It’s not unusual when you’re travelling through another country to marvel, and take a bit of a nosey, at some of the unusual and different homes you pass along the way. There are some fine examples in the arid Northern Cape en route to the Kgalagadi Transfrontier Park and a few weeks ago, on our way back from the national park on our latest South Africa visit, we stopped off to take some photographs of several remarkable high-rise homes that merited attention.
The massive ‘penthouse suites’ in question were the distinctive communal nests of colonies of tiny birds known as sociable weavers. The nests look like clumsy haystacks that have somehow ended up on the top of telegraph poles lining the road. In the absence of nearby trees the birds make use of these handy man-made structures to construct their remarkable nests. Marvels of engineering, the nests have multiple chambers inside housing up to 500 birds and can keep their occupants cosy in the Kalahari’s cold semi-desert winters and cool when temperatures rise to more than 40 degrees in the summer.
Our picture story about these fantastic bird houses was picked up by several news outlets earlier this month and you can see more of our images of their crazy nests via this link to one of the pieces in the Mail Online.
It seems there’s an obsession with action in wildlife photography these days – understandable perhaps given the dynamism of a well-executed example, coupled with the technical ability of today’s top-end digital cameras to seriously increase the overall hit rate. But sometimes this comes at a cost to the ‘humble’ animal or bird portrait, sadly, and strangely, undervalued and ignored as a result.
The perception seems to be that action shots are tougher to nail and so therefore trump wildlife portraits which are seen as too easy or less interesting to the viewer. On the surface that might seem a fair assessment, but with modern cameras doing a lot of the work when it comes to fast-action photography you could argue the very best wildlife portraits – those that communicate something more, or something deeper, about the subject – are not at all easy to pull off and can often be more evocative, emotive and powerful than action photography, while equally as compelling to the audience – just look at the images that top the portrait categories in the world’s leading photographic competitions for example.
Making better wildlife portraits, like everything, takes practice and time, but there are a few things we’ve learned over the years that will help give your animal portraiture more punch. The text is a reworking of an article we had published in ‘Australian Photography’ magazine a few years ago that came to mind the other day as we began preparing to head off on another photographic safari. The images are a mix of new and old from our files…
1.Picking the right subjects
The best chefs select the choicest ingredients and simply let them sing. They know for the best results they need the best raw materials. The same goes when shooting wildlife portraits. Be ultra picky and shoot only the finest, most striking subjects. Wild animals are not models, but if you take your role as critical casting agent seriously, searching out the most charismatic critters, you can find half your work is done. Unless we’re looking to make a photographic point about a wrinkled, old, wounded specimen we pass over poor-condition subjects and those with ‘cosmetic’ flaws, that might niggle and distract a trained viewer. One floppy ear when both should be erect, a torn lip, worn or lifeless fur, missing canine teeth all could mar your results unless you make it absolutely clear to a viewer that’s what you intended. Many wild animals have scars – some photogenic, others less so – hence the need to scrutinise potential subjects vigorously. It’s surprising how easy it is to overlook fine details in the heat of the moment – only noticing them on the computer when it can be too late.
2. Making eyes
Check carefully you’re focused on the eyes –the most important part of any portrait. Direct eye contact with the added spark of a twinkling catchlight are the gold standards to aim for here. If not looking straight at you then wide-awake peepers will help wildlife portraits pop. Snoozy-looking subjects just won’t cut it. To give eyes an extra gleam you could try a dab of fill-in flash or make the most of any handy natural reflectors like water, when animals come to drink, bathe or socialise, to bounce extra light into your subject’s eyes for an added twinkle. Careful positioning of a subject’s eyes within the frame will also help enhance their impact. The ‘golden-ratio’ or rule of thirds works well here. Many animal portraits you make will be in ‘portrait’ format and you’ll find that your image will be more visually appealing and engaging to the viewer if you place your subject’s eyes on or near where an imaginary line bisects the image roughly two thirds up from the bottom. That said rules are to be broken and really extreme close-up portraits cam be very arresting if only a single eye is shown.
3. Sculpting with light
The general advice when shooting animal portraits is to go with bright, slightly cloudy conditions. Light cloud cover acts like a giant diffuser softening harsh shadows and rendering fine fur and skin detail and colour beautifully. On sunnier days make do shooting animal portraits in light shade. All sound stuff, but if it’s a drum-roll and drama you’re looking for you’re going to need more moody lighting. Low-raking bright sunlight works a treat if you want to crank up the atmosphere. We love using strong side-lighting at both ends of the day to help define a subject’s strong features such as horns, wrinkly hide, and so on. Angled-light throws a subject’s face into sharp relief, illuminating some elements more than others, producing a 3D, sculptural effect. If you like the result, experiment with more extreme low-key techniques where even larger areas of your subject are unlit. Shooting subjects against a dark backdrop and underexposing a bit will help, although you can always tweak backgrounds later in post-processing if you’re not confident. Portraits made this way can have a powerful quality so play around until you get it right.
4. Being background savvy
Keep backgrounds simple for portraits. Your subject has the lead role – the background plays second fiddle – so steer clear of anything that might steal attention from your subject. Be as colour-wise as a designer too – alert to backgrounds with a palette that complements or contrasts well with your subject. Shoot fairly wide open, where you can, to throw the background out of focus; bearing in mind you’ll need enough depth of field to ensure your subject is pin sharp from the nose-tip to the eye. In long-snouted subjects that can mean stopping down quite a bit so we try to ensure subjects are not positioned too close to the background. It helps here to exploit situations where a subject is sitting out in the open or standing proud of its surroundings. If this isn’t possible, try a low-angle and isolate your subject against a bright blue or pale white sky ( keep a close eye on exposure as you go). By ensuring backgrounds drop away we can stop down as much as we need to make sure our subject’s sharp throughout while being confident the distant background won’t intrude. Always try shifting your viewpoint in relation to your subject to assess the different background options a fresh perspective might give you.
5. Building character
The most successful wildlife portraits communicate a strong message about the animals they portray. Consider what you want to emphasise to the viewer most about your chosen subject – the imperiousness of a male lion, the intense concentration of a hunting heron, the don’t-mess-with-me attitude of a grouchy old buffalo. Because you haven’t the luxury of lots of background context in a portrait shot you’ll be relying on lighting and composition to help you communicate the spirit of the species. Bear in mind that curving, sinuous shapes, blurred edges and soft lighting are better suited to vulnerable, small or elegant subjects. Hard lines, high contrast and strong, directional lighting work best for big, bold, intimidating creatures. Aim to match the mood of the image with the key characteristics of your subject.
6. Getting closer still
If you find your portraits still don’t pack a punch it could be you’re not getting close enough. Extreme close-ups, with frame-busting facial features, can be hugely effective providing you crop and compose them well. Close cropping needs to look deliberate or it can look like a mistake – as if you misjudged things and accidentally clipped bits at the edges of the frame. So if you’re going to try this, don’t be tentative. Extreme close ups tend to work best with large, or menacing and fearsome creatures and those subjects with really fascinating, ugly or heavily furrowed faces. Be bold.
7. Concealing to reveal
Mystery adds the spice of intrigue to a portrait and one of the simplest ways to add mystique is to take something away. If you want to hold the viewer’s attention – leave something to their imagination. Try photographing just part of a subject’s face and head. Your subject might be partly hidden by a rock or you could crop in so closely that only part of the face, or just one eye, features in your shot. Doing this helps throw attention on the ‘curated’ features you choose to include. This selective cropping can prove useful in conveying a message about your subject too, for example, showing only part of a leopard’s face might communicate the idea that staying hidden is this stealthy predator’s modus operandi.
8. Framing portraits
An effective way to emphasise and draw attention to your subject is to frame it. By framing we don’t mean hanging it on the wall in the conventional sense, but creating an inner frame within the confines of your image to pull a viewer further to your focal point. We’re always on the look out for backgrounds that contain a natural frame into which we can place our subject – the curving branch of tree neatly overarching an animal’s head, perhaps, or a ‘window’ in dense foliage. If there’s nothing suitable that suggests itself, try using a shallow depth of field. Photograph wide open, lock focus on your subject and then shoot with your camera very low and very close to the foreground, whether it’s grasses, a bank of sand or tangled undergrowth. The shallow depth of field will mean everything, other than your subject, will be out of focus – framing it softly.
9 Holding up a mirror
Take a look at successful wildlife portraits and you’ll see many appeal because they’ re anthropomorphic – their content reflects back our own human behaviour and emotions, from tenderness to humour to aggression. Recognising the kind of behaviour, or subject, that will resonate with the viewer in this way is the easy part – capturing the exact character or moment of interest is the hard part. Being there is half the battle. So spend as much time in the field as you can patiently watching and waiting. And when you find promising subjects stick with them for as long as possible. Wait to see what happens next. Something usually does.
10. Ignoring all the above
The above tips work routinely for us, but that doesn’t mean you should follow them slavishly or that’s all there is to it. The trick is to evolve your photography and try something different. We’re always looking to take our photography forward and find something fresh whether it’s unusual angles, unconventional framing, creative blur and so on. At the end of the day it’s your call. But whatever you decide there’s one single thing to remember to be sure of success.
We’ve added a new, one-off photographic workshop to our list of events for 2017. Often there just isn’t the time on our routine photo days to provide all the detailed help and guidance people would like (everyone’s busy photographing) so we’ve decided to run a special ‘Shoot Like a Pro’ masterclass at the start of the spring – just as the days lengthen and the wildlife action starts to hot up – to share our top tips and the lessons we’ve learned about everything that goes into capturing and creating top wildlife and nature photographs.
Whether you’re a skilled photographer looking to develop your creative eye or refresh techniques or a beginner looking to pick up new tips, we’ve got it covered. We’ll include professional tips, advice on selling images and lots of practical, simple suggestions to help you capture winning wildlife images and take your work to the next level. Or perhaps you’d simply like to pick our brains about equipment or post processing? Our varied, accessible and lively programme should have something for everyone and is designed to get you tuned-up up and ready for the 2017 ‘shooting season”.
Our masterclass takes places on April 1 ( yes that’s right and it’s not a joke!). The venue is the famous Rheged convention centre in the Lake District – one of Cumbria’s top tourist attractions – which is conveniently located close to the M6 motorway for ease of access and has interesting photo exhibitions you can browse in the breaks between our sessions.
There’ll be lots of opportunity to learn more about wildlife photography in an informal and friendly setting plus the chance on the day to win a place on our popular raptor photography workshops in 2018.
Topics to be covered include:
Where’s the picture? – discovering great compositions in nature
The art (and design) of wildlife photography
Top techniques for wildlife
Cleaner, sharper shot-making
Working the light – from bad to brilliant
Capturing action and behaviour
An original take – new subjects and approaches
Successful editing, post processing and curating
Shooting to sell
Our one-day ‘Shoot Like A Pro’ workshop costs just £75 per person, including lunch and all refreshments through the day. Spaces are limited to 24. To find out more visit the workshops page of our website. To secure your place contact us on email@example.com or book direct via Eventbrite.
It’s been the year for spotted dogs… Back in June we were trying to keep tabs on 13 tearaway pups running rings around their adult wild dog babysitters and ceaselessly pestering returning pack members for food. It was hard to believe, but there we were, with our guests on safari, right by the den of these incredibly scarce predators as the pack conducted its daily meet, greet and eat sessions with the next generation of dogs.
Arriving at the den site late afternoon to share time with the African continent’s second rarest apex predator is one of the highlights of 2016 for us. It’s not every day you get the chance to get off a game-viewing vehicle and lie down to shoot such special subjects up close and at their level. The chance to get into the skin of your subjects and join their world for a while is what makes wildlife photography so rewarding.
The patient, if uncomfortable and mildy-grubby wait, as a tangle of snoozy pups, safe within the confines of their shady den site, slowly re-awoke and ventured out on short exploratory missions to chew branches or play endless games of tug o’ war with shards of old animal bone was a privilege and a joy. And the sudden explosion of noise and energy all around us when the adults returned to regurgitate food for the pups, when everything instantly became a blur of marbled fur, fangs, and frantically wagging tails is an experience we’ll never forget.
One of our favourite species, African wild dogs are among the world’s most endangered mammals with a population currently estimated at around 6,600. Most are to be found in southern Africa. The chance to spend time observing them on Zimanga game reserve as we did this year, in South Africa’s KwaZulu-Natal province, where there’s the chance of wonderful photographic access to the breeding pack is truly something special…
Returning to Zimanga last month with our second group of photo safari guests we were obviously keen to catch up with the dogs and check how they’d fared. The news was mixed. The alpha female, and mother of the pups, had been killed by a crocodile, but the puppies were thriving and were as hyperactive as ever. Observing the group dynamics, it probably wasn’t going to be long before another dog from the pack stepped up to take on the role of alpha female, but my how those pups had grown!
They were now regularly accompanying the adult pack members and yearlings on daily hunts; running through the bush, first this way, then that, only momentarily stopping to pose on a small mound of earth or prominent dam wall before haring off again.
One evening we found them making light work of a fresh warthog supper. It was interesting to see how the adult dogs let the pups eat first.
And on one of the morning sessions we caught up with the pack in a dry riverbed in a stand-off with a spotted hyena they’d cornered. The hyena was a bit stuck. Hemmed in by the prowling pack he’d wedged his back against a big rock for protection – fully aware that’s where he would be vulnerable to the chasing pack if he fled. Eventually the dogs lost interest and the hyena took his chance. A step late, the pups raced madly up the steep sides of the bank in pursuit, but the hyena had got enough distance on them and was last seen disappearing over the horizon.
It was with such thrilling sightings in mind that we purchased a bottle of Painted Wolf Pinotage (Painted Wolf being another name for wild dogs, albeit not very accurate) for our first evening in Kruger National Park soon after. The winemaker donates a portion of the price towards wild dog conservation – www.paintedwolfwines.com – if you want to find out more.
We were celebrating the end of a successful safari. A good red was the order of the day because temperatures had taken a sudden and unseasonal nosedive and with such an apt name it was soon safely off the shelves and in our basket. It went down well as we toasted our toes around the braai and looked forward to a few game drives in the Kruger to ‘wind down’.
Our choice of tipple turned out to be a lucky one too because in just a few short days in the reserve we ran into a pack of wild dogs on all but one of our morning and afternoon game drives.
Anyone who has visited Kruger will know wild dogs are not your everyday, common or garden sighting. Running into them at all is a special treat, running into them repeatedly is something else. We certainly hadn’t expected to be photographing wild dogs again this year.
Like the ones on Zimanga the Kruger pack also had this year’s still-cute pups in tow (born around the same time as those in KZN as wild dogs den seasonally in the African winter). And exactly like the pups on Zimanga they huddled together, sitting apart from the adults, fidgeting restlessly and squabbling endlessly – when not running amok of course. We couldn’t get enough of them.
We’re crossing fingers (that’s holding thumbs if you’re in South Africa) that we might run into them again in Kruger in 2017 – as yearlings. We may even buy another bottle of that red to boost our chances. We’re certainly looking forward to going back to Zimanga next year and seeing how the pack there is getting on. There might even be some new puppies around then to terrorise and annoy the older dogs…and to photograph of course.
Wildlife, conservation, photography and ecotourism: the adventures of award-winning photojournalists Ann and Steve Toon