Wildlife

Story behind the photo – The goat herders on Triund Hill

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By Danny Fernandez

As I took the final few steps and reached the peak of the hill, the Himalayas came into full view for the first time, and left me speechless.

But let’s begin the story several hours earlier.

I had been staying in Dharamkot, in the foothills of the Himalayas, for an incredibly relaxing 2 weeks. My days had been spent walking through beautiful forests, reading in a hammock and eating delicious organic food.

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A monk walking through the forest in Dharamkot

But before leaving Dharamkot, there was one thing left that I had to do; spend a night on Triund Hill (don’t let the name ‘Hill’ fool you, as for me it seemed more like a small mountain, casting a shadow on the village of Dharamkot and standing at 2,875m high).

On the morning of the trek I left my guesthouse and began the ascent up the hill. The beginning of my trip did not go smoothly. There are 3 things in life which I suck at: singing, playing football and following directions. Somehow, I managed to get exceptionally lost – before I had even found the path which takes you up the hill. The problem began when I came to an intersection along the track which I was following. I glanced in both directions as I tried to remember the directions that the lady at my guesthouse had given me, and then took the path leading to the right. I passed through the garden of a house, and asked a young girl if I was walking in the right direction. She said that I was, and gestured to me to continue walking up the side of the hill (which was essentially a pathless mountain covered in thick, and at times impenetrable vegetation). My instincts told me that this couldn’t be the right way, and I debated turning back and starting again, but as I had already been walking uphill for most of an hour I chose to continue up the side of the mountain.

The bush became thicker and thicker and started cutting at my legs, but stubbornly, I refused to turn back. After a long struggle, I eventually crossed a foot-wide, crumbling flint ridge, which then opened into an area of flat ground which I thought offered some hope in leading me to the top of Triund. I carefully paced back and forth through the labyrinth of plains, but I kept facing dead ends; thick wild bushes that required a machete to pass through. After about 20 minutes of trying to find a walkable route, I decided that this had been one big bad idea, and turned around, attempting to retrace the steps that had led me to this next level of lostness. I walked along the ground on which I thought I had trodden, but to my frustration, I was hit by another dead end. I walked back and tried again and faced another dead end. I began to panic as I remembered those basic tips you hear when doing things like walking up a mountain. Things like “tell someone where you’re going”, “make sure you have a phone” or “make sure you are wearing appropriate clothing”. I hadn’t told anyone where I was going (other than the lady at my guesthouse), I didn’t have a phone and was wearing a pair of old beat up Nikes with barely any tread left.

It was one of the first times when I’ve felt truly scared and alone in the wilderness. I thought about how this is how people probably end up dying on mountains, and became annoyed at myself for getting into this situation. I was frustrated, scared and felt defeated. I decided that as soon as I found my way out, I would check into another guesthouse (as I was too embarrassed to return to the guesthouse where I had been staying – as it was supposed to be an easy trek), spend the night in a bed, and then leave Dharamkot the next day without reaching the top of Triund Hill.

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On the left of the image is the path I took. Clearly not the right way.

I knew that I had to remain calm, and took a few moments to recompose myself and look over the way which I thought I had walked. I tried to logically plan a route back to my starting point and to my relief, I eventually came across the narrow flint path which had led me into the labyrinth. From this point, it was easy to return down the side of the mountain and past the house with the garden.

I finally relaxed and felt an extreme sense of relief. My negativity began to lift as I walked towards familiar territory and came across a path which actually looked walkable. I came to the crossing that had been the origin of my nightmare, and after a few meters saw a spray painted sign reading ‘Triund’, with an arrow next to it. After my brief ordeal of getting lost, I finally felt safe again, and made the decision that I would not return to Dharamkot today, but would trek to the top of Triund Hill.

I soon crossed paths with two American girls who were also walking to the top, and shared the journey with them. The trek to the top was a breeze in comparison to my first attempt. The walk took about 3 hours and took us though some incredible scenery. Hand built wooden Tea shacks were dotted along the route where trekkers could rest and stock up on supplies. Occasionally we would have to squeeze to the side of the path as a drove of donkeys passed, hauling supplies to the top of the mountain.

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Walking up the mountain. A tea shack in the top left of the frame.
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Donkeys hauling supplies to the top of the hill.
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Tea with a view; trekkers rest at a tea shack on their way to the top.

After a few sweaty but exciting hours, I approached and took the final few steps over the peak of the hill, and as I did, the Himalayas came into full view for the first time, and left me speechless.

I was extremely satisfied with reaching the top, and after walking along the ridge of the hill taking in the beautiful views, I needed to organise my night’s accommodation as well as get something to eat. I entered one of the few huts at the top that supply tents and food to tired and hungry trekkers. As I rested and ate a snack there was a middle aged man sitting opposite me. He was smoking a cigarette and had an incredibly interesting face. His looked different to most of the Indians I had seen until then, with light eyes and thick skin. My X100s was in my hand and after a few minutes, I began taking photos, firstly of the hut and the area, to allow him to get used to the camera. After a few frames, I gestured to him to ask if I could photograph him. He agreed and continued doing what he was doing, and looked lost in his thoughts. I shared my food with him and then left, as I didn’t want to be intrusive.

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The goat herder in the tea tent.

I hired a tent, found a clear spot on the ridge and set it up. My view overlooked a part of the Himalayan mountain range. I was blown away by the beauty.

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A room with a view.

The mist that was present as I approached the peak subsided and the golden light of the setting sun began to illuminate the mountain. I became excited as I was basically in landscape heaven and everything I saw looked astonishingly beautiful.

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I decided to take advantage of the golden light and explore the length of the ridge. As I passed the other campers and approached the elevated side of the hill, I could hear the bleating of mountain goats in the distance.

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I continued walking up the hill and came across the goats. There were lots of them, grazing and playing on the rocks. I enjoyed quite some time taking pics of them. They were very fun and cute to watch and I found their noises very entertaining.

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After a few minutes I saw the man from the hut. I now realised that he was tending to the goats, and had taken them to the other side of the ridge to graze. He had made a fire and was drinking chai tea. He had seen me taking photos of the animals and after a while I approached him with a smile. He invited me to sit down and poured me a cup of tea. With few words being spoken we shared each other’s company, and again, he allowed me to take some photos of him. He seemed extremely peaceful.

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Sharing tea with a goat herder

The sun was going down behind the mountain and I was excited to carry on shooting. I shortly came across another animal herder, this time a man who was shearing some of the goats.

A herder shearing his animals
A herder shearing his animals

After maybe an hour with the goat herders, I walked back down the hill as dusk approached.

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On the horizon the reddest moon that I have ever seen began to rise. I watched in astonishment as it peaked over the mountains and into the sky. I chatted to fellow trekkers about the colour of the moon.

the blood red moon rises over the mountains
The blood red moon rises over the mountains

As night fell, small bonfires lit up the hill to keep the trekkers warm. I joined a group of Indian guys around the fire for food and tea, but decided to get an early night as I knew I wanted to be up before sunrise to take photos.

Trekkers keeping warm around a fire.
Trekkers keeping warm around a fire.

After a pretty bad night of rest (due to a lack of warm clothing) I crawled out of my sleeping bag, unzipped my tent and walked into the fresh mountain air. It was still quite dark as the sun had not yet began to reach over the mountain top. I decided to walk to the far end of the ridge that I hadn’t ventured to the day before. I had my mini tripod with me and began taking photos. In a distant tree I saw a huge eagle, which was another first for me. After about 40 minutes, I heard the familiar bleating sound that I had heard the day before coming from behind me. As I turned around, I saw lots of goats (perhaps more than 100) running and jumping towards me. This instantly made me smile and as they ran past me, I climbed onto a rock so they could pass without knocking me down. The goats raced past playfully.

It was around this time when the sun began to appear over the mountain, bathing Triund Hill with glorious golden light, which also brought a warmth to the brisk mountain air.

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I followed the herd of goats and whenever possible, climbed upon a rock to get a better view of the scene. There were different goat herders from the previous day, and I followed them along the length of the ridge, snapping away. As the other trekkers were sleeping, I was grateful to be witnessing this unique moment and felt invigorated to be there.

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The walk along the length of the ridge took about 30 minutes, and on my part, it was a process of running ahead, stopping, shooting, and then running ahead again. These leap-frog manoeuvres lasted until we reached the elevated end of the ridge.

I gestured to one of the herders with my camera, and he stopped for a moment to allow me to take his photo.

A portrait of a herder.
A portrait of a herder.

After reaching the high end of the hill, the herders stopped and allowed their animals to feed. I thanked the herders and returned to the camp feeling extremely grateful and happy with the events that I had just seen.

After some breakfast, I began my descent back down Triund Hill, with extremely high spirits (and an increasingly swollen ankle – which later turned into an infection). My experience on top of the hill was fantastic, and reminded me how nice it is to be surrounded by nature and simplicity. I’m so glad that I didn’t give up on the trek after my bad experience at the start, as Triund Hill proved to be one of the most memorable events of my trip.

About Danny

Danny Fernandez is a creative photographer living and working in Barcelona. He likes cycling, records and vegetarian food.
To see more of his work, please visit:

Danny Fernandez’s official website

follow him on Flickr

follow him on Instagram

Elephant Close Up – Story Behind the Photo

Pygmy elephants are endemic to the island of Borneo, famous for their slightly smaller size, they are endangered with a population of roughly 1,500 left in the wild. This species is increasingly vulnerable to human impacts as a result of deforestation and conflict with palm oil development. They are the least understood elephant and in my opinion the sweetest, with their oversized ears and long tail to keep them cool and usher away insects.
Our first encounter was through an opening where there were about twenty elephants grazing. Our presence obviously wasn’t too big a concern as we were still observing different behaviour which is only seen in relaxed environments, such as play fighting and suckling.
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Taken with the XF50-140mm.
We moved on in our boat and headed around to a more suitable location and the view that greeted us was unbelievable! 
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Taken with the XF16mm.

I didn’t think the XF16mm would get much work but I was wrong. Having that mounted on one X-T1 and the XF50-140mm on another, sometimes switching to the XF16-55mm too, made for a brilliant set up.

One set up that proved to really work was the XF10-24mm and the X-T1 on a monopod fired via wireless triggers. Using the electronic shutter mode meant that I could have the camera really close to the elephants with no sound being produced so they stayed nice and calm. I couldn’t have done this with an SLR or in mechanical shutter mode. Using that set up on a monopod meant that I could shoot from a really low (or high) angle and still stay on my feet incase I needed to move. The tilting screen meant that I could see exactly what was in the frame and I used continuous auto focus as I trusted it to keep the focus on the subject. the wide perspective really worked well with these large animals, they may be called pygmy elephants but the adults still stand 2.5 meters tall! The other advantage of this lens was the OIS which worked fantastically. Considering I was holding the camera on the end of a 1.5 meter poll, in a busy environment and still getting sharp photos at 1/60sec is a testament to the OIS. 
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The lower perspective offered by this set up helped to place the elephants in their environment.
However when the conditions were particularly gloomy and I didn’t want to push the camera past ISO3200 (ISO6400 is fine but on this occasion I decided not to) I switched to the ever-present XF16mm and utilised the F1.4 aperture. Though the angle of view was much narrower the benefit of the faster shutter speed was huge. This was particularly important as when the sun was shinning it would often create very strong dappled light which would often result in blown highlights. As a result the best results were usually from overcast conditions as it meant that everything was correctly exposed, but this meant there was less light available. 
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A mother and baby share a quite moment.
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An elephant checks out my remote set up. XF16mm.
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XF16mm at F4.
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Walking along an elephant pathway through the undergrowth. XF16mm at F4.
To get some close ups I used the ever-present XF50-140mm utilising the wonderful sharpness at F2.8.
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F2.8
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F2.8 – This lens is so sharp wide open.
This was a truly incredible experience, one that I will never forget and I am so pleased that the X-Series produced photos to do the interactions justice. From the XF50-140mm to the XF10-24mm, the Fujinon lenses were exceptional across the range. We were even lucky enough to see the elephants beside a river just as the evening light reached its vivid climax.
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The XF16mm being utilised again at F5.6.
I hope you have enjoyed this series of photos, let me know your thoughts. The X-Series is developing into a great, lightweight wildlife system, I can’t wait for the forecasted XF100-400mm to complete this fantastic system!
You can find more of my work via the following links: WebsiteFacebookTwitterInstagram.

Python Close Up – Story Behind the Photo

I have been lucky enough to be using a prototype of the XF16mm F1.4 since March and I have to say it is brilliant. I wasn’t entirely sure what I’d end up using it for, but as it turns out it is an extremely flexible lens and helped to produce some shots that would otherwise have not been possible.

This particular story has a bit of an unusual beginning. The location is the Kinabatangan River, Sabah, Malaysia, I was in this region with another photographer, Christian Loader from Scubazoo who I’m currently doing some work with. I have to thank Christian for some of the photos of me here. One morning, we headed up river briefly as our guide Osmon wanted to show us something he had spotted the previous night. We slowed underneath some low lying branches. Before I knew what had happened we had come across a relatively young python and… it fell in the boat! At which point I almost jumped out, much to the amusement of the other two who have handled snakes extensively before. The snake then decided to snuggle up to my Millican Dave camera bag! They calmly caught it and we relocated it inside the forest on a nice tree branch, in return it kindly sat still allowing us to take some pictures.

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The close focusing capabilities of this lens really impressed me and allowed me to get some really close wide-angle shots, allowing me to fill the frame with the python and to also capture the environment.

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I used the X-T1 with the XF16mm F1.4 attached as well as a Nissin i40 flash I used a rogue flash bender. But because this would involve getting very close to the snake I decided to put the camera on a monopod and used a wireless trigger set up to keep me working at a safe distance. To stress, the snake was absolutely fine and did not once try and strike the set up. The angled screen on the X-T1 was very helpful here as it meant that I could see exactly what was in the frame, regardless of slight angle changes to composition.

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Here is the set up. Please excuse the ‘jungle hat’!

Because I was using the i40 flash in TTL mode, I couldn’t shoot above 1/180sec so I had to stop down to F8 for much of the photos. The location was very dark and flat as the vast majority of the tropical sunlight is absorbed by the canopy above. Thankfully the XF16mm seems to have very quick and accurate autofocus, even in these less than ideal conditions.

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In an up and coming blog I’ll show the benefit of the F1.4 aperture when photographing Pygmy Elephants.

You can find more of my work via the following links: Website, Facebook, Twitter, Instagram.

Embracing the Abstract by Simon Weir

09_a_Abstract_SWDXT19084-Editby Simon Weir

This February I was once again in Yellowstone National Park running MagicIs photographic workshops with some really extraordinary people.  Over the two weeks I learned a little about nuclear physics, banking, metallurgy, reconstructive surgery, hitech roof construction, information technology, farming and how a 12 year old boy sees the world through a camera…

In return I showed them some of the most extraordinary sights on earth and endeavoured to give them some of the skills to translate what they saw before them into images – be they wildlife, landscape, or something more abstract.

At the beginning of each course there was much talk of aperture, shutter speed, ISO and autofocus modes – the core building blocks behind understanding how your camera works.  Then came the understanding of how the technology in your camera sees the world and makes judgement on the camera’s settings – I like to think of this as “The Small Man from Japan” who lives inside our cameras and tries to guess what it is we are photographing and how it should be exposed.

Then gradually as a group we talked more about composition and in particular about understanding how we, as cognitive human beings, see the world around us.  We have our familiar tools of depth, time, framing and tone, but before we can use these we have to learn to “see”.

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“Homage to the Small Man from Japan” – Fujifilm X-T1 – XF14mm – 1/15s at f/22 ISO200 with vertical panning

Every time we pick up a camera and look through the viewfinder we create an abstract – by framing our subject and capturing it in an intrinsically two dimensional device we move away from external reality and instead seek to achieve its effect using shapes, colours and textures.  Some of these abstractions can be literal and immediately recognisable for what they are, others are more ephemeral and create an impression or a feeling of what is before us that may or may not be understood by the viewer.

But there is a huge difference between “looking” and “seeing”.

When we “look” at something we think that we are taking it all in at one instant.  In fact our eyes and brains form a complex image by scanning and storing small parts at a time and assembling them into a whole.  Some parts of this are borrowed from memory and used as a stopgap until that part of the image can be scanned.  I am sure many of you will have experienced that feeling, when glimpsing at a wristwatch, that the second hand takes a few moments before it appears to move regularly – this is simply our brain applying the known static image of our watch, processing everything around it and then realising that something within the watch is moving and giving that some focus and detail. The phenomenon is called Chronostasis and gives us a fascinating glimpse into the way our visual perception actually works.

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“Gibbon Falls” – Fujifilm X-T1 – XF50-140 @ 75mm – 30sec at f/2.8 ISO400 – Firecrest IRND4.8 stopper

When we learn to “see” we bring many factors into play.  We can pre-visualise the way we want to represent a subject in terms of depth or time.  By understanding how the brain interprets shapes and forms we can compose our framing to help the mind’s journey through the photograph.  If we can reduce and simplify the image to tell a clearer story then we can strengthen the viewer’s emotional connection with the subject matter.

Seeing involves thought and time and is part of a process we call mindfulness – “the intentional, accepting and non-judgemental focus of one’s attention on the emotions, thoughts and sensations occurring in the present moment”.  It comes from the Buddhist meditational practice anapanasati and is widely used in the treatment of obsessive compulsive disorders, anxiety and drug addiction.  And mindfulness is a key building block in creative photography.

Let me show you an example using bison…  There are many thousands of bison in Yellowstone and they are rather wonderful animals to photograph.  No two are the same and as the weather conditions change they take on many different appearances.  For some time now I have been seeking a very specific image of a bison – one that tells as much about the animal’s habitat as it does about the animal itself, showing both the harsh environment and the creature’s strength.

By thinking about this conceptual image I now find that I see and photograph bison in a completely different way, using the camera’s tools to create abstractions that try to convey something more about the essence of bison…

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Fujifilm X-T1 – XF50-140 @ 140mm – 1/900s at f/2.8 ISO200

This image is as much about snow as it is bison – the falling snow (rendered pin sharp by the high shutter speed) is the subject in focus, shallow depth of field and a panoramic crop gives a sense of distance to these slow lumbering beasts.

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Fujifilm X-T1 – XF50-140 @ 70mm – 1/200s at f/5.6 ISO200

Here the focus is on the speed and power of the bison ploughing through deep snow.  The relatively slow shutter speed allows representation of movement through blur while the horizontal panning keeps just enough sharpness in the bison to show its purpose.

However neither image is the one I carry in my mind – the single image that combines everything that is “bison”.  Most likely I will never make this “perfect” image, but I will certainly keep looking for it and finding new ways to see this magnificent creature and its frozen habitat.

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“New Life from Old” – Fujifilm X-T1 – XF18-135 @ 135mm – 1/40s at f/11 ISO200

Abstraction and mindfulness together open the photographer’s eyes and allow us to see both the tiny detail and the wider environment – the microcosm and the macrocosm.  We become more aware of our surroundings and more attuned to our environment, and in doing so our images begin to connect with the viewer and tell a story – every photograph should tell a story…

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“Frozen” – Fujifilm X-Pro1 – XF55-200 @ 200mm – 1/500s at f/7.1 ISO400

For more information about MagicIs photographic workshops and safaris visit www.magicis.com

If you are interested in finding out more about the 2016 winter workshops in Yellowstone National Park then contact me via the MagicIs website at http://magicis.com/contact-us/


About Simon

Simon_Weir_1Fujifilm X-Photographer Simon Weir specialises in photographing live performance (particularly classical music), contextual portraiture and nature. To see more of his work, check out his website http://www.simonweir.com/

 

Story behind the photo – Sheepish sunrise

This story started out with a glance at the forecast the night before. With heavy fog and cold, mirky conditions on the table I had to at least try and get out in the early hours and capture these often photogenic conditions. Though Curbar Edge is very convenient for me to get to in the Peak District, I was beginning to feel like a one trick pony so decided to head over to a hill called Higgar Tor, which has lots of beautiful rock formations and a great view. Thankfully the main roads were well gritted and there is a car park very close to the hillside so my journey to the top of the hill was pretty straight forward, which is just as well as I arrived just the sun had come up, above the horizon… Funnily enough, there was hardly any fog and the sky was quickly clearing and it was turning into quite a spectacle.

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I was not alone at the top of this seemingly lonely mountain though, there were two other photographer’s who were already there and in the prime positions for the sunrise. To avoid breaking the unwritten code of standing in front of another photographers shot, I had a little think to myself on how to approach the situation. While scouting around I came across a small herd of sheep, which seemed to have adapted well to the wintery conditions, as if their white coats were designed for this all along! As soon as I saw them I decided to use them as my main subjects for the morning.

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Without a subject, I find it quite difficult to connect with landscape pictures, so having the sheep to focus on helped me focus on how to do the beautifully unravelling situation justice.

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Since I had the Nissin i40 flash in my bag I decided to give it a go in the challenging conditions with the X-T1 and the 18-135mm lens. It quickly turned very bright and made the little flash work hard, which did result in relatively slow refresh times, but this could have been due to some slightly older batteries in it. What I wanted to do was to use the flash to give the sheep a tiny bit of definition in the part shaded from the sun. I deliberately moved so sheep were initially between me and the rising sun.

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Now it may not look like the flash was used here, but if you look closely, particularly at the left front sheep’s eye then you can see a little glint. That was from the flash. I had the exposure compensation down a notch or two to try and retain a bit of the sky, otherwise it would have burnt out, as at that moment in time I wasn’t using any filters. The flash was on 0 exposure compensation and I attached the diffuser. Again, to reiterate I didn’t want the flash to be obvious in this picture, instead I wanted it to just give a little glint, to highlight the eye, which it did. What I liked about back lighting the sheep with the low sun is the wonderful warm glow given to their outlines.

The sheep then headed down the side of the hill to continue their grazing.

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I decided to use the Velvia film simulation for much of the morning as it really gave a punchy finish to the photos, though sometimes the contrast was a little too high so I would sometimes change it to Provia.

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Though the more I compare the above images, the more I lean towards the Velvia image as it is so attention grabbing. It is great having the options at your finger tips and being able to change the look of the image so easily and I haven’t even mentioned Classic Chrome yet!

As it was slippy under foot, I was very happy to have had the 18-135mm attached to the camera, as it gave me the versatility required to adapt to where I could move to and where the sheep moved! The first shot below was taken at 36.6mm, while the image after was at 135mm.

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As the sun rose and the intensity of the colour faded I started using Classic Chrome more, to yet again change the look and feel of the pictures.

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Though the sheep were seemingly trying to hide on occasion..

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Using a longer focal length reduced the angle of view, which was helpful for this example as it gives focus on the sheep and the snow covered hill behind.

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Though freezing conditions (literally), the gear performed flawlessly, even if the batteries suffered a little due to the cold. Certainly something to consider if spending a long time in cold conditions, having multiple batteries will save you from frustration.

Leaving the sheep to graze, I decided to test out the i40 flash in another filler situation. Using the 10-24mm and a tripod I set up the exposure compensation to capture the surrounding area how I wanted it to look and then adjusted the TTL function on the i40 to fill in the shaded area of the rocks.

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This was the set up… The i40 looking the piece on top of the X-T1.

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To change up my photos again I decided to use the same techniques as discussed in the previous Story behind the photo blog, using filters for long exposures. On the other side of the adjacent valley was a factory/power station of some description and it looked like it could look pretty cool if slowed down. This was a 28 second exposure.

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What do you think to the photos? I hope it shows that the adaptability of the Fujifilm X-Series. Any questions please leave a comment below.

Until next time, go out, shoot and share your results with us!

 

 

 

 

Wildlife photographer Chris Weston puts the new XF16-55mm f/2.8 through its paces

Fujifilm’s new XF16-55mm f/2.8 weather-resistant lens lives up to expectation. With a new type of nano-coating that reduces flare, the optical excellence of the lens matches the supreme quality I have come to rely on in the very best Fujinon lenses.

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X-T1 with XF16-55mm @ 55mm. 1/4000th, f/4, ISO800

 

Photographing birds of prey at a local falconry, I was astounded by the depth of detail, sharpness and contrast of the pre-processed images. It feels great in the hand. The aperture and focus rings give me confidence when I need it most while the build quality exceeds my often-exacting need for equipment that can cope with the most extreme and harsh environments.

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X-T1 with XF16-55mm @ 55mm. 1/400th, f/5.6, ISO1600

 

And, even with the fast f/2.8 aperture, it’s still compact enough to travel with. This is a lens that lives up to the Fuji legend.

Chris Weston – Wildlife Photographer and Fujifilm X-Photographer

X-T1 with XF16-55mm @ 55mm. 1/4000th, f/4, ISO800
X-T1 with XF16-55mm @ 55mm. 1/4000th, f/4, ISO800
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X-T1 with XF16-55mm @ 55mm. 1/1250th, f/4, ISO800

 

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X-T1 with XF16-55mm @ 55mm. 1/1900th, f/8, ISO800

 

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X-T1 with XF16-55mm @ 55mm. 1/1700th, f/8, ISO800