Posts Tagged ‘Wildlife photography’

Nick Smith’s interview with wildlife photographer Henry MacHale in Outdoor Photography magazine

February 24, 2010

Beating about the bush

Most people dream about giving up their day job to become a wildlife photographer. But Henry MacHale went one step further and turned the dream into reality. Nick Smith hears his story…

Adventure and wildlife photographer Henry MacHale. Portrait: Nick Smith

Adventure and wildlife photographer Henry MacHale. Portrait: Nick Smith

Henry MacHale read business studies at Edinburgh University, but in his holidays he spent much of his time in east Africa. In Kenya he took the first steps from being a burgeoning amateur to entering the world of the professional. Over the past decade he’s lived there, worked as a guide, managed a game reserve and got to know his way around the bush. ‘I can speak the bit of the language and so I just get in my Land Rover and go.’

After college Henry worked in a well-known financial institution in the City, but after a year it was clear that it wasn’t working out for him. He wasn’t enjoying his job and the call of Kenya’s wide-open spaces was too strong. And so at the age of 25 he turned his back on a lucrative career and a jet-set lifestyle and set off with just one camera and two lenses.

Success came quickly for Henry, who within a year had his first exhibition of his evocative black and whites in London. Called ‘Images of East Africa’, Henry’s work can also be seen online.

Nick Smith: When did you realise you were going to become a photographer?

Henry MacHale: I’ve been taking photos seriously since I was about 16, but the moment I realised I wanted to become a professional was about a month before I left my job. I thought: I’ve got an eye for photography. I love Africa. That’s it. I’m going.

NS: What was your first camera?

HM: A Nikon F65 film SLR. Quite basic, but I liked the control and the way you could take real photos with it.

NS: What formal training do you have?

HM: I went to London School of Art for four months where I did a crash course on the marketing side of photography. This was hugely helpful, not so much form the creative side of things, but from the business angle.

NS: How important is it to specialise?

HM: It’s important to me. I’ve always been interested in Africa. I’ve got a huge competitive advantage out there because I’ve spent so much time in the bush and know my way around.

NS: What is the best assignment you’ve been on?

HM: Gorillas in Rwanda. I think I enjoyed it so much because I’ve only done that once, and there was a novelty factor in that it was a very different kind of photography from what I’m used to.

NS: What’s the worst thing about being a professional photographer?

HM: I’m away seven months of the year and my friends are in London. So I’m saying ‘no’ to weddings and parties. But you can’t have it both ways. Also you tend to worry about where the next pay cheque is coming from.

NS: Film or digital? Why?

HM: Digital. It’s cheaper. You save all that money on processing. I suppose the equipment is more expensive, but you’ve got that ability to edit in the field.

NS: Which photographers have had the most influence on your work?

HM: One of the photographers I most admire is Sebastião Salgado. His work isn’t wild or wacky or crazy, but it’s beautiful and simple. He’s done quite a lot in Africa and so that links in a bit. Peter Beard shot exactly the same areas that I photograph now, and so I’ve always been interested in his work. Nick Brandt’s stuff is really cool too.

NS: What does photography mean to you?

HM: In twenty years time Africa will be a different place – some of the people and wildlife will simply not be there in the same way. It’s important to try to capture this moment in a skilful and beautiful way. It’s impossible to capture an African landscape as you see it sitting on a hill. But I want to get as close as possible to that.

NS: What makes a great outdoor photograph?

HM: Everyone knows what a wildebeest or a Maasai looks like, and so what you’ve got to try to do is make the familiar look beautiful, perhaps with the light, or the dust or the way they’re standing.

Henry’s 5 golden rules

1 You can shoot a 1000 shots but don’t

2 Be patient and willing to sit there for five hours

3 Be prepared to throw yourself into it

4 Spend a long time on location just looking

5 The unusual is not always a good photo

Henry’s gear

Camera: Canon 1DS MkIII

Lenses: Canon 70-200mm f/2.8 IS, 24-104mm f/4 IS

Check out Henry’s website: www.henrymachalephotography.co.uk

Advertisements

Nick Smith interviews BBC wildlife photographer Doug Allan in Outdoor Photography magazine

December 1, 2009

Into the cold, wet world

BBC wildlife cameraman Doug Allan spends his life in remote, freezing places, quite often underwater. All in the pursuit of that magical image. Nick Smith hears his story…

Doug Allan is a freelance wildlife and documentary photographer and cameraman working underwater, on land and especially on the polar ice. Born in Scotland, he graduated with a degree in marine biology from Stirling University in 1973. This was to propel him into a career in field science that gradually transformed into one of wildlife photography. Today he is one of the leading wildlife photographers of his generation with a feast of credits including the BBC’s  ‘Blue Planet’ and ‘Planet Earth’.

Doug was working as a diver on an Antarctic research station when he met David Attenborough in 1981 while the BBC was filming polar sequences for ‘The Living Planet’. For Doug that was the ‘decisive moment’, as it dawned on him that the cameramen he was watching weren’t doing anything physically that he couldn’t. With his specialist knowledge and prodigious abilities as a diver, all he had to do was ‘work on my photographic skills’. And so a career-long relationship with the legendary presenter was launched.

Much of Doug’s wildlife photography involves physically overcoming the environmental harshness of some of the world’s wildest places and then waiting for his subject’s behaviour to reveal itself. ‘I do like working in really wild situations’ he says. The advent of digital has improved his life no end – he can spend more time underwater without having to surface to reload film. As for processing, he remembers Kodachrome film taking a year to get from Antarctica to a UK lab and back.

Doug has won the underwater category in Wildlife Photographer of the Year twice as well as the Royal Geographical Society’s Cherry Kearton Photography Medal. He has also won Emmy and BAFTA awards for his moving images.

Nick Smith: When did you realise you were going to become a wildlife photographer?

Doug Allan: When I first went to the Antarctic in 1976 I was thrown into an overwintering environment with only about 15 other people on base. Most were photographers and some had a very good eye. With the penguin colonies and the seals on my doorstep a serious interest was kindled.

NS: What was your first camera?

DA: A Petriflex given to me by Dad in 1971. It was a very simple SLR. I don’t think I had a wide- angle lens, just a standard 50mm. For underwater photography it was the old faithful Nikonos II – it was the most advanced then, but no electronics at all.

NS: What formal training do you have?

DA: I didn’t have any. I feel almost more in need of formal training now with digital than I did back in the days when we used to do our own processing. Now there is so much you can do in post processing, and you have to be careful if you want your digital files to be around in 30 years time.

NS: How important is it to specialise?

DA: I’m a specialist in wildlife and wild places with an even narrower niche of cold weather environments both underwater and topside. I don’t shoot weddings. Well, I shot a wedding once as a favour and it was the most traumatic thing I’ve ever done in my life.

NS: What is the best assignment you’ve been on?

DA: It’s hard to pick one or two. What I’m interested in is ‘difficult-to-get-behaviour’ from genuinely wild animals. That’s where I get the buzz – being in the wild and seeing things happening for real. What turns me on is being in the company of big mammals. You can’t hide from a polar bear – he hears and sees as well as you do, and yet his sense of smell is better than a bloodhound. In those situations your body language, behaviour and even what you’re thinking are ultra important. It’s like you have to talk to your subject in a non verbal way.

NS: What’s the worst thing about being a professional photographer?

DA: It can be frustrating if you’ve put a lot a lot of effort into a shoot and you feel it’s not been given the best chance on screen because the editing or production is sloppy or misses the point. But, mostly I’ve had the chance to work with high class production teams.

NS: Film or digital? Why?

DA: Digital encourages experimentation and as a stills photographer the field is absolutely wide open to interpret whatever you see in whatever way you can imagine. Shooting with film teaches you  the basics very well, with each press of the shutter having an associated cost. There was no alternative when I started. Digital frees you up creatively and the sky’s the limit.

NS: What’s the most important thing you’ve learned from another photographer?

DA: I just went the classic route – the base I was on in the Antarctic subscribed to National Geographic. We’d look at the pictures and admire them. I’ve always preferred the wide-angle from up close rather than the telephoto. I liked Ernst Haas with his long exposures to experiment with blurring movement. We used to try that on base and quickly realised it was much harder than it looked. Also the early Jacques Cousteau and Hans Hass books influenced me a lot – the idea of exploring the undersea world with a camera.

NS: What does photography mean to you?

DA: I realised after 10 years in Antarctica that photographing and filming animals encapsulated so much of what I enjoyed doing. Travel, adventure, being part of a team, doing something you think is worthwhile – all those things come together in what I do.

NS: What makes a great wildlife photograph?

DA: You have to take yourself to exciting landscapes or put yourself in front of inspiring animals. Unless you’re really interested in your subject you’re not going to catch that special magic.

Doug’s 5 golden rules

1 Look around and find out what impresses you

2 Ask yourself what your shot is trying to convey

3 Stand on the shoulders of the great photographers

4 Get out into inspiring landscapes

5 Underwater, remember: the closer the better

Doug’s gear (stills)

Canon EOS 1Ds-Mk II,

Lenses: 14mm f/2.8, 17-35mm f/2.8, 24-105mm IS f/4, 100-400mm IS, 600mm IS f/4

Seacam housings

http://www.dougallan.com