First Book Published on Blurb

I have just published my first book on Blurb. It’s been a project for a while now, but the past week or so, I finally put the finishing touches together. It’s basically an account of my experiences with nature, both at home in the UK and in Nepal back in 1994. As an added touch, I have also included a number of photographs.

A Journey with Nature by Richard Winn | Make Your Own Book

The Fall and Rise of the Eurasian Otter

When I was growing up in the 1970′s and 80′s, the Eurasian otter was scarce. Decades of pollution in the rivers of the UK and much of Europe as a whole was having a serious detrimental effect on otter survival. Being an apex predator, any pollutants were concentrated, causing organ damage, ultimately leading to premature death. Even less severe cases of pollution were probably enough to reduce the fertility of otters, which for a species that perhaps lived 3-6 years in the wild and reproduced every 18 months or so, was a serious concern. In the early 1980′s, the situation had become so bad, that the otter had disappeared from many countries in central and southern Europe and much of England and Wales too. There was a real danger that the Eurasian otter would become extinct in most of Europe. Only in Scotland, where there were populations of coastal otters and Northern Europe, were they still widespread. The only other areas in the UK, where there were still healthy (albeit small) populations, were Southwest England (mainly Devon and Cornwall) and parts of Wales and inland Scotland, particularly higher ground, where the effects of pollution were lessened.

It was during this time, that I had an ambition, or perhaps given the situation, it was more like a dream. I wanted to see an otter in the wild. Of course, not only was the otter population plummeting, but they are also largely nocturnal in most habitats, which made the chances of seeing one, pretty remote.

Fast forward to 2008 and the otter population was much more healthy, at least in the UK. Many areas had been repopulated from the west and they were slowly spreading east. I visited Scotland and was finally able to fulfill my dream of 30 years earlier. I caught sight of my first wild otter, running along one of the supports of North Kessock bridge, near Inverness, before it dived into the surf. It was around 6.30 am and bitterly cold, with frequent snow flurries, but it was worth it. My ambition was achieved, but I wanted more. I then spent hundreds of hours in the summer, observing otters in the daylight, much closer to home at Shapwick Heath. Unlike most populations, the otters on the Somerset Levels show themselves at all times of the day. It is probably in part due to the local diet, where freshwater mussels make up a large part of what they eat. One of the reasons that otters are nocturnal, is because their favoured prey items are less active then, so they can expend less energy catching them.

Over the past ten years in particular, but really since the 1990′s, the otter population has become stable and even increased slowly. However, the past has shown how precarious that recovery may be. Pollution, while lessened, still occurs and a recent incident involving paint thinner almost certainly had some effect in parts of the Somerset Levels. There is also a new threat, this time from a fluke carried by oriental fish that have escaped into the Somerset river systems and have since spread further afield. This bile fluke (Pseudamphistomum truncatum) can contribute to death and certainly debilitates infected otters. Generally, parasites are adapted not to cause serious harm to their host, it’s in their interest for the host to survive. However, the otter isn’t the natural host and as is commonly the case with accidental hosts, it causes serious harm to the otter’s internal organs.

Human activity also remains a threat to the survival of the Eurasian otter as a species. Whille pollution is lessened, in the period when the otter all but disappeared, many fish farms have sprung up. This has now become a source of potential conflict, with calls from some quarters for an otter cull. This call, has largely come about due to ignorance. Many seem to think that otters have deliberately been reintroduced by scientists and conservationist on a large scale, which simply isn’t the case. Even some individual anglers have joined the call for a cull, with some heated debates on internet forums. The fact is, the greatest cause of depleted fish stocks in rivers is human activity. If a river is able to support otters, then it is a good sign that there is some sort of balance. Otters simply are not present in high enough densities to cause depletions in fish stocks and numbers would soon decrease, if there were insufficient prey items (i.e. fish and crustaceans) to support them. Only in fish farms, where they are allowed access, are they likely to cause a problem and that problem is one that is easily overcome. Fish farms are big business and many of the fish are prized oriental carp, worth thousands of pounds, so an otter let loose in a fish farm will cause alot of damage. However, it is the responsibility of any business to protect their assets. In the case of fish farming, it is very easy to keep otters out, by using fences. Otters won’t try to force their way through an electric fence, as it would cause them discomfort. Like many predators, they will go for the easiest prey, if the fish farm isn’t otter-proof, then it will be the fish farm, but if it has adequate protection, then the otter will go elsewhere, where they won’t get a jot of electricity. Also, to put things in a bit more perspective, there are an estimated 3500-4000 otters in England and Wales, with a further 4000-4500 in Scotland (many of which are around the coasts). Their diet consists of around 90% fish and crustaceans. In comparison, the American mink has a diet of around 40% fish and crustaceans, with the rest being birds and small mammals. The mink is much smaller than the otter, so will eat less, but population estimates for the mink are around 35000 to 40000, perhaps five times as many as otters. It is therefore likely that mink account for more fish predation in total than otters, not to mention the other problems they cause to native breeding birds and small mammals, such as the water vole, which has seen an 80% drop in numbers in the period that the American mink has been at large in the British countryside.

I now have several photographs of otters, but none that I am really happy with. Otters have provided me with hours of pleasure and I hope they will continue to do so for many years to come. While the otter is a protected species, it still faces numerous threats, mostly either directly (through pollution and altered habitat) or indirectly (through realease of non-native species, such as oriental fish) caused by human activity. If the otter and the whole of the habitat each one inhabits is to survive, we have a responsibility to protect our environment. We must preserve the otter for future generations to enjoy.

Two Images Licensed in the Last Week

It's been a successful week or so for me lately. Last week, I managed to licence one of my Bridgwater Carnival images, then yesterday, I licensed one of my kingfisher images. Purely by coincidence, I bought this month's BBC Wildlife Magazine and when I found the licence details, I thought there was a good chance, that it was part of Simon King's article on the Somerset Levels and lo and behold, there it was on page 86. Quite small and cut out and flipped, but it's always nice to get something in a well known magazine.

Photographs in Horner Woods

On Sunday, I made a trip to Horner Woods on Exmoor. My target was to photograph dippers and grey wagtails, although I wasn't expecting much, as I thought there would be too many people about. I was also planning to look for signs of otters on the higher reaches of Horner Water.
As it turned out, it didn't go too badly. I don't often photograph still life, particularly flowers, as I don't feel it is a strong point of mine, but I have been thinking more about photographing wildflowers recently. I was able to experiment a bit while I was there on some forget-me-nots and dog violets (the dog violets didn't quite works), as well as some ferns (I went a bit too far with the selective focus). I also struck lucky as well though and spent about half an hour or more observing and photographing a pair of grey wagtails. It was a little dark to be able to keep the shutter speed high enough, even at a high ISO (I wouldn't want to go higher with the 7D, as it is on its usable limit), but I was able to get some atmospheric photos when they were in the filtered sunlight.


Latest Photography Uploads - Images by Richard Winn

The Message of Nature and Photographers

In my last blog entry, I outlined my views on reality in photography, but why is it so important to portray reality in nature photography? You can argue about photography only showing what the photographer wants the viewer to see, but that is slightly different to manipulating the image as seen. Sometimes manipulating the viewer is wrong, but sometimes it is needed to put a message across, it's no different than a newspaper article putting a slant on a story. Photography is also telling a story, if you are making a documentary point, then it requires different ethics to an image that is simply an artistic creation. For example, near where I live, I could photograph an idyllic rural scene, with a country pub next to the canal. This would paint a picture of a quiet drink next to the canal, but in reality, right above my head would be the M5. If I was simply making an artistic photograph, there would be nothing wrong in this, but if I was photographing the pub for an estate agent and then sold that quiet scene, it would be unethical. The same would be true if I was trying to portray an animal in a similar manner. The key is to declare any concepts and manipulation.
If we as photographers portray a false impression, then it is harder for the public to trust what we tell them. It is already difficult, with people having the assumption that anything can be done (or rescued) with Photoshop and other editing software. But again, why is it so important? Does it really matter what people think? It depends on the purpose, for an artistic creation, it doesn't matter at all, but if we want to inform the public of a particular problem, then they need to trust and believe in what we are saying. For example, a few weeks ago, I came across an article (from last year I think), calling for the culling of otters, as they are decimating the stocks in fisheries. It's only 15 years, since we came very close to losing the otter entirely in England and Wales, yet already there are calls for controlling numbers. In 2003, it was estimated that there were around 4,000 otters in the country, which is barely enough to maintain a healthy population, let alone increase numbers. Further, more recent evidence comes from here in Somerset. The 2008 annual survey for the county estimates around 65 otters FOR THE WHOLE COUNTY, with a significant proportion of these otters on Exmoor, which isn't considered to be a highly productive area, due to low prey density. If you add to that, the death rate was high at 27 for part of the year (with a high proportion being cubs) and it starts looking more and more bleak. The report for the survey (written by James Williams) suggests that the known births, assuming survival, is only enough to maintain the population and not expand it. Many of these deaths were road deaths, but as part of a study, post mortem investigations were carried out, which showed a high level of a bile fluke, caught from imported oriental fish, another threat to health and survival. The dangers from pollution aren't averted either. Just last month, the South Drain that runs through the nature reserves of Ham Wall, Shapwick Heath and Catcott Heath was contaminated from an industrial plant in Glastonbury. Several dead fish were found as a direct result, plus a dead swan was found, but the cause of death will remain unknown, as there seems to be a reluctance to investigate properly. Considering the effects of pollution and the resulting decline in the otter population since the 1960's, this makes alarming reading. Just because the toxins implicated in the decline are now banned, doesn't mean that an environmental catastrophe can't be caused by a new agent. If pollution can happen in a nature reserve, without too much noise being made, what hope is there in the countryside at large? You only have to look at the Bridgwater and Taunton Canal, which quite frankly, is in an appalling state, yet it is home to otters. Gross pollution with everday waste, such as bottles, cans and even shopping trolleys, is obvious, but there are also signs of chemical pollutants, judging by some of the scum.
The Somerset Levels, with all their waterways represent an important area for otters and their survival, but they are also prone to pollution from the runoff of agricultural pollutants, the source of the original toxins that caused all the problems up until the banning in the early 1980's.
The public needs to heed the messages hidden within the recent and past events, but for nature photographers to help get that message across, they have to be trustworthy, otherwise it will do more harm than good.

Wildlife Photography

Wildlife is a popular subject for many photographers. Many will specialise in other subject matter to make money, but photograph wildlife for pleasure. However, it isn't straightforward. To be successful as a wildlife photographer takes more than being a good photographer, you also need to have good fieldcraft and know the animal. Many professional wildlife photographers will spend weeks or months on a project, trying to get close enough to get the shots they need. Some animals are used to people, so they are much easier to get close to them and get good compositions, while others take alot of patience. Even some insects are very difficult to get close to.
Equipment is also problematic, as the specialist lenses required are very expensive. While landscape photography requires a number of filters, the cost of the lenses in comparison is relatively inexpensive for good quality glass. While you may pay upwards of £1000 for a high quality prime lens, a high quality prime lens for wildlife work is upwards of £3500. Also, the difference in quality between a good wide-angle to standard zoom and a prime is minimal, so the primes are less attractive. However, with a few exceptions, there is quite a large difference in quality between telephoto zooms and primes.
I use the Canon 100-400mm L IS lens for most of my wildlife photography. While it isn't the highest quality, it is still good, plus it is light and relatively inexpensive. I do find that I'm always looking for more reach though. When the situation dictates, however, it is the ideal lens for tracking and stalking animals, because of it's relative lightness and flexibility as a zoom. I also use the Canon 100mm macro for my macro work, although I am considering a longer macro lens for some of the shy insects. Common to all macro lenses, the image quality is outstanding and despite not being an L grade lens, it has good build quality.
Using a telephoto lens takes alot of practice to get optimal technique. It is very easy to blame the lens for poor image quality, when it is simply a case of not applying good long lens technique. As with most photography, a tripod will give the best chance of a sharp image, but it isn't always practical. Image stabilisation is a boon, as it gives you a much greater chance of sharp images, particularly at slower shutterspeeds, but with the older lenses, you must remember to switch it off when mounted on a tripod. Beanbags and monopods are often more use than a tripod, as they don't need time to set up and are easier to carry unobtrusively. This is important when the animal you're stalking may only present a photographic opportunity for a split second. Having a good stalking technique though, will give you the best chance of being able to take a bit more time to get the composition right.
Stalking animals takes practice. They have a much better sense of smell than humans, so it is important to approach downwind of them where possible. Better still though, is to let the animal come to you. This is where fieldcraft and knowledge of the animal really comes in. You can either observe an animal and predict where it is going, so that you can get in place before it gets there or you can observe signs and stake out a likely spot. These are the sort of tactics that work for the Eurasian otter, particularly the coastal animals in Scotland. Even insects need to be approached carefully. It is important to be aware of where your shadow is, as the moment your shadow goes over the insect, it is likely to fly off. Instead, try to approach, so that your shadow is behind you. Failing that, try to make yourself as small as possible, so your shadow is shorter. It may be necessary to make the final approach by crawling. In all cases, you need to move slowly, so as not to seem a threat. Some insects have better vision in some areas than others, so learn where their blind spots are. While basic principles apply, each animal is different, which is why it is important to know as much as possible about behaviour.

Composition is just as important in wildlife photography as any other form. It is very easy to get the standard shots, like a side on deer or the top view of a butterfly, but try to think of different angles or look for specific behaviour. Also, don't necessarily go for the close up, sometimes it is much more interesting to photograph a subject, in context with it's environment. Think about depth of field, for closeups, you want to blur the background, so go for a wider aperture, conversely, a context shot may need the background in focus, requiring a narrower aperture. Also, make sure that the shutterspeed is fast enough to freeze the subject or wait until it freezes, unless you are deliberately looking for motion blur or are going to pan. This may mean that you need to increase the ISO setting. While you should always use the lowest ISO setting possible, you shouldn't be afraid to increase it when necessary. It is better to get some noise, than get a blurred shot because the shutterspeed was too low. Bear in mind also, that too much noise may be so distracting, that it renders the image useless for anything but personal pleasure, so learn when it isn't worth bothering.
Learning wildlife photography can be quite difficult, partly, because the opportunities for practice are less than landscapes and you don't always get a second chance. I have enjoyed learning the techniques though and look forward to perfecting and learning more.

Photographic Passion

In my last blog entry, I talked about my thoughts and decisions surrounding my photographic future and career path. I talked of how I'd considered what subject matter I shoot and whether I could make money from it. My conclusion was to continue to shoot what I enjoy, instead of switching to something more commercial. But what is it that I enjoy?
When I was younger, before my long break from photography, I shot mainly railway scenes, trying to combine them with beautiful scenery when I could. I also photographed at many air displays, shooting both static exhibits and fast moving jets. At the time, I was using a Zenith 11, which created some challenges. To start with, the light meter wasn't through the lens and it tended towards underexposure, by as much as one and a half stops. That was surmountable though, I just had to compensate, compensating further when using a telconverter. More problematic though, was the maximum shutterspeed of 1/500th of a second, very slow for such fast moving objects as jets. I coped though, probably more so than now when I need to pan. Later, when I was too busy concentrating on a career in science to practice photography, I was limited to photographing historic architecture while on holiday.
When I took up photography seriously again though a couple of years ago, switching to digital at the same time, it was landscapes that I concentrated on. I have spent many hours practicing and perfecting my technique on photographing landscapes in my local area and getting used to using various filters. I enjoy landscape photography and the challenges it provides, the chance to visit the local area and to go for walks. However, my real passion is for wildlife.
From a very young age, I watched wildlife programs on TV. As with many children, African wildlife spurred the imagination, largely in part, because that was the biggest subject matter shown. It is only in more recent years that more local wildlife has been shown on TV. However, one British animal that did feature in my imagination was the Eurasian Otter, although at the time, I wasn't aware of other otter species. Being from Devon, in the UK, I was never far away from Tarka country, the area in North Devon where the story of Tarka the Otter was based. Throughout my childhood, the otter was seriously endangered and it was thought that it may soon become extinct. That is possibly why it caught my imagination, it had that air of mystery about it and it could be a constant dream to see one, but at the same time a dream that seemed unacheivable. Often dreams never match reality, so it would seem that my dream would never be sullied by reality. Now though, the otter has recovered significantly in Britain, so that dreams can become reality. I saw my first otter in Scotland, in March 2008, underneath the Kessock Bridge, just outside of Inverness and was hooked. I then spent several days over that spring and summer searching for otters on Shapwick Heath in Somerset, a place that is considered to be one of the best places to see them in England, largely because they don't stick to their usual nocturnal habits, but also because the population, while still being vulnerable, is much healthier than it once was. This year, they don't seem to be as numerous, but they are still visible there and in other areas of the Avalon Marshes.
Alongside my burgeoning interest in otters, was my interest in macro photography, in particular dragonflies. Wildlife photography generally is more difficult because of the fieldcraft involved and the element of luck, you can't expect animals to be present on tap, but macro photography allows you to photograph other subjects while waiting. Of course, they are also part of the story, without insects, other life wouldn't exist, fish and amphibians need them to survive, just as the otters need the fish.
Having decided that I wanted to continue to photograph wildlife and having decided it wasn't as easy to teach myself, as I could with landscapes, I attended some photography workshops with Laurie Campbell, one of the prominent Scottish nature photographers. I had already attended a wildlife week at the Aigas field centre, nearly Beauly, Inverness-Shire and the photography workshops they organised seemed very good value. Laurie is an inspiration. The first workshop was awful weather, yet he demonstrated how it was possible to take photographs in even the worst weather and it forced me to try new things, even still life images of plants and motion blur shots of birds at a feeder. It literally broadened my horizons.
So with my passion for wildlife reaffirmed and a new found reason for my landscape work, it better equipped me for the next stage in my progression. And so the quest for more than just record shots was born. I am now looking to create more artistic work, starting with macros, where I can practice, but with ideas for larger plans and projects slowly forming. My recent shortlisting for the British Wildlife Photography Awards has shown that I have made some progress, but there is still more I need to do. It's been frustrating not being able to get out with my camera over the past few weeks, but hopefully I can soon get on with my planned projects.

Shortlisted for BWPA Awards

I found out today that a number of my images have been shortlisted for the 2009 British Wildlfe Photography Awards. It's a good feeling to get past the first hurdle and I always imagined that the best chance I had of getting anywhere with awards, was for landscapes, even though I prefer to photograph wildlife. I was quite pleased when I saw the categories, as I knew I had a good chance of finding some invertebrates and as it turned out, I had a couple of coastal images I felt were suitable.

Having spent a week on the Isle of Skye, one of the Scottish Western Isles, I have now created a new gallery, within the Scotland collection. Although the weather wasn't ideal, it did allow some moody landscapes and a couple of sunset images. I also updated the Birds gallery.


Isle of Skye - Images by Richard Winn