Category Archives: Photography

A Custom More Honoured In the Breach

Tsagaan Survarga
Camera: DJI FC3582 | Date: 28-07-2025 22:46 | Resolution: 4032 x 2520 | ISO: 140 | Exp. bias: 0 EV | Exp. Time: 1/200s | Aperture: 1.7 | Focal Length: 6.7mm (~24.0mm) | See map

“‘Tis a custom more honoured in the breach than the observance”
Driving on the right in Mongolia…

After a relatively few hours’ sleep we’re up again for the short drive back to the Tsagaan Survarga cliffs. This time the photography gods are on our side. The wind has subsided and a nice sunrise is starting to light up the rocks below. It’s possible to get some nice detail shots of the rich colours without having to strap yourself to something, but what I’d really like to do is get a photograph of the light on the cliffs from a few meters out. It’s a shame that gravity precludes my stepping out to that position.

Wait! I have a drone! I can put my camera in the air and point it at me. This turns out to be the absolutely perfect drone shoot, using it as a mobile still camera. I can move the camera to any position, from the safety of my little eyrie, and the location is large enough and with few enough people that we’re not getting in one another’s way.

Andrew in his Eyrie at Tsagaan Survarga (Show Details)

After breakfast it’s back in the jeeps for the long drive back to Ulaanbaatar. I’d like to say the long relaxing drive back but that would be untrue. In addition to our driver’s habit of late breaking even when we can all clearly see a hazard, is his habit of ignoring the generally accepted convention that Mongolia drives on the right. I get that he has to not only overtake but sometimes move left to avoid a pothole, however he also frequently drives in the left lane for long stretches even when we can see distant oncoming traffic. The worst case is where he decides to do this going round a blind left-hand band in a clearly-marked “no overtaking” zone, for no apparent reason than he finds it more aesthetically pleasing…

We manage a coffee stop in what is rapidly becoming our favourite coffee shop in Mandangovi, and then take lunch at the airport. This turns out not to be as daft as it sounds: the new airport is well-positioned about an hour out of the capital, there’s good parking, and Oyu has booked an excellent lunch at the Japanese Noodle Restaurant in the arrivals hall. The only problem is the usual one – the first course is generous, and then another, larger, course arrives!

After lunch we have the final short drive to the hotel, and a few hours to ourselves. However we have a long day tomorrow starting very early with an internal flight, so most of us spend the time repacking ready for that. An early, very light dinner and a few beers set us up for an early night.

[Technical note: I’m very pleased with my drone, the diminutive DJI Mini Pro 3 which seems highly capable despite its small size. However there’s a general problem with DJI RAW files – Capture One and some other common RAW processors don’t support them. The In-camera JPEGs are good, and I’ve used them for this blog, but it looks like getting a good generic solution integrated with my existing workflow and at acceptable cost is going to be non-trivial. I’ll write more on this if/when I find an answer.]

Tsagaan Survarga (Show Details)
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Eating the Elephant (The Tail-Piece)

Cheetah yawning, Zaminga
Camera: Panasonic DC-G9M2 | Date: 12-06-2025 07:36 | Resolution: 5315 x 3322 | ISO: 160 | Exp. bias: 0 EV | Exp. Time: 1/320s | Aperture: 7.1 | Focal Length: 146.0mm (~292.0mm) | Location: Zaminga | State/Province: Thembalethu, KwaZulu-Natal | See map | Lens: LEICA DG 100-400/F4.0-6.3

It’s instructive to look back on my Zimanga trip, to review what worked, and what I might have done differently. If you’re planning a photo safari, you might find the following useful.

Firstly, I can’t praise strongly enough the owners and staff of Zimanga (https://zimanga.com/). The vision to dedicate 7000 hectares of land to a game reserve specifically set up for photographers has paid dividends. I know our group all enjoyed it thoroughly, and Lee is having no difficulty selling his trips a couple of years ahead, thanks in part to a lot of repeat business! The staff are all charming, knowledgeable and helpful, and go out of their way to make you feel welcome. Highly recommended.

I was very pleased with my kit choices. I agonised a bit about spending the money to supplement my perfectly good 100-300mm lens (200mm-600m equivalent) with a used Panasonic 100-400mm, but it paid off well. I regularly used both the extra reach (especially on the smaller birds) and the feature to limit focus to >5m (vital for shooting from behind glass but not implemented on the 100-300). I did experience the common complaint that the zoom control is a bit stiff and slow, so it may not work so well for sports, but for this trip it was ideal.

Of the 1220 shots I have retained on the PC for further processing, over 80% were shot with that lens. Around 15% were shot with the 35-100mm f/2.8, and almost all the remainder, only about 4%, with the 12-35mm f/2.8. I always carry spares, but I could have done this trip perfectly easily with just the three lenses, and I could have lived with the tiny kit lens for the "normal zoom".

Cheetahs playing, Zaminga (Show Details)

My last-minute decision to trade in my old Panasonic GX8 for a used G9 also worked well. Because of the time pressure I just used the Wex Photographic used camera service for both the purchase and the trade-in, but it went like clockwork for a net cost under £150. Wex didn’t want the spare GX8 batteries but they sold almost immediately on eBay bringing the net cost under £100. For that I got a more modern camera which is similar enough to the G9 mark II you can switch quickly back and forth between them.

Don’t underestimate the number of shots you’ll take, or the storage requirement. My previous records were about 3300 shots over three weeks in the Desert Southwest of the USA, and 2900 shot over two weeks in Namibia (which combined wildlife, landscape and human subjects). In effectively 8 days in South Africa I took 6194 shots, and filled around 300GB of fast SD cards. After filtering I deleted about 100GB and moved over 130GB to my "unused image" archive disk, but I still have ~50GB (1220 images) to process further.

The tail piece, Zaminga (Show Details)

The other things you need are patience, and luck. Even with hides carefully designed to attract the animals, and dedicated guides constantly sharing information about what’s where, there was a lot of sitting around waiting, or driving across the reserve only to find the subjects had moved on. If you want the predictability of knowing for certain what you’ll see in a certain session, then maybe a trip to Longleat is in order!

I suspect that I lack the patience to do a lot of wildlife photography. I certainly missed a couple of hide shots because I was doing something else when the animal appeared. So be it.

Even with that caveat, I came away with a good collection of images, with some of which I’m extremely pleased. This was a very successful trip, and I can recommend it should you get the opportunity.

Elephant, eating, Zaminga (Show Details)
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The Need for (Shutter) Speed?

Flying in
Camera: Panasonic DC-G9M2 | Date: 17-06-2025 07:09 | Resolution: 1788 x 1788 | ISO: 640 | Exp. bias: -33/100 EV | Exp. Time: 1/320s | Aperture: 5.6 | Focal Length: 150.0mm (~300.0mm) | Location: Scavenger Hide, Zaminga | State/Province: Thembalethu, KwaZulu-Natal | See map | Lens: LEICA DG 100-400/F4.0-6.3

Over the past few weeks I’ve had the same conversation at least four times: before my trip to South Africa, at least twice while I was on my safari, and also after sharing my images for review. It starts like this:

Experienced Wildlife Photographer: "You need to use a shutter speed of at least 1/2000 s"

Me: "Why?"

EWP: "Because you have to, to get sharp images"

Me: "Why?"

EWP: "Because"

OK, in reality I don’t channel my inner toddler quite so directly, nor am I claiming to know better than the various EWPs. They do have some valid reasons, but I think that there’s also an element of "received wisdom" hiding very real technical and artistic options. The repeating nature of the discussion and my relative success with other strategies suggests that there is scope for more analysis. This is my take on that.

The technical decisions come down to minimising the risk of "missing the shot" – capturing an interesting subject, but the resulting image being of low quality, typically, but not necessarily, with unacceptable motion blur.

There are two sources of motion blur. The first is unintentional camera movement. In the olden days of film and non-stabilised lenses the golden rule was that the shutter speed should be at least equal to the focal length in mm, e.g. 1/800s if your telephoto lens is equivalent to 800mm. But it’s different now. A lot still depends on the photographer’s abilities and the physical size and weight of the camera and lens, but with modern image stabilisation most photographers should improve on that rule by 4 stops (a factor of 16), so should be able to hand-hold the 800mm lens at 1/50s. With the lightest mirrorless kit another factor of 4 or so might be possible. Shooting at medium speeds such as 1/250s really should not be an issue.

This does assume your own platform is stable. If it is moving, for example a boat, then you will need a higher speed, but again unless it’s pitching wildly in a storm you might get away with less than you expect.

The other source of motion blur is subject movement. Even a static subject may twitch, or may have the wind ruffling its fur. However the real challenge is an active subject engaged in deliberate motion. If you want to freeze that motion the required shutter speed increases as the subject size decreases. If you are trying to freeze small birds in motion then you really do need shutter speeds up well over 1/1000s, but that’s just not true with an elephant, where 1/100s will work almost every time.

Playful baby elephant, Zaminga (Show Details)

You might be surprised how far you can go with medium-sized subjects and still freeze the motion acceptably. The picture above is a tawny vulture in flight, captured at 1/320s.

Even smaller and fast-moving subjects may work at lower shutter speeds than you think. My "Kingfisher rising" shot is "only" 1/1000s. I do wish I had used a higher frame rate to get a greater choice of positions especially on the downward arc, but I’m not unhappy with the shutter speed.

Kingfisher rising, Lagoon Hide, Zaminga (Show Details)

In the interest of not missing the shot you might be tempted to dial in a high shutter speed and have done with it, but of course there’s no free lunch. Unless light levels are very high, such a high shutter speed means using a higher ISO, going to a wider aperture, or both. Very high ISOs result in very noisy images, which may end up "soft" as a side-effect of noise removal. Using a large aperture on a long lens results in a very shallow depth of field, and your shot may end up soft because you missed focus. Either way you miss the shot anyway, whereas a different exposure compromise might deliver a clean and accurately-focused image with some amount of motion blur.

That’s the technical choice.

The artistic choices relate to your priorities for the image, and how you want to portray motion. My first priority is that most of the subject needs to be in good focus. I’m not a great fan of images where a tiny sliver is in focus and everything else is a blur, including much of the subject. (The classic example is a wildlife portrait where the eyes are in focus but the end of the nose isn’t. Not only don’t I particularly like the result if done well, but it will result in a bad image if focus is even slightly off.)

This means that I tend to ensure I’m working at moderate apertures. I get some benefit from the effective doubling of depth of field with Micro Four Thirds (MFT), but I rarely work at less than f/5.6. Occasionally this does leave a messy background sharper than ideal, but I would rather err on the side of caution, at least for the first shot.

Next, I try to avoid very high ISO values. With modern Panasonic MFT cameras ISO 1600 will work reliably and produce usable images even without much post-processing. ISO 3200 is fairly reliable, but all images need post-processing with Topaz Photo AI or similar to denoise and sharpen them. ISO 6400 and above tends not to work for "portfolio"-quality images. Admittedly in this case the smaller sensor is a disadvantage and full-frame cameras should get comparable images a stop higher on ISO, but sufficiently noise-free images above ISO 10,000 or so are going to be a matter of luck.

The received wisdom appears to be "get the shutter speed, accept the noise", but I know I can live with an image with some motion blur more easily than one with massive amounts of noise.

Then there’s the question of whether I actually want to show motion or not. If a lion is lyin’ there and happens to twitch its nose at the wrong microsecond I get a blurred shot, and that’s a fail. However if it’s doing something more dynamic, I quite like to show that.

My first influence is my love of equestrian sports as a photographic subject. My objective is often a panning shot in which the subject horse and rider are sharp, but the background is intentionally blurred to show the motion. If there’s some blurring of the horses’ hooves, polo mallets or the ball, that’s fine, as long as they are recognisable, and I think it adds to the dynamic nature of the picture. Practice has taught me that the best shutter speed to achieve this is around 1/250s.

Polo at 1/250s (Show Details)

I also like to photograph concerts and human sporting events. If these are at night, or indoors, then I’m constrained to the event lighting which imposes a relatively slow shutter speed. Again, similar judgements apply. I want the subject clearly recognisable, but if, for example, their hands are moving rapidly, then that’s acceptable. Consider the following image: to freeze the drummer’s hands I would have had to use a shutter speed up around 1/1000s and that simply was not available, but I’m very happy with the rest of him, sharp at just 1/40s. His hands appeared to us as a blur anyway, and that’s what I’ve captured.

Third World at Barbados Reggae Festival 2023 (Show Details)

So how does this apply to wildlife photography? Here’s a picture of a lioness running at 1/250s. That speed was to some extent imposed by very low dawn light, and also she started moving just after we arrived at her location and my camera was on settings from a previous subject. However I think it works. Yes, there’s some motion blur of parts of her body as well as the background, but to my mind that expresses how fast she was moving. A "frozen" shot at 1/2000s, had it been possible (it wasn’t) would not have communicated that.

Running lioness, Zaminga (Show Details)

Of course, you can take this a lot further, and that’s a pure artistic choice. For example, Richard Bernabe has a wonderful image of a moving herd of impala at 1/20s (See here). With wildlife I probably wouldn’t go that far, but I have experimented with dance and fashion subjects, so never say never.

Venice Carnevale, 2009 (Show Details)

Modern kit allows us to work at higher speeds than would ever have historically been possible. Modern software such as Topaz Photo AI cleans up and sharpens images which might previously have been deemed inadequate, and I certainly make active use of it – several of the shots on this page have benefitted from at least noise reduction and basic sharpening. It’s certainly possible to "cheat" some of the technical limitations in a way which has not previously been available. However, to paraphrase the famous quote from Jurassic Park, "you were so occupied with whether you could produce a very sharp image, you didn’t think whether you should".

For my part if I am trying to freeze the movement of small, fast animals I will use a faster speed. If I’m looking for artistic blur then I’ll use a very slow one. Most of the time I’ll stick with something in the range 1/50 to 1/500s, and embrace rather than eliminate subject motion.

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The Zimanga 2025 Group Photo

Photo Adventures at Zimanga, 2025
Camera: Panasonic DC-G9M2 | Date: 18-06-2025 10:18 | Resolution: 4862 x 3039 | ISO: 800 | Exp. bias: 0 EV | Exp. Time: 1/1000s | Aperture: 10.0 | Focal Length: 12.0mm (~24.0mm) | Lens: LUMIX G VARIO 12-35/F2.8II

Although my "group panoramas" are a tradition, I am on this occasion frustrated, as on every night there’s less than half of group at dinner, between night hide slots and three of us staying at The Homestead, a separate accommodation block a few minutes’ drive away, with its own catering arrangements.

In the end Ann and I persuade everyone to line up for a group shot taken after breakfast on the last full day. Back row, from the left: David, Yasmin, Mark, Lee, Issa, Ann, Ray. Front row: yours truly, Mike, John, Martin, Ali, Sue, Colin, Chris.

1/10 to Lee, who could have shuffled along to the left to fill in the gap!

Technical Note

Regular readers will recognise two recurring scenarios regarding my relationship to tripods:

  • I have a tripod, but it gets used for a purpose definitely not listed on the manufacturer’s website
  • I have no tripod, and have to improvise camera support using an object to hand

This is a good example of the latter. Camera placed on the edge of the pool, pointing at the sofa, flip-out screen pointing up so I can check composition, albeit upside down (ground glass screen and cloth, anyone?) To adjust the yaw angle, fork from dining table wedged under the camera body providing exactly the right angle of inclination.

Personally I think all this nonsense about tripods is overblown.

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I Invoke the Dragon Gods

Tawny eagle and black-winged kite, Zaminga
Camera: Panasonic DC-G9M2 | Date: 17-06-2025 15:42 | Resolution: 4804 x 3002 | ISO: 160 | Exp. bias: -33/100 EV | Exp. Time: 1/1600s | Aperture: 5.4 | Focal Length: 250.0mm (~500.0mm) | Location: Zaminga | State/Province: Thembalethu, KwaZulu-Natal | See map | Lens: LEICA DG 100-400/F4.0-6.3

After the frustrations and ultimate disappointment of the previous night hide session, I demur from another and after lunch wave goodbye to John and Colin before joining another group, with Calvin as guide, for an afternoon game drive.

I Discover Pre-capture

Although it’s targeted as "anything you’ve missed so far", the drive turns into a birding session, which is a great opportunity to exercise the newly-discovered pre-capture capabilities of my camera. In action photography, especially sports and wildlife, there’s a common challenge of anticipating the action, for example a bird taking off, so you capture it. Typically if you wait until you can see something happening, it’s too late. Over the years an awful lot of film and digital images have been wasted, left empty while the bird has, literally, already flown.

The latest generation of higher-spec cameras resolves this with "pre-capture". If you sit with a high frame rate selected, your subject in focus and the shutter halfway down, as well as updating the viewfinder display the camera is writing images to a rolling buffer. When you finally press the shutter all the way, it starts by writing the last half a second or so of images while it continues to capture new images in real time. After the event you should have a sequence including the peak of the action.

This does come at a cost. There’s a lot of processing going on, and if the action is delayed long enough you can see the battery’s reserves running down as you watch. If you use the feature regularly it uses a lot of storage, and that storage needs to be fast unless you want a significant delay before the camera is usable again. The Panasonic G9ii again delivers benefits from its smaller sensor: most full-frame peers need very fast CF Express cards and are still JPEG-only at higher frame rates. The G9ii delivers RAW+JPEG at up to 60 fps, although I opt for 20fps which gives me a maximum burst of about 8s, and works acceptably with inexpensive cards like the Lexar Silver Pro V60 series.

The other challenge is that if your subject is patient enough then your supporting hand and your trigger finger get very tired. One of the "must have" shots from a trip like this is a lilac-breasted roller taking off, but a couple of us on the drive don’t yet have it. Calvin spots one sitting in a bush and manoeuvres the jeep close to it. Knowing that it’s not usually long before the bird takes flight, we sight up on it and wait.

And wait.

And wait.

We appear to have found either the most chilled, or the most full, or the laziest roller on the continent. After over 15 minutes it still hasn’t taken flight, although there is enough movement to confirm it’s still alive. We try everything to provoke a controlled take-off. We cough. We clap. Calvin turns on the engine. Calvin turns on the engine and moves the jeep a few feet towards the tree. Nothing.

Finally, when we’re taking it in turns to rest our hands, the bird suddenly flies. I’m lucky – I have just refocused after a short break, and I get a couple of wonderful shots of it in flight.

Lilac-breasted roller in flight, Zaminga
(Show Details)

Once we’ve got a couple more shots of less-chilled rollers, we move on the corner of the male cheetahs’ domain, where a tawny eagle is sitting in one of the dead trees. We get a couple of good static shots, and suddenly all hell breaks loose when a black-winged kite, a fraction of its size, starts angrily "buzzing" it, flying close with beak open and claws out, so the eagle is forced to cower and then squawk back. We can only guess at the cause: maybe the kite has a nest nearby and is pre-emptively defending its young? We manage to photograph about half a dozen passes, then the kite gives up, and after a few minutes the puzzled eagle flutters away.

Tawny eagle and black-winged kite, Zaminga
(Show Details)

The last target of the afternoon is the bee-eaters. These tiny, colourful insect-eating birds have a highly complex social structure based around a communal nest in a cliff facing the river. They are very skittish, moving quickly together at any perceived threat, which might be as little as one of use, 30m away, moving a camera too quickly. However with a bit of patience we each get some good shots.

Bee eaters, Zaminga
(Show Details)

I mentioned how storage-hungry pre-capture is. I have done whole tours and come back with around 32GB of images. This afternoon, across about two dozen sequences, I capture more than that in less than two hours.

I Invoke the Dragon Gods

By dinnertime Colin and John have reported moderate success from the Tamboti hide. After dinner, in a somewhat drunken state, for a joke I get onto ChatGPT and generate and share a picture of a dragon at the watering hole.

Dragon at the watering hole
(Show Details)

About an hour later Colin and John post a picture of three elephants at the watering hole, followed by reports of a couple more visits. This is without question the best overnight experience for the whole trip. I’m mildly peeved I didn’t partake, but also suspicious that if I had been there my impatience might have jinxed things. Congratulations, but don’t forget that I invoked the dragon gods to bring you luck!

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Absence of Elephant

Absence of Elephant, Zimanga
Camera: Panasonic DC-G9 | Date: 16-06-2025 07:22 | Resolution: 10242 x 3414 | ISO: 400 | Exp. bias: 0 EV | Exp. Time: 1/400s | Aperture: 8.0 | Focal Length: 24.0mm | Lens: LUMIX G VARIO 12-35/F2.8II

You don’t have to shoot Zimanga at 800mm!

I call this “Absence of Elephant”. £4M please! (If Peter Lik can get away with it, why can’t I?)

Oh, and about 5 minutes after shooting this scene, it disgorged a herd of about 10 elephants who were happy to wander past us and be photographed. There’s probably a deep and meaningful message somewhere about looking for hidden details, but I’m not sure my brain is up to it.

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(In)Correct Tripod Technique!

Who Needs a Drone?

With Apologies to My Photography Tutors

First, I’d like to apologise to all the authors, tutors, mentors and tour leaders who have tried to instil in me “correct” tripod technique. As they say, it’s not you, it’s me.I don’t particularly have a philosophical objection to the three legged beast, and you will catch me using one when the camera has genuinely got to stay in one place for a long time, for example videoing a wedding speech, or taking a time-lapse photo sequence. However I do prefer a more free-wheeling approach, and my discovery that the latest Panasonic Dual Image Stabilisation allows me to hand-hold a wide-angle shot for 2-3s, or an extreme telephoto for 1/5s, has only encouraged me to eschew support when not essential.I do actually own three of the things, but the large and relatively heavy Manfrotto has only been used on one single photo shoot. However, coupled with the laser level it has proven invaluable as a surveying tool for our kitchen refit and preparing for my new workshop. My medium-sized Gitzo is a solid, professional but lightweight device, my default for a “serious” tripod. However I suspect I’d scare the purists by pointing out the pistol-grip Manfrotto head – none of this fancy gear rubbish!

And then there’s the Frankentripod ™. (It’s great to have one search term which gets your website at the top of all the search engines, even if you have to make up a word to do it!) It’s the tripod I carry when I don’t want to carry a tripod, but feel I should, to show willing, or “just in case”. It does the job, most of the time, at very little cost in terms of luggage space or weight. I say “most of the time” because there are limitations – in Cinque Terre, for example, it wasn’t quite tall enough to clear some of the safety fences around the harbour in Manarola, but I found work-arounds.

The Frankentripod also turns out to be the ideal device for my new tripod technique, which I call “why get a drone when you have a tripod?” The technique is simple:

  1. Extend tripod to full length, legs together
  2. Put camera on tripod
  3. Flip screen out so you can see it from below
  4. Put camera on self-timer
  5. Start self-timer
  6. Raise camera above your head, to clear obstacles such as vegetation, tall people etc.
  7. Compose your shot by tilting the tripod as required
  8. Wait for 0s
  9. Bingo!

In the right situation this can be a game changer. For example, our views of Montisi from Castelmuzio were somewhat constrained by the fact that whoever was responsible for trimming the vegetation at the viewpoint was somewhat derelict in their duty. From head height the best wide shot was this, with some rather intrusive branches:

Montisi from Castelmuzio (Show Details)

However, the Frankentripod method got my camera up above the errant foliage, and produced this:

Montisi from Castelmuzio (Show Details)

The method does have some pre-requisites, and a couple of trust issues:

  1. Lightweight camera and tripod. This is not going to work with a Canon 1DS, 600mm lens and Uranium tripod, unless you take my instruction in point 5 very seriously!
  2. A flip-out or flip-down screen bright enough to be viewed from the other end of the tripod
  3. Image stabilisation, very good image stabilisation
  4. Trust that your camera is firmly attached. Otherwise this could become somewhat dangerous and expensive, although a long strap (shorter than yourself, obviously), tied to the tripod head, and a hard hat might provide some mitigation
  5. A steady hand and strong shoulders, otherwise ditto. Pump iron!
  6. A bit of skill to compose and then hold the composition in 10s, or whatever the timer is on your camera.

Or I could just buy a drone, Darling Wife!

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A Curse Manifests

Manarolo bay with a break in the clouds
Camera: Panasonic DC-G9M2 | Date: 25-09-2024 17:47 | Resolution: 5745 x 3591 | ISO: 100 | Exp. bias: -1 EV | Exp. Time: 1/100s | Aperture: 7.1 | Focal Length: 9.0mm (~18.0mm) | Lens: LEICA DG SUMMILUX 9/F1.7

The Italy 2024 Blog

I’m not sure I believe in curses as a general rule but I am starting to think that I have inadvertently offended a very particular deity and invoked their wrath. Every time I go on one of Lee Frost‘s photography workshops, there is some point on the first day where I am either wringing out clothes or emptying water out of a camera.

It was therefore of little surprise when a day before setting off to Pisa for a trip around the Cinque Terre and Tuscany, that Lee sent a WhatsApp message warning of a near-biblical weather forecast for the first few days. I replied flippantly that I had already packed my most waterproof clothes, but I could add a snorkel if required.

I was therefore pleasantly surprised when my trip was untroubled by rain, and the first full day dawned bright and sunny in Pisa. The other attendees gathered at Pisa airport also without apparent problems, and the only delay was inevitable Italian over-complication of the paperwork when Lee collected the minibus.

We had a pleasant drive to Manarolo, also in fair weather, and a delicious if slightly late lunch. Then Grant repaired to his room and opened his suitcase, to find every item soaking wet! There was no obvious cause, but some items were so wet they could be wrung out. While it had been raining heavily when he and John boarded the BA flight, the thorough wetness of his gear suggested that the case had not just been left in the rain, but somehow immersed.

After lunch we went down to the seafront, Grant wearing his only dry outfit. And the heavens opened, dousing all but myself, as I had returned to my room to collect something.

This is the most focused manifestation yet of the curse. I don’t understand how I have escaped, but "false sense of security" suggests itself. Hopefully Grant will dry out soon…

Manarolo high street, just after the storm
(Show Details)

Cloudy with a Chance of Meatballs

We had a late lunch, which for most of us of consisted of delicious but very large pizzas. I had a gorgonzola and truffle pizza which I failed to finish, very unusual.

The weather was less than ideal for capturing the traditional shot of Manarolo across the harbour, with a leaden overcast sky, and little prospect of a sunset. However very occasionally the sun did break through the clouds with a few well-placed beams of light, and working quickly we each captured a few well-lit images. As the alleged sunset came and went we were luckier with blue hour, less dependent on direct light, and we all came away with satisfactory shots of the town lit up in the gathering evening.

Manarolo blue hour
(Show Details)

I did make one astonishing discovery. I have become used to hand-holding the Panasonic G9ii (and its predecessor) for shots with exposure time of 1/5 or 1/4s, but I wasn’t even touching the surface of the possible. I have come to Italy with only a small tripod, incompatible with the relatively high railings of the cliff walk, and I decided to try hand-holding longer exposures. I managed a couple at well over 2s which are acceptably sharp, and captured several very sharp images, like the top one here, in the 1-2s range. Obviously this only works with wide angle lenses, but even so it’s quite remarkable.

We each stuck to a single course for dinner, but that turned out to be further enormous portions of delicious food, with no complaints about quality, but one or two concerns about quantity. I can see that managing my diet is going to be a challenge…

Manarolo blue hour – 2s hand-held image!
(Show Details)
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Picturing Zanzibar – Advice for Photographers

Welcome to Zanzibar!
Camera: Panasonic DC-G9M2 | Date: 04-12-2023 13:37 | Resolution: 2628 x 2628 | ISO: 640 | Exp. bias: -1 EV | Exp. Time: 1/500s | Aperture: 11.0 | Focal Length: 12.0mm (~24.0mm) | Location: Shangani Lighthouse | State/Province: Stone Town, Zanzibar City, Zanzi | See map | Lens: LUMIX G VARIO 12-35/F2.8II

With my Zanzibar trip now firmly behind me, I’ve looked back and tried to condense what I experienced into guidance for future visitors and photographers.

This was my first trip to East Africa, and I came away with a lot of positive feelings. This appears to be a happy, vibrant place with lots of friendly people. Most of the practicalities worked fine, albeit sometimes a bit slowly, in a way familiar to anyone who has travelled in the tropics. I never felt the slightest issue in respect of personal security, and all my commercial transactions were honest and straightforward, although there was inevitably some haggling with shopkeepers to agree a price.

Dhow at BuBuBu (Show Details)

Photographic Subjects and Practices

I did get some great shots of people, beaches and boats, and the snorkelling was easily the best I’ve done in about 20 years. For those happy in a relatively small boat I would thoroughly recommend a dhow trip, and a snorkelling trip with Safari Blue.

Snorkelling near Kwale Island (Show Details)

Beaches aside, there’s no scenery to speak of. The island is as flat as a pancake, covered with either very generic tropical vegetation or small-scale agriculture, broken intermittently by what are described as "villages" but many of which are in reality small towns of several thousand people. The historical area of Stonetown is home to some fascinating old narrow alleys and tall buildings, but away from there the vernacular architecture is either 1960s communist blocks, or nondescript smaller constructions of concrete blocks and corrugated iron. Both are, let’s be honest, just ugly. In some parts of the world buildings are at least cheered up by being painted in bright colours, but most in Zanzibar are left unpainted in drab greys and browns.

Stonetown does have a wonderful tradition of impressive, studded timber doors. These were present, but unfortunately at the time of our visit almost every one was covered in complex sets of numbers scrawled in chalk, the legacy of a recent census. Hopefully when the process is complete most will be cleaned and returned to their usual photogenic state, but I’ve come away with relatively few shots of these vaunted features.

We didn’t see any wildlife except fish, a few birds, a couple of impressively large rats, and some amazingly colourful dragonflies which frequented the hotel pool but were impossible to photograph. An occasional rustle in the trees or roadside vegetation suggested some slightly larger fauna, but it didn’t make itself obvious.

That brings us to the people. Most were pleasant and interesting, but not all were willing photographic subjects. They seemed to split down into a few groups (albeit with lots of borderline cases):

  1. Those who are happy to be photographed without immediate reward. A lot of people in direct tourist-facing roles are naturally in this group, however they are not the majority.
  2. Those who can be persuaded, especially if you engage with them first and take a genuine interest in their activity or situation, and then ask permission. This is down to your powers of persuasion, or those of your guide.
  3. Those who are happy to pose on the transactional basis that they will be paid. As well as entertainers working for tips you will find a number of the general public who operate on a "dollar for photo" or similar basis. Stallholders who have either just made a sale of who have a real prospect of one are also usually willing.
  4. Those who really don’t want to be photographed. I reckon this can be 50% or more in some cases. Some will make it very obvious with a "no photo" or covering their face. You have to acknowledge and honour this.

Ladies happy to be photographed, for a fee! (Show Details)

The reticence of many of the people seems to be down to a combination of the standard Muslim concern about images of people, more modern concerns about publishing one’s likeness, and an annoyance that their daily lives are being scrutinised by foreigners. It has to be said that most of us would be the same if the situation was reversed. I started to feel a bit uncomfortable tramping around the villages, and after a while focused photography on those in groups 1-3.

You also should be alert to those who due to peer pressure appear to be in group 2 or 3, but are actually in group 4. You may detect unease, or just poor poses and expressions – these are passive expressions of the same unwillingness. A good example is where we were invited into school classes, but some of the youngsters were obviously much less comfortable than others. Again, there’s no point in pushing with an unwilling subject.

Finally you have to be aware of the psychological aspects of the photographic process on willing but inexperienced subjects. In a couple of cases we found a great model, but the first photographer in the group thrust an enormous camera and lens into her face and insisted on taking dozens of images, and the rest didn’t get a look in. That’s unfair on both the subject and the other photographers.

If you do have to pay a subject it won’t require much – 1 US dollar is a good reward for a some shots of an adult, and you can scale up to maybe $10 for a group. Carry lots of $1 notes. However it’s not a good idea to pay kids directly – this is clearly driving a lot of poor behaviours.

Tumblers on the beach (Show Details)

Photographic Kit

There’s not a great deal to say here. Any good camera should serve you well, and unless you’re going underwater the practical demands are limited. The beauty of Micro Four Thirds allowed me to take a range of lenses covering from ultra-wide angle to long telephoto without breaking the luggage limit, but the longer lenses got very limited use, and a standard pair of zooms covering the equivalent of 24-70mm and 70-200mm or similar would cover the vast majority of subjects.

My new Panasonic G9ii behaved faultlessly, and like its predecessor proved an ideal camera for travelling "light but fully equipped". I took 1662 images on it, about 110 on the Sony Rx100 mk 7, and about 316 using the waterproof Olympus TG6, across about 8 days of "active photography" (as opposed to lying by the pool). The count was lower than many trips, but reflected the limited need for multi-shot techniques or high frame rate action photography. About 50% of the shots have been retained for further processing after an initial edit, higher than usual for the same reasons.

Make sure you have a circular polariser for each lens. I just left mine on most of the time, as the light frequently demands it, and it’s good protection against the dust and moisture. Alternatively you might want to take clear or UV filters, but that’s arguably overkill. My ND filters didn’t come out of the bag, and I didn’t catch any of my companions messing about with square filters, ND Grads and the like – the subjects really didn’t call for it.

Underwater the TG6 worked well enough, and avoided the literally fatal failings of its predecessor. However the images are not that sharp, and battery life is very poor, as I found to my cost when I lost power halfway through the second snorkelling session. If you are doing a trip with multiple snorkel or dive sessions in the water, change the battery after each one, and accept the risk of opening the camera in a less controlled environment.

Sea star on Nungwi beach (Show Details)

You could get away without taking a tripod. Mine never left the suitcase. Obviously it depends on your style, and your tolerance for higher ISO for evening shots, but I worked exclusively handheld. By and large it was too cloudy for genuine night photography, and otherwise the light levels and subjects were always workable.

If you are travelling to that part of the world with significant photographic kit, avoid Emirates as an airline. They have a ridiculous 7kg and one piece limit on cabin baggage which they enforce quite enthusiastically. My work-around was to wear a photographer’s vest which ended up almost as heavy as my bag, but I shouldn’t have to be forced to do so.

Otherwise that’s about it. The phrase which sums it up well is "f/8 and be there…"

Practicalities

This section does need a significant "your mileage may vary" warning – it reflects my experiences and others may be different. For example all the advice beforehand warned that insects might be a major issue, but I was sufficiently untroubled that by the end of the trip I wasn’t even putting repellent on, just making sure the mosquito net was secure overnight. However another member of the group did get a very nasty bite on the first night…

Zanzibar is well set up for tourism, and a lot of things "just worked". With one ultimately amusing exception, I didn’t experience any major hotel room malfunctions. Toilets were uniformly clean and functional. Transport arrangements were unproblematic.

Money is straightforward. Take lots of small US dollar bills for tips and small purchases – these are uniformly acceptable, the locals are well versed in applying a pragmatic exchange rate and rounding up or down as required, and it keeps your wallet simple. You can also get Tanzanian Shillings, or you might receive some in change, and that’s not a problem apart from the fact that the exchange rate is about 2500 to the $, or 3200 to the £, so you need to be careful with the number of zeroes! Larger bills will be presented in USD and can be settled with a credit card – just live with the small surcharge.

You will need a guide unless you’re just sticking to the environs of the hotels, and you will need a driver if you’re moving around. The main roads between towns and around Stonetown are very good and I’d be perfectly comfortable driving them, but get 10m off them and they are biblically bad. Both services are readily available at reasonable cost, so let them take the strain.

It is hot – in the 30s Celsius during the day, low 20s overnight, and humid, often without much of a breeze. Wear high factor sunscreen and be prepared to change your clothing fairly regularly. Be respectful with your clothing, but I didn’t find it necessary to follow the "cover up" guidance you get from some sources. A T shirt and shorts should be OK.

Try and adapt to the temperature. In your hotel room turn the air conditioning off, and the fan on. I slept like a log, but then I am used to the tropics and run a warm house at home. This is one of those YMMV bits.

One complaint we did have is that not enough water is served in hospitality settings. In most warm countries the first thing that happens in a restaurant or hotel is you get a glass of cold water, served from a freshly-opened bottle when required. Not in Zanzibar, you have to ask for water at meals, and you may have to manage your own supply in the hotel room. It’s not a problem – bottled water is readily available and inexpensive, but you do need to be alert to the issue and make sure you don’t accidentally get dehydrated.

Be absolutely religious about sticking to bottled water for drinking and tooth-cleaning. One of our party made a mistake on the latter and was then ill. I did try filling a kettle from the tap, but the cloudy fluid didn’t look like even boiling it would necessarily remove everything untoward, and I switched back to bottled water even for tea.

We all suffered from some measure of "tummy trouble", some, as in my case, fairly minor, some less so. My suspicion fell on the attractive salads and ice cream served by the Z Hotel, and I switched to the "bottle and burger"™ diet. This is very simple: don’t drink anything you didn’t see come out of a bottle – water, wine, beer and spirits are fine, but no cocktails. Don’t eat anything which hasn’t been baked, grilled or fried immediately before serving. Hot drinks are OK, as are boiled vegetables but only if they are still steaming – cold rice and similar are a no-no. It worked for me.

After the trip we did share our concerns about the salads with the hotel manager who assured us that all vegetables were washed using boiled water. As they say in the British Parliament, "I refer the gentleman to my earlier statement."

I mentioned that in most respect most of the hotel rooms worked quite well. However we did get one new entry for the dysfunctional hotels blog. In my first room at the Emerson Hotel in Stonetown the active and spare toilet rolls were strung on a rope from the ceiling, conveniently positioned for when required. In principle this is a good design, however in a tropical downpour on the first night water got in from outside, ran down the rope, and soaked both rolls. Annoying, especially as this is not an obvious failure until your need is unavoidable!

Coconut weaving (Show Details)

Service and Sophistication

Service was always willing and helpful, but occasionally annoying despite the good intentions. Paying or signing for drinks at the hotels is a good example. The staff don’t want to bother you while, or immediately after, consuming your drink. That’s great, but it can turn into either an interminable wait when you’re ready to go, or to your being pursued around the hotel with an unsigned chitty at shift end. Being proactive doesn’t necessarily help: I got a great cup of coffee early one morning, but while the barman could work the coffee machine to good effect, neither he nor any of the other staff on duty could work the till. I had to come back later.

More complex services are a mixed bunch. I had absolutely outstanding service from Safari Blue who not only provided a snorkelling trip but also arranged my travel, meals and changing facilities for my final day.

On the other hand I was also hoping to get two additional side-trips into the last few days: a deep sea fishing trip, and a catamaran cruise. I have done each many times in the Caribbean, you just ring up, book your place, turn up and pay. Often they even provide a taxi from your hotel. Not in Zanzibar. You can’t walk 100 yards down the beach without someone pestering you about a fishing trip, but it’s a completely different commercial model. They will happily charter you a boat, for anywhere between $400 and $1000, but it’s then your job to fill it. There’s no such thing as a "shared" trip where they do that work, apart from the dhow cruises. I couldn’t interest my companions, so the week came and went without fishing or a catamaran trip.

It’s apparent that the challenges in the educational system are failing many Zanzibarians. The inability to work the till was one example, but in fairness that was obviously a "training" hotel. However I found quite a few examples of limited reasoning skills or "learned stupidity". For example, The Z Hotel will make you a nice latte and serve it in a tall glass as per custom. So far so good. They have two sizes of saucers in their crockery set: a larger one with a dimple the right size for the latte glasses, and a smaller one where the dimple is too small and the glass wobbles alarmingly on top. You can guess which one they had all been told to use, and no amount of demonstrating the issue to the waiters every day for a week made a blind bit of difference.

Compared with some other tropical locations, there does seem to be a genuine intention to try and reduce the environmental impact of both general living and tourism. Waste was minimised and well-managed, with impressive recycling or reduction of most plastics. I even saw an old lady recycling nylon rope, using exactly the same method as others use with coconut fibres. That said there are some messy corners in villages, and on some non-tourist beaches, but you feel that they are trying to do the right thing.

Dhow at Jambiani Beach (Show Details)

And Finally…

There’s a Swahili phrase which gets a lot of use: "Pole Pole" (pronounced pole-ay, literally "slowly, slowly"). Sometimes this is meant as "go carefully", for example when getting on or off a boat. But it’s also an excuse, like "island time" or "maņana". If you’ve travelled in the tropics before the relaxed timekeeping and unhurried approach will be nothing new. If you haven’t, then sit back and relax – there’s not much you can do about it!

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Jeepers!

Temple of the Moon
Camera: Panasonic DC-G9 | Date: 24-09-2023 18:39 | Resolution: 5917 x 3329 | ISO: 400 | Exp. bias: 0 EV | Exp. Time: 1/250s | Aperture: 8.0 | Focal Length: 12.0mm | Location: Temple of the Moon | State/Province: Capitol Reef NP, Utah | See map | Lens: LUMIX G VARIO 12-35/F2.8II

One of the reasons we have not previously explored Capitol Reef is that although it’s an enormous, diverse park, it’s not particularly well served by either self-drive roads or shared transport like a shuttle service. You can drive through the middle of it on highway 24, and up and down Scenic Drive and Capitol Gorge, and that’s about it.

In the morning we tried the Notom Road, which winds through a mix of public and private land on the East of the park. There are a few good views, but nothing that dramatic. Eventually the paved road gives out and rapidly deteriorates below a level we’re comfortable driving in a road car, even one with 4WD, and we returned to town.

That leaves the Cathedral Valley. This is home to some of Capitol Reef’s best known scenery, but even relatively optimistic guides like Martres make it clear that this is not for road cars or inexperienced off-road drivers. Good advice. I signed up for a jeep tour with one of the local specialists.

The full jeep tour, up the Lower Cathedral Valley and back through the upper part is not for the faint of heart, or the loose of fillings! It’s 58 miles of washboard, sand, deep dips, and the occasional segment where the road surface appears to be constructed mainly of pebbles the size of cricket balls.

Fortunately Backcountry Safaris had provided a Jeep Rubicon, and Alex a young lad who’s driving style on the highway was a bit disconcerting, but which came into its own as soon as we left it. Within 100 yards of the main road we descended a rough slope with about a 30% gradient, and then drove for some distance on the bed of the Fremont River, which brought back memories of getting stuck in a river in Iceland, but this time there was no such issue and the tour got started.

Cathedral Valley Trailhead, Capitol Reef (Show Details)

At the first stop we were somewhat surprised by a group of pretty ladies in nice dresses and inappropriate footwear – see if you can spot one in a pink dress below. Obviously one of the other tour operators does their photo tour with models. Maybe next time…

Bentonite Hills, Capitol Reef, with model! (Show Details)

The scenery is absolutely as dramatic as advertised, but the stretches between the landmarks were maybe longer than I expected. However that’s a small price to pay.

Jailhouse Rock Overlook (Show Details)

We did have a challenge with timing. Alex was obviously unused to dealing with photographers, and even with the best will in the world we probably spent more time at earlier stops than some tours. On top of that by the last week in September sunset at the Temples of the Sun and Moon is before 7. The result was a somewhat hair-raising dash to reach those final landmarks in the last of the golden hour sun, but we made it.

Overall an excellent experience, but I would advise others to discuss the timing of the trip with the outfitter, and maybe run a slightly earlier timeslot towards the end of the season.

Glass Mountain and Temple of the Moon (Show Details)

Sunset Point

We opted for another lazy morning. The reality is that magnificent as it is, unless you are going to do long hikes or drive off-road Capitol Reef only has accessible viewpoints and activities to fill two days. With the jeep tour done our remaining target was to witness a good sunset from Panorama and Sunset Points.

After breakfast we took a short drive which included the gift shop attached to one of Torrey’s camp sites. While not an obvious target there was just something about it which looked hopeful. 20 minutes later we emerged with three of my favourite Mountain t-shirts plus one for Frances, all in the end of season sale at an average price of about £12.

We had a leisurely couple of hours by the pool, then set off mid-afternoon for the final run through the park. This time the weather played ball. We found a couple of additional viewpoints on the Scenic Drive, then hit Panorama Point, The Goosenecks, and finally Sunset Point, timing our arrival almost perfectly.

Views from Sunset Point (Show Details)

Capitol Reef, done. Tick.

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UK’s Strongest Man (And Woman!) 2023

Action from the UK's Strongest Man 2023
Camera: SONY DSC-RX100M7 | Date: 29-05-2023 13:17 | Resolution: 1553 x 1553 | ISO: 3200 | Exp. bias: -1 EV | Exp. Time: 1/160s | Aperture: 6.3 | Focal Length: 52.6mm (~145.0mm)

Great sport at the UK’s Strongest Man 2023 / UK’s Strongest Woman 2023. However not impressed by the new (on the day, as far as I could work out) ban on “professional cameras” which meant the G9 had to remain locked away, and I had to rely on the tiny Sony RX100 and lot of post-processing in Topaz Photo AI…

Also not impressed by the fact we both seem to have caught a cold at the Nottingham Motorpoint Arena. Outdoor venues are much better for this!

Action from the UK’s Strongest Woman 2023 (Show Details)

Action from the UK’s Strongest Woman 2023 (Show Details)

Action from the UK’s Strongest Man 2023 (Show Details)

Action from the UK’s Strongest Man 2023 (Show Details)

Action from the UK’s Strongest Man 2023 (Show Details)
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Splendidly Dodgy!

Horse Boarding at Burghley Park
Camera: Panasonic DC-G9 | Date: 28-05-2023 16:53 | Resolution: 3258 x 2172 | ISO: 200 | Exp. bias: -33/100 EV | Exp. Time: 1/250s | Aperture: 5.6 | Focal Length: 35.0mm | Lens: LUMIX G VARIO 35-100/F2.8

Welcome to a new sport, discovered on a visit to Burghley House and Park this weekend. Horse Boarding.

Horse Boarding at Burghley Park (Show Details)

You have to navigate a tight course of bends and slaloms on a skateboard. At speeds of up to 30 mph. While being towed behind a racehorse!

The wipe-outs are dramatic, but usually quite close to something relatively soft.

Horse Boarding at Burghley Park (Show Details)

Excellent.

I understand a small operation is required, to remove any sense of fear but leave the sense of balance intact…

Horse Boarding at Burghley Park (Show Details)
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