There a few places in the UK where you can experience the sights and sounds of nature any better than the North Norfolk coast during the Spring tides that start in earnest from this month onward.
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There a few places in the UK where you can experience the sights and sounds of nature any better than the North Norfolk coast during the Spring tides that start in earnest from this month onward.
The heaths and moors of the Peak District are an eerie exposure of peat covered moorland sitting about 600m (2000 ft) above sea level. Large wind carved eroded rocks sit among vast plateaus and rock formations supporting a healthy population of wild Red Deer.
Making the best of any situation is a real strength and one we are all capably of if we try. As the world now enters a challenging period of lockdown due to the Coronavirus this mindset has never been more important. We are all in this together and must follow the governments guidance.
In August’s issue of the Wild Planet magazine I have an article covering fieldcraft, something I have always applied and feel is one of, if not the most important tool in your box as a wildlife photographer. From my start right up until the present day fieldcraft has and will always be so very important to me. When working with wild animals not use to humans the wildlife photographer must use his own skills and Technics in order to get close to a chosen subject, which in turn make for more informative images and a better understanding of their lives I believe.
As Wildlife photographers we have a duty of care not only to the subject but also to the public and those that view our images to show them as seen on the ground. To explain and tell what went into that image, how it was taken and then and only then can they judge your skill as a wildlife photographer. Transporting them to that moment in time that the photographer was lucky enough to see and witness and later record with his camera.
The photographer must use his own skills, experience and subject knowledge to achieve this and for me this starts with fieldcraft. In an age where the skill base for this is dying I feel with the ever ready images and all you have to do is turn up kind of images out there taking over. I truly feel as Wildlife photographer we have to take it right back to the beginning, work alongside wildlife, capture what you saw using you own skills. In a time where wildlife is really under pressure the best thing we can do is learn about those subjects, watch those subjects and become part of their lives without impacting on them.
I’m feel so strongly about fieldcraft and ethics and since turning pro I have always worked in this way and my images for me represent that special moment in time I was prevailed to witness and later record with my camera.We really do have a duty of care and by working in a manner like this the rewards are far greatly than just an image, educating many through those images and yourself at the sametime.
We never stop learning about the natural world but in a time where its under the most pressure as in now I feel will can all play a part and as a wildlife photographer this starts with real moments from the wild captured by you, with your camera using simple fieldcraft and becoming aware of your environment, your subject and the habitat they live in.
To read my fieldcraft article click here and download the August issue where I go through everything I use and apply while among the countryside. I hope it helps you and if you have any questions please don’t hesitate to email me here. Its the second time now I have had an article in this prestigious magazine dedicated to wildlife photography. The first being my moving story about saving the Sumatran Orangutans that can be see by clicking here.
Thank you to the staff at the magazine for publishing this second article and I hope it helps your readers to understand wildlife photography is not something you can turn up, pay your money, take the shot and go home, its about learning and minimizing your impact on the wildlife and the countryside. A better understanding of what your watching and photographing starts and ends with fieldcraft for me, and something I show and teach on my One to Ones and workshops, good luck.
I use the medium of photography as a method to capture the beautiful things I witness in nature, placing a frame around something I have seen, letting the image convey the true beauty of that moment in time that my words could never describe. Photographing wildlife with my camera is more than just a photograph for me, its about capturing an animals spirt, heart,and letting you look right into their lives.
I have a deep emotion within my work which comes from my great love of wildlife. Photographs can move people, they speak in a language I cannot and that’s what I have always hoped to achieve within my work as a wildlife photographer.
Here are a few of my most recent images on subjects I’ve been working on to produce this Beautiful Wildlife slideshow, to view this on YouTube please click here I hope you enjoy.
Quartering over farmland, hovering with moth like silence, flying effortlessly on the wing in the half-light at dawn or dusk is the supreme hunter, the Barn Owl. A bird that has always created a sense of great excitement and fascination for me. In British folklore, a screeching Barn Owl is believed to predict that a storm or cold weather was imminent. During a storm, if a Barn Owl was heard, it indicated that the storm was nearly over.
The custom of nailing a Barn Owl to a barn door to warn off evil persisted into the 19th century, something you just wouldn’t believe people would do but back then strange things went on and happened to these amazing owls.
The Barn Owl had a sinister reputation, a bird of darkness, where people associated it with death. The Ancient Greeks and Romans saw owls as a symbol of wisdom. Athena the goddess of wisdom is often depicted in art with an owl perched on her shoulder. Sometimes owls were also viewed as messengers from the gods, full of wisdom and helpfulness.
Over the last several weeks I have been watching a family of Barn Owls live out their lives in an old disused building overlooking some beautiful countryside . In some of the most testing weather since records begin two adult owls have raised three healthy chicks that now are almost ready to take their places among our countryside. With the wettest June on record it’s been hard work watching the parent birds put their own lives on the line by hunting in this wet weather.
A lot of the time though the weather has broken and this has allowed the owls to hunt and build up their larders of food which is a key behaviour among Barn Owls. This stored food then helps during the long periods of wet weather.
With no sign of improvement it’s hard to believe its summertime in the UK. I like to study air pressures and weather fronts as it really helps within my work. The reasons for this wet weather are simple when you take a look at the weather charts, the jet stream.
During most summers the jet stream lies to the north of the UK, so rain-bearing weather fronts and depressions miss us and hit Scandinavia instead. This year however this jet stream has shifted southwards and is lying over France and southern Europe, this has left the UK wide open to these depressions and all this wet weather.
One possibility to what maybe moving this jet stream is warming temperatures between the Arctic and the tropics and the shrinkage of the north polar ice cap. These changing weather conditions and patterns may be around a lot more than we think in the future where alongside wildlife we’ll have to learn to live and change alongside this ever present climate change that are here to stay for sure.
My hide is some distance away, completely hidden from view and well camouflaged. The image above is the view I have from my hide and one of the perches they are using now, exercising their wings and doing their tester flights just before sunset each evening. I move my hide to a different place under the cover of darkness as not to disturb them and also once the dawn light comes up the wildlife will see the hide and accept it as part of the landscape. Again cutting down on any stress, and disturbance to the wildlife and in this case the Barn Owls.
With a mixture of different focal lengths, tele-convertors, crop modes in camera and time I’ve been able to photograph this family and capture them going about their lives at this location. Wild Barn Owls are protected under the Wildlife and Countryside Act 1981 and so should never be disturbed in any way. I am using really high ISO’s on my camera in order to get some shutter speed, as they aren’t coming out until around 9-9.30pm. I never use any sort of flash with wildlife as I feel any form of bright light suddenly hitting an animals retina disturbs the subject.
When you work somewhere new like this site, you gradually build a picture of movements, favourite natural perches, flight patterns etc. This is a skill you have to learn in order to try and second guess where and when your images will come from. This takes time and is very time consuming but for me its the very essence of real wildlife photography. At the same time you learn so much about the subject, and the habitat in which they live. The image above is of the paler male Barn Owl perched on a stone lintel, he is so stunningly beautiful.
The Barn Owls use the main barn as well as some smaller buildings which often both the adult and young perch on. Hours pass by, with nothing, not a sound, then a white flash passes by my hide, a corus of loud hissing noises can be heard as the adult owls come in with prey. This image below is the male Barn Owl who likes to perch on the pitch of this old roof here and on this evening my hide was close and by pure luck he landed, stopped and looked straight through me.
I was too close really, so I went for a close up of his amazing and beautiful, heart-shaped face. I managed to take just one photo on silent mode before he flew off and carried on hunting, and this is that amazing moment captured here. The male has much lighter plumage around the breast and face and has a completely white chest nothing else, the female on the other hand is slightly bigger and has black spots on her chest.
The ability to see things that are hidden and hunt completely undetected are key to a Barn Owls life and survival. Often without warning they arrive and vanish before you have any chance to capture this. I always like to capture wildlife as seen on the ground, going about their lives with no disturbance by my presence at all, I like to compose my subjects on whatever they land on.
They are venturing out more and more now and it won’t be long before they completely leave the comfort of this building and start to live and roost among the many trees littering the surrounding landscape. When I leave the site in almost total darkness I often see one or both of the parent birds flying over the farmland with one of the younger ones in tow, their white bodies giving an almost floating appearance as they fly and dive.
Maybe they are having hunting lessons, learning their craft, who knows but it’s very enduring to see and both adult owls have been brilliant parents that have managed to feed and bring up their brood in some of the wettest weather since records begin.
I hope to continue to follow the progress of this Barn owl family over the next several months, where any day now the young will fully fledge and leave the place that’s been their home now for several months. Its been a special and privileged time for me to witness these amazing owls live their lives around me. Often I’ve just sat and marveled at their antiques, and behaviours, with each youngster having their own personality. They is one that’s just slightly smaller than the others and seems to need more attention from his parents which is so enduring to see and watch.
I will be releasing a few more Barn Owl limited edition prints soon which will be available framed or unframed and in canvas format to go along one of my favourite ones that can be seen and purchased here if you scroll down to the bottom of the page. Where 50% of the profits from each sale go to this trust I support with my work, because I love Barn owls and want to help them.
The Barn Owl Conservation Handbook is a comprehensive guide for ecologists, surveyors, land managers and ornithologists written by the Barn Owl Trust. I help this trust in any way I can in order to help this amazing owl keep safe and it’s survival. After the launch of this guide last week I received this from the Barn Owl trust, which was wonderful and I’m so glad my Barn Owl images can help.
I am very pleased to say that the Barn Owl Conservation Handbook we started writing in January 2010 has finally arrived and the first copies are being mailed out today. This publication represents a major milestone in the Trusts history.
On behalf of my co-authors and all the books future beneficiaries I would like to thank you for your unique contribution in providing your wonderful photograph of a Barn Owl hunting in flight during daylight that appears in colour on the back cover alongside Mike Toms testimonial.
Without your photos, the Handbook would not be as good as it is. Thank you very much indeed.
David J Ramsden MBE
Click here to be taken to their website and to purchase this guide. Also this as many charities in today’s times is run on donations so if you can help them to carry on their wonderful work then please do so and visit their website by clicking here many thanks.
My photograph of the highly secretive and stunningly beautiful Dartford Warbler has made the front cover of the July issue of Bird Watching magazine, which I’m overjoyed with. With another Dartford Warbler covering a double page spread inside this favorite magazine of mine.
This tiny, secretive bird, often only ever glimpsed darting between bushes on lowland heaths. They emit a harsh rattling call before vanishing into cover, only to reappear somewhere else having worked their way through the thick cover they love to live in.
I have been really lucky to have seen this bird so close after travelling to many wonderful places in the UK on the lookout for this attractive bird with a hope of seeing and photographing its beauty. These images were taken in Wales and north of their southern stronghold in the UK.
Their feathers, calls and behavior were a total pleasure to watch and photograph and there is a wonderful article on them in this issue. You can see the larger version of the front cover here and also the double paged image by clicking here, hope you enjoy the article and images many thanks.
One of the most important tools in wildlife photography is fieldcraft. Getting to know the subject, spending time watching, listening and looking, learning its behavior, its habits and calls. In turn all of this will reward you with a far better chance of capturing images that show the subjects natural behavior.
Regardless of the level of photographic skill your at you will need to learn fieldcraft to capture those images you see while among Mother Nature. With this though comes a great responsibility and integrity to your own work and your own foot print you’ll leave behind you when you leave the wildlife and go home.
Wildlife photography’s power rests on the belief that it represents an event that occurred naturally in the wild, something witnessed and recorded by the photographer with his camera at that given time. Clever use of friendly animals, hot spots, bait and the per-arranged perches or props along with digital technology has forced everyone to re-evaluate and question the validity of images they see now.
Living animals have feelings, emotions not to dissimilar to our own, tap into that whatever the subject maybe and you will see the real and true beauty of wildlife unfold in front of you. Apply your passion and respect on top of fieldcraft and the images will come.
Many species of mammals and birds will allow you to approach them closely if you are careful and take your time, no fast movements and using the correct techniques. Read the land for yourself, see what’s in front of you, in between you and the subject, use natural gulley’s and shapes to break up your approach. Never make the mistake of walking directly towards your subject as the chances are the animal will have long gone.
All wild animals that have no or very little contact with humans are scared and fear man. They see and smell us the moment we enter their world of which they are designed for and we aren’t. They have an in built fear of man and see us as a threat to their lives to put it bluntly. For me its how the person deals with that level of fear and stress using their fieldcraft that’s important.
Animal tracks tell you so much about what’s happening around you. It’s their highway, the way animals navigate their chosen habitat. Look for darkened earth a clear sign there’s life around. Just standing still for several minutes and look to see any natural lines, faltered grasses or earth moved or piled up. This then will give you a bigger picture of the main routes in and out of a forest say or farmland track leading to a wood and so forth.
Look towards the sun when studying tracks, you will see the shadows better. Footprints in soft ground will begin to deteriorate around the edges within 2 hours depending on the humidity, sunlight, and breeze giving you vital clues to what and how long ago an animal passed by that spot. The depth of the tracks and length of the stride can indicate the weight of the subject and the physical strength of the animal that made them.
Find out which way the wind is blowing making your approach better as most animals have a great sense of smell and it’s the first thing to give you away. The wind always wants to be blowing into your face, this will blow your scent away and remember to forget the aftershave or perfume along with soaps that are high in perfume as these will be picked up from great distances away. It is also important to recognize and learn the signs of stress within the animal so you know when to stop and leave the animal well alone. The last thing you ever want to do is cause undue stress and disturbance through your actions in order to get the shot.
Clothing, wind direction, covering the ground, shape, shine, staying low, can all help in capturing those moments in nature where you have to work harder with some animals than others. Some species will accept human presence quicker, taking only hours, where as other more sensitive subjects will take weeks if not months.
It’s the way I work while capturing wild animals in their their natural habitats while working very ethically alongside nature. Composing the wildlife to show others how they go about their lives,where they live and conduct their lives. So correct fieldcraft is an integral part to the way I work as a wildlife photographer. Being at one with nature is amazing and with time and effort and applying good fieldcraft everyone is capable of capturing those beautiful moments I am blessed with seeing each time I enter the natural world.
In July’s issue of Practical Photography I give my top ten tips and advice in order to help you, whether you’re just starting out or more accomplished in regard to fieldcraft the article is written passing on my many years of experience in this field over the years. Fieldcraft is the foundation to my work and style as a wildlife photographer today and has been since the moment I picked up a camera.
Look at the Foxes ears below, he couldn’t see me, but he could just make out the faint noise of my shutter noise from my camera. Each ear is facing in a different direction, one facing forward and the other facing towards where he heard the noise. He’s doing this to locate the sound in a bid to locate me, wonderful animal behaviour you can learn to read by using your fieldcraft skills.
Today people really want to see how you got the image and as a wildlife photographer you not only have a duty of care to your subject’s welfare but also to the general public who buy your work or follow you I feel. Showing and explaining how that image was taken, the skills you employed to achieve the image are paramount today.
The most important tip and piece of advice I can give in improving your fieldcraft is respect your subject, let wildlife live their lives without fear or stress from your presence. Apply all my tips from the article and the animal will benefit first and foremost and be able to carry on with their lives. Applying these tips will also allow you to capture images with a real story. Leaving little or no disturbance from the photographer is the best piece of fieldcraft you can learn and apply.
People then can see your fieldcraft and subject knowledge behind that particularly image. Learn the basics of fieldcraft and you can implment these to any real time situation within the amazing world of nature you will come across. I hope you enjoy the article which you can see by clicking here, many thanks.