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Wildlife Photographer of the Year 2016 winners announced

by on Oct.23, 2016, under Reviews

Wildlife Photographer of the Year 2016 winners announced

Entwined lives. Tim Laman, USA, Winner, Wildlife Photographer of the Year 2016

When we heard that the winners of the 2016 Wildlife Photographer of the Year competition had been announced, we were all ears. The shortlisted images released not long ago were incredibly striking, so we were eager to see which ones took the top prizes. The photo above by Tim Laman is the grand title winner, captured with a GoPro HERO4 Black, is a classic case of having your camera in the right spot at the right time. Keep reading to learn more about how his image was created and see other winning images from this year’s competition. 

Wildlife Photographer of the Year is developed and produced by the Natural History Museum, London.

Wildlife Photographer of the Year 2016 winners announced

Entwined lives. Tim Laman, USA / Wildlife Photographer of the Year
Winner, Wildlife Photographer of the Year 2016

GoPro HERO4 Black; 1/30 sec at f2.8; ISO 231

A young male orangutan makes the 30-metre (100-foot) climb up the thickest root of the strangler fig that has entwined itself around a tree emerging high above the canopy. The backdrop is the rich rainforest of the Gunung Palung National Park, in West Kalimantan, one of the few protected orangutan strongholds in Indonesian Borneo. The orangutan has returned to feast on the crop of figs. He has a mental map of the likely fruiting trees in his huge range, and he has already feasted here.

Tim knew he would return and, more important, that there was no way to reach the top – no route through the canopy – other than up the tree. But he had to do three days of climbing up and down himself, by rope, to place in position several GoPro cameras that he could trigger remotely to give him a chance of not only a wide‑angle view of the forest below but also a view of the orangutan’s face from above. This shot was the one he had long visualized, looking down on the orangutan within its forest home. 

Wildlife Photographer of the Year 2016 winners announced

The moon and the crow. Gideon Knight, UK / Wildlife Photographer of the Year
Winner, Young Wildlife Photographer of the Year 2016

Canon EOS 7D Mark I + 400mm f5.6 lens; 1/250 sec at f6.3; ISO 500

A crow in a tree in a park: a common enough scene. It was one that Gideon had seen many times near his home in London’s Valentines Park, which he visits regularly to take photographs. But as the blue light of dusk crept in and the full moon rose, the scene transformed. The spindly twigs of the sycamore tree silhouetted against the sky ‘made it feel almost supernatural, like something out of a fairy tale,’ says Gideon. Positioning himself on a slope opposite, he tried to capture the perfect composition. But the crow kept moving along the branch and turning its head away, and so getting a silhouette of it with the moon in the frame meant Gideon had to keep moving, too. Then, just as the light was about to fade beyond the point that photography was possible, his wish came true, and an ordinary London scene turned into something magical. 

Wildlife Photographer of the Year 2016 winners announced

Eviction attempt, Ganesh H Shankar, India / Wildlife Photographer of the Year
Winner, Birds

Nikon D810 + 200mm f2 lens; 1/500 sec at f5; ISO 400; Gitzo 5540LS tripod + Sachtler 0707 FSB-8 fluid head

These Indian rose-ringed parakeets were not happy. They had returned to their roosting and nesting hole high up in a tree in India’s Keoladeo National Park (also known as Bharatpur Bird Sanctuary) to find that a Bengal monitor lizard had taken up residence. The birds immediately set about trying to evict the squatter. They bit the monitor lizard’s tail, hanging on for a couple of seconds at a time, until it retreated into the hole. They would then harass it when it tried to come out to bask. This went on for two days. But the action only lasted a couple of seconds at a time and was fast-moving. The branch was also high up, and Ganesh had to shoot against the light. Eventually the parakeets gave up and left, presumably to try to find another place to rear their young.

These Indian birds are highly adaptable, and escaped captive parakeets have founded populations in many countries. In Europe, where they are known as ring-necked parakeets, they are accused of competing for nest holes with some native species, such as nuthatches, and even bats, but in turn, other birds such as starlings are quite capable of evicting the parakeets from their nest holes.

Wildlife Photographer of the Year 2016 winners announced

Wind composition, Valter Binotto, Italy / Wildlife Photographer of the Year
Winner, Plants and Fungi

Nikon D4 + 200mm f4 lens; 1/80 sec at f10; ISO 200; remote shutter release; Gitzo tripod + Benro head; reflector

With every gust of wind, showers of pollen were released, lit up by the winter sunshine. The hazel tree was near Valter’s home in northern Italy, and to create the dark background, he positioned himself to backlight the flowers. Hazel has both male and female flowers on the same tree, though the pollen must be transferred between trees for fertilization.

Each catkin comprises an average of 240 male flowers, while the female flower is a small bud-like structure with a red-tufted stigma. The pollen-producing catkins open early in the year, before the leaves are out, and release huge amounts of pollen to be carried away by the wind. And now recent research suggests that bees may also play a role. The catkins are an important source of pollen for early bees and have a bee‑friendly structure, while the red colour of the female flowers may entice insects to land on them.

‘The hardest part was capturing the female flowers motionless while the catkins were moving,’ explains Valter. ‘I searched for flowers on a short branch that was more stable.’ Using a long exposure to capture the pollen’s flight and a reflector to highlight the catkins, he took many pictures before the wind finally delivered the composition he had in mind. 

Wildlife Photographer of the Year 2016 winners announced

Nayan Khanolkar, India / Wildlife Photographer of the Year
Winner, Urban

Nikon D7000 + 18–105mm f3.5–5.6 lens at 21mm; 1/20 sec at f7.1; three Nikon flashes; Trailmaster infrared triggers; custom-made housing

At night, in the Aarey Milk Colony in a suburb of Mumbai bordering Sanjay Gandhi National Park, leopards slip ghost-like through the maze of alleys, looking for food (especially stray dogs). The Warli people living in the area respect the big cats. Despite close encounters and occasional attacks (a particular spate coinciding with the relocation of leopards from other areas into the park), the cats are an accepted part of their lives and their culture, seen in the traditional paintings that decorate the walls of their homes. The leopard is not only the most versatile of the world’s big cats but possibly the most persecuted. With growing human-leopard conflicts elsewhere grabbing the headlines, Nayan was determined to use his pictures to show how things can be different with tolerance and planning.

Once he had convinced the Warli people of his plan, they supplied him with valuable information, as well as keeping an eye on his equipment. Positioning his flashes to mimic the alley’s usual lighting and his camera so that a passing cat would not dominate the frame, he finally – after four months – got the shot he wanted. With a fleeting look of enquiry in the direction of the camera click, a leopard went about its business alongside people’s homes. Nayan hopes that those living in Mumbai’s new high-rise developments now impinging on the park will learn from the Warli how to co‑exist with the original inhabitants of the land.

Wildlife Photographer of the Year 2016 winners announced

Playing pangolin, Lance van de Vyver, New Zealand/South Africa / Wildlife Photographer of the Year
Finalist, Black & White

Canon EOS 5DS R + 500mm f4 lens; 1/1600 sec at f4; ISO 1600

Lance had tracked the pride for several hours before they stopped to rest by a waterhole, but their attention was not on drinking. The lions (in South Africa’s Tswalu Kalahari Private Game Reserve) had discovered a Temminck’s ground pangolin. This nocturnal, ant-eating mammal is armour-plated with scales made of fused hair, and it curls up into an almost impregnable ball when threatened. Pangolins usually escape unscathed from big cats (though not from humans, whose exploitation of them for the traditional medicine trade is causing their severe decline).

But these lions just wouldn’t give up. ‘They rolled it around like a soccer ball,’ says Lance. ‘Every time they lost interest, the pangolin uncurled and tried to retreat, attracting their attention again.’ Spotting a young lion holding the pangolin ball on a termite mound close to the vehicle, Lance focused in on the lion’s claws and the pangolin’s scratched scales, choosing black and white to help simplify the composition. It was14 hours before the pride finally moved off to hunt. The pangolin did not appear to be injured, but it died shortly after, probably not just from the stress of capture but also from being out in the heat all day. 

Wildlife Photographer of the Year 2016 winners announced

Snapper party, Tony Wu, USA / Wildlife Photographer of the Year
Winner, Underwater

Canon EOS 5D Mark III + 15mm f2.8 lens; 1/200 sec at f9; ISO 640; Zillion housing; Pro One optical dome port

For several days each month (in tandem with the full moon), thousands of two‑spot red snappers gather to spawn around Palau in the western Pacific Ocean. The action is intense as the fish fill the water with sperm and eggs, and predators arrive to take advantage of the bounty. Having read about the drama, Tony couldn’t understand why there were so few photos of it – until he hit the water there for the first time, in 2012. The currents were unrelenting – ideal for eggs to be swept swiftly away but a struggle for him to keep up with the fast‑moving fish. Also, the light was low, and the water was clouded with sperm and eggs. That first attempt failed, but he has returned every year to try to capture the event.

Noticing that the spawning ran ‘like a chain reaction up and down the mass of fish’, his success finally came when he positioned himself so that the action came to him. Rewarded with a grandstand view, he was intrigued to see that the fish rapidly changed colour during mating from their standard red to a multitude of hues and patterns. Even their characteristic two white spots, close to the dorsal fin on their back, seemed to fade and reappear. On this occasion, with perfect anticipation, he managed to capture a dynamic arc of spawning fish amid clouds of eggs in the oblique morning light. Still obsessed by the dynamics and magnitude of this natural wonder, he will be returning to Palau next April to witness once again the spectacular snapper party. 

Wildlife Photographer of the Year 2016 winners announced

The aftermath, Simon Stafford, UK / Wildlife Photographer of the Year
Winner, Mammals

Nikon D810 + 800mm f5.6 lens; 1/500 sec at f5.6; ISO 400; beanbag

Eerie silence and a mound of lifeless bodies: the contrast with the mayhem of the previous day couldn’t have been starker. And the stench was already dreadful. The day before, thousands of wildebeest on migration through Kenya’s Maasai Mara National Reserve had massed at the Mara River, nervous of the crossing ahead and of the huge Nile crocodiles lying in wait. Once one made the leap, they all surged forward and the river became a maelstrom of flailing hooves and crocodiles. In their frantic efforts to get out, they carved gullies in the riverbank, and in over an hour, as the gullies became deeper and deeper, more and more wildebeest slipped back down and died under the hooves of the ones coming out of the river.

Simon returned at first light, knowing that scavengers would gather at the site of the carnage. ‘It was a sinister scene,’ he says. ‘There must have been 50 or more carcasses, piled two or three deep.’ Spotted hyenas were already feeding, and hippos and crocodiles had gathered in the river below. As Simon watched from the other side of the wide river, one hyena left the feast and stood, as if standing sentry, at the river’s edge watching the gathering of crocodiles in the water below.

Wildlife Photographer of the Year 2016 winners announced

Wild West stand-off, Charlie Hamilton James, UK / Wildlife Photographer of the Year
Finalist, Mammals

Nikon D7100 + 10–24mm lens at 24mm; 1/2500 sec at f5.6; ISO 1600; Trailmaster TM550 passive infrared monitor

A grizzly bear charges at ravens trying to grab a piece of the feast. The bison is a road-kill that rangers have moved to a spot they use for carrion to avoid contact between predators and tourists. The location is Grand Teton National Park, part of the Greater Yellowstone ecosystem in the western US, where grizzlies still roam. ‘Approaching a bear’s lunch is a dangerous thing to do,’ says Charlie. So there were strict protocols for getting out of his vehicle every time he went to check his camera trap. Over nearly five months, he had thousands of images of ravens and vultures, but only a few of wolves or bears, and none were up to the high standards he set himself, until this one.

‘The moment I saw it, I was so excited. It had taken nearly five months to get a decent image out of the set-up. It’s rare that I like my images, but I really like this one – though I still get annoyed that the top raven is positioned right over the Grand Teton mountain.’ The Yellowstone grizzly population has been protected since the 1970s, but now that numbers are recovering, it is proposed that the population is removed from the federal list of protected species, allowing hunting outside the two parks. This has raised concerns not only about the grizzlies’ fate but also about the knock-on effect on the ecology.

Wildlife Photographer of the Year 2016 winners announced

The pangolin pit, Paul Hilton, UK/Australia / Wildlife Photographer of the Year
Winner, The Wildlife Photojournalist Award: Single image

Canon EOS 5D Mark III + 16–35mm f2.8 lens at 21mm; 1/800 sec at f8; Manfrotto tripod

Nothing prepared Paul for what he saw: some 4,000 defrosting pangolins (5 tons) from one of the largest seizures of the animals on record. They were destined for China and Vietnam for the exotic‑meat trade or for traditional medicine (their scales are thought, wrongly, to treat a variety of ailments). Pangolins have become the world’s most trafficked animals, with all eight species targeted. This illegal trade, along with habitat loss and local hunting, means that the four Asian species are now endangered or critically endangered, and Africa’s four species are heading that way.

These Asian victims, mostly Sunda pangolins, were part of a huge seizure – a joint operation between Indonesia’s police and the World Conservation Society – found hidden in a shipping container behind a façade of frozen fish, ready for export from the major port of Belawan in Sumatra. Also seized were 96 live pangolins (destined to be force-fed to increase their size), along with 100 kilos (220 pounds) of pangolin scales (formed from keratin, the same substance in fingernails and rhino horn) worth some $1.8 million on the black market, and 24 bear paws. All had come from northern Sumatra. The dead pangolins were driven to a specially dug pit and then incinerated. The live ones were taken north and released in the rainforest. ‘Wildlife crime is big business,’ says Paul. ‘It will stop only when the demand stops.’

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The range of light: what made one of Ansel’s most famous books so special

by on Oct.22, 2016, under Reviews

Continuing his video series, Marc Silber of Advancing Your Photography interviews Ansel Adams’ son Michael in Ansel’s home. In this episode they discuss Ansel’s book ‘The Range of Light’ which contains some of Ansel’s most famous images from Yosemite and the Sierra Nevada. They also discuss Ansel’s thoughts on how to develop your skill set as a photographer. Michael says that Ansel would have encouraged new photographers to ‘photograph, experiment and to try new things.’ 

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Manfrotto launches new FluidTech Base and monopod kits for stills and video

by on Oct.21, 2016, under Reviews

Accessory-maker Manfrotto has introduced a new series of monopod kits called XPRO Monopod+ and a new FluidTech Base to help videographers to achieve smooth pan, tilt and swivel motions. The new Monopod+ models come in a choice of four or five sections. The legs are made of aluminum or carbon fiber and kits are available with and without heads. The actual monopods are the same as the existing XPRO models but they come with the FluidTech base included.

The new base is slightly larger than the one it replaces and offers three-way motion instead of just support for panning. The rotation can be locked off to allow only panning or unlocked to support smooth action in three directions. The base attaches and detaches by screwing it to the foot of the monopod, and while the base will hold the monopod upright on its own Manfrotto doesn’t suggest using it self-standing with a camera attached.

The new FluidTech Base will be $99.99/£74.95 and the kits including a monopod will start at $189.99/£144.95.

For more information visit the Manfrotto website.

Press release:

Introducing the new FLUIDTECH – Full Fluid Base: first of its kind 3D-movement for the smoothest video footage

  • Easy, instant locking and adjustment with the Quick Power Lock system
  • Superior stability and portability thanks to powerful lightweight aluminium & carbon fibre
  • Flexibility to switch from photo to video thanks to the accessory base

October 2016: Manfrotto, world leader in the photography, imaging equipment and accessories industry, presents a new offering featuring high-performance monopods for professional videographers and photographers: the new XPRO Monopod+ family.

When volume and weight need to be minimal, set-up speed is of primary importance, in crowded places where there’s no room for a tripod, or for creative, overhead footage – whenever a tripod is not the option, monopods are the solution. They enable users to quickly and easily move from one shooting point to another, providing stable support to video and photo equipment, ensuring incredibly smooth footage, ultra-sharp photos and creative shooting perspectives.

This exciting new generation brings image makers the ground-breaking FLUIDTECH – Full Fluid Base, making Manfrotto XPRO Monopod+ the first of its kind on the market featuring fluidity on all 3 axes to deliver ultimate smoothness in an extremely compact solution for advanced video shooting.

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