Tag Archives: springbok

Three pictures and the stories behind them

The header says it all really. A simple post centred on three recent images from the files and the stories that led up to them…

Vanishing Point – White Rhino

Canon EOS 1DX, 1/5 second, f/8, ISO 100, Canon EF 300mm f/4 lens

White rhino, Kwazulu Natal

Working for several days from a hide in South Africa’s KwaZulu-Natal we’d often used in the past our visit had been productive. We were photographing rhinos as part of a project to raise awareness and document the ramifications of the poaching crisis there. We’d photographed lots of rhinos and the cows’ very small babies had completely charmed our socks off, but we hadn’t really got anything that conveyed what we felt about the whole sorry saga – something that summed up our sense of the rhino’s vulnerability; that here was a species on the brink, under threat of disappearing forever before our very eyes.

On our final day the light was poor, so we didn’t hold out much hope we could really add anything more. It was overcast, so there were no reflections to exploit at the water, and the whole scene appeared flat and lifeless. Perhaps because it was also a cooler day, there were fewer animals coming down to drink.  It really was a head-scratching time.

Then out of nowhere a lone rhino lumbered slowly down to the water. The muted colour palate made for an altogether more sombre mood than on previous days and that suddenly struck a chord with us.  Perhaps here was something to work with. The germ of an idea?

Selecting a slow shutter speed and deliberately moving the camera while photographing to create a, softer, more painterly, effect we experimented photographing impressionistic images of the lone rhino at the water. The results seemed to us much more emotive than the ones we’d taken in the bright, warm sunshine and certainly chimed more with our sense of sadness and despair at the pointless slaughter of these innocent creatures…

Buffalo Nocturne – Cape Buffalo

Canon EOS 5D Mk III, 1/50 second, f/4.5, ISO 2000, Canon EF17-40mm EF lens

Cape buffalo at night

Staying quiet for hours in a nocturnal hide in the middle of the bush when there’s nothing but stillness, eerie sounds and the black velvet curtain of night outside is an unusual experience to say the least. Being able to witness and photograph Africa’s large mammals in such a setting ( with wide angle lenses and without the need for flash); to gain a unique glimpse into their night-time world is truly something unique.

We’d been ensconced in this hide for a while, slowly getting accustomed to using our camera controls in the darkness when out of nowhere a small group of thirsty buffalo approached…

The bulls nervously moved closer to the drinking edge – a scant four metres from our lenses – and dipped their huge, heavy heads to drink. Their bony horn bosses and shiny wet muzzles felt near enough to touch. Right next to us in the dead of night were three burly Cape buffaloes, members of Africa’s legendary Big Five and one of the toughest and most dangerous species on the continent. Our hearts were racing as we moved to the viewfinders on our cameras waiting to squeeze the shutter releases. Against the darkness the LED lights on the outside of the hide moulded the muscular lines of their massive bodies reminding us just how powerful these heavyweight contenders really were.  We both held our breath in awe.

We took tons of pictures as you might imagine, but it wasn’t until the trio arranged themselves around the water’s edge like a diorama from a natural history museum display, that we not only had an amazing and memorable encounter of wildlife by night, but we also had our perfect composition.

Dance of Death – Cheetah with Springbok Lamb

Canon EOS-1DX Mk II, 1/800sec, f/6.3, ISO1600, Canon EF f/4 100-400mm zoom

Cheetah with springbok kill

Summer in the Kgalagadi Transfrontier Park is a time of unbearable heat, thunderstorms and heavy downpours; a time when rain brings temporary relief, when food becomes more plentiful and when the resident springbok drop their lambs. Cue the reserve’s cheetahs. Their success when hunting springbok fawns is almost assured…

We’ve been photographing in the Kalahari at this time for several years. On this occasion we’d been watching a female cheetah for over an hour. We’d been lucky in spotting her settled in a shallow gully; well hidden from us and the small herd of springbok grazing in the riverbed nearby with their newborn lambs. Although it didn’t appear as if she was actively hunting, the fact she was in cover, with an excellent view of nearby prey was reason enough to stay with her and wait.

Most of the time she was motionless, just twitching her ear or flicking her tail every now and then. The wait seemed pointless given the herd wasn’t moving nearer. Perhaps it was time to give up and move on? Then a solitary lamb began moving away from the protection of the herd right in the direction of the cheetah; seriously cutting the distance she needed to make to secure her next meal. We knew it was going to happen any minute now.

The chase happened so fast it’s difficult now to recall exactly how it panned out. Trying to follow the fast unfolding action while making sense of what was going on seemed almost impossible; particularly as the startled young lamb zig-zagged and the the chase took both predator and prey right out of sight at one point behind a thick clump of low bushes.

When the dust settled, we could see she had taken the lamb down right beside us. There she was, in the warm light of late afternoon, with the tiny springbok in a chokehold, struggling to lift and control the deadweight. It was vital for her to get away from the open terrain of the riverbed to safety with her quarry before darkness. She looked directly towards us for a brief moment before turning towards the dune with her prize and that was the picture of the two – predator and prey locked in a macabre pas de deux. No time to dial down our ISO but just press when her eyes met our own.

Six ways to add wow to your wildlife pictures

I can tell from the way we’re needling each other now after long days in the office, processing pictures, polishing pitches and chasing unpaid invoices, that it’s high time we were heading off back to the African bush. Our run-down engines are spluttering, our creative juices have evaporated, the RSI is flaring up and our pasty skins and bleary eyes, after hours in the ‘digital darkroom’ with blinds drawn, are truly zombie-like.

It’s got so bad that yesterday, just to keep going on the projects in hand, we had to down tools for 15 minutes to listen to BBC sound recordist Chris Watson’s wonderful Kalahari soundscape, broadcast earlier this week on Radio Four, on the iPlayer. It’s amazing how much renewed energy you can get just hearing the ping, ping, pinging calls of barking geckoes. A sound we’ll forever associate with evenings in the Kgalagadi Transfrontier Reserve after a busy day ‘connecting’ with Africa’s awesome wildlife.

Fortunately it’s not too long now before we’ll be taking down our special ‘Africa’ crate once again (see our post ‘Six Things to Love About Photography in the Kalahari‘  about this important pre-trip, packing ritual). Re-charging our batteries and nourishing our souls in the wild just can’t come soon enough.

After years of doing this you’d think we’d have this wildlife photography thing nailed by now. But every time we look forward to travelling we resolve to improve our pictures and return home with better shots than before. While we certainly learned early on that there’s no silver bullet or short-cut to getting that great shot we have found a few simple techniques and approaches along the way that help our pictures pack a punch. Here are just a few (and then we must get back to work!):

1. Turn round
Turning your back, quite literally, on the prevailing wisdom that recommends photographing with the sun behind your shoulder immediately presents you with the opportunity to exploit the changing moods and magical effects of back-lighting. Back-lighting is a boon for wildlife subjects because it allows you to focus more attention on them. Distracting detail, and colour even, is held in check, (or is almost non-existent in the shadow areas) so there’s nothing at all to detract the viewer’s eye from the main event. Keep compositions clean and experiment  under-exposing shots a bit to further dampen down detail and saturate the golden light. Look out for back-lighting opportunities when photographing animals in water, when it’s cold, or in dry, dusty conditions. A golden spray of water droplets, a veil of condensing breath or a shimmering cloud of dust will really enhance the eye-appeal of your shots.

AMHAL17(D) Common (blue) wildebeest (gnu)
Shoot into the light to add mood, magic and mystery to wildlife images

2. Go wide
While the foreshortening effect of long lenses can be brilliant for throwing backgrounds out of focus in wildlife shots (and getting close to stuff in the first place!) the downside is your results can sometimes look a bit flat.

That’s why wherever we get the opportunity we like to use wide-angle lenses. Wildlife images made this way always look refreshingly different and have bags of immediacy because subjects appear so ‘in your face’. Unlike long lenses, the broad angle of view when shooting wide gives pictures a dynamic 3-D feel and allows you to include lots of in-focus background detail, too, telling a story about your subject’s habitat and immediately enriching your picture with context. Wide-angle animal close-ups work best at eye level with your subject (or below it) so you not only need to get very close, you need to get down low – often lying prone. The effect is to exaggerate your subjects’ size and characteristics, making them appear to loom out of your picture – straight towards the viewer.

AMHRW168(D) White rhinos
Low and wide is one way to go if you want to make dynamic images of large mammals

3. Think landscape
When we started out and had splashed all our savings on long lenses we photographed everything close-up – all the time. We still do close-up shots, of course, but we temper that desire to fill the frame all the time now because these shots don’t really communicate much about our subject to the viewer – the habitat it prefers or the eco-system it belongs to. They also don’t really capture the sense of scale of a subject or establish any relationship between the subject itself and the world it inhabits. These days we force ourselves to think more like landscape photographers; placing wildlife subjects in the wider scene as thoughtfully as a landscape photographer would frame a scenic shot. As always, photograph when the light is best to make the most of impressive skies and surrounding scenery.

AMHZ83(D) Zebra with storm
Good landscape techniques with a strong wildlife subject is a winning combo

4. Make eyes
Strong eye contact takes a wildlife image to another level since eyes are the first thing a viewer engages with. We’ve discovered that getting this part of the picture right is vital – putting the ‘life’ into wildlife images. We often pass up on a  subject with no catchlight in the eye because  we know the resulting image will look lifeless. You can add a catchlight at the post-processing stage, but nothing beats a natural sparkle. Always be ready to press the shutter at the precise moment your subject is wide-eyed and be prepared to shift your position in relation to the sun and your subject. If you can’t get a catchlight immediately, this shuffling of viewpoint often helps. Eyes are such an important feature we often try to make them the ‘essence’ or stars of a picture.

AMPL106(D) Lion
Strong eye contact, an alert stare and pupils clear to see will all help grab and hold the viewer’s attention

5. Break rules
Experiment, be creative, aim to find your own visual style and be prepared to dispense with photographic convention. A lightning bolt won’t strike you if you stray away from the rule of thirds. If you feel it will improve the aesthetics of your image, advance the story you want to tell, or convey the emotion you’re after – go for it. The best images are not the ‘me too’ wildlife clichés, but the ones that dare to be different. A word or two of warning ‘though. Be bold when you veer off the straight and narrow. If you’re too tentative you risk not pulling it off – and always do it for a reason.

AMHRW186 White rhino
Dare to be different – rules work, but can be broken too!

6. Be there
Our best and final advice  is quite simple – get out there with your camera as much as you can. Luck is a rare commodity, whatever you’re doing in life, but you can increase your chance of getting better wildlife shots simply by putting more time in. It certainly seems to work for us. That tired old saying ‘F8 and be there’ holds more than a grain of truth. So keep a camera with you at all times when you’re out where the wild things are – that winning shot is out there waiting for you.

AMPFS88(D) Cape fox cub with dead rat
Put as much time in as you can to get the most out – patience brings the privilege of seeing and shooting great wildlife behaviour in the field, whether at home or abroad