, he was crazy about film photography!
When did you first feel the call of the sea? Was there a particular moment when you understood that this lifestyle, between the sea and photography, would be your long-term path?
The call of the sea came later. I had never really done any sailing, but I sailed on the family motorboat. In the Mediterranean, there are more motorboats and yachts, after all. Everyone in my family has boated. My grandparents lived in the Balearic Islands… We’ve always had this instinct for freedom. Instead of crowding onto beaches with tourists, we would take our boat and head to isolated coves. My sense of navigation, my maritime instinct, comes from my father.
Also, when we went to Spain, we went by boat and never by plane. I became a bit of a sailor in those conditions, even though it was tough because I get terribly seasick! Even today, I still get seasick, and I continue to travel. For example, I’ll be back at sea in a few months. I haven’t tried those little methods like the ginger slice taped to my wrist. Maybe I should… It’s an acupuncture point to try. There’s so much to prepare before leaving that I almost forget how sick I’m going to feel. On board, I take Mercalm. If that’s not enough, I lie down and wait. No matter what, my desire to travel has always been dominant! I knew I wanted to be a wildlife photographer.
How did you become a photojournalist and naturalist guide on Ponant expedition cruises?
After finishing photography school, I was trained for fashion and advertising. After a year in studios in Paris, a photographer working for Ponant encouraged me to try onboard photography. I sent a spontaneous application that was accepted. They called me on December 8 to embark on the 15th, for six months in the Asia-Pacific aboard the Soleal. I had several months without returning home… A decision to make in a week!
I found myself alone, plunged into the great unknown: photo reportage commissioned by a cruise company. Everything was a first. The beginnings were very intense. The first times are always like that in this profession. You enter the machinery and get carried away by the hamster wheel! The maritime vocabulary is specific, and the organization is a well-oiled machine. You arrive, and you must be operational immediately. On my first cruise, everything was new, even for Ponant. They expected exceptional images. We were going to the subantarctic New Zealand islands. It was storm after storm; I was sick for three weeks!
The only moments I felt good were when I was on land, literally amazed, but I had to go through the navigation to meet these cultures and see such landscapes. I felt like I was in the Ushuaïa Nature report. Ultimately, I was well anchored in the dream I had projected; I was where I wanted to be. I thought, “It’s incredible what you are experiencing!” After three weeks, the sea calmed down. I had five months left on board. Gradually, I found my footing, and everything settled down. The company was satisfied with my work. That’s when I knew I was in my place.
Subantarctic © Margot Sib
Ponant presents itself as an expedition cruise line, far from the image of traditional cruises. Do you place a limit between luxury and adventure?
Even though there’s no room for improvisation or exploration in the raw sense, we participate in many expeditions, for example, in the Arctic and Antarctic; it still remains a form of adventure! Because we can’t program everything, we often change navigation routes, which gives us a lot of freedom in terms of the cruise and the journey.
Ponant is currently reviewing its formulas, but previously, there were two distinct types of cruises. The first, yachting, corresponded to a classic cruise with stops at ports where passengers were then transferred by bus for visits focused on cultural and historical themes. These cruises were very enriching, with guides accompanying us in museums and providing detailed explanations. It was the ideal option for those seeking a more traditional cruise experience.
The other option, the expedition cruise, was entirely different: it involved departing with a team of about fifteen naturalists and scientists who accompanied us to guide and enlighten us about the areas we explored. Today, this approach predominates. For my first expedition, for example, we left from New Zealand to a tiny, extremely isolated island called Macquarie. There, we only had naturalists and scientists with us who guided us on hiking paths to talk about the fauna and flora, etc. It was truly fascinating.
After completing my missions as a photojournalist with Ponant, I became a naturalist guide in September 2024. It’s a sort of personal promotion. I have done several types of cruises, so I know them well. I know the fauna and flora of the lands where we land.
For my first contract, we went to New Zealand before heading to the South Antarctic, where navigation was complicated. We traveled the entire East coast of Australia with the Great Barrier Reef before moving up towards Indonesia, Malaysia, and then the Philippines. We then went to South Korea and stayed in Japan for two and a half months. This entire journey lasted more than six months… And we also visited Papua New Guinea. We went through the Banda Sea; it was incredible. I would have never been able to undertake such a trip on my own by boat, meeting such remote and isolated populations. I was deeply moved. I didn’t return the same as when I left; that’s for sure.
As an onboard photojournalist, how does navigation shape your vision of nature and the environment?
I have unforgettable memories. We did Auckland-Sydney, and arriving by sea rather than by land to see the Sydney Opera House is incredible! It’s like arriving in New York by sea. It was very beautiful! Also, I remember Venice. When you arrive by sea aboard a yacht about a hundred meters high, you can admire the whole city from an exceptional angle. It’s simply magnificent. And it doesn’t offer just a static viewpoint since you are navigating.
Venice seen from the boat © Margot Sib
I have wonderful memories of sailing in the fjords, in Antarctica, or Norway. I find it so scenic. You create stunning time-lapses. Photographically speaking, it gives you access to things you couldn’t capture from land. For example, you can access cliffs teeming with bird colonies via the rigid inflatable boat! They fly overhead, and you feel overwhelmed; it’s very impressive.
Source: bateaux
