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August 9, 2012

In Search of South Africa’s Eden

While I was building up my portfolio as an aspiring landscape photographer, I spent a lot of time admiring the work of certain American photographers. There was that one ecology in their portfolios that I had never seen in South Africa. Not with my eyes, in print or on the Internet. It was an element of nature that had a great attraction to me and I craved to experience and capture it. Rain Forest. Utopias of towering hardwood trees covered in moss that rise from a carpet of ferns and undergrowth. Branches draped in lichen and populated with Epiphytes like small villages living in the air, hanging above a network of bubbling mountain streams. Flora thriving at it’s full potential with unlimited resources and doing so as it has for thousands of years without the interference of man.

 

Unfortunately for me, South Africa doesn’t really have much temperate rainforest. If you say Forests to a South African, the first word that pops into their head is Knysna. That is about the average South African’s knowledge on where to find an indigenous forest. Apart from such common knowledge, even in many scientific articles on forests in South Africa, there is no mention of the place where I eventually found my Eden. Up until writing this I was also in belief of the common statistic that the European colonists destroyed more than 95% of the forests that existed prior to 1652. One article with a lot of substantiating facts tells a very different story, but I’m not writing about what used to be…this is about my quest for what still is.

The best shot I got from many vists to the Knysna forests

So where do you start if you’re looking for forests in South Africa? My starting point was my wise old father, who has a great knowledge of botany in South Africa. Unluckily there’s a very big gap between what the average person calls a beautiful forest and a photographer’s understanding of what will produce the shot he/she is looking for. While we (me and the old man) have made great progress at bridging that gap, he just gave me the typical Knysna answer and also said there’s great forests along the wild coast. Then it was on to the Internet and books, which also just yielded Knysna. After hearing that place’s name so many times, I was so irritated I didn’t even want to go check out the most obvious place!

 

I was on a trip in Mpumalanga in 2008 when my father randomly told me that a colleague of his lived in an old forestry station near Tzaneen. This colleague knew the area’s forests well and they had talked about these lush forests with thousands of Clivia as my father’s hobby was cultivating the flowers. Since Knysna had been drilled into my head and I had never heard of any forests near Tzaneen, I brushed off the suggestion and forgot about it.

 

Over the following three years I visited both the Knysna and Wild Coast forests and in both I wandered off the path and into the odd gorge/valley in search of proper green…without success. Even here at home I properly explored the valleys of Jonkershoek with some reward. I discovered the lesser known Tweede Waterval gorge. A narrow twisting tunnel that leads to a waterfall concealed by two large cascades. I found a few other worthwhile streams and forested valleys high up the slopes of the Jonkershoek Mountains, but they all lacked that magical green.

Second Waterfall Gorge in Jonkershoek

I might not have explored 2% of the forested valleys in the country, but I did do a fair amount of research and I did explore the results that my research yielded. Short of becoming a bushman and going to live in the Knysna forests for a year, I gave up on my search and added Oregon/Washington’s Colombia River Gorge to an already lengthy bucket list.

 

Then late in 2011, thanks to the source of all procrastination; Facebook, I had a breakthrough. One of my Facebook friends from the photographic industry had gone on a hike in Limpopo…near Tzaneen. As much as any other South African, he had not expected serious photographic potential and he only took a point and shoot camera along. He posted some photos from the hike and those snaps taken with a point and shoot revealed a secret I had stubbornly ignored 4 years ago. The photos showed typical Afromontane forest, but the elements that were missing in all the other locations were there. Thick green undergrowth, lichen hanging from tree branches, moss covered trunks, all enveloped in thick mist. I immediately contacted him to find out where it was and made it a top priority to get there.

magoebaskloof villiers steyn

One of Villiers Steyn's images from his hike that caught my attention. Click on the imageto go to his site.

Late in May this year I was finally on my way to Limpopo after a very dusty week at Khubu Island. I had done some research on the area prior to leaving the Cape two weeks earlier, but I had 7-10 days there so I had a lot of time to explore the area.

 

Someone had told me that there’s a very scenic 4×4 route through the forests and on my first morning I took a slow drive up the mentioned kloof. I saw the well-known Debengeni Falls and witnessed patchy bits of that magical green I was looking for along the drive. The end of the road brought me atop the escarpment again and I decided to explore the maze of forestry roads. The amount of turns, road forks and times that the scenery changes from plantation to forest are impossible to keep track of.

Magoebaskloof's Debengeni Falls

Somehow (after about two hours of driving) I found myself entering a section of forest with a sign stating that it is a protected indigenous forest, so I was hoping that it would be a large section. Up until that point I had only been going through patchy areas of forest left between the unsightly pine and eucalyptus aliens. Past the sign the light quickly faded as the forest wrapped around the road like a shrinking tunnel. The road descended a Northern slope and as it did I entered the mist that was hanging below the escarpment. The photographer in me got excited as I started seeing potential photographs of trees and lichen disappearing in the mist, but just as my hopes started climbing I saw (ironically) the light at the end of tunnel – plantation.  My heart sank, but my eye caught a slightly overgrown road cutting away downwards into a similar dark tunnel. I followed this road and the exact same thing happened. Just before the forest turned to plantation, a road would lead off downwards into the forest again. With each of these turns, the road became more overgrown and full of spider webs. Signs that few people ever get there. I wanted to stop and shoot, but I kept telling myself I have plenty of time and that the first day is a reccy. See the whole area and shoot it systematically as the weather dictates. The ever-downward sloping road suddenly leveled out and what I had been in pursuit of for almost 5 years unfolded before my eyes. Whatever the culmination of geographic circumstances created on that small plateau on the escarpment, it created the superfluous green I wanted.

Looking up a small valley stream

I pulled off the road where I could, got my gear and popped the polarizer on the lens to capture those amazing greens. The mist limited visibility to about 25 meters, so apart from that 25 meters in front of me I never really knew where I was headed. The main problem was that the forest was too dense. There were no open spots to take a photo and the going was slow. Every 2nd tree was bursting with a ‘colony’ of Clivia, many of which had ‘trunks’ that revealed them to be decades old. They were flourishing better than the most coddled prize winning plants, but without any of the fertilizers, special soils or hours of weekly attention that the breeders give them. Seeing these plants that I was so familiar with in the wild, instead of in a pot or in a garden was a revelation. The stopping and staring wasn’t helping my progress of finding the perfect photo, but If there was ever a time to pause and appreciate nature, this was it.

Clivia perched atop a tree in the forests

After about 30 minutes in, the slope descended slightly before leveling off. Once again, I don’t quite know what the circumstances were, but I got lucky. I had found the ideal spot. The forest looked like the interior of a building, with walls of trees leading into open chambers of lush fern undergrowth. There was the odd dead tree strewn about, covered in moss and smaller ferns. Now I had found exactly what I was looking for. Little light penetrated the mist and forest canopy…even at f/8 and ISO200 my exposure time was over a second. The wind was blowing quite strongly, but every few minutes it would die down as if catching its breath and then I had to capture the moment. When the wind slowly picked up again, it swept the mist away and the entire forest appeared out of the cold white. In an instant a gust would blow it back through the forest like an approaching wall of disguise, concealing the secrets of the woodland. For what seemed like an eternity, I forgot about my camera. I just stood frozen by the contentment of what I had finally found. Watching that mist sweeping in and out of the trees was an experience rivaled only by the view from atop the amphitheater wall.

Foliage blurred by the wind sweeping banks of mist through the forest

After about 3 hours of crawling and climbing through the vegetation, the mist lifted and I headed back to my car.

 

Over the next few days I identified a few more spots that might produce the same circumstances and two of them paid off. Even after driving as close as possible to the potential places, getting into the heart of the forest on foot wasn’t easy. It usually required the descent or ascent of very steep slopes. ‘Wading’ through 1.5m-high undergrowth and trying not to imagine what could be hiding below it. At the time of writing this (10 weeks later) I still have bite marks on my legs from whatever lived in those forests. After my adventures I got the flu, which then turned out to be tick fever. After a blood test it was confirmed as tick fever AND malaria, caught before it started doing damage luckily.

Two ancient trees rising into the mist side by side

I finally achieved my goal to photograph a properly green indigenous forest. The fact that I couldn’t find one probably escalated my need to do so and drove me 2000km away from home to go look for it. Without deliberately doing so I  ‘discovered’ (within the photographic community at least) a prime photographic ecology that most people thought didn’t exist in South Africa. It took five years, over 10000km of travels and contracting Malaria, but that has made me appreciate it ten times more than I would have.

 

For the sake of conservation the exact location of these forests will remain with me, but there are clues within the article that can get a reader close enough. From there you will have to get lost on the forestry roads as I did and go crawling through the forests to see what I did. To those who rejoice in the surrounds of untouched, thriving nature, it will be worth it. To those who lack the respect to conserve the few patches of pristine forest in our country, it will hopefully forever remain out of sight.

Magoebaskloof Moss Trees

Tree trunks covered in lichen

You can view more images in my Magoebaskloof Gallery on my website. Bookings and details for a workshop to Blyde River Canyon, Mariepskop and Magoebaskloof will be available on Sunday.

 

April 9, 2012

After the Rain: Preview of Namibia 2012

Going into Namibia this year, I knew not to expect a repeat of last year’s amazing rain and skies. It was a freak year in which most of the country got three to four times its annual rainfall. Each day ended with near black thunderstorm skies turning to flaming reds and giving way to endless displays of lightning. The photographic opportunities were indescribable and over a total of about 3 weeks spent there on two trips I got some of my best work yet. I knew I had been spoiled and that I needed to tone down my expectations, but some small hope in me obviously wished for those dark skies again.

Spitzkoppe under a stormy afternoon sky

My first destination was the famous Spitzkoppe mountains, a spine of granite mountain peaks protruding from a plateau like a set of jagged teeth. It’s one of the most iconic landscapes in Namibia and I had 6 nights to try and do it some photographic justice. The weather forecast looked good: rain showers most afternoons. After arriving and setting up camp I spent the most of the first day just exploring the location for potential compositions. Photos of Spitzkoppe are very common in all tourism related media of Namibia and I thought I had seen most angles of the place. Upon some exploration I was surprised at the vast amount of possible foregrounds and compositions dotted around the main mountains. Iconic arch apart, there were so many rock pools, rock patterns, grass fields, trees, boulders etc. that I was very confused about where to start.

Interesting play of light and shadow created as the last sunlight fades from the lower part of the arch

I decided to kick off with the iconic arch shots, and then move on to something more unique. After 4 days I had gotten a satisfying amount of material of the location and while I never got a proper storm at sunset, I certainly couldn’t complain about the light I had. For a first visit to the place I was very happy and I decided to head to the coast for a well-deserved break from climbing up and down granite ‘hills’. I had four days to kill before the C4 workshop kicked off in the Rand and I thought I’d make a decision on where to go over a cold drink and the sound of the waves in Henties Bay. While there I made the decision that while I don’t really want typical photos of Sossus- and Deadvlei, for business reasons it was a necessity in my portfolio.

Cliche Deadvlei

I spent three days at Sesriem, but I still don’t have any stories of revelation or inspiration about the place. I had one good sunset and one good sunrise so I got the shots I wanted. I already knew all the typical wide angle compositions at Deadvlei so it was simply a matter of moving the tripod around and getting the shots. The one morning we arrived to find a British group of about 15 photographers already shooting. ‘We’ were another 4, and as the sun climbed I think about another 10 arrived. There were more tripods than trees and it was impossible to get a shot without someone in it. Luckily the skies were cloudless so I had a nap on the side of the pan while the masses bustled about in each other’s compositions. It’s a place that still fails to touch me, or maybe I fail to connect with it??

The mist cleared for a few minutes, allowing soft light through slatted ceilings

 

The next 7 days followed with the C4 workshop of which 4 days were on the farm Excelsior in the Namib Rand and 3 days were at Sossusvlei. The weather was good and we had very flexible hours at Sossusvlei which allowed our clients to get some great photos. The strenuous hours and long walks were a bit of a shock to some of the clients, but they quickly adapted to the desert! We had a good rest on the last morning and spent the last night well into darkness shooting stars in deadvlei. The group tried a few static milky way shots with light painted trees and ended things with a 32 minute star trail exposure that came out brilliant. I ached to get the night sky photos myself, but I’ll return at a later stage to attempt something unique.

Ghost rain lights up in flaming sunset light

After the workshop, I and a client traveled on to the ghost town of Kolmanskop, a location that was a complete block to me last year. It was a bucket list location for Jill and I think her ambition to get great shots influenced me to give it another proper try after failing so miserably last year. I studied a few images of Kolmanskop in the run-up to my trip and learnt quite a few things from them. Armed with this new knowledge, me and Jill were psyched to shoot the iconic ghost town. On both mornings conditions were very misty which not only cast beautiful soft light into the buildings, but kept things pleasantly cool. Without really noticing it, we shot nonstop for 5 hours on the first morning and the second morning went similar. After those two days we were both very satisfied with our results and it was time to carry on to Fish River Canyon.

Rain falls over the Nubib mountains beyond the plains of Dina

The Fish River Lodge is definitely my favorite lodge in Namibia. Everything from the location to the service to the architecture is astounding and I often end up just relaxing more than shooting. As with the rest of the trip, the weather wasn’t amazing, but it certainly wasn’t bad. I got some new photos to go home with. The potential of the place is however much greater than I’ve ever seen in any photo, but you need a pretty rare synchronization of weather elements to get killer light over the canyon at the right time.

15 degree winter weather at Luderitz was a welcome relief from 40+ degree days at Sossusvlei

It was a successful three weeks, but I’d be lying if I said it was as special as last year. Most places were definitely easier to shoot after having been there before, but then they were also less exciting. I can’t wait to get back next year and experience the place again. The magic of Namibia never fails to refresh the mind and satisfy one’s craving for excellent photography. Even when I say that it wasn’t as special, you can see from the photos that it was still an absolute feast of top class photographic opportunities…and this is about 1/5th of the work I’ve deemed worthy of being processed to go into my portfolio.

Excelsior's chocolate mountain below a dramatic afternoon sky

2013 workshops

Bookings will open in the coming weeks and there will be a slight variation on last year. The one workshop will be 4 days Namib Rand, 2 days Fish River Canyon, 2 days Sossusvlei and on the other date Fish River Canyon will be substituted for Kolmanskop/Luderitz. Both will be in March next year and the price will be roughly R20000-R25000 ($3000-$4000) with about 15 places available between the two. Watch this space!

 

Beautiful side lighting from a window brings out the ripples in the sand

Photograph Namibia Guides

 

These have both been removed from my blog. I am in the process of turning them into e-books which will be much more content rich and precise and available for purchase at a small price.

 

Afternoon sunlight on the Fish River Canyon

 

 

 

March 2, 2012

5D mk III Announced

Last night the highly anticipated 5D mk III was announced and all official specs confirmed the rumours that have been doing the rounds on the internet. My first impression is that Canon followed the exact same recipe as with the 1Dx (low resolution, improved peripherals) and for that I’m thankful. I knew the launch of these cameras would be interesting, but I don’t think many people saw this reverse of roles in the pixel race. The pixel race is something that degrades image quality by making camera manufacturers money off people’s lack of understanding of true resolution. It’s like an abscessed sore in the camera development world that will hopefully be healed one day.

Nikon has now taken the lead with its 36mp D800, but it wasn’t willing to compete in the pixel race with the model that won it the global sports and journalism market?? They’ve  increased the resolution of the D700 by 1.73x, while upping the resolution of the D3 only by 1.22x. There are obviously the speed, focus and noise areas where the D4 needs to perform much better than the D800, but looking at this fact I suspect the D800 is a confident throw of the dice to try and get their foot in a market that is dominated by the 5DmkII. I may have stuck faithfully to Canon over the past 3 years, but the way in which they compromise IQ for specs that sell cameras really pissed me off. The companies obviously just want to make money, but it’s insulting when they sacrifice the performance of their cameras for high pixel-counts that appeal to the Tom, Dick and Harrys that don’t know squat about resolution.

It’s been proven time and time again through many models from every brand that the higher the pixel density, the worse the image quality gets.  Nikon faithfully stood by this knowledge and produced cameras with low resolution, great speed and focus that resulted in a great overall camera. Apart from the 1Ds III and 5D II, I can’t say I ever desired one of the non FF Canon cameras. The 1DmkIV was killed on launch by the D3s. The 7D’s pixel density was more than twice that of the 5DmkII and while its IQ did surprise me, it was a very useless 18mp.

Now it seems that Canon has taken the lessons it learned from those over-rezzed models and applied it in the development of what I hope will finally be their comeback from the knock that they’ve taken from Nikon over the past 4 years? They’ve been surviving off the consumer market and the 5D II. The money may be in the consumer market, but it’s the pros that build your reputation and 3 years ago it was like Canon pro bodies were Polish Jews all taken to Auschwitz under the rule of the D3.

 

Rape Victim of the D3s

 

Enough speculation, there are solid facts to look at.

22.3mp – I’ve had 21mp for 3 years now and I honestly can’t say I want more unless it’s on a larger format. In what situation will you truly benefit from 7-8mp more? I’m still very doubtful of whether Nikon’s new technology can truly pull out that much detail from a 35mm format lens, BUT, if the D800 can prove me wrong then I’ll get in my car and go buy one.

New AF system – I focus manually most of the time using Live View because you can zoom in 10 times to any part of the frame and make sure focus is dead on. I do however shoot on AF when shooting handheld and I know the focus isn’t reliable, so while it’s not a make or break issue it is a useful improvement for me.

Light metering, video functions and higher fps don’t really tickle my fancy, but it has all been considerably improved.

Improved Weather resistance – After a year of risky seascape shooting and one final wave giving me a sunset shower, my 5D II kicked the bucket. Upon analysis it was constant exposure to sea air and water that corroded the circuit boards around the buttons, so improved weather sealing is very welcome.

New sensor cleaning – They’ve added something at the bottom of the shutter box that absorbs the dust after it has been shaken from the sensor? I’d love to get a better understanding of how this works. All I know is that everyone HATES dust!

Larger, better LCD – Always welcome.

New HDR function – In camera HDR processing…I don’t want to say much about this, but I suspect the results to be very photomatix-like. I’ll wait and see.

Multiple Exposure Function – This I’m very excited for…Something you could do in the film days to create very interesting results. If you don’t know the potential of this then you don’t deserve to get excited about it!

If you go read the page on Canon’s website you’ll see that there are many other cool new functions like comparative playback, in camera processing, variable aspect rations…the list goes on!

100-25600 Native ISO range – Canon says that newly designed photodiodes, a better signal to noise ratio and improved image processing has upped noise performance by two stops. To most people that doesn’t mean much, but for landscapers wishing to go to the night skies it means a lot. I’ve always shot at 3200, which is good enough for web viewing but I wouldn’t print it. Two stops more will mean you can print ISO3200 files and you can shoot at ISO12800. Imagine this…pitch black wilderness sky, a milkyway so bright it casts a shadow under a Namibian tree…ISO12800, 30s, f/2.8. To say that the thought of that gets me very excited is an understatement. If you use a 24mm f/1.4 lens you can get another two stops, and if you’ve got a 1Dx (100-51200 native range) then you’ve got another stop. I’m confident that these new cameras are about to open one massive door to night sky photography and that is the thing I’m most excited about.

 

Conclusion

 

I’m going to try and type my conclusion  as short  as possible without elaborating on points. I would love to hear people’s arguments for or against certain things.

Megapixels – I don’t think that on the medium term the way forward for 35mm cameras is resolution. Even the sharpest lens can only project so much detail in a 36x24mm area and Nikon has gone upstream from their recipe for success of low res, high IQ. I can’t wait to see hi-res samples from the D800 because it will confirm or bust this theory. If you’ve seen the detail that LF film or MF digital produces, you’ll understand.

Live view – Up until the D3s, Nikon’s live view was very 3rd world compared to Canon. The ability to meter and zoom to x10 anywhere in the frame is a brilliant function. If Nikon has improved on this they’ve won serious brownie points from me.

Noise – Canon has a native ISO range going two stops higher, but Nikon has dominated noise performance over the past years. This is going to be interesting.

Highlights – Most readers of my blog know my passionate hate of Nikon’s highlight tones and colors in skies. If this hasn’t improved then there’s no chance of me buying a D800.

Price and availability – The canon is set to be a few $100 more and history has shown that Nikon is better at getting things on the shelf on time…

 

I honestly don’t know what to expect. These cameras will come packed with 3-4 years of R&D. My main standing point is that I’m doubtful about 36mp in a 35mm sensor. The proof will be in the pudding, so lets hope the pudding hits the shelves ASAP!

Filed under: Equipment — Tags: , , , , , , , — Hougaard Malan @ 9:49 am

September 30, 2011

The New Hougaardmalan.com

The Gallery

The interactive map  is the most obvious change. There are some galleries with 35 images and some with only 3, but the existing galleries aren’t a finished product.  My personal favorite galleries are those of The Namib Naukluft Park, The Wild Coast, my 617 photos and the Drakensberg. The Overberg and Namib Rand galleries aren’t quite complete, they will be next week I will add images to them over time and new locations will also be added as I travel to new locations.

Prints

You will be able to purchase signed and certified prints of any image on the site using a credit card or paypal. Buyers will be able to choose between either canvas or a Hahnemule etching paper, as well as a wide variety of sizes. There will also be a small selection of my personal favorites available as limited editions prints. We are just finalising the payment system which should be ready within the next week.

Blog

My blog is now fully integrated into the site and it has been tidied up considerably to make it easier to find what you’re looking for. The news feed you see on the front page of the site is the latest posts from the blog. Expect a ton of new content throughout the month of November including videos of captured scenes, downloadable actions, new tutorials, tips and tricks to enhancing your photos.

Image licensing – For Publishers

Up until now purchasing images was a drawn out negotiation process requiring many mails to finalise the deal. I now have private galleries with hundreds of images and all info you require is provided in the galleries. You simply add the desired photos to your lightbox and hit request to purchase. What used to take weeks and a bunch of emails can now be done in less than 5 emails and 2-3 days.

Filed under: News — Tags: , , , , , , , , , , , — Hougaard Malan @ 9:16 pm

July 26, 2011

New Site and Blog coming soon…

I think I owe all of my subscribers an apology for an absence of updates on my blog. The year got off to a very hectic start of travels, shooting and workshops, but things have calmed down now. I was of course shooting in that time and I have a ton of new images that will be released along with a completely redone website and blog on the 1st of October this year. The major problem I have with my current blog is the archiving and path system is difficult to navigate…this will be fixed.

I’m also working on a series of new articles for my blog that will help subscribers with all aspects of landscape photography. These will be accompanied by smaller ‘weekly tip’ articles with useful photoshop tricks and downloadable actions. The new blog and site is sure to blow you away, but until the 1st of October this is all I’ll be showing :)


January 13, 2011

Horse-Riding Sheep

My photography evolved and progressed from the opinion of viewers on the internet. Every single day I still have to try and analyze what viewers like in order to keep up with trends and satisfy the supporters that keep me progressing. It’s simply a case of produce-check response-interpret-apply. I’ve always had two major benchmarks for my photos, the one being the Deviantart community and the other the Outdoorphoto community.

Deviantart does have a few very good opinions, but the majority of the people there don’t know anything about photography. They like visual impact and that’s the a-z of their opinion on a photo. If DA likes something, then I know it will grab attention. Outdoorphoto has a similar crowd, but because it’s exclusively a photographic community the level of opinions and knowledge are a bit higher. There are still the ‘WOWers’ who just judge something on the immediate visual impact, but there are also the people who try to analyze all the elements of design and give well thought-through feedback. If ODP likes it, then I know it’s a good photo on more than just an immediate-visual-impact level. Sometimes I have photos that I think they will love…but then it  slips by unnoticed and simply disappears into the depths of their web-servers without much of a view or a favorite. Then I swallow my pride and liking of that image and also just allow it to disappear into my hard drives.

Such was the case with my trip to the Richtersveld in June of 2010. I flew to Pretoria where myself and Shem Compion hit the road for a 2 day drive to Quiver Tree Valley. I had only met him briefly once before and didn’t really know him, but on that road we were talking our hearts out about people’s ideas and perception of digital photography. How their photos are simply an attempt to master a cliche collection of images…like a collection of coins or stamps. The digital era created an immense flock of sheep that are all trying to imitate the ‘best’ guys. It’s no longer about capturing the emotion of a place or animal, but merely about who can get the technically-best bee eater or Kogelbay shot. He told me of a man named (I know nothing of avian photography) Eric Hosking, who had been capturing rare birds in flight with plate cameras since the 1930′s…then you’ve got to ask yourself: What the F do you think you’ve accomplished by capturing a bird in flight with the technology and easily accessible wildlife reserves of today? Get off your high horse that you call ego and go do something different, you horse-riding sheep. Same goes for landscape photography and in that moment I felt like one of the sheep we were discussing.

We got to the Richtersveld and I was inspired to do something different and break away from the internet crowds. I wanted to get one shot that translated the feeling of the place. Heat. Desolation. Beauty. Survival. Not something that just relied on blazing color, an ultra wide view or a dynamic composition to captivate the viewer, but something which really communicated the location to the viewer. Thanks to Mark Dumbleton I knew of an extraordinarily photogenic little Witgat tree atop a granite boulder. Mark had already gotten the nice composition to the North East and I obviously didn’t want ‘my shot’ of Quiver Tree Valley to be the same. After about 200 shots of that little tree throughout 2 sunrises and a sunset I had my shot that I thought would blow people away and make them experience the barren beauty of the Richtersveld.

I got home, gave it some contrast, some Marc Adamus style diffusion ‘glow’ and posted it to my benchmark communities. In my own confidence of it being a fantastic image I also sent it in for a few monthly magazine competitions. On outdoorphoto it got 6 comments which is pathetic. On Deviantart it got 473 favorites which is also pathetic. I wrote it off, confused and frustrated. I thought that with the inspiration from Shem I was getting to the next plateau in my photography where my images carried more of a message than just impact created by a wide angle lens and a red sunset, but my benchmarks had rejected it.

Then two months later I got a mail from the Getaway magazine saying that my image got into their monthly gallery and I thought cool, but coincidence. They often put some god-awful images in the monthly gallery. Another month later Country Life magazine mailed and said that my image was second in their monthly gallery…and I started regaining a bit of respect for that image that I had so much hope for upon returning from the Richtersveld. Over December it was purchased by 3 calendars publishers for 2012, more than any other image of mine. Two days ago the Weg/Go magazine had selected it for their ‘Africa at it’s Best’ back page in the magazine and I didn’t even enter it or send it to them at any point!

That same image that my benchmarks had shot down has now been published in 3 magazines and 3 calendars and thanks to all of that I’m now a little more confident in breaking away from the opinions of the masses and doing what MY opinion tells me. When you start taking photos to please other people you stagnate and smother the artist in you. It’s good to respect those opinions and use them, but don’t let them become your photography. As with everything in life, balance is the key :)

Learn from the internet masses, but remember that then your photography can only get as good as the sources from which you learned and at some point you’ll have to muster up some innovation. Are you one of those horse-riding sheep with a shiny collection of coins? If so, then does your website have a tagline that goes something like ‘highly regarded award winning photographer’? If you answered yes to both those questions then you need to reconsider your own perception of your photography because you’re photography is nothing but an attempted imitation of someone else’s. The sad truth is that those sheep will answer no to both questions and their horse will just grow.

Thanks Shem for some much needed inspiration on that trip.

Quiver Tree Valley

January 10, 2011

Namibian Bodyscapes by Willem Oets

The results of a talented photographer travelling to some of his favorite spots in the Namib with a beautiful model. Very inspirational photography

To see more of Willem’s work visit his website

January 3, 2011

Dwesa: Wild Coast Bliss

At the end of a long year there’s nothing one looks forward to more than the short time in which you are liberated from all the constraints of materialistic and financial pursuit we call our lives. At the end of 2008 we (the family) spent this time at the mouth of the Msikaba river in Pondoland, the last frontier of South Africa’s wild coast which is still unscathed by human ‘progress and development’. It is a place of amazing untouched beauty…the locals still live off the land and thus there is no pollution or dilapidated infrastructure from the apartheid era . The only European buildings are the small houses that belong to the descendants of traders who got land leases from the Xhosa chief many decades ago and still use it for holiday purposes. There are holiday camps at each major river mouth and the one at the mouth of the Msikaba river consists of tented chalets nestled in the looming shadows of yellowwood forests that crawl out on to the pristine white beaches where the Msikaba gorge makes it departure into the Indian Ocean. Apart from six days of sunny blue weather and elation in untouched nature, it was also the last December holiday we had the privilege of sharing with my mother before she passed away of cancer eleven months later. All these factors anchored the wild coast deep within me as a person and that brings me to the actual topic of this article.

The hills around the Msikaba mouth

Half way through 2010 my dad mentioned that we should hit the wild coast again and I was in ecstasy at the thought of getting back to the forests and beaches of Pondoland, but it was not to be. On 17 December we were cruising down from family in the Eastern Cape highlands towards the Dwesa Nature Reserve, one of the oldest reserves on the Wild Coast. I had done the online research and the results looked okay but certainly not promising. There is wildlife, which meant limited access and the landscape wasn’t very dramatic, just minor hills that descend to the beaches. After a classic 2 hour’s driving on a mere 48km of road (wild coast roads!!!) we arrived at the camp and my fears were confirmed. No major hills, just a slow flowing river surrounded by a beach, encircled by some rock shelves and forests. We set up camp and were welcomed by an army of insects, not exactly a heart-warming prospect. With the tents pitched and chairs unfolded, sunset was approaching and I had a cold one before taking the short stroll to the beach. I just needed to go check what I could make do with around the river mouth in case I got some weather that would make it worth my while to go shoot.

After about 500m from camp the small dirt foot-path to the beach branched from the main road beside a curve in the river, snaked through the grass, crossed a small wooden bridge and then cut through a small forest which seemed like it might be worth something in nice light. The path descended steeply down to the sand and I could still feel the late afternoon sun burning my already-burnt neck. I continued the 200-300m to the water line, stared out to the ocean, saw nothing and decided that my time would be better spent enjoying another cold brandy and coke back at the tent. I turned around and it took about a second for my eyes to adjust to the sun. As burnt out white slowly faded back into detail I saw a scene I had fantasized about so many times before (Unfortunately it wasn’t the one about a beach full of naked women). The forest stood about 5m up on a sand ridge, beautiful old milkwood trees rising from a green carpet of undergrowth with trunks of every shape and size. With the late afternoon sun right behind it and some spray in the air from the surf it looked like light pouring into an ancient cathedral of flora. The golden beams of sun light cut through the gaps in the canopy and seemed to snake around the branches in an explosion of warm light.

Flora Cathedral

I estimated that I had about 30 minutes before the sun would dip behind the dune ridge and my opportunity would be over. With a new skip in my step I headed towards the trees, walked through the narrow forest tunnel for about 100m and decided on the best bunch of trees. Thirty minutes later as the sun crested the inclined forest floor, the last rays retreated from the cathedral and I strolled back onto the beach. Sunset was still about an hour away, there wasn’t a cloud in the sky and I was confidently thirsty. After another few cold ones and a filling campfire dinner, I was in my tent falling asleep to the symphony of thriving nature and the satisfaction of having filled a hole in my photography portfolio.

Flora Cathedral

I awoke the next morning to the demonic sound of my blackberry’s alarm clock, still fast asleep and tired from the previous day’s long drive. I sat up, opened the tent’s door and peering  towards the sea through the branches of a wild fig I saw mushrooming cumulonimbus clouds with a pink pre-dawn glow. All of a sudden I was wide awake. In true wild coast style I required no more dressing than some shorts and a t-shirt and I was off to the river mouth. I didn’t exactly know what I was going to shoot, I just knew there was some rock shelves to the left of the mouth that I could work with. What I stumbled upon was absolutely awe-inspiring. Stretching out for some 500 meters lay what looked like an ancient Venetian piazza of black marble tiles carved by some godly mason. As if some tiles had been stolen, there were shallow depressions of every shape and size strewn about and every single corner on every rock is a perfect 90 degrees. Some were filled with water and looked like water ponds or baths set in the rock. Here or there were a ‘stolen tile’ lying on the floor and where the surf had broken away at the rock shelf it looked like a series of marble cascades in some modern water feature. It felt like I was walking on the streets of a civilization long lost to the waters of the Indian Ocean.

The unique rock formations

The mushrooming clouds I had seen were quite far off shore and as the sun rose they were still too small in an 18mm frame to make use of. They kept getting closer and in the hour after the sun had climbed above the horizon I got a few cool shots with the big stopper.

Some super ND magic

After some morning rain enjoyed below a gazebo with coffee and caramel rusks, the clouds made their way inland and the sun welcomed a perfect day that I spent on the beach with my cousins. Later that afternoon I set out about 2 hours before sunset to get a decent scope of the piazza. As with all such amazing places I was faced with that same problem… There’s so much to shoot that you just stand around looking in circles, completely undecided on what to put in your viewfinder. There was a decent cover of cirrus clouds with a caravan of billowing mushrooms just visible on the horizon. I managed a few good compositions and as the sun dipped the skies lit up in deep flaming oranges and reds.

Flaming Cirrus skies

The last pink on the clouds

Over the following few days I got to know the rocks better and somehow the light also seemed to improve every day. On the 3rd night the sky was alive with lightning that mellowed out towards the morning. Walking out onto the piazza at 3:45am on the morning of summer solstice I could see that the storm front didn’t reach far out to sea and there was a gap where the sun should rise = the ingredients for a flaming red dawn. The adrenaline started pumping as it got lighter and the first beam of intense pink light hit the bottom of the clouds, crawled higher and higher and then disappeared…and that was to be the best moment from what I thought would be a 10/10 sunrise. Nevertheless the skies were dark and moody and I got some good shots against a slight orange backlighting.

The sunrise that never reached it's full potential

The skies grew dark and moody as the sun climbed

The last night delivered a rare type of light that I had seen in other artist’s work, but never with my own eyes. Partial low cloud cover topped by partial high cloud cover which all converges towards the highlight of the sun. You can see the result below. It would have been perfect if I could have moved just slightly more to the left, but then I would have been swimming!

That magical combination of high and low clouds

As my memory cards filled up and my batteries drained I relaxed a bit with the shooting as I was after all on holiday. Looking back 4 weeks earlier when I was at Hole in the Wall which is just 80km to the north where I had 5 days of utterly horrible weather, my luck had somehow seemed to turn for the better. Despite similar rainy forecasts the skies at Dwesa were blue every single day and after 6 such days Dwesa had turned out to be just as enjoyable as the Msikaba river 2 years earlier. I was there exactly around summer solstice so the mornings were painfully early, but humid nights made it easier to get out of a tent. So if you can forget about the insects, humidity, Transkei roads and unpredictable weather then you’re in for a splendid time…whether you’re just going to sit around the fire and unwind with a cold one or if you’re going with batteries charged and memory cards formatted. As any outdoorsman knows, getting out there and roughing it makes one appreciate the luxuries that we are accustomed to. I think that in the same way, that absence of nature in our modern lives makes us appreciate the beauty out there more. The last bit left to appreciate which we haven’t desecrated through our ‘progress and development’.

Christmas eve rainbow at Jeffreys Bay

December 6, 2010

Hole in the Wall

Along the whole of the South African coastline there are three geographical wonders that stand out in the photographer’s mind. The first is of course Table Mountain, the second is the mountains of Kogelbay. The last one which is the most unique and remote is the Hole in the Wall. EsiKhaleni, as the Xhosa people call it, means ‘The place of Sound’. It has earned this name from the rumble caused by waves crashing on the inside of the hole. What used to be part of a coastal cliff is now a free standing rock spine with a tunnel carved through the middle. It is not only the Hole in the Wall itself that makes this location such a photographer’s paradise, but the surrounds. The Mpako River cuts through the foothills of the wild coast and forms its mouth around this cliff. On either bank of the river there are ancient indigenous forests, pebble beaches, sand beaches and dramatic rock shelves. With such a plethora of options to use as foregrounds to lead the eye to the dramatic feature at the centre of the image, one could spend weeks and still get something interestingly diverse every day.

C4 Images and Safaris 2011 Hole in the wall workshop – limited space available!

Kogelbay

Table Mountain

2nd morning

I had 5 nights booked there and it was to be my first visit to this iconic landscape. Over 5 nights I had a potential 10 shoots so I was confident that the results would be nothing short of stunning, but I was in for a surprise…

On the day of arrival I travelled from Kenton-on-sea, which meant about 350km to the turn off on the N2, which I reached at about 3pm in the afternoon. I had stopped at a friend in East London and he advised me of two things. The first one was that I was going at the completely wrong time of the year and the second one I was about to find out. I got to the N2 turn off at about 3pm and with only 70km between me and my destination I reckoned I would get there at 5pm and have plenty of time to shoot sunset. The first 20km was newly paved, unpainted road…but then I reached the infamous piece of road that everyone had warned me about. It was indeed as Marius had put it: ‘it’s not so much the potholes that are the problem, but the patches of paved road in between’.

First light with a crescent moon on the last morning

The average travelling speed for a distance of 40km is about 20-30km/h, lanes are an absolutely illogical concept and it’s a bit like driving an obstacle course. To add to the ‘fun’, I was driving in mist with less than 10m visibility. After about 90 minutes on that road I finally reached the coffee bay/HITW fork and I was greeted by a brand new road. That was again short lived because from there I had to take the turn off on to a dirt road to get to my destination. This road was certainly better than the pothole run, but it had two or three decent hills which had turned to mudslides with the rain…not very comforting when you don’t have a 4×4 vehicle. I did eventually reach my destination after a bit of uncomfortable fun in the mud. Only to discover yet another surprise. My accommodation was about 5-6km away from the actual HITW. I didn’t know if I could get there by foot on the oceanfront and I didn’t want to walk through all the Xhosa villages in dark.

The last color on the last morning as I scrambled about for compositions

The classic stock image of HITW

I couldn’t shoot the first sunrise because I didn’t know my way around, so I decided to enjoy a good night’s sleep and then do some decent composition exploration the following day. I got a Xhosa gillie to show me around and he led me on an ocean front path that took about 20 minutes to get to HITW. As I mentioned in the second paragraph, it is an absolute feast of perfect foregrounds. Composing images are a bit tricky though as HITW is hard to get on any sort of prominent third and tide levels play a large role. I spent about 4 hours exploring the options from the forests on the left all the way to the hills on the right before I felt that I had gotten a decent feel for the possibilities. The sunset was in no way worth shooting, but I was excited as I still had another seven twilight shoots ahead.

That evening's light was good...in the wrong direction!

The next morning was absolutely cloudless, but the color was good. Once the sun had risen a mist bank rolled in and it offered me an opportunity to get a decent high contrast long exposure image. The sunset that day was flat flat flat gray light, but I still had another 5 shoots left and morale was still high. The following morning I got an identical gray sunrise, but things cleared up to the afternoon and I had some fun with the cows who were catching a tan on the beach. I set off from my chalet towards HITW at about 5pm and I was very excited to see massive cumulonimbus clouds to the east, but they never got any closer and sunset was disappointing.

sunbathing cows

The storm clouds that never arrived in time for sunset

The weather forecast showed rain for the evening and following two days and indeed it arrived in the form of an impressive electrical storm later that night. Trying to capture it was pointless though as the rain made it impossible. The 2nd last day was again just flat and gray and I was considering leaving for the Drakensberg a day early, but I had already paid and decided to take a break from the early mornings.

I had absolutely no hopes for the next morning as the weather forecast predicted rain, but I set my alarm anyway to see if my luck hadn’t turned a bit. I got up at 3am and looked outside to see a crescent moon rising behind an impressive layer of high clouds and my heart jumped. I had some coffee and coco pops, the perfect way to start the day and I hit the foot path to HITW. I have no problem walking through the misty forests 2 hours before sunrise as long as I can keep flashes of classic Stephen King movies out of my mind, but I have extreme ranidaphobia. I HATE FROGS. The pathway was full of them in every available size, so I was walking the grassy footpath as I had driven the pothole endurance course. Despite my caution I stepped on a frog the size of my palm and as I did it jumped against my other leg, which resulted in a very high pitch yelp and a jump, but I survived the frog’s offensive to keep me from my destination and an excellent sunrise.

2nd morning after the fog had rolled in

I started shooting the cliffs to left of HITW and as the light peaked I stumbled about trying to get as much as possible instead of focusing on one composition. It’s not my preferred way of shooting, but I had to get results to take home and in retrospect I think it was the better choice. I left for the Drakensberg well rested, but slightly dissapointed.

The last morning as the light peaked. My vain attempt at getting some 3rds structure going

I’m not sure which point I got across, but my point is that it’s an amazing place and even with the worst of weather you can still get amazing results with little effort. I can’t wait to get back there and the next visit will be in May, when apparently the weather is at its best. Even if you’re not taking photos, it’s an amazing place just for relaxing and taking in nature. The forests, perfect beaches and eerie mist give it a unique atmosphere and I’ll definitely be going for a good 10 days next year. Safety is absolutely no issue and one can comfortably enjoy the surrounds at any time.

C4 Images and Safaris 2011 Hole in the wall workshop – limited space available!

The Corridor

October 19, 2010

Travel Time…

As the last clouds leave the Cape, the First billowing thunder heads roll on to the other parts of Southern Africa. This is my time to leave the prison cell that is my desk and head for freedom in the mountains, the deserts and on the coastline. New goals and new aspirations call for new material and that is exactly what I’m planning. I’m finally going to Hole in the Wall and the great Drakensberg. Two of South Africa’s most prominent landscapes that are not only missing from my portfolio, but that I have never seen with my own eyes.

Hopefully La Niña will deliver some of these!

I leave this Sunday the 24th on a 5 week trip that looks roughly as follows

  • 3 nights at the Storms River Mouth
  • 2 nights at Kenton on Sea
  • 5 nights at Hole in the wall
  • 2 nights at Giants Cup in the Drakensberg
  • 2 nights at Kamberg in the Drakensberg
  • 5 nights at Mahai in the Drakensberg
  • 1 night at Golden Gate
  • 6 nights of workshops in Bloemfontein and Pretoria… can’t be all play, no work
  • 5 nights at the Rhodes/Barkly mountains
  • Then it’s the December holidays including
    • 3 nights at the Barkly mountains…again :)
    • 5 nights at the Dwesa reserve on the wild coast
  • In late January I head off to the Blyde River Canyon for 4-6 nights
  • 4 nights at the Kgalagadi Transfrontier Park
  • 4 nights in Kokerboom kloof in the Richtersveld
  • 2 nights on the farm Kanaan in the Namib rand…remember in my Namib post I mentioned the book with the amazing images? All taken on Kanaan!
  • 2 nights at a lodge next to Wolwedans
  • 2 nights at Sossusvlei
  • 1 night at Augrabies
  • 2 nights rest in Pretoria
  • 6 nights Sehlabathebe in Lesotho

Wilderness night skies

(more…)

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