극지 카메라맨 더그 앨런, 데이비드 애튼버러 영화 촬영 중 74세 나이로 사망

He was renowned for his skill at capturing candid scenes of penguins, polar bears and other cold-weather creatures — and for his ability to tolerate extreme discomfort.

Credit...Allan Family

Doug Allan, a cameraman whose skill at capturing candid scenes of penguins, bears, walruses and other animals that populate the earth’s polar extremes — both above and below the ice — earned him a brace of awards and the unbounded admiration of the renowned nature documentarian David Attenborough, who worked with him on many films, died on April 8 while hiking in the Pokhara region of Nepal. He was 74.

Liam Allan, his son, said the cause was a brain aneurysm.

Mr. Allan, who trained as a marine biologist and a diver, took up photography as a hobby in the 1970s while working for the British Antarctic Survey, England’s polar research organization. After selling footage of emperor penguins to the BBC, he decided to become a freelance cameraman.

He quickly became a go-to cinematographer for nature documentaries, especially those requiring patience and skill in some of the world’s most challenging environments.

His work was featured in films and mini-series, including “Life in the Freezer” (1993), “The Blue Planet” (2001), “Planet Earth” (2006) and “Frozen Planet” (2011) — all narrated by Mr. Attenborough.

Though he worked with a number of filmmakers, he was most closely associated with Mr. Attenborough, who considered him the best wildlife photographer in the world.

“He is not as other men,” Mr. Attenborough wrote in the foreword to Mr. Allan’s 2012 book, “Freeze Frame: A Wildlife Cameraman’s Adventures on Ice.” “He cheerfully endures conditions more uncomfortable and for longer periods than anyone I know.”

Mr. Allan won eight Emmy Awards, five BAFTAs (British Academy Film Awards) and five Pandas, given by the environmental organization Wildscreen. In 2024, he was made an officer of the Order of the British Empire.

He thought nothing of diving into a narrow hole cut in the ice to film a group of seals, or of swimming alongside a beluga whale and her calf.

“It’s not like I’m an adrenaline junkie,” he told Wildlife-film.com in 2012. “But there’s a huge satisfaction in bringing back pictures from difficult situations. I’m at home in the ice.”

He and an assistant once spent 24 days trudging through the snow and ice of Kong Karls Land, a cluster of islands in the Arctic Ocean, looking for polar bears.

“We shuffle, hop, bend, stretch and run to stay warm,” he told The Guardian in 2014. “Five hours of watching, and then with no warning at all, I catch a glimpse so brief that I almost miss it. But the camera’s locked on the hole on full zoom, and my eye’s very quickly on the viewfinder. Nothing for a couple of seconds, and then an unmistakable black nose.”

It was worth it: The result — showing a female bear sliding down a slope accompanied by two new cubs, which were tentatively taking their first steps outside — became a landmark of nature cinematography when it appeared in “Planet Earth.”

Mr. Allan said he was rarely scared of working in proximity to large wild animals, though he had his share of close calls.

Once, he was bobbing in the water when he felt something grab him around the chest. Turning around, he saw that it was a walrus trying to pull him underwater. Assuming that it had mistaken him for a seal, he hit it repeatedly on the snout with his camera, and it eventually let go.

“You know how people in Africa are scared of hippos in the water?” he said in an interview with BBC Wildlife in 2019. “Well, walrus are the Arctic equivalent. I’ve never met a good-tempered walrus. They’re always grumpy!”

Douglas George Allan was born on July 17, 1951, in Dunfermline, Scotland, across the Firth of Forth from Edinburgh. His father, Morris, was a photographer, and his mother, Betty (O’Brien) Allan, was a hairdresser.

Despite assisting his father on the occasional assignment, he did not initially aspire to be a photographer. Instead, inspired by the books and films of the naturalist Jacques Cousteau, he took to the water, first as an avid snorkeler and then as a diver.

Thinking he would become a marine biologist, Mr. Allan studied the subject at the University of Stirling in Scotland. But by the time he graduated in 1973, he had decided that becoming a scientist interested him less than diving.

He spent three years working at a diving school; he also participated in two research trips to the Red Sea and dived for freshwater pearls in the River Tay with Bill Abernethy, Scotland’s last commercial pearl diver.

In 1976, the British Antarctic Survey hired Mr. Allan to work at a research station on Signy Island, part of the South Orkney Islands off the coast of Antarctica.

To while away the long stretches of idle time on that sparsely populated island, he took up photography. But it was not until a chance encounter with Mr. Attenborough, who was visiting with a film crew, that Mr. Allan decided to change careers.

“I was standing on the edge of the sea ice in Antarctica looking down at the black water,” Mr. Attenborough wrote in Mr. Allan’s book. “A head materialized many feet down, slowly rose, surrounded by bubbles, and broke the surface. It was Doug.”

Without pausing to draw breath, Mr. Allan said, “I want to make natural history films for television. How do I start?”

Mr. Allan’s two marriages, to Elisabeth Smith and Sue Flood, also a nature photographer, ended in divorce. In addition to his son, Liam, he is survived by two brothers, Ron and Graeme; and two sisters, April and Judy.

In his interview with Wildlife-film.com, Mr. Allan was asked about his views on heaven and hell.

“Heaven is being anywhere in the company of a wild animal that trusts you enough to relax and behave naturally in front of you, even if that means he or she simply goes to sleep,” he said. “Hell is too many people.”

Clay Risen is a Times reporter on the Obituaries desk.