Forster has built a global reputation as one of the finest yachting photographers of his generation, and even after all these years, he remains as passionate as ever about capturing the drama, elegance, and raw power of the sport he loves.
Born and raised near Lake Murten in Switzerland, he began his journey into sailing and photography at the same time. “I started sailing at home on a Swiss lake and took photos of my friends racing,” he says. “During my apprenticeship in a photo studio in Bern, I started reporting from regattas.” It was there that his lifelong fusion of sailing knowledge and visual storytelling took root.
His big break came in 1971 when SWISS Yachting editor Walter Dahinden sent him to cover Kiel Week—the lead-up to the Olympic Sailing events in 1972. “That was my first assignment,” he recalls. “And it became the first of twelve Olympic Games I would cover.” It wasn’t long before his ability to anticipate and frame sailing moments set him apart. “Being a sailor myself, I always knew where to position myself for the right angle.”
In 1977, he travelled to Newport, Rhode Island—then the epicenter of America’s Cup activity—and began his enduring relationship with the grandest event in sailing. He has covered 14 America’s Cups to date, including the 1987 edition in Perth, Australia, where TIME magazine featured his photograph of Dennis Conner on the cover following Conner’s historic victory. “They sent me down for five months,” Forster says. “That was a major moment in my career.”
Over the years, Forster’s work has appeared in nearly every major sailing publication and media outlet. He has been commissioned by Rolex, the New York Yacht Club, and countless other clients to document prestigious events such as the Rolex Sydney Hobart Yacht Race (15 times and counting), the Rolex Fastnet Race, the Rolex Middle Sea Race, the Rolex Maxi Worlds, and the Rolex Big Boat Series. He's also captured the action at regattas in San Francisco, Hong Kong, and throughout Europe.
While the locations and boats have changed, his eye for a timeless moment remains constant. “I’m addicted to spinnaker takedowns,” he laughs. “The flow of the sail is ever changing.” Whether he’s photographing a fleet of 12 Metres crossing tacks in Newport or catching the geometry of a flying F50 at the SailGP, Forster brings a consistent aesthetic to his work—clean, well-composed, and emotionally resonant.
His creative drive hasn’t slowed, even if his travel schedule has eased slightly in recent years. “I don’t work less, I just do fewer events,” he explains. “I’ve reached the United Million Miler Club flying to Hong Kong, and airports aren’t exactly my favorite places anymore. I enjoy traveling less—but I still love covering events close to home like the Newport-Bermuda Race and the NYYC Race Week.”
When he’s not behind the camera, Forster can often be found racing his J/22 in local Newport regattas. “I won the Tuesday night series against six other boats just two weeks ago,” he says with a grin. “And I still remember racing my Finn on the lake back in the ‘60s—though I was too light to be competitive!”
Photography is no longer his only creative outlet. In recent years, Forster has embraced painting, working in acrylic, oil, and watercolor. “It’s as soothing as meditation,” he says. He’s now a member of the prestigious Providence Art Club—the oldest art club in the United States—and in both 2019 and 2021, he won the club’s Dr. Stanley Summer Award for photography, each time with a black-and-white image.
Even after half a century, Forster remains curious and open to innovation. “I’ve done the whole gamut of photography evolution—from processing and printing my own black-and-white film, to fully embracing digital workflows,” he says. He continues to use the latest Canon gear, Photoshop software, and advanced printing techniques to ensure his work stays on the cutting edge. “I was the first photographer to apply stereo technique to yachting photography. These new learning curves keep me creatively sharp.”
What hasn’t changed is the mission behind it all. “What fascinates me is traveling to faraway places and bringing back photos that allow viewers to feel what I felt in the moment,” he explains. “Observing and capturing yachts in their element, showing the teamwork on board, and portraying the water in all its forms—rain, fog, ice—that’s what drives me.”
Daniel Forster’s work is more than documentation. It’s a visual bridge between the offshore world and those on land who rarely see it up close. “I bring the visions back to shore,” he says. “So people can get a sense of what it looks and feels like out there, beyond the horizon.”
You can explore more of Daniel Forster’s work at www.danielforster.com.
1: Emirates Team New Zealand at the 37th America's Cup in Barcelona | The Spacecraft Has Landed
I chose this image as one of my favorites because it captures something truly iconic and symbolic—the unique shape of the AC75 hull, lifted clean out of the water on its foils. It looks more like a spacecraft than a sailboat. You can just make out the eight crew members, but only by the backs of the cyclors or their helmets—adding to the surreal, almost alien quality of the shot.
It wasn’t easy to get. The boats were moving so fast that we couldn’t get very close, which made it tough to find the right angle. I shot it on a Canon EOS-1D X Mark II with a 400mm lens and a 1.4x extender, giving me 560mm of reach. The settings were ISO 1000, aperture f/7.1, and a shutter speed of 1/2000 to freeze the motion. When I saw the image, my first thought was: the spacecraft has landed.
2: Bella Mente | Right Place, Right Time
I took this shot during the 2022 Race Week at Newport presented by Rolex, as Bella Mente, the 72-foot Maxi skippered by Hap Fauth, rounded the leeward mark during the race around Conanicut Island. What made this moment special for me was the gull perched on the buoy—something you don’t see every day. I spotted it early and quickly asked my boat driver to reposition so I could line up the shot. By sheer luck (and maybe a little instinct), the bowsprit ended up perfectly aligned at just the right height to complete the composition.
Sometimes it's all about being ready and being in the right place at the right moment. I shot it with my Canon EOS-1D X Mark II at 182mm, using ISO 320, an aperture of f/6.3, and a shutter speed of 1/2000 to freeze the motion cleanly. This image is a reminder that nature and racing can line up in a blink—and you have to be ready when it happens.
3: Challenge 12 and Freedom | A Classic Crossing
This shot was taken during the 2023 12 Metre World Championship in Newport, Rhode Island, while working on a book project for Jack LeFort, who skippered Challenge 12 to his second world title after winning in 2019. The other yacht in the frame is Freedom (USA 30), helmed by Takashi Okura.
The 12 Metres are just stunning—über-classic boats with clean lines, no advertising, and incredibly demanding to sail well. This particular race took place off Conanicut Island, which gave me a beautiful, clean background to work with.
I love this image because it captures the two leaders in a perfect crossing shot, the kind that instantly brings to mind classic America’s Cup moments. Getting that alignment was all about timing and anticipation—I had to be ready for just the right moment. I shot it with my Canon EOS-1D X Mark II using a 400mm lens, ISO 640, aperture f/7.1, and a shutter speed of 1/1600 to catch it sharp and clean. It's one of those frames that just feels timeless.
4: Rolex NYYC Invitational Cup | Power and Panorama
I shot this image in Newport during the Rolex NYYC Invitational Cup, with the fleet of One Design 37s powering through a day of big breeze—gusts were up to 35 knots, and the sea state was just as wild – making it a constant challenge to frame a clean shot.
What made this one a favorite for me were the clouds—dramatic, sculpted, and completely unique. They stretched across the sky like brushstrokes and added a sense of depth and atmosphere that you just can’t plan for. The contrast between the raw power of the boats and the stillness of that sky created a kind of visual tension I love.
I shot it on a Canon EOS-1D X Mark II at 124mm, using ISO 200, f/6.3, and a shutter speed of 1/2500 to lock in the motion. Conditions were tough, but moments like this are why I go out there.
5: VAYU | The Art of the Drop
This photo was taken during the 170th New York Yacht Club Annual Regatta in Newport, Rhode Island, just as the 72-footer VAYU, owned by Pom Green of Thailand, was executing a spinnaker takedown at the leeward mark.
I make no secret that I’m addicted to spinnaker drops. There’s something about the way the sail flows, folds, and collapses that’s endlessly fascinating. No two are ever the same. It’s like watching a living thing change shape in real time.
I was ready for this one—positioned right at the leeward mark to catch the moment. I used my Canon EOS-1D X Mark II with a 200mm lens, shooting at ISO 500, aperture f/8, and a shutter speed of 1/2500 to freeze the movement and texture of the sail just as it started to come down. It’s a fleeting, chaotic moment—but when you catch it right, it’s magic.
TIME sent me to Perth for the 1986/1987 America’s Cup for five months. On the left is a shot from on board Stars & Stripes with America’s Cup winner Dennis Conner. I was the only photographer allowed on board, but it was a harrowing experience in the 30-knot Fremantle conditions. I took the shot lying on my back in the cockpit praying that the next wave would land on me and my cameras. In the centre is my first of two TIME covers (the other one was the Team New Zealand victory in San Diego) 1995. Three days before the print deadline they switched a portrait of Russian president Gorbachev back to my Dennis Conner photo. This cover shot became a major stepping stone for my career. Right: That five month assignment included me flying back to New York from Perth with Denis Connor's team and shooting the parade to Trump Tower.
