Tag Archives: Animals

The Ones that Got Away

I get nervous before I go on photography trips. Part of that is just worrying about travel arrangements, visas and packing everything I need, but another part of it is worrying that I won’t get the shots I want. Here are a few examples of ‘the ones that got away’.

Taj Mahal

Before I went to the Taj Mahal, I was determined to get the classic ‘Lady Diana’ shot of the building from the end of the reflecting pools. That was the whole point of the trip, and I was really worried about it. I couldn’t face the idea of screwing up what would probably be my only opportunity to visit the world’s most famous building.

When I arrived in India on a G Adventures trip in November 2013, we went to the Taj Mahal early one morning, around 0530. We had to queue for a while and then go through security. At that point, I was about to rush off and take the shot I’d been dreaming about, but our tour leader then introduced us all to a local guide who was about to give us a 15-minute lecture about the building.

What a nightmare!

I knew that the whole place would be crawling with tourists if I didn’t go and take the shot immediately, but it seemed a bit rude just to rush off without hearing the talk. In the end, I was too British about the whole thing and missed the shot of a lifetime. Too bad. On the plus side, I ended up with this image of the Taj Mahal.
Taj Mahal from Agra Fort in blue haze
‘There once lived an exotic princess in a fairy tale castle…’

It’s the very opposite of the ‘Lady Diana’ shot. One is all symmetry and clarity, the other is misty and mysterious. The higgledy-piggledy minarets and the blue haze make the building seem more like a fairy tale castle. I do like this shot, but I still regret being too polite to get the one I wanted…!

Jumping Impala

The one that got awayNot quite sharp enough…

This would’ve been a great shot. It could’ve been a great shot. It should’ve been a great shot. But it wasn’t. Why? Motion blur. If you look closely, you can see that the whole body is slightly out of focus, and that was simply because I didn’t think to change my shutter speed.

I was parked in a jeep in Botswana when a herd of impala came chasing across the road. They were galloping fast, but there were five or six of them, so I did have time to focus on each of them, one by one, as they crossed the road in turn.

Unfortunately, I was using my default camera settings that were designed to capture animals that were standing still. I was using an 80-400mm lens, so I had my camera on 1/320 and f/8 with auto ISO. That would normally have worked, but not for a jumping impala! What I really needed was a shutter speed of at least 1/1000 of a second. I just didn’t think…

Caracal

Caracal
This is what it looks like on Wikipedia.

A few years ago, I went to a talk given by Paul Goldstein somewhere in London, and one of the slides he showed was a picture of a caracal. I’d never seen one at the time, but Paul was very proud of his shot, which showed a caracal from the side running through long grass.

The image stayed in my mind, and I was very excited when I went to Tanzania in January 2018 and actually saw one for myself! It was quite a way away, but I had my 800mm lens with me, and I was just about to take a shot when the driver told me to wait.

He was going to drive around and get closer. Well, funnily enough, the caracal disappeared, and I never got the shot I wanted…

Polar Bear

Polar bear crossing ice floe in ArcticThe best of a bad bunch

In June 2014, I went on an Exodus trip with Paul Goldstein to Spitsbergen to see the polar bear. It was a last-minute booking, so I got a good deal on the price, and I was lucky enough to share a cabin with a nice French chap called Eric, but the real prize was getting some good shots of a polar bear.

We had 13 or so sightings, but, sadly, they were all too far away for my 500mm lens. That was in the days before I got into the habit of renting the Nikon 800mm monster, and I really wish I’d had it then.

Amongst other sightings, a mother and her two cubs put on a great show for us on the ice, but, when I got back to my cabin to review my shots, I found they were all too soft and too distant. Ah, well, at least I have an excuse to go again now…

The Kill

I’ve been to Africa several times now, visiting Kenya, Uganda, Rwanda, Zambia and Botswana, but I’ve never seen a kill. I’ve seen the chase, and I’ve seen the predator eating its prey, but I’ve never seen the crucial moment of the kill.

Now, I know some people would be a little squeamish about seeing one animal kill another, but I don’t think I’d feel that way. To me, it’s the ultimate expression of ‘the survival of the fittest’, and I’d love to see a lion, leopard or cheetah kill something on the great plains of Africa.

I have many stories of ‘the one that got away’. There was the time when I climbed Mount Kenya and arrived back at the camp, only to find that everyone that morning had spent an hour watching a pride of lions kill a wildebeest 50 yards away from the gate of the national park!

Or there was the time on the same trip when I booked the wrong flight home and had the chance to spend an extra day on my very own personal game drive. We saw a cheetah ‘timing’ (or hunting) an impala, and it was the most exciting thing that’s ever happened to me in Africa – but no kill.

In Antarctica, I watched from a Zodiac as a leopard seal ripped apart a penguin, but I didn’t quite see the initial attack. In the Brazilian Pantanal, I was watching a jaguar on the river bank from a small boat when the call came over the radio that lunch was ready.

No sooner had we met up with the other boat than we had another call, this time to say that the very same jaguar had just killed a caiman! We rushed back and watched as the young jaguar made a mess of the whole thing.

To begin with, he had hold of his prey by the throat rather than the back of the neck. This is fine if you’re a lion, but jaguars prefer to kill caiman (or small crocodiles) by nipping them on the back of the neck.

This jaguar was in a bit of a bind: he didn’t want to kill the caiman the ‘wrong’ way, but he couldn’t change his grip in case it got away. He spent 10 minutes humming and hawing before finally killing the caiman, but that was only the start of his problems.

His next job was to find a safe place to store his prey, but the banks of the river were 8-10ft high and very steep, so he spent another 25 minutes trying to find a way up into the undergrowth, desperately trying to drag the 10ft crocodile with him.

By this stage, around 20 boats had gathered to see the jaguar, and, when he eventually managed to scramble up the bank with his kill, everybody gave him a big round of applause!

NAI’d rather have seen the kill than stopped for lunch! 

Conclusion

All this goes to show exactly how close I’ve come to the elusive kill, but no luck so far. However, I’m off to the Masai Mara in a couple of weeks, so maybe, just maybe I’ll be able to bring back the shot I’ve been dying to get…

Getting the Most out of Game Drives

The one that got away

This would’ve been a great shot. It could’ve been a great shot. It should’ve been a great shot. But it wasn’t. Why? Motion blur. If you look closely, you can see that the whole body is slightly out of focus, and that was simply because I didn’t think to change my shutter speed.

I was parked in a jeep in Botswana when a herd of impala came chasing across the road. They were galloping fast, but there were five or six of them, so I did have time to focus on each of them, one by one, as they crossed the road in turn.

Unfortunately, I was using my default camera settings that were designed to capture animals that were standing still. I was using an 80-400mm lens, so I had my camera on 1/320 and f/8 with auto ISO. That would normally have worked, but not for a jumping impala! What I really needed was a shutter speed of at least 1/1000 of a second. I just didn’t think…

In order to avoid moments like that, here are my answers to a few obvious questions:

What Equipment Do I Need?

Good question. It’s obviously too late to do anything once you’re on safari, so it pays to get your equipment sorted out beforehand. People often ask me what camera I use, and it reminds me of a story I heard about Ernest Hemingway. He went to a photography exhibition in New York and was so impressed he asked to meet the photographer.

Hemingway: These pictures are great. What camera do you use?

Photographer: Well, I use a Leica with a 50mm lens for most of my shots. I’m actually a big fan of your work, too, Mr Hemingway. I’ve read all your books. Can I just ask: what typewriter do you use…?

The point is obviously that a good camera doesn’t necessarily make a good picture, and it’s mildly insulting to photographers if you ask about their equipment without complimenting them on their talent!

However, all other things being equal, a good camera can make life a lot easier for wildlife photography. I’d suggest getting a full-frame DSLR with a zoom lens with a maximum focal length of at least 300mm, preferably 400mm or more.

The problem with a bridge or DX camera is that you won’t get the quality you’re after, as they don’t have large enough sensors. I started off with a bridge camera and thought the zoom was great – until I saw the Nikon DSLR one of the other guys had!

I had a severe case of ‘camera envy’, so I emailed a friend of mine who was a professional photographer to ask what he would get. He recommended either Nikon or Canon, but Canon made photocopiers, so that was out of the question!

Instead, I bought myself a Nikon D800 – complete with 36.3 megapixels! – and it’s served me well ever since. I now also have a D810, which is an upgraded version of the D800. Having two cameras means I don’t have to worry about changing lenses.

Instead, I carry them both cameras on a SpiderPro holster that looks a bit like an old Western cowboy’s gun belt. I can take them out and put them back with just one hand, and I can lock them in place if I’m going on a boat ride or clambering over rocks and don’t want to take any chances.

As for lenses, I mainly use an 80-400mm on the D800 and rent an 800mm prime on the D810. They’re both made by Nikon, and for a very good reason. I tried a Sigma 50-500mm and then a Tamron 150-600mm lens, but the images just weren’t sharp enough.

I now manually check the autofocus of all my lenses using Reikan Focal automatic lens calibration software. All you do is print out a ‘target’ and set up your camera on a tripod to take pictures of it from a certain distance away.

Once you load the software, it guides you through the set-up and takes a number of exposures automatically, just asking you to change the manual focus adjustment anywhere from -20 to +20. When the routine is finished, it gives you a PDF report showing the optimal adjustment value – and that’s what persuaded me to use only Nikon lenses.

I’d been on a trip to Svalbard and wasn’t happy with my shots of the polar bears, which were all just a little bit soft. One of the other guys on the trip told me he did a manual focus check, and that’s when I started doing it, too.

It was only when I bought my new 80-400mm lens that I realised the huge difference in sharpness: the Sigma and Tamron were down at around 1400 on the numeric scale, and the Nikon was way up at 2200! In short, check your lenses.

They’re mass-produced items, so there’s always bound to be some slight variation in focus, and you’d rather fix it yourself than have to use it as an excuse when you don’t get the sharpness you want.

I also make sure I always pack a polarising filter together with a lens cleaning kit (with sensor swabs and cleaning fluid), a beanbag (for resting the lens on the windowsill of a jeep) and my laptop (so that I can download and work on my pictures in the evening).

If I’m going to be near a waterfall, like Iguazu or Victoria Falls, I’ll also take my tripod and a ‘Big Stopper’ neutral density filter to give me the chance of taking creamy pictures of the water with a  long shutter speed.

What Else Can I Do Before I Leave?

Getting the right equipment (and changing the time zone on your camera!) is one thing, but you can help yourself out by booking the right holiday in the right location at the right time. Check when the ‘long rains’ are if you’re going to Africa.

Check when the peak season is for wildlife viewing. Check if it’s possible to visit when there’s a full moon or – even better – a harvest moon. You can ask all these questions (and more) to make sure you get the very most out of your trip.

One useful sight for African expeditions is Safari Bookings, which allows you to search for packages by location, duration and price. I also like to travel light. I hate the whole airport experience, so I avoid having to check any bags in by having a roll-aboard camera bag and packing all my clothing into a jacket that has a pocket in the lining that goes all the way round.

It looks a bit funny when you walk through customs – and some people just couldn’t do it – but it saves me an awful lot of time and bother.

What Should I Wear?

When it comes to clothing, I tend to cover up to avoid the sun and the insects. That means I wear green cargo pants (with lots of pockets!), a brown, long-sleeved shirt, a floppy hat and trainers. If I’m going on a walking safari, I’ll put on my hiking boots, and I might bring a jacket for those cool early morning starts. There’s a reason why I don’t wear bright colours. They don’t exactly frighten the animals, but you’ll get some funny looks if you turn up in hot pants and a Day-Glo pink T-shirt…!

What Should I Take With me on the Game Drives?

If you’re a keen photographer, you won’t want to miss anything while you’re out taking pictures from the 4×4, but that doesn’t mean you need to take the entire contents of your camera bag! I would simply take your camera(s) and your longest lens(es) plus a lens cloth, a couple of spare batteries and a bottle of water.

A beanbag might come in handy on certain vehicles, but that’s about it. You can apply sunscreen and/or insect repellent before you leave. When it comes to clothing, I tend to cover up to avoid the sun and the insects.

That means I wear cargo pants (with lots of pockets!), a long-sleeved shirt, a floppy hat and trainers. Oh, and don’t even think about wearing a day-glo orange or pink T-shirt…!

What Camera Settings Should I Use?

There’s an old photographer’s joke:

Fan to photographer: I love your pictures. What settings did you use?

Photographer to fan: f/8 and be there!

The point is that ‘being there’ is more important than any camera settings, but that doesn’t mean they don’t matter at all – as shown by my shot of the leaping impala.

Exposure

The ‘Exposure Triangle’ consists of the aperture, shutter speed and ISO value, and these are the only three ways you can change the brightness of the image: either having a bigger hole, keeping it open for longer or increasing the sensitivity of the sensor.

A lot of beginners stick to automatic as they don’t trust themselves to use manual settings, but they lose a lot of control by doing that. The camera doesn’t know how fast the animal is travelling or how much of it you want to be in focus, so how can it possibly decide the best combination of shutter speed and aperture?

Why not experiment a little and decide for yourself the kind of image you’re going to take? Now, you still have to make sure you get the correct exposure somehow, and I’m not suggesting you use the exposure meter and manually change the settings for each shot!

What I do is start off with a good set of general-purpose settings and set the ISO to automatic. That way, I get exactly the shutter speed and aperture I want, but the camera makes sure it’s correctly exposed.

The general rule is that you need a shutter speed the inverse of your focal length, so, If I’m using my 80-400mm lens at the top end of the zoom range, that means around 1/400th of a second. (Bear in mind, though, that you have to take into account the speed of the animal as well as how steady you can hold the camera!)

I generally like to take ‘portraits’ of the animals, so I want to throw the background out of focus to emphasise the eyes. That means a wide aperture such as f/5.6, but I’ve started using f/8 because my lens tests tell me that both my lenses perform at their sharpest at f/8, and I want the maximum sharpness I can get.

The problem comes, obviously, when there’s not enough light to use your default settings, or the animals are moving too fast. That’s when you need to take charge and make a difficult decision: which is the most important, the shutter speed, the aperture or the ISO?

If it’s a fast-moving animal, the shutter speed obviously takes priority. If the light level is dropping, then you probably want to compromise and change both aperture and shutter speed by 1/3 of a stop (or more). Most stock agencies don’t want pictures taken at high ISO values (640+), so that’s something to bear in mind if you’re trying to sell your work.

Autofocus

Manual focus has its place in macro photography and in low light conditions, but wildlife photography generally demands that we use one of the two methods of autofocus: single point (AF-S on the Nikon) or continuous (AF-C).

I generally keep my D800 with the wide-angle lens on single point, as I’ll be using it to take landscape shots, but I keep my D810 with the long zoom lens on AF-C 3D, as I’ll be using it to take pictures of animals.

In fact, sharpness is so important for wildlife shots that I use what’s called ‘back-button focusing’, which means setting up the camera so that I can focus by pressing the AF-ON button on the back with my right thumb.

The AF-C 3D setting continuously focuses on one particular point on the animal that you select when you first press the AF button, and it magically follows that point even if the animal is moving. It’s not perfect, but what it does mean is that you don’t have to worry about losing focus when you half-press the shutter and then take a picture.

By separating the focusing from releasing the shutter, you get the best chance of getting that all-important sharpness in the animal’s eye.

White Balance

You can always change it in Lightroom later (or another image-processing software package), but I generally still try to update my white balance setting as the light changes. It saves time later, and it follows the general principle of trying to get everything right in camera. Messing around in Lightroom should always be a last resort.

Quality (RAW)

Shoot in RAW. There. Is. No. Alternative.

Other Settings

One of the confusing and frustrating thing about the DSLR is the number of settings there are and the fact that you can’t ‘reset’ everything in one go. It would be wonderful if there were one button that would do everything, but there isn’t.

There are mechanical as well as electronic settings, so it’s impossible to assign one button to change both. As it is, it’s worth having a mental checklist to go through before you go out on the game drive and even while you’re out there. The main settings to monitor are the following:

  • Mode (Manual, unless you’ve never picked up a camera before…)
  • Shutter speed (1/focal length, although Vibration Reduction means you might get away with up to four stops ‘slower’)
  • Aperture (f/5.6 or f/8, depending on where your lens’s sweet spot is)
  • ISO mode (I generally use ‘auto’)
  • Exposure compensation (0 – unless you’re photographing a very bright or dark scene)
  • Autofocus (AF-C 3D for wildlife)
  • White balance (Daylight – if it’s your typical African sunny day!)
  • Active D-lighting (Auto or off unless you’re taking a picture into the sun and want detail in the shot – it’s a kind of in-camera HDR to squeeze the histogram for images that would be too contrasty otherwise)
  • Lens lock (off, obviously – you don’t want to miss a shot because you can’t zoom in!)

What Should I Do While We’re Driving Around?

It’s all very well chatting to the guy next to you and having a laugh, but you’re there to take pictures, so you should follow these guidelines if you don’t want to be disappointed:

  • Always keep an eye out. I try to sit in the front seat so that I get a better view and can let the driver and the rest of the group know if I see something. If it’s not particularly interesting or too far away to get a good shot, I’ll just point or say, “Impala,” but I’m always ready to pat the driver on the shoulder or tell him to stop if there’s the prospect of a good sighting.
    One of the best sightings I had in Botswana came from the cook’s assistant sitting in the back of the jeep. As we were driving along, he suddenly said something in Setswana to our driver, who stopped and then backed up to see what was going on. After another incomprehensible conversation, I was shown a spotted eagle owl sitting on a branch not 10 yards away!
  • Don’t be shy. The guide will often be the one to spot an animal or a bird, and he or she will usually stop without having to be asked. However, if you spot something and want to take a picture, it’s important to stand up for yourself.Just tap the driver on the shoulder or ask him to stop. You always remember the shots you missed more than the shots you made, so be brave!
  • Be prepared. A lot of game drives involve looking at nothing in particular for hours on end, but that doesn’t mean you shouldn’t be ready at all times. You never know when someone will spot a white rhino or a leopard, so you need to make sure you have your camera(s) to hand with the right shutter speed, aperture and other settings dialled in.I tend to use 1/000 of a second at f/8 with auto ISO, but it depends on the light level. In the early mornings, you often have to make some awkward compromises. Just remember, though, that it’s better to get a sharp shot at a high ISO than a blurred one at ISO 100 and 1/60!
  • Keep the noise down. An animal or bird might seem quite far away, but they spook quite easily, so do make sure you don’t speak too loudly – or shout out something in your excitement! The other guests will thank you for it…
  • Keep still. You’re usually in a jeep with three or four other people, all wanting to take the best photographs they can, so you have to be sympathetic with your movements.If someone’s trying to take a picture, try to move as carefully and slowly as you can – or just wait for them to finish. You don’t want to rock the vehicle or jog an elbow and ruin the perfect shot!
  • Be polite. Tempers sometimes fray in the excitement of a game drive, when everyone wants to get the best possible view of the animals, but it’s worth keeping cool and being aware of those around you.

    If you take too long over a shot or you accidentally get in the way of someone else, just apologise and move on. People go on safari to enjoy themselves and have a good time, not harbour festering grudges over the guy who thought it was all about him…!

  • Take care of your kit. I always cover my lenses with dust- and waterproof covers when I’m shooting. It might not seem necessary in some countries and in some climates, but you never know when you might have a sudden shower or get a cloud of dust in your face from the jeep in front.

    I also take a lens cloth and/or a dust blower with me on game drives, and it’s worth checking your lens every now and then to make sure it’s not getting dusty. It’s hard to tell sometimes when you have a lens hood on, but it’s very easy for lenses to get dirty during the course of a long game drive.

    I found Botswana particularly dusty, and there was a lot of dust in the air in Tadoba that gradually stuck to my camera and turned my lens cloth red whenever I used it!

What Makes a Good Photograph?

Dust, air and spume. That’s the Holy Trinity of wildlife photography, according to Paul Goldstein, who is a wildlife photographer and also a great speaker and raconteur.

I’ve been on two trips he’s led to Svalbard to see the polar bear and Tadoba in India to see the tiger, and I’ve seen several of his presentations.

The idea is that ‘dust’ is thrown up by the movement of the animals and gives you a sense of dynamism and energy, ‘air’ means that an animal is in the air and about to land – so we have a sense of anticipation and expectation – and ‘spume’ is the spray that is thrown up by movement in water.

That’s just Paul’s view, and there are obviously other aspects to the question. One thing that he also points out is the difference between a ‘record shot’ and a ‘photograph’. To him, a ‘record shot’ is just a snapshot, a picture that records exactly what’s in front of you, but a ‘photograph’ is something that obeys the rules of composition and has been consciously constructed by the photographer to provoke an emotional reaction.

There aren’t that many rules of composition in wildlife photography, but it’s worth bearing them in mind when you’re out shooting. Here are a few of the common ones:

  • Fill the frame. Robert Capa once said: “If your pictures aren’t good enough, you aren’t close enough.” People don’t want to have to search the image for the animal, so zoom in or ask your driver to get closer so that you can make it the centre of attention!
  • Use leading lines. Where available, they can lead the eye of the viewer into the image, for instance in a picture of an impala on the horizon crossing a road leading into the distance.
  • Use the Rule of Thirds. Human eyes don’t like things that are too symmetrical – unless you can manage a perfect reflection – so try to put the focal point of your shot off-centre. That adds dynamism and a different kind of balance.
  • Focus on the eyes. People don’t care if 99% of an animal is out of focus as long as the eyes are sharp.
  • Wait for ‘the decisive moment’. A guide in the States once compared my shots to those of another guy on the trip. He said that Stefan’s were always technically perfect, very sharp and with gorgeous, saturated colours, but mine were all about the moment.

    I take that as a compliment. It means you have to wait for the right moment to take the shot. Don’t just keep clicking away like a Japanese tourist by Big Ben. Compose your shot and then wait for the animal to do something to make it more memorable. It could be a sneeze, a yawn – anything! – but it will mark your picture out as special.

    Here are a couple of examples:

    • If a lion is walking across the road in front of your jeep, don’t take the shot until it steps forward with the leg that’s furthest away from you. That means it will have to turn its body and show more of its chest in the shot, which makes a better shot.
    • Try to capture pictures of birds in flight. Portraits are all very well, but an action shot is usually better. Given how quickly birds take off, the best way to capture them with their wings spread is just before they land. Find a bird on a branch and take a few ‘portrait’ shots, but don’t give up when it flies away.

      A lot of birds have a ‘favourite’ branch, so it’s worth focusing on it and waiting for the bird to come back. If it does, take a series of shots in continuous mode, starting when the bird is just about to land.

      That’s the best way to capture the prize, which is a picture of the bird with its wings spread, showing off all its plumage. Just make sure you have reasonable depth of field (at least f/8) and a high enough shutter speed (at least 1/1000).

  • Tell a story. The tagline to this website is ‘Every picture tells a story’, and that’s a goal we should all aspire to when taking pictures. What are we trying to say? What mood are we trying to create? What’s the emotion behind the shot?

    It’s not always easy, but picking exactly the right composition can create humour, joy, sorrow, horror and any number of other powerful reactions – which is just what we want.

  • Break the rules – selectively! Obeying the rules will give you a nice, balanced image, but Paul for one hates ‘nice’, and I can see his point. Sometimes, the best way of creating a strongly emotional image is to break a rule or two. You have to do it sparingly – and consciously – but it sometimes gives you that much more of a chance of creating a genuinely arresting image.

    One of his favourite techniques is the ‘slow pan’, which means following a moving animal or bird with a slow shutter speed and taking a number of shots as it goes past.

    The idea is to create a sense of movement by blurring the background and the legs or wings of the animal or bird while keeping the body and especially the eyes sharp. It’s a technique that’s very difficult to master.

    You have to do a lot of experimentation, and it helps to have a tripod! I once went on a boat trip in Svalbard and took 1,504 pictures of guillemots using the slow pan – but I only kept four of them! It sounds like a lot of effort, but it’s worth it in the end.

A Day in the Life of a Wildlife Photographer

Spotted eagle owl in tree facing camera

My iPhone just about died yesterday, so I switched it off overnight. Miraculously, it’s now back to 24%!

We saw leopard tracks but no leopard and then a lone impala to start the day. We were out for 90 minutes before collecting the other staff and the trailer. We then drove north towards Chobe NP. At one point, the road ahead was flooded. Contrary to what you may have been told, there’s no bridge on the River Khwai, so we had to take a different route…

“Nkwe!” Makabu suddenly shouted, which I later found out meant ‘leopard’ in Setswana. He had just seen one crossing the road, and he immediately followed it. After a few yards, he stopped, got out and jumped on the roof to work out where it was, then he unhooked the trailer and drove after it off-road.

You’re not supposed to do either of those things, but I like the fact Africans think rules are there to be broken! The leopard escaped, sadly, but that means Makabu now leads 2-1 in big cat sightings…

Fun fact: ‘Nkwe’ means leopard and ‘tau’ means lion in Setswana.

Having said that, our handyman chipped in with a great spot of a spotted eagle owl perched in a tree as we were driving past. It was just hidden by a branch, so I asked if I could get out and walk a bit closer. Makabu said I could, and I took a very rare picture. I’ve never seen a spotted eagle owl before…

We stopped for lunch (and to collect firewood), and I managed to get attacked by very prickly and sticky fertility grass. Not even thick socks are good enough protection against it. Then again,  you can always boil it up and drink the liquid if you’re having problems with your womb!

At around 1400, we dropped off our team to make camp, then we went back out for another game drive. The radio chatter suggested there were lions out there and maybe even a leopard, but it all seemed like a wild goose chase until we saw a pair of young lions asleep under a large fever berry tree. They like it as it has the best shade, and – lo and behold! – you can also boil its leaves in water to cure a fever. Is there any plant out here that doesn’t have medicinal properties?! We even had chance to come back later for some great close-ups.

Shockingly, I had to change my WB setting to cloudy a few times today. Very poor…

Fun fact: You can tell which termite mounds are active by the presence of wet sand deposits on the surface.

Species lists

We saw impala, black-backed jackal, tsessebe, low veld giraffe, hippo, warthog, Burchell’s zebra, blue wildebeest, red lechwe, tree squirrel, chacma baboon, vervet monkey, elephant, waterbuck, lion, wild dog.

We ask saw birds including Burchell’s starling, African darter, blacksmith plover, Swainson’s francolin, helmeted guineafowl, red-billed hornbill, saddle-billed stork, grey hornbill, African fish eagle, spotted eagle owl, long-tailed pied shrike, African jacana, wattled crane, Cape turtle dove, little egret, Egyptian geese, Gabor goshawk.