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Remembering Rhinos launch: Special interview with Founder Margot Raggett

This week, many of the world’s top wildlife photographers and leading conservationists are joining forces once again for a series of events in London – this year to launch the coffee-table photography book Remembering Rhinos.

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Remembering Rhinos is the much-anticipated follow-up to last year’s title; Remembering Elephants, for which I attended the launch at the Royal Geographical Society, London, the day before the Global March for Elephants. Similarly to Remembering Elephants, Remembering Rhinos was founded by photographer Margot Raggett in association with the Born Free Foundation.

Like its predecessor, the book and its accompanying exhibition (opening today; 30th October until 11th November) both feature stunning photographs donated by top wildlife photographers from around the globe. In this context of remembering the rhinos before they are confined to memory alone, the incredible images provide a profound, thought-provoking look at what we have to lose should we not win the fight against poaching, habitat loss and the rhino horn trade.

Marlon du Toit Remembering Rhinos

The event comes at a time where the issue of rhino poaching for their keratin horns (the same substance that our fingernails are made from) has been spotlighted by the recent announcement of this year’s winner of the Wildlife Photographer of Year competition; ‘Memorial to a species’ by photojournalist Brent Stirton, which shows a victim of the illegal trade in rhino horn, taken as part of an undercover investigation. The decision of the international jury to select this particular image as their winning entry is a move that Remembering Rhinos Founder Margot Raggett describes as ‘brave’.

“I think the [rhino horn trade is an] issue is on a lot of conservationists’ minds and many of the judges of that award are conservationists,” she tells me in a special interview. “It was a brave decision to choose a picture which will have many of the public turning away from looking at it but it is incredibly important that as many people see it as possible nonetheless. We can’t deny what’s happening anymore, because we are all running out of time to save so many species.”

Memorial to a species by Brent Stirton

Memorial to a species by Brent Stirton, winner of the Wildlife Photographer of the Year award 2017.

I spoke with Margot about the new book, exhibition and Remembering Rhinos’ special launch event to be held at the Royal Geographical Society on the 1st November…

 

Kate: What will make the launch on the 1st November a success to you?

Margot: Good question, I am so focussed on arranging it right now, it is important to step back and think about that… Obviously a packed house, the chance for likeminded people to mingle, talk about the issues and be inspired is all important. But ultimately, the exhibition and launch are all about trying to sell books because THAT’S how we raise funds to put into projects. So the aim is to inspire people to buy as many as they can carry and make it everyone’s Christmas present this year! If we sell out of books by Christmas I will be absolutely thrilled – we printed 4000 rhinos books this year compared to 2500 elephant ones last, so a real step up. 

 

How did Remembering Rhinos come about? Was it always in the pipeline, or a direct response to the success of Remembering Elephants?

During the launch of Remembering Elephants I had a lot of people asking me what’s next, as if it was a given that there should be a follow up. But I was very keen to do one thing at a time and get that first book launched successfully before I made any commitments. A few weeks after that launch I headed out to Africa with my friend, actor Dan Richardson – who had kindly agreed to become an ambassador for us – to have a look at some of the projects we’d supported in Meru in Kenya.

From there we headed to nearby Ol Pejeta and had the opportunity to meet Sudan, the last male northern white rhino left on the planet. That same day we visited a rhino graveyard for all of the rhinos who have been poached in that reserve and the impact of both those visits was immense. Both of us were in tears for much of that day and over dinner that night I declared that I simply had to produce another book to build upon the support we’d gathered. And of course it had to be on rhinos.

Margot Raggett and Dan Richardson with Sudan last male northern white rhino

Margot Raggett and Dan Richardson visit Sudan, the last male northern white rhino

 

How many photographers are involved this time? Are they different or the same the photographers that were involved in Remembering Elephants?

Once again we have 65 contributing photographers and while many are the same, we have swapped in a few new names. Some of the photographers from last time didn’t have suitable rhino pictures and in some instances very few photographers in the world had the images we wanted, such as those of Javan and Sumatran rhinos. Former Wildlife Photographer of the Year winner Steve Winter was a new name for this year and we’re thrilled that he agreed to come to London for our launch and deliver our keynote speech at our RGS launch on November 1st.

 

Why did you choose the Born Free Foundation as the charity to partner with on this?

It was important to me to find a charity partner whose ethics aligned with mine and whom I felt I could trust. No-one ever has anything other than good things to say about Born Free and Virginia McKenna is a personal inspiration to me, so it was a natural fit. They’ve been great.

 

Why is this fundraising campaign/the plight of rhinos so important at the moment?

The rate of poaching for rhino horn has soared in recent years with its value more than its weight in gold on the black market. Add to that the recent legalisation of the sale of rhino horn in South Africa, which only masks the illegal trade further, and rhinos are being killed more quickly than they are being born. It is unsustainable. I was chatting to someone the other day who said the media were reaching poaching fatigue in South Africa, which is a frightening prospect. Anything we can do to keep the issue in the spotlight is therefore critical – and the fact that we also raise funds, which can be so quickly deployed into rhino protection, is even better. We are doing something because the rhinos need us and that’s the right thing to do.

 

What will the money raised from Remembering Rhinos go towards? 

At the moment I have a working spreadsheet with potential funds allocated against eight different projects across Africa and Asia (all approved by Born Free) but until we know the final amount raised — which depends upon how many books we sell — we won’t know exactly what we have to distribute. I’d rather give bigger, more meaningful donations to fewer projects than spread ourselves too thinly. There will be an announcement as soon as we can make it.

But in the meantime there are two projects we’ve already started supporting in South Africa from funds raised earlier in the year, which are Saving The Survivors (veterinary care for victims) and Wilderness Foundation Africa (anti-poaching patrols). In mid-November after the launch is done, Dan [Richardson] and I are heading out to visit each of those projects and report back to everyone exactly what effect those funds are having. I see reporting back as a critical element to our success, people quite rightly want to know how their money is making a difference. Accountability is a key part of our success I believe.

Remembering rhinos book

 

Remembering Rhinos talk and launch

A special evening about rhino conservation and photography will be held at the Royal Geographical society, London, on 1st November, and will include talks from former Wildlife Photographer of the Year Steve Winter, Saving the Survivors founder, vet and photographer Johan Marais and Will Travers OBE, President of Born Free Foundation. The event, which Margot Raggett will compère, will also include a presentation of the images from the book and an auction of some of the images.

The books themselves will also be on sale on the night with some of the photographers available to sign them if requested. Books and prints will be on sale to support Born Free Foundation’s rhino-protection work.

Tickets can be purchased from Born Free Foundation: For more info, click here.

Learn more about the rhino horn trade

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Jonathan and Angela Scott – The Big Cat People: Special Interview Part 1

In the days before we saw life through the eyes of animal robots, we saw life through the eyes of the people who knew them best – and Jonathan Scott was instrumental in that. I was 8 years old when I first tuned in to BBC’s Big Cat Diary, where Simon King and Saba Douglas-Hamilton completed the trio of big cat filmmakers that would change the way we saw lions, cheetahs and leopards forever.

man-with-cubs“I had a unique story unfolding right before my eyes,” Scott acknowledges. From his days of sleeping in his car while following African Wild dogs – which, by his own admission, allowed him to become ‘part of the pack’ –  to becoming famous as ‘the man that a cheetah crapped on’ (who can forget that famous Big Cat Week scene with Kike the cheetah?); it certainly seems he has had a life that many of us can only dream of.

Fast forward almost a decade, and Jonathan Scott is still bringing us ever closer to the formidable big cats of Africa, with a little (or maybe I should say ‘a lot’) of help from his partner in work, as well as in life; Angela Scott – or as he affectionately refers to her in our conversation, ‘Angie’.

At the end of 2016, the pair released an impressive combination of work; Jonathan Scott’s autobiography ‘The Big Cat Man and a coffee table book ‘Sacred Nature: Life’s Eternal Dance, which is predominately Angela’s photography.

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Angela Scott photographing cheetahs for Big Cat Diary

I spoke to Jonathan in a special interview to find out why he felt it was time to tell his story and what made him want to tell it publicly.

 “It is one thing to write an autobiography, quite another to figure out why,” Scott explains.

The Big Cat Man

“I think in some ways it was wanting to review my life to make better sense of it – I have lived life at such a frenetic pace that I sometimes feel that I need to slow down and take stock and think about the big questions that flash across one’s mind from time to time, reminding us that life is not a dream, that it is real, and that we owe it to ourselves to pay attention to what we are doing with this precious gift of being alive and the amazing opportunity that offers us – both for adventures and for personal growth.”

“Isn’t it an indulgence;” he added, “to think that your memoir is of interest to others – the written equivalent of imagining that anyone might really like to see your holiday photos.”

I actually purchased a copy of the book after listening to Jonathan talk at the Royal Geographical Society in London; guiding the audience through anecdotes of his extraordinary life, in preparation for some of the incredible tales and awe-inspiring photographs that feature in the book. Archives of life that I’ve spent the last month of so poring over as I read page by page before settling in for the night.

It dawned on me that it must be quite a daunting task, to give away the intimate details of human life to complete strangers.

Jonathan, getting ready to take the stand at the Royal Geographical Society, London.

Jonathan, getting ready to take the stand at the Royal Geographical Society, London.

“I never [gave] a thought to who will eventually read it,” he states, “I needed and wanted this book to centre on me and my growth as a human being – not just about what it is like to live in Africa and spend time following big cats.”

 “I have always led two lives – like everyone to varying degrees – the life lived ‘out there’ in front of my eyes, one’s sense of self; and the inner world that for me was a bit of a muddle given the mental health issues I was grappling with. I really felt I was going to die – like my Dad.”

Quite early in the book, you learn the sad revelation that Scott was just two years old when his father died of an inoperable brain tumour.

“I was convinced that something was wrong that some awful disease was working its way into my system. It took me until I was 40 to lay that to rest.”  

“Marrying Angie and having a family gave me something much more important to worry about than my own wellbeing. Writing my story was a way of coming to terms with who I am – or who I think I am. And [a way of] being honest about my life and letting people see that we all have problems and issues and frailties – and that when you consider the lives of other people you need to see beyond the superficial. Particularly with people in the public eye.”

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“We are all just human – being famous doesn’t mean life is any less complex or angst ridden. I wanted people, particularly younger people who might want to follow the kind of life I have lived, to believe that following your dream is possible. It might be a very bumpy road but in following it you can find the most unimaginable joy and meaning.”

Hearing Jonathan’s words, I feel like, particularly in the current climate, the need to feel like there’s a sense of purpose to be found; a life outside your current existence is a very important rhetoric for young people to hear. 

“The autobiography I wanted to write was a more fulsome account of my life than my celebrity as a wildlife author and presenter of Big Cat Diary merited,” Jonathan explains, as he tells me how finding the right publisher proved to be an ‘elusive creature’.

“People knew me as ‘the bloke the cheetah crapped on’ from my encounter with Kike the car climbing cheetah of Big Cat Week 2003; surely my potential audience wanted to hear stories of daring do among large possibly dangerous wild creatures rather than of growing up on a farm in Berkshire along with revelations of whatever skeletons in the cupboard I might reveal.”  

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My own collection of Scott’s early books

Like many people, it was Big Cat Diary that first switched me on to the work of Jonathan Scott, and I subsequently began buying the BBC books that accompanied the programmes – originally co-authored with Brian Jackman, then later, Angela Scott – and whilst I came to expect more tales of the big cats we’d got to know on the television, the authors certainly fascinated me too. Skeletons in the cupboard and all.

The Big Cat People

The first thing I learned about the combined force of Jonathan and Angela Scott is that they are the only couple to have won the Wildlife Photographer of the Year Award individually – a testament to their individual skills and vision. Jonathan won the prestigious award in 1987 and Angela won in 2002.

Jonathan Scott's photograph, which won Wildlife Photographer of the Year 1987

Jonathan Scott’s photograph, which won Wildlife Photographer of the Year 1987

The second thing I learnt about them, is that they go by the collective name: The Big Cat People. “Social media is a huge opportunity to have a shop window, but you do have to grow your brand,” Jonathan addressed the audience at ‘The Big Cat People’ talk at the Royal Geographical Society.

The Big Cat People feels a like brand that has been a long time in development. Prior to these book releases, the Scotts have worked on 29 other publications together!

Angela Scott's photograph, which won Wildlife Photographer of the Year 2002

Angela Scott’s photograph, which won Wildlife Photographer of the Year 2002

I asked what makes them such a good team in telling these stories and sharing their world with people who may never get to see these places or animals for themselves. “Angie always says that the key to a great relationship –  both business and personal – is to make it a “Competition of Generosity”, Jonathan gushes.

“If you are always thinking of your partner’s best interests and prioritising them then – as long as you are both doing it – you will be successful. Angie is great organiser: very structured in her way of thinking, whereas I just tend to wing it and believe that things will always work out fine. So it is a great combo.”

“And we both love each other’s work; we think of it as ours. The problem sometimes – and I am always quick to remind people of this – is that because I am on TV I often get the lion’s share of the attention. But when it comes to our photography, Angie is the talent not me. She has a wonderful eye as you can see in Sacred Nature. Eighty per cent of the images are Angie’s.”

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I can very clearly see their intention in releasing both books together, as a combination of work for anyone interested in their lives and career. As Jonathan puts it, they are ‘very inclusive’ – the personal text of the autobiography with their pen and ink drawings and photographs, and then the splendor of viewing some of their best images in a big folio book.

“The books complement each other. We knew that the autobiography was not the right format to show off our photography to best advantage. Words predominate in the autobiography and images predominate in Sacred Nature. That was our intention.”

Sacred Nature: Life’s Eternal Dance

Sacred Nature comprises 10 chapters, each preceded by a short essay setting the theme and tone of the photographs to follow. As well as being Angela’s ‘mission’, Sacred Nature really is family ‘labour of love’, as their son David is responsible for creating the design concept.

“Our son is incredibly creative. He drew together all the elements that we wanted for Sacred Nature: the right images – both colour and black and white; the tone of the text, and he chose the quotes from great poets and sages to mirror the message of: ‘look, listen and absorb the mood created by the images and the words’.”

“He conjured up a little bit of the magic inherent in the wonder of savanna Africa and the incredible place we call The Last Place On Earth – the Mara-Serengeti – home of the great migration, all the big cats that have been our obsession all the years,  and so much more besides.

A leaflet teasing the design concept of 'Sacred Nature' and the book's review by Keith Wilson in Geographical Magazine

A leaflet teasing the design concept of ‘Sacred Nature’ and the book’s review by Keith Wilson in Geographical Magazine

Keith Wilson writes of the book in Geographical Magazine‘s November 2016 issue: “This may be Jonathan and Angela Scott’s 30th book, but it is without doubt their magnum opus.”

So, what is it that makes the book stand out so much? (Jonathan tells me that one journalist said of Sacred Nature: “It is a coffee table book on steroids.”).

It’s clear from his answer that he agrees with Wilson’s interpretation, which reads: “The Scott’s have been firmly established at the top of their field for decades, during which time the public has grown accustomed to witnessing their spectacular work in print and on screen (through BBC TV‘s hugely popular Big Cat Diary), but this book differs in many ways to any of their previous efforts. Sacred Nature is primarily Angela’s vision.” 

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Angie is a very spiritual person,” Jonathan tells me. “Compassionate; someone who reaches out to others in need. She grew up in Africa, spent her holidays on safari in places like the Serengeti as a child living in Tanzania.”

“She draws strength from connecting to wilderness – she loves trees and seeing plants growing in her veggie garden. And she is very artistic; she loves to draw and was always very artistic and her great passion was photography and the ocean. She is quiet, and shy and retiring – so photography gave her a voice, a way to express herself.”

“The genesis of Sacred Nature was partly to do with our age. I am 68 this year and Angie will be 64. We have had a long and successful career as authors, wildlife photographers and working in television. This was the time when we wanted to review and assess where we were in our lives and careers and plan the next step.”

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Some of the incredible photography featured in the book, giving and intimate view of Africa’s wildlife

He also cites concerns about the natural world, loss of wild habitat and diversity, and the surge of the human population across the planet.

“They all played a part in focusing our attention on the reality that most of the world is shut off from nature. Most of the world lives in cities. And the places that still harbour most of the wild animals on earth are mainly the most impoverished parts of the planet – such as Africa.”

The irony of these places, he says, is that local communities are too busy just trying to get by in ensuring they have the basics in life (and many don’t; ‘living on a few dollars a day’), dealing with far more pressing day-to-day priorities to be able either enjoy the natural environment or to see any reason to treasure it. 

“Most people living in East Africa will never see a wild lion or elephant. And those living in rural areas adjacent to wilderness naturally have a very different view of an elephant a lion or a buffalo to the one enjoyed by visitors on safari. Those same charismatic wild animals that visitors so want to see up close and romanticise are often a threat to life and livelihoods for local communities who bear the brunt of living with wildlife. Elephants and buffalos destroy crops at times and predators sometimes kill livestock.”

“We hope to take the message of Sacred Nature: that we need to re-engage with wilderness and to value it as the source of life, as the provider of our fresh water, our food and the air we breathe, and use it to remind people that the world will be a poorer place without other forms of life to share it with and marvel at.

Geographical Magazine publishes images from Sacred Nature

Geographical Magazine publishes images from Sacred Nature

Purchase these incredible books here.

 

Learn more about big cats

Want to know more about other big cat species?

Want to know more about Cecil’s the lion?

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National Geographic’s next generation of photographers

It’s no secret that I love photography. I also love ‘conservation education‘, so hearing that the UK edition of National Geographic Kids magazine has announced its overall winner of the National Geographic Photography Contest for Kids 2016 — I had to find out more.

NG Kids magazine UK

I recently covered the Natural History Museum‘s Wildlife Photographer of the Year winners, and find it pretty exciting to think that, one day, one of the children entered into Nat Geo Kids’ competition might find themselves among the elite photographers whose work adorns the walls of the NHM in this prestigious competition. Especially as this year’s overall winner — chosen by judges wildlife presenter Michaela Strachan and renowned National Geographic photographer Reza — belonged to the ‘Amazing Animals‘ category of the children’s photography competition.

Overall winner

Ten-year-old Asher Flenner, from North London, scooped the prestigious award with this photograph of a brown and green anole lizard, entitled Anole on the Netting.

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He snapped the tiny brown and green anole (the size of a child’s thumb) sunbathing on the swimming pool netting while on his holidays in Florida. These little lizards have quite a temper, so Asher had to get close and zoom in without scaring him.

I agree with judge Reza, that the combination of opposing elements that make up this image make it quite fascinating.

“This, for me, is an artwork,” said Reza. “The photographer has chosen to capture these two elements — the plastic net, which is part of modern life, and this animal, which is as old as the dinosaurs. It’s just a genius work.”

“The symmetrical squares make it a very interesting picture,” added Michaela. “It’s aesthetically pleasing and I love that he’s chosen a lizard.”

Category winners

Weird but True

Another fascinating and unusual creature snapped on a manmade surface (this time a car windscreen); I love the strangeness of this snap, titled Hitchin’ a Windscreen Ride and all its minute detail.

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Taken by 12-year-old Thomas Grattoni-May from North Yorkshire, this image was announced as winner of the ‘Weird but True‘ category.

On a family holiday to Alberta, Canada, Thomas noticed this ‘alien-like’ bug on the windscreen of their car, and grabbed his mum’s camera to take a shot. Even after they started to drive away, it clung on, its long antennae blowing in the wind.

Dare to Explore

I absolutely adore this photo by 10-year-old Megan Davies. Called ‘Living on the Edge‘, for me, the picture shows that great wildlife photography doesn’t have to be snapped in exotic foreign locations; as Megan too this shot at the bottom of her garden, in Trefonen.

living on the edge, ng kids

Living on the Edge won the Dare to Explore category. Megan thought this little snail looked like it was exploring when she photographed it on a dewy Autumn morning.

Wild Vacation

Eleven-year-old Joshua Ritchie from Dublin won the ‘Wild Vacation‘ category of the competition with this snap, which wouldn’t look out of place in National Geographic Traveller Magazine.

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Titled Walk On, the image shows neat rows of sandals belonging to Buddhist nuns. The nuns had removed them before going inside to eat their dinner. Joshua snapped the intriguing picture while on an exciting holiday in Myanmar, South East Asia.

Tim Herbert, Editor of National Geographic Kids, revealed: “We had nearly 2,000 entries this year and, once again, I’ve been astounded by the quality of submissions. There are so manytalented young photographers out there!Asher’sphoto of thattiny lizard isan extraordinary shot and a worthy winner, but our judges had a tough task going through all the other wonderful images. Well done to everyone who entered this year’s competition!”

The photos taken by Asher, Thomas, Megan and Joshua will all be entered into the National Geographic International Photography Contest for Kids. Their pictures will be representing the UK and Ireland as they compete against other readers from other editions of National Geographic Kids from around the world.

Best of luck to these talented shutterbugs!

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Wildlife Photographer of the Year 2016 — My top 10 picks

The Wildlife Photographer of the Year exhibition at the Natural History Museum in London is one of my new favourite ways to escape city life and immerse myself in the splendour of the natural world.

In March this year I had my first opportunity to visit the annual exhibition (then displaying the finalists of the 2015 competition), and was blown away by, not only seeing the incredible images up close and displayed together so thoughtfully, but by the wealth of wildlife-related issues, crimes and political traditions that they explored. Returning again for the 2016 display, I wasn’t disappointed!img_4804

Upon entering the gallery (situated in a different part of the museum building this year), visitors are greeted with the sentiment that it is the Natural History Museum’s mission ‘to challenge the way that people think about the natural world—by exploring the origins of life on Earth, showcasing our planet’s biodiversity and questioning our impact on the environment to build a sustainable future.’

The entry board so accurately describes the exhibition as a powerful visual reflection of a shared ambition to inspire change. I must admit that it certainly gave me plenty of food for thought as every caption provided an important opportunity for mapping out the relevance of each image to the overall goal of the Natural History Museum, which states that proceeds from the Wildlife Photographer of the Year ticket sales will go towards supporting the work of their 300 research scientists and the care of their 80 million specimen-strong collection.

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My top 10 standout images from this year; the ones that really captured my heart and imagination (though ALL are worth seeing and appreciating for their craft!) are as follows:

10. The pangolin pit by Paul Hilton

wildlife-photographer-of-the-year-2016-9Winner of the single image photojournalist award this year, Hilton’s photograph tells a shocking story of the world’s most trafficked animal; the pangolin. Given Appendix 1 protection at CITES this year, the pangolin is killed for its meat (a symbol of status) and for its scales, which are used in traditional Asian medicine. These 4,000 dead pangolins were photographed in shipping container probably destined for China or Vietnam.

9. Requiem for an owl by Mats Andersson

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This sombre snap captures a pygmy owl known to the photographer, alone against the moonlight having recently lost its mate. The photographer describes observing the pair and felt the photograph reflected his own sadness at the loss. Thought to have been targeted by a larger owl defending its territory, this owl was later also found dead.

8. Giant-killer by Ralph Pacewildlife-photographer-of-the-year-2016-1

I love the bizarre look of the battle between this California sea lion and ocean sunfish; the world’s heaviest bony fish. Though this is only a youngster, the sunfish still looks pretty huge! I hadn’t realised that sea lions tackle such large prey until seeing this photo.

7. Hanger-trap by Bence Mátéwildlife-photographer-of-the-year-2016-8

A poignant reminder of the impact that plastic pollution can have on local wildlife. Photographer Bence Máté described seeing this black-headed gull for two more days after this photo was taken, with the plastic hanger still attached to its foot. After that, it seemed to have disappeared.

6. Wild West stand-off by Charlie Hamilton James.

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When viewing this epic photograph my first thought was that it wouldn’t look out of place in a giant ornate frame on the wall of a stately home somewhere. I initially wondered whether it was comprised of many different frames, pieced together in a technique I’ve seen used on the cover of National Geographic Magazine before, but it turns out that it was captured by a camera trap left in location at Yellowstone National Park for six months. This perfect shot was found in amongst the 200,000 images that the camera had captured.

5. Rig diver by Alex Mustard

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I love this picture for the dramatic scale and colours. The sheer number of fish and the imposing, shadowy figure of the cormorant convey a sense of foreboding. It also challenged me to think about an environment in a new light, which is the sure sign of an impressive piece of photojournalism; the oil rig is providing a unique opportunity for shelter and food for sea birds. I’d previously only ever thought of oil rigs as negatively affecting the wildlife around it.

4. The alley cat by Nayan Khanolkar

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Winner of the ‘Urban’ category of the awards, this stunning photo by Nayan Khanolkar, captured using a camera trap, shows a leopard stalking through the shadowy streets of Mumbai. To me, this was a particularly important addition to the exhibition, as it really highlighted human-leopard co-existence. Wildlife being forced to co-exist alongside humans in manmade environments is something that we will continue to see more of thanks to continued urban sprawl. Though the often elusive leopard is one of most persecuted big cats in the world, the city in which it has been photographed here, regards their secretive neighbour with high respect; accepting its place in their lives and culture.

3. The disappearing fish by Iago Leonardo

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This photograph looks so perfect that it almost seems unreal, like a manmade collage. But in fact, the image was captured using natural lighting by Leonardo, who was free-diving around Contoy Island; a protected area that requires special permission to dive. The ghostly, glass-like fish at the top of the frame are called lookdowns, and their impressive silvery scales make them appear almost invisible. I love this image for its composition and the incredible juxtaposition of colours and textures of the two types of fish.

2. Night blow by Audun Rikardsen

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A stunning photograph that captures such a wonderful sense of mood and atmosphere; viewing this dramatic image up on the screen in the dark the exhibition room really made me feel chilly. One can imagine the ferociously icy conditions that photographer Audun Rikardsen must have endured in the six hours he spent in a boat on the nighttime polar water, waiting to snap this perfect shot. His undeterred patience certainly paid off.

1. The aftermath by Simon Stafford

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I’ve chosen Simon Stafford’s image as my favourite of this year’s finalists, as the dramatic shot reveals a rarely-seen side to a story we all know so well. Lots of natural history documentaries make the annual wildebeest migration across the Mara River the subject of their stories, but very few tell the tale of ‘the aftermath’, following a stampede. Here, spotted hyena make the most of the gully full of dead wildebeest, trampled in the stampede: scavenging every morsel of meat, and even bone, leaving just the horns of the deceased wildebeest in their wake. This photography was a worthy winner of the ‘Mammals’ category.

Photo journalism category: Winning photo stories

As well as selecting a single photograph as the overall winner of the Wildlife Photographer of the Year competition, the panel of the judges, lead by author and creative director Lewis Blackwell (Chair of the jury), also select a winning photo essay from the ‘Story’ category of the competition.

This year, there were two joint ‘Story’ winners; Vultures: circling calamity and While the forest still stands.

Vultures: circling calamity by Charlie Hamilton James

wildlife-photographer-of-the-year-vulture-photo-essayThis photo essay examines the wide-ranging threats to Africa’s vulture population; one of the fastest declining groups of animal in the world. Half of all species of vulture in Africa are now endangered, with numbers predicted to fall by another 70 to 97% over the next 50 years. This photo essay tells the story of the vultures, their importance to the ecosystem, the effect of poisoning, poaching and human conflict (such as traffic) and what’s being done to help the species. An important addition to the exhibition.

While the forest still stands by Tim Laman

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Tim Laman has used his photo story as an opportunity to showcase the lives and cultures of Borneo’s orang-utans and their fight for survival against human conflict, such as deforestation to make way for palm oil plantations. He studies their engagement with their habitat, the way that mothers bond with and teach their young, and their desperate plight to flee the forest fires, which are a common method used to clear the forests to make way for the production of palm oil crops.

Overall competition winner

This year’s overall Wildlife Photographer of the Year winner is Entwined lives by Tim Laman. It features in the above mentioned While the forest still stands photo story and shows an impressive view of a young male climbing high above the canopy top to feast upon figs. It was shot using a GoPro camera positioned in the treetops and triggered from the ground.

wildlife-photographer-of-the-year-orangutan-winnerLewis Blackwell, Chair of the jury’s comment: “A vital story is captured in one remarkable frame as this orang-utan climbs an emergent tree in its ever-dwindling habitat. The story is well-known, but we need outstanding photography like this to bring it across to us afresh. It touches our hearts and our minds – and just might help support actions to stop the destruction.”

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The Wildlife Photographer of the Year’s 52nd exhibition is on at the Natural History Museum now and includes many, many more striking and impressive pictures than the handful I have picked out here.

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Introduction to Wildlife Photography Day Course — Woodbury Wetlands

Sometimes, to really fall in love with nature; to understand and appreciate it, we need to see it, beautifully framed and thoughtfully presented.

It’s great to read a dramatic, well-researched, personality-led article in the likes of say, National Geographic magazine, but when that article is teamed with a bird’s eyes view of arctic wolves on the hunt; red blood penetrating thick white snow, or a herd of wildebeest scrabbling up the muddy edge of a river bank, frantically seeking a sure spot for their feet to fall, to avoid the the snapping jaws of a crocodile… then the story really comes to life.

National Geographic magazine is one of my favourite sources of photojournalism. Such magnificent storytelling visuals, particularly their abundance of wildlife photography, not only connects audiences with natural history, but also serves as a last frontier for recording near-extinct, species; as proven by Joel Sartre’s Photo Ark project (featured in the Oscar-nominated Discovery documentary, Racing Extinction).

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The power of photography in these such cases cannot be contested. I love photography, and ever since visiting the Wildlife Photographer of the Year exhibition at the National History Museum earlier in the year, I’ve been inspired to get back in touch with using a camera and my own desire to dabble in some amateur wildlife photography.

Shooting on a Nikon D80, and occasionally an iPhone, I have joined a social media group through my work (I work for Discovery Education by day), called Discovery Shutterbugs. It’s a fantastic place to share some of my shots with my colleagues, to receive tips and advice, as well as some much needed constructive criticism!

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I’ve managed to fit in a few ‘nature days’ since moving to London in November. Earlier in the year, around Easter time, I stayed at a beautiful cottage with my partner, in a place called Scarning, in Norfolk. Set amongst the idyllic grounds of Scarning Dale estate, we stayed in the quaint Rose Cottage, which had visits from wildlife everyday, and I took the above selection of photographs, which I have since shared on Discovery Shutterbugs, and on my Wildlife Photography page on this blog.

When I’m not able to escape to the country, I have been finding places of nature to relax in around the City, my favourites being Ravenscourt Park (which is on my doorstep), St. James’s Park and the beautiful, expansive Richmond Park.

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After spending a few months reacquainting with my camera, I enrolled on my first ever camera course: An Introduction to Wildlife Photography. Obviously the title sounded entirely my cup of tea, but also, the day’s course would take place in an area of London I’d never been before; Woodbury Wetlands, and is associated with an organisation that (for my shame) I know little about; London Wildlife Trust.

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Woodberry Wetlands is an incredible patch of land, a short walk from Manor House tube station. The reserve stretches 17 hectares and encompasses reed-fringed ponds and dykes that are abundant with wildlife, including birds and waterfowl, bats and amphibians.

According to its website, “Prior to the building of the new river and reservoirs, the Woodberry Down area was in fact not a wetland at all! On the crest of a hill, the area is rather known confusingly known as ‘down land’, hence the name Woodberry Down. 600 years ago the was rolling grass meadows, pastures for cattle and small woodlands, probably home to dear and wild boar, as well as a number of small hold peasant farmers.”

The reservoirs now on the site were constructed in 1833 to meet the growing demands for drinking water in the then suburban London ‘towns’ of Stoke Newington and Stamford Hill. By the 1950s, the reservoirs and New River were being treated with chlorine and sodium phosphate gas to ‘clean’ the water, resulting in them being devoid of any wildlife. By the early 1990s, Thames Water put the Stoke Newington reservoirs up for sale, and after a long campaign by local residents to stop them from being filled in, the reservoirs were saved and wildlife began to thrive as chlorine and sodium phosphate ceased to be used to clean the water.

Woodberry Wetlands was constructed this year and the Stoke Newington East Reservoir was opened to the public for the first time, by Sir David Attenborough, on the 30th April.

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Upon finally discovering and taking my first look around this beautiful setting, it was time to begin the course, run by Royal Photographic Society associate Penny Dixie. An incredible photographer, Penny used examples of her own fantastic work (well worth a look!) to explain camera basics; such as shutter speeds, aperture, white balance and controlling your exposure using histograms.

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Naturally, being a day course, it was a bit of a whistle stop tour of the basics, but few of us in the room were competent enough to need or desire any more than that; most had either heard of some of these controls, experimented with them occasionally, or were so out of practice that a good refresher was needed. I fell into the latter category.

But after a good morning of classroom-based theory, we were ready to try out some depth of field work, and sent out into the reserve to complete the following tasks:

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The results of my day’s work (all very proudly shot with my camera set to manual!) are shown below, please click on any of the images to enlarge. I’d love to know what you think, or any tips or hints you’d give me for improvement. I’m really hoping this is the start of a very rewarding learning curve for me!

The Introduction to Wildlife Photography Day Course will be running again in August I am told, so keep an eye out for information here.

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Wildlife Photographer of the Year 2015 — My top picks

I’ve never visited the Natural History Museum‘s Wildlife Photographer of the Year exhibition before, despite a lifelong love of animals and a long term interest in photography.

Growing up in Norfolk, exhibitions like that seemed few and far between. But even without the obvious inspirations, I remember spending summers sneaking round the edges of my parents’ garden taking snaps of the visiting bird life on a disposable pink plastic camera with zebra stripes all over it. The kind with no zoom and a risk of double exposure if you forgot to wind the film on.

imageNothing like the kinds of amazing prints I discovered in the Under 10’s category of this year’s Wildlife Photographer of the Year gallery, when I finally found myself visiting. What a blessing it is to now live in London!

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Breathtaking. Breathtaking is the word for each of the hundred or so images on display in the darkened room at the back of the museum. Illuminated on screens in several different sections (an unusual way to experience a gallery!). The photographs showcased everything from climate change to urbanisation of species, to aerial landscapes and macro shots of mud in ice.

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I was overwhelmed at the quality of work; particularly from the young finalists. Long gone are the days of disposable children’s cameras with not so much as a ‘zoom-in’ setting, it would seem.

But the overall winner; A Tale of Two Foxes by Canadian doctor Don Gutoski managed to combine technical skills, an important message and ‘the perfect moment’; capturing a powerful, foreboding image of deathly mirroring.

A bleak comment, perceived by the competition judges to the show the greater impact of climate change on native species.

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“This scene is full of symbolic force: the red fox preys increasingly on the Arctic fox as a result of global warming. It is nature, brutal and yet eerily beautiful. Great wildlife photography combines learning with exploration and opportunism and this demonstrates that so well.” Chair of the Jury, Lewis Blackwell.

The scene depicts a scenerio where global warming is altering the placement of the red foxes’ territory; pushing them further northwards into the range of the smaller Artic fox. The result on the food web is that the Artic foxes’ main food source becomes prey to the red fox, making the red fox the biggest competitor, but also the biggest predator – as increasingly, the red fox hunts its smaller cousin.

imageAnother image that evoked a strong sense of the result of rising temperatures and human impact on the environment was Just Jellyfish, a finalist in the Under Water category.

Photographer Thomas P Peschak aligned the shot perfectly to demonstrate an underwater world with an absence of fish foreshadowing what the future may hold if the effects of overfishing and climate change are not kept within grasp. Warmer waters will increase the numbers of Cape box jellyfish, which then feed upon the eggs and larvae of the fish; fish numbers dwindle, which in turn has serious consequences on the fishes’ natural predator: the Cape fur seals.

imageBeing a journalist, the photojournalism category of the competition held several gems for me. Having recently read National Geographic magazine’s exposé on the political dark side of the ivory trade, it was a profound discovery to see the winning story was one by photographer Brent Stirton depicting the story of poaching from the Spoils of War (showing seized tusks), to The Survivor; an aerial shot of the remaining 450 elephants in Chad’s Zakouma National Park.

What interested me about this photo series was the humans at the centre of it. Rather than just depicting the plight of the animals and their surroundings, Stirton told the story of the people whose lives are most affected including those on the frontline of defence and those widowed by rangers who have fallen victim to the ivory trade.

imageThe photojournalism category of the exhibition highlighted another tragic human interference that these gentle giants face; being captured from the wild for use in circuses and ceremonies, as depicted in Emily Garthwaite‘s Chained to Tradition.

imageThe Asian elephant photographed is in ceremonial dress following a six hour procession, parading through bustling streets of large crowds and fireworks during Diwali. A far cry from the lifestyle of their endangered wild counterparts.

Sticking with the photojournalism side of things, I’ve been interested in learning about gorillas and other great apes recently, having watched the BBC series Gorilla Family & Me (featuring Born Free Foundation‘s mountain gorillas) and having researched the work of Ian Redmond and The Trimates for an earlier blog post. So I was intrigued to understand exactly what was going on in Marcus Westberg‘s shot, Gorilla Care.

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My initial thought was that the health check was taking place at a zoo, but on reading the caption, the mountain gorilla in the centre of the room, and her anxious companion (who worriedly watches over the proceedings) are two of four mountain gorillas at the Senkewekwe Centre that have been rescued from poachers and traffickers.

The Centre is now named after a gorilla who fathered the nine-year-old female at the window, watching her companion in the centre of the room have her annual check up.

The four gorillas that reside there have all had traumatic experiences, and for me, the most story-telling element of the picture is the deep felt attachment from nine-year-old Ndeze as she watches helplessly from between the bars of the window. According to the picture’s caption, photographer Marcus Westberg said:

“The deep bonds that exist between these orphans, their carers and [gorilla doctor Eddie Kambale – pictured] is one of the most touching things I have ever had the privilege of witnessing.”

imageThe last photograph of the exhibition that I’d like to highlight is one that brings me full circle to my recent move to the City Neil Aldridge‘s Little Fox in the Big City.

My first night of living in Hammersmith, I woke up in the middle of the night, unsettled in a new environment, and walked into the kitchen to spot a beautiful fox hopping and dancing its way through the car park in the centre of the square court of flats I now live in.

I must have spent about 10 minutes just watching the creature’s manic movements and comical chattering, and felt truly blessed to be watching over at this ungodly hour: probably the only person to witness this fascinating and private ritual.

Having spent my whole life growing up in Norfolk; on the edge of Thetford Forest, I’d never once seen a live wild fox (though roadside casualties aplenty)!), but moving to London I saw a fox the very first night.

The urban fox is a well-established resident, and Aldridge’s striking image captures that entirely.image

The Wildlife Photographer of the Year exhibition is on at the Natural History Museum until the 2nd May, and includes many, many more striking and impressive pictures than the handful I have picked out here.

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A lifelong love of animals

After a busy few weeks in the grips of Summer holidays and mid summer magazine deadlines, I’ve accidentally found myself re-visiting where my passions and influences stemmed from.

I’ve been looking over old work and ways in which I’ve incorporated my passion for conservation into my passion for media communication, which I’ve found myself doing for the purpose of organising a series of photos that I hope depict the nature of zoos. It’s been a fascinating experience of reflecting, and I’ve come to the conclusion that when you’re an ambitious person, you can become so focused on making steps forward that you can forget to take a look back once in a while , to remember how far you’ve come and why…

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I think the seeds of my ambition were sown when I was around the age of 14. Somehow ideas of being a journalist (or as I quite arrogantly like to position myself; an educational story teller) had entered my head at a very young age – perhaps from the days where my nan had taken me down to her local newsagent-cum-grocers just down the road from her front door, handed me a couple of coins and told me I could pick any one of the “comics” to take home.

I’d stand for ages, fussed over by the gentle old couple that ran the little independent store; just staring at all the colourful glossy pages until the two pound coins in my palm were warm by the time the decision was made and I finally handed them over. I usually opted for a Disney-owned children’s magazine called Big Time, in case you were wondering.

But it was at the age of 14 that the first of my own articles was published. I rushed into WHSmith the same morning that the magazine hit the shelves, only a humble regional magazine, but a magazine that I could open up and feel the buzz of seeing my own name, nonetheless. And the article topic? A local wildlife park.

A featured photograph of a serval critiqued in Photography Monthly magazine followed, and I was hooked.

To add to this, I’ve also recently unearthed my old A-Level photography project – based on the concept of freedom. I think exploring the thought processes of my 17 year old self, just months away from making my well-planned trip to Shamwari is teaching me that my passions, interests and ambitions have long been mixed and entwined, and – hopefully – long will they be.

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I’m sure there will be more to follow on this musing – there’s probably some great purpose for re-connecting with this thought, and may some divine intervention will come along to prove that, but in the mean time – here’s that series of photos I mentioned:

Through Captive Eyes.