Jun 11
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Sail Against Plastic

A team of students and staff from the University of Exeter are set to embark on a 12-day voyage to measure pollution in the Arctic

Their aim: to make the unseen seen. By collecting vital baseline data on the non-visible pollutants lurking beneath the sea’s surface and with a diverse crew of film-makers, artists, photographers, scientists and sailors, they hope to increase public awareness of issues from microplastics to manmade noise by making their findings educational and engaging; highlighting the actions needed to preserve this spectacular region before it’s too late.

Key objectives:

  • To unite sailors, scientists, artists, filmmakers, adventurers, biologists and researchers to make the unseen seen, and reveal the invisible pollution threatening our remarkable marine environment
  • To collect data on microplastics and manmade noise which will be added to a global research database, and in turn will go towards informing policies and instigating change
  • To engage with the public: from the local community in Svalbard to students, their findings will educate and inspire others to make changes to their everyday lives and result in a cleaner, healthier environment

    Microplastics & Zooplankton… take a closer look and all manner of interesting lifeforms and objects appear. Zooplankton are abundant in this sample but also microscopic plastic fragments and microfiber filaments, broken down into tiny pieces entering the very base of the foodchain.

Why?

The Arctic is a unique region witnessing environmental change on an unprecedented scale. Ocean currents such as the Atlantic Gulf Stream meet a ‘dead-end’ close to this archipelago, offloading a plethora of plastics and waste carried for hundreds of kilometers from the UK and elsewhere in Europe – essentially, the Arctic is acting as a ‘dumping ground’ for our waste.

Pollution is a major player among the myriad of threats our oceans face: plastics, toxic chemicals, manmade noise and countless others. These all present an acute threat to living organisms, whether that be through entanglement and ingestion of discarded waste, through to the disruption of communication in animals like dolphins and whales caused by an increasingly noisy underwater environment. However, many of these pollutants aren’t particularly obvious to us, even though their effects on the marine world can be disastrous.

The effects of this ‘non-visible’ pollution on marine life, as well as its concentration and distribution, presents a major gap in our scientific knowledge. This is especially true in remote regions such as the Arctic ocean, where the focus of most research is primarily on the impacts of Climate Change – no less urgent or impactful on the ecosystems here. With this expedition they strive to unveil the exact nature of these ‘invisible’ pollutants in the Arctic ocean, whilst communicating findings to the public and giving compelling evidence to act.

The team assess the levels of pollution in the waters of the Falmouth Estuary in Cornwall

The Expedition

The team will travel on Blue Clipper, a 33m tall-ship, powered solely by wind and ideally suited to Arctic conditions.  Here they will carry out a series of transects across the Barents Sea to the south-west of the archipelago, using manta trawls, drop-net sampling and acoustic hydrophones to gather data on microplastics and noise pollution in this remote area. Once the data collection finished their work will continue as they spend a week in Svalbard itself: meeting members of the local community to present findings, document opinions on global pollution, and assisting with  the beach clean initiatives already in place.

The team’s home for two weeks, aboard the magnificent tallship, the Blue Clipper

Public engagement is a strong theme running throughout the exhibition.  The team, having already reached out to school children about the impacts of single-use plastics, surveyed locally for microplastics here along the Cornish coast, hosted beach cleans and engaging film screenings, and have run a variety of fund-raising events including a ‘Ceilidh Against Plastic’ and ‘Gig Against Plastic’! All these events have enabled public engagement with the issues of single-use plastics and how areas which seem pristine and untouched can be tainted by our actions here in the UK.

Be part of the solution to save our oceans: support the project and enable them to make the unseen seen.

Find out more

Visiting their website www.sailagainstplastic.com

Keep in touch:

Facebook – @amessagefromthearctic

Instagram – @amessagefromthearctic

Twitter – @Sail4seas

Email – sailagainstplastic@gmail.com

Jun 7
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Wildscreen with conservationist and photographer Neil Aldridge

To celebrate the launch of the inaugural Wildscreen Photo Story Panda Award at this year’s Wildscreen Festival, Arkive is getting to know the award’s amazing team and jury, who are themselves international photography professionals. Here we meet Neil Aldridge.

Neil Aldridge is the Technical Consultant for the Wildscreen Photo Story Panda Award. As a conservation photographer his images have won awards all over the world, including the World Press Photo environment category, the NPPA Best of Photojournalism award for environmental storytelling and the overall title of European Wildlife Photographer of the Year. His work has also featured in Wildlife Photographer of the Year and he has twice been a winner of British Wildlife Photography Awards.

Neil is also a lecturer in Marine and Natural History Photography at Falmouth University and a trustee of the charities Animals Saving Animals and Poaching Prevention.

The return of the rhino | © Neil Aldridge

As a conservation photographer, was there a defining moment that led you to start documenting conservation issues?

I grew up reading Getaway Magazine in South Africa and I remember being inspired to want to tell stories with my camera, not just take single shots. But it wasn’t until I began researching African wild dogs while training as a wildlife guide at Antares in South Africa in 2005 that I realised telling conservation stories and engaging people in these issues was how I could best contribute to saving species and protecting our environment. It took me another three years to save up the money and throw myself into the world of photojournalism. I’ve not looked back since.

How does imagery help in conservation efforts? How do you think photo stories with a clear narrative affect audiences compared to single images?

While some iconic single photographs do tell a story in one shot, the most effective way to draw an audience into an issue, to make them care and, importantly for conservation, to make them take action is to take them on a journey – to show them what the issue is, where it is happening, why it is important, who the people are at the heart of the issue and what the solutions are.

When a company builds a website, they talk about the journey they want to take their web visitor on from when they land on that site. As a storyteller, it’s the same principle. By thinking about narrative, I’m thinking about where I want my audience to go when they open a magazine onto the first page of my photo story. This may sound logical but it’s not as easy to deliver as it sounds. Where narrative-led photography really is helping conservation efforts is the ability to connect the audience with real people – whether it’s rangers, researchers, vets or even the unfortunate villager who is having her livelihood impacted. Now that we have learned to stop banging the drum just about the big iconic animal and embrace the people who can save it, we are switching more people on to the importance of saving our natural world – because they can see that human lives depend on it.

Living with foxes | © Neil Aldridge

Over the years there have been a variety of photographic styles to document conservation stories: from hard-hitting and emotive imagery, to those showing the wonder of the natural world and the diversity of species. What do you think the role of conservation photography is in 2018 and going forward – to shock audiences or to send out positive messages about conservation and the environment?

Both. People take in information in different ways, even within audience demographics. Personally, when I’m looking at a story or watching a documentary, I’m still grabbed by the hard-hitting moments that some people find too much. Those are the moments that stay with me. And with the state that our planet is in, I don’t think that we can afford to filter or totally dumb-down our messages. People do have the choice to look away or turn the page if they want to, so I would rather see photographers still taking the pictures that have the power to stop an audience in its tracks. But, that’s the beauty of creating photo stories. You can include hard-hitting imagery alongside the solutions, the beauty of nature and the wonderful people dedicating their lives to stopping atrocities happening. That is what I have been trying to do with my work, I then work with an editor to decide what the best mix of images may be from a wider set to achieve the right impact and reaction.

The ‘plastic issue’ has clearly galvanised public opinion. What do you think are the other important environmental issues and challenges we now face?

I could sit here and say climate change or habitat loss but fundamentally our attitude towards the natural world has to change. How have we evolved to a stage where we think it’s okay to sell keyrings with live baby turtles sealed inside? We will never beat the trade in wildlife or protect key habitats and the species that depend on them if there is not the appreciation for what functioning ecosystems can do for us. Yes, policing illegal trade or logging is important but it’s like sticking a plaster over a gaping head wound. The real change has to come from ordinary people putting pressure on the decision makers to change policies – policies with a focus on sustaining life, not making short-term profits and winning votes. The plastic issue has been a positive example of this, but it’s still up to us to keep the pressure on governments to stay true to their words.

As a lecturer in photography are you seeing a shift in the topics that your students want to document or the stories that they want to tell?

I’m constantly amazed and inspired by the passion and broad knowledge of conservation topics within our student group at Falmouth. I get to learn about places, species and issues that I didn’t fully understand. But perhaps the biggest shift I’m noticing is in how young photographers are telling their stories and engaging their audiences. That’s what is really exciting. Yes the traditional, strong magazine stories or documentary films are there but we’re seeing installations, apps, 3D imagery and VR pieces. It’s an exciting time to be a young storyteller.

Underdogs – African wild dogs © Neil Aldridge

How can photography galvanise the younger generation into action? Is social media having an impact?

If I knew the answer to this I could be making good money advising major organisations on their engagements strategies. It’s a tough one because yes, smart devices have made it easier than ever for people to take and share incredible photographs of the world around them, but at the same time they are driving shorter attention spans, addiction to endless browsing and opening people up to targeted marketing and promotional campaigns with budgets that conservation causes just can’t compete with. But yes, the potential is certainly there for galvanising and mobilising people into action. I think we have seen some of this potential already in the activity that was stirred by the plastic scenes in Blue Planet 2.

Which environmental campaign has had the greatest impact on you?

I used to work on a BBC learning campaign called Breathing Places that drove action off the back of the UK-focussed BBC nature shows like Springwatch and Autumnwatch. The message at the heart of that campaign was ‘Do One Thing’. It was so straight forward, so simple for people to engage with. We just wanted everyday people to do something for nature, whether it was planting a tree, making a bug hotel, joining their local wildlife charity or getting out for a walk in the woods. As with everything, it was impacted by funding cuts when the BBC hit a crisis. I feel that we need something like Breathing Places to harness all of the positive energy that is created by the content we as photographers and filmmakers are producing.

______________

Thanks to Neil for taking the time to share his thoughts. We’re really excited to see him and all the incredible photo stories at the Wildscreen Festival 2018!

You can find Neil on InstagramTwitter and Facebook, or visit his website conservationphotojournalism.com

Sep 22
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Guest blog: Where the Wild Things Aren’t

It’s World Rhino Day today. To celebrate and discuss, Dr Emma-Louise Nicholls (Deputy Keeper of Natural History of the Horniman Museum and Gardens) shares her insider knowledge and experience in rhinoceros conservation, after her recent return from the Sumatran Rhino Sanctuary in Indonesia.

The Sumatran rhino’s problems began the moment someone, a name now lost to history, first decided rhino horn should be used as a medicinal ingredient. This idea was passed down from generation to generation until, over 2,000 years later, the use of rhino horn is deeply ingrained in people’s minds and cultures. These ancient remedies, now commonly referred as ‘Traditional Chinese Medicine’, are still used today, primarily in China and Vietnam. Contrary to popular western belief, rhino horn is not (ironically- until very recently) used as an aphrodisiac, but rather to treat a large number of ailments including fever, hallucinations, and headaches.

Rhino horn is largely made of keratin, however; and you’d feel just as better if you ground up and swallowed your own fingernails. Nevertheless, hunting these animals for their horns decimated Sumatran rhino populations throughout Southeast Asia and, as the issue of habitat loss also began to raise its ugly head, the combined impact of these two sustained pressures led to the collapse of wild populations. As a benchmark; in the 1980s it was estimated there were around 1,000 Sumatran rhinos in the wild. In 2017, that number is estimated to be around 100.

Sumatran rhinoceros © Gareth Goldthorpe

Until recently, these remaining wild populations were split between Indonesia and Malaysia. Unfortunately, there are now only two known individuals of the Bornean rhino left (a different subspecies), which live in a private research facility in Tabin Wildlife Reserve in Sabah, Malaysia. On a positive note, these two remaining individuals are a male and female; generally accepted as the two primary requirements of a breeding programme. However, even if intensive breeding of their would-be sibling-offspring wasn’t an evolutionary no-no, in a cruel twist of fate Sumatran rhinos that haven’t produced offspring by a certain age often develop cysts in the uterus and can become unable to conceive anyway. As is the case for Iman, the last known remaining female Bornean rhino.

The largest known wild Sumatran rhino populations, holding on with all 12 toes in Indonesia, are now restricted to three national parks, all on the island of Sumatra. Having separate populations is good for genetic diversity, and if a natural disaster or disease should wipe out one population then the species will still persist due to those that were isolated from it. If, for example, a large tsunami hit the northern edge of Java (heaven forbid) where Ujung Kulon National Park is located, it could well wipe out the entire Javan rhino species, as there are no other populations anywhere in the world. On the other hand, if numbers of Sumatran rhino are so thin in each of the three parks that male and female rhinos won’t find each other, then short of joining Sudan on Tinder, making babies in the wild becomes exceptionally difficult, meaning perhaps bringing them together is the better option. Faced with this unenviable quandary, a lot of conservationists feel the answer is in a captive breeding programme with the aim of repopulating the wild habitat with captive-born rhinos.

The dense habitat preferred by the Sumatran rhinoceros is difficult for conservationists to penetrate in search of the elusive species. © E-L Nicholls by permission of International Rhino Foundation/Yayasan Badak Indonesia Foundation

Scientists find the key

The first known record of a Sumatran rhino to be born in captivity was in Calcutta, India in 1889. Although the specific details are irritatingly lost to history, rhino experts seem to feel there is enough evidence to substantiate the story. Nearly 100 years after India perhaps unintentionally made rhino history, the need for a captive breeding programme became urgent and so between 1984 and 1996, 40 of the approximately 1,000 Sumatran rhinos persisting in the wild at the time were captured (from both Indonesia and Malaysia) to form a worldwide collaborative captive breeding programme. The wild-caught rhinos were split up between Indonesia, Malaysia, Thailand, the United States, and the UK who all tried their hand at breeding these enigmatic animals.

Thirteen years later, the pitter patter of tiny rhino feet was still absent from zookeepers’ ears and so in 1997 scientists at Cincinnati Zoo led by Dr Terri Roth (Vice President of Conservation and Science, and Director of the Centre for Conservation and Research of Endangered Wildlife; CREW) turned to endocrinology and ultrasonography. A long and complicated story of science, frustration, grumpy rhinos, and no mating unravelled until Dr Roth and her team finally discovered that Sumatran rhinos are in fact induced ovulators. This means that a female won’t come into oestrus until she has had ‘special time’ with a male, after which, she obviously needs to gain in order to conceive. This was an exceptional breakthrough, and one that resulted in the first Sumatran rhino born in captivity in 112 years when Ipuh, one of the last three rhinos surviving from the original project initiated in 1984, successfully mated with a female called Emi, and with that a heavy hairy miracle was born. With all of their new found expertise in rhino romance, the CREW team managed to help Ipuh and Emi produce two more babies- a female called Suci in 2004, and a male called Harapan in 2007.

Born in 2001 at Cincinnati Zoo, Andalas was the first Sumatran rhinoceros born in captivity in 112 years and as such, represented a huge breakthrough for his species. © E-L Nicholls by permission of International Rhino Foundation/Yayasan Badak Indonesia Foundation

Meanwhile in Indonesia

As scientists in Cincinnati were working on unravelling the mysteries of the Sumatran rhino’s reproductive requirements, on the other side of the world the Sumatran Rhino Sanctuary was completed in Sumatra, Indonesia, and in 1998 opened its doors to its first residents; two females, Dusun and Bina, and one male, Torgamba. Two more females, Ratu and Rosa, arrived in 2005. Yet despite being spoilt for choice on the dating scene, Torgamba sadly wasn’t up to the task and the breeding programme appeared to be failing.

Fortunately for Sumatran rhinos, in 2007 Dr Roth and her rhino specialist team gave the programme’s first born male, Emi and Ipuh’s first calf Andalas – now six years old, to the Sumatran Rhino Sanctuary in a bid to save the day. It turned out to be worth their heartache as in 2012 Andalas became a first-time father and the number of Sumatran rhinos in the world went up by another one. One is a significant number when there are so few remaining, and Andatu, Andalas’s son, made history when he became the first baby rhino born at the SRS.

Andalas is obviously enjoying his new life as chief baby-maker as he and his ‘partner’, Ratu, successfully bred again and in 2016 had a girl called Delilah. By 2014, Harapan (Andalas’s younger brother, born at Cincinnati Zoo) became the only Sumatran remaining outside of Indonesia and Malaysia and so the Cincinnati team decided to let him follow in his brother’s footsteps and sent him too, to the SRS in Indonesia.

Now five years old, Andatu was the first rhinoceros born at the Sumatran Rhino Sanctuary in Indonesia. His parents are Cincinnati Zoo-born male Andalas, and wild-caught female Ratu. © E-L Nicholls by permission of International Rhino Foundation/Yayasan Badak Indonesia Foundation

The future

Hunting and habitat loss have decimated wild numbers of rhinos to a point where physiology is now their main problem (although the aforementioned issues also persist). The need for induced ovulation, as well as the fact that cysts can develop in the uterus if females remain unmated, both mean that with so few rhinos in the wild, many females are likely to become unable to conceive. The stability of wild Sumatran rhino populations remains in question and captive breeding programmes used to boost numbers in the wild seem to be the most viable way of increasing their numbers to a level where they’ll regularly be able to breed naturally in the wild again.

In 2017, now armed with an entire crash (the official, not to mention delightful, collective noun for rhinos) including both males and females, the Sumatran Rhino Sanctuary is on a path paved with hope and optimism. Andalas and his rhino team are undoubtedly working hard to produce more bundles of joy, and with the high levels of expertise and dedication witnessed first-hand at the SRS, there is definitely hope for the Sumatran rhino yet.

Although each animal lives semi-wild in its own 10-20km2 enclosure of primary forest habitat, their health is monitored daily by their keepers. Here Harapan is having his temperature taken as he nonchalantly hoovers up some carrots. © E-L Nicholls by permission of International Rhino Foundation/Yayasan Badak Indonesia Foundation

Find out more about the Sumatran rhinoceros on Arkive

Visit the International Rhino Foundation website

Follow Dr Nicholls on Twitter

 

May 18
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Guest blog: Underhogs by Durrell’s Daniel Craven

Daniel Craven is Durrell Wildlife Conservation Trust‘s Volunteer Manager, based at Jersey Zoo since 2001. A former professional footballer, Daniel is a lover of travel, animals and conservation. Durrell’s Underdogs is his first film and was made with the fantastic team of Dean Maryon, Bex Bohea, Shaz Syed and Marc Mitchell. It is an official selection at the 2017 Wildlife Conservation Film Festival in New York. This is his story.

Daniel Craven © Craig Jones

Daniel Craven © Craig Jones

My journey to India to make a film about the smallest and rarest pig in the world is one I will never forget. It was a wild ride but nothing compared to the epic journey of survival the pygmy hog, an animal once thought to be extinct, has had to go through.

‘Durrell’s Underhogs’ traces the origins of Gerald Durrell and ‘The Durrells’, in India, before joining up with conservationists Durrell inspired and who today are giving the pygmy hog a fighting chance. My journey started in Jamshedpur where Gerald was born. There I discovered more about the life of Gerald’s father, Lawrence Durrell, an ambitious and gifted civil engineer who ran the Darjeeling Himalayan Railway before working for TATA steel, as I learned more about his father it became clearer where Gerald’s drive to save species from extinction came from.

Pygmy hog © Craig Jones

The ‘underhog’ is fighting for survival © Craig Jones

The pygmy hog is one of the rarest animals in the world. It’s a typical Durrell project – a so-called “little brown job”.

These nest building bullet shaped mini pigs struggle for survival alongside the big mega fauna of tigers, rhinos and elephants that share its habitat and hog the limelight. Raising awareness, conservation support and funding to save this little hog is tough. It’s a real “under-hog”.

Pygmy hogs build and live in nests made of the grasses found in their vulnerable grassland habitat © Craig Jones

Pygmy hogs build and live in nests made of the grasses found in their vulnerable grassland habitat © Craig Jones

The Pygmy Hog Conservation Programme (PHCP) has been running since 1996 and is made up of a team of partners; Durrell Wildlife Conservation Trust, IUCN SSC Pigs Peccaries and Hippos Specialist Group, Ecosystems India, Government of Assam, and the Ministry of Environment and Forests, Government of India.

Arriving at the PHCP centre in Guwahati, Assam was fantastic. It’s one of the only places in the world to see pygmy hogs.

Hogs are bred at the centre to be released into the wild. It’s like a kindergarten for baby hogs with hoglets learning the basics from their mothers and siblings in a controlled, supportive and natural environment.

Mother and hoglet © Craig Jones

Mother and hoglet © Craig Jones

The second stage is more like being at university. Support is gradually taken away from the older hogs and they are expected to stand on their own four feet! This environment is similar to the wild areas where they will be released. Before graduating, the hogs must know how to feed themselves on insects, roots and tubers, similar to what they would seek out in the wild.

Baby hogs or hoglets are about the size of a computer mouse with legs! © Craig Jones

Baby hogs or hoglets are about the size of a computer mouse with legs! © Craig Jones

The project team, keepers and support staff that have been running the programme for the last 20 years are a breed apart. They share the same unwavering commitment to conservation as Gerald Durrell. They’re proud of the work they are undertaking to save a species from extinction. And step by step, they’re winning that battle. Massive restoration work has been done in Barnardi Wildlife Sanctuary to revive an area of grassland habitat where they once roamed. This beautiful area bordering Bhutan is the very park where the hogs were rediscovered in 1971 and can once again call their home.

The Durrell team enjoy a light moment during the catch-up and transportation of the hogs © Craig Jones

The Durrell team enjoy a light moment during the catch-up and transportation of the hogs © Craig Jones

Witnessing the 100th hog released back into Bornadi was a great example of how scientific evidence together with dedication, planning and hard work can pay off.

Pygmy hogs © Craig Jones

Pygmy hogs © Craig Jones

Durrell experts know how to save this species and they are doing it with the continued support of people who care about this remarkable little creature, thanks to them this “Under-hog” species has a fighting chance. If you would like to give pygmy hogs a helping hand, please consider donating to Durrell or becoming a member.  The documentary ‘Durrell’s Underhogs’ can be viewed through the Durrell website www.durrell.org/underhogs

To watch Durrell’s Underhogs film, visit their website

Find out more about pygmy hogs on their Arkive species profile

 

May 16
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Guest blog: interview with Michel d’Oultremont, subject of short film ‘The Wait’

Arkive would like to introduce The Wait, a short film from production company Contra, which follows the journey of a wildlife photographer on a hunt to document the elusive European bison in its natural habitat of the Romanian mountains. The story details how it can take weeks to capture a shot, and the patience required to wait for this moment.

We have been speaking with Michel d’Oultremont, wildlife photographer and subject of the film, to learn about his motivations for wildlife photography.

Who are you and what is your profession?

Hello, my name is Michel d’Oultremont, I’m 25 years old and I have been a wildlife photographer since the age of 10 – I have had the great fortune of starting very young with an unconditional love for wildlife!

Michel d’Oultremont

Michel d’Oultremont

 

We found The Wait to be very emotive. Can you tell us more about your relationship with the natural world and why you wanted to photograph the European bison?

My relationship with nature is very special – I spend hours and hours in the wild trying to find and observe wildlife. It’s a way of life for me! Since the WWF (Worldwide Wildlife Fund) has started to reintroduce wild bison into the Carpathian Mountains of Romania, it has been a dream of mine to explore this region and to see these spectacular beasts. I’ve always been quite drawn to big animals like bears and muskox, so the bison is the next logical progression of that passion!

European bison © John Ford

Your creativity with the landscape shows through your work, do you have a specific image or style in mind before you begin shooting?

It all depends – I like to capture the animal in its natural habitat, so often I have to relocate to find the best light and environment. Once I’m set up, I wait for an animal to pay me a visit: a nature photo is a meeting – you just have to wait for it to happen. Although sometimes I do think more about the image and I try to realise it in any way I can.

What do you want to say with your photographs, and how do you actually get your photographs to do that?

It may sound stupid, but I try to capture beauty in my photographs, to show the beauty of wildlife. So I try to take photographs that highlight this beauty and make for aesthetically pleasing pictures. When I manage this it is a real pleasure, but it doesn’t happen very often – maybe four or five times in a year.

Short-eared owl fight over a mouse during winter in France, no bait used © Michel d’Oultremont

Is focusing on a reintroduced species of particular importance to you? Do you feel any extra pressure when capturing images of a rare creature?

This type of project is very important because it allows wildlife to come back to its stomping ground. The work of the WWF is very important – they make the reintroduction of wildlife into the mountains possible! I don’t seek out rare animals especially, I photograph everything that happens to pass in front of my lens so it’s more that I am opportunistic.

This picture was taken in Belgium right next to my house, this nice owl decided to nest in a tree that I know very well, a real treat to be able to observe them naturally  © Michel d’Oultremont

Which animals and landscapes would you most like to photograph if you had no constraints?

That’s a really difficult question, there are many species I dream of photographing, like the Persian panther or the Siberian tiger. I would also love to go to the Canadian Arctic to see Polar Bears! There is still a lot to see, and that’s what’s great!

The Wait conveys a sense of solitude and at times loneliness, what is the longest and hardest time you have spent waiting for a subject?

I have had to wait several weeks before finding the subject and light I’ve been hoping for! But this isn’t restrictive because there are always things happening. The most difficult conditions I’ve experienced are without a doubt winter in Norway, where I was caught in a huge snow storm, but I love that these difficult conditions bring a sense of poetry to the images.

“I stayed at a location in Sweden for a week waiting for the singing black grouse. One morning the whole area was frosted, the sun was reflected on a cloud and in the drops of water, which gives these incredibly magical colours!” © Michel d’Oultremont

What is one thing you may recommend in wildlife photography?

The best advice, I think, is to know and research the species well, and do everything you can not to disturb the wildlife.

Top three items you never travel without?

The three things I always travel with – apart from my photographic equipment, of course – are my binoculars that I always take with me, my knife for quickly making a natural shade, and my notebook to try and write down everything I experience in the field.

Romanian Mountains © Michel d’Oultremont

Romanian mountains © John Ford

We’d like to thank Michel for speaking with us. If you’d like to see more of Michel’s work you can visit his website, or find him on Facebook, Twitter and Instagram.

You can also visit The Wait website to watch the film and read more about the team behind it.

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