Complete Namibia 2022 Tour Report #5 (Podcast 784)

Complete Namibia 2022 Tour Report #5 (Podcast 784)


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We pick up the trail in this fifth and final part of my Complete Namibia Tour report for 2022 as we made our way into the Etosha National Park on a day that we’d traverse the entire park from West to East, and shortly after entering the park we noticed this Spotted Hyaena having a morning stroll. It was difficult to catch him as he walked quickly through the park behind the trees, but I managed to grab a frame or two when he was in a good clearing. The sun was behind him, so the lighting not great, but the shadows slider in Capture One Pro helped me to bring out a lot of detail in the Hyaena, so I’m pretty happy with this.

Spotted Hyaena
Spotted Hyaena

A large part of what I teach on my workshops is the importance of keeping your eye on your exposure via the histogram, and this shot shows the importance of that better than most. I almost always expose to the right, which means that I am manually changing my exposure so that the brightest part of the image, represented by the right-most data on the histogram, always falls just before or even just touching the right shoulder of the histogram frame. For many reasons, this will generally give you the best image quality, but in this image, it was key to gaining a well exposed image while giving me enough information in the hyaena to bring out the shadow details.

If I had left it up to the camera, the scene would have been recorded in the middle of the histogram, and the hyaena would have been so dark that the details would not have been recoverable from the shadows. Even as I shot this at my adjusted exposure, the hyaena was almost completely black, in silhouette, but I trusted my process and got a shot I’m happy with.

Shortly after our encounter with the hyaena, we headed to a waterhole where we found some zebra taking a drink, and they had pretty nice reflections, resulting in this image. Zebra are always great subjects, but those dazzling stripes getting doubled up in the reflections make for a striking image, and the sun caught some of their eyes, giving me some lovely catchlights.

Zebra Reflections
Zebra Reflections

The following image is a little bitter-sweet for several reasons. At first, I was really happy to find a leopard out in the open. Until now, I’ve only seen leopards in Namibia obscured by thickets or foliage or for just a few seconds before they took cover again. This leopard was sitting under a tree with what we thought was probably a springbok he’d taken down. The first problem with this, though, was that it was the middle of the day, and he was very far away. That means that even though I could use a 2X extender on my RF 100-500mm lens for a focal length of 1000 millimeters, the shimmering of the air from the heat takes away most of the clarity in the subject. It looks OK-ish when you view the full-frame image, but when you zoom in on the leopard, the image quality just isn’t there.

The second problem you may just be able to make out is that this animal has the wire of a snare wrapped tightly around its upper jaw. You might be able to see that the skin on the snout is pinched downwards between the nose and the eye, and also, the upper lip is pulled up a centimeter or so. Although the leopard was trying to eat, I guess that the snare was so uncomfortable or painful that he was having trouble making a start on his meal. As soon as I returned to Tokyo a few days after this, I sent this photo with GPS coordinates and the name of the nearby waterhole to our travel partner for this tour, and they, in turn, passed this information on to one of the vets that work in the Etosha National Park, so that they could locate, anesthetize and then take the snare off of this beautiful animal. I haven’t heard anything back yet, but hopefully, it won’t take long before we can remove that snare and give this guy a normal life again.

Distressed Leopard
Distressed Leopard

I should add that I was not aware of the snare when I shot this image. I was trying to make the best of the situation, using the tree to augment the landscape and show the leopard in its environment. I only saw the snare later when I zoomed in to check the lack of detail in the leopard.

Many years ago I photographed a Secretary Bird at the Ueno Zoo here in Tokyo and was amazed at how beautiful it was, with its long eyelashes and pristine headdress. I was still working in my old day job and honestly didn’t, at the time, even dream that my efforts as a podcaster and blogger would lead me to become an international tour and workshop leader, so this next photo has a special place in my heart. We came across a Secretary Bird in the wild, strutting through the grasses in the Etosha National Park. At first, it was far away, and the clarity was low due to the mid-day heat haze. This time, our subject continued walking towards us, so I was able to get this beautifully clear shot at 500mm as the bird continued walking, looking for lizards and other small animals, even snakes, to prey upon.

The Secretary Bird
The Secretary Bird

These are magnificent birds, and I feel so humbled that the life I’ve been able to make for myself through the podcast has enabled me to build a working business model that enables me to travel to such wonderful places on what I truly believe are life-changing tours for the guests that are kind enough to travel with me. Not to mention life changing for me too.

A little later in the day, we were in for another treat as we spotted a white rhino heading towards a waterhole. I can’t recall seeing any white rhino wild in the park here, with our sighting usually restricted to the ones at the Ongava Lodge, so I’m hoping this indicates that the poachers are being kept out. The fact that these animals are no longer having their horns removed is also very encouraging and makes for much better photographs.

White Rhino in Etosha National Park
White Rhino in Etosha National Park

Again, I love the scene that this rhino is in with the beautiful tall yellow grass that simply could not grow for the few years before the pandemic struck due to the drought that lasted seven years, and ended finally with the rains that Namibia got in December and the start of this year. I used my 1.4X Extender on the 100-500mm lens for this shot, giving me a 700mm focal length. I haven’t called out the settings for all of my shots today, but generally, I am aiming to get a shutter speed of around 1/2000 of a second to freeze the motion should an animal be running around, and that requires an ISO of around 1600 at ƒ/11, or as in this case, ƒ/13 because I wanted slightly more depth of field to show the landscape in focus. Also, note that if you click on images on my website, you can see the shooting data in the light box surrounding the images if you are interested.

I was happy with this next photo of a Lilac-breasted Roller bird in flight, until I saw a shot from one of my guests with the wings spread and a beautiful angle showing the top of the bird. Now I’m not so impressed with my own shot, but it’s great to see my guests get incredible work, and it always helps me to stay on my toes as well.

Lilac-Breasted Roller In Flight
Lilac-Breasted Roller In Flight

Again, I’m so impressed with the Canon RF 100-500mm lens, including with Extenders fitted, as it handles really well, and the image quality is out of this world. Being able to get out to 700mm with the 1.4X Extender is amazing, and I’ve gotten used to the fact that you can’t zoom out completely when you have an Extender fitted.

We don’t always need very long focal lengths, though. This beautiful, proud African elephant is pretty much filling the frame at 300mm. If I’m not mistaken, this is the one that shortly after this did a dummy charge at our vehicle as it walked in front of us. He wasn’t comfortable with the distance. He was so close that I’d switched to my iPhone to get some video, which I’ll include in the slideshow that I’m going to put together to showcase the trip after posting this concluding episode of my trip report series.

A Proud African Elephant
A Proud African Elephant

Next, we have a Journey of Giraffes, also shot relatively wide at only 223mm. I cropped this down to a panorama to emphasize the width of the group. We can tell from the pattern in their fur that these are Angolan Giraffe, and I also heard that the darker colored giraffe are the older animals.

A Journey of Giraffes
A Journey of Giraffes

We also saw a lot of scuffles and fighting between the zebra near the waterholes. I’m guessing that this is because the rains have provided more food, and that probably has the female zebra thinking more about having young and that in turn is making the males more likely to fight to find their pecking order within their groups. I returned with lots of shots of the zebra fighting and kicking each other, but this is probably my favorite. However, it is a somewhat brutal attack on the middle zebra, as we can see from the white of his eye as he receives a particularly hard blow from both sides of his neck.

Feuding Zebras
Feuding Zebras

The fiftieth and final image of this five-part series is an attempt at a panning shot. We saw some giraffe that had been frightened by something and started running from the waterhole, so I selected a slow shutter speed of 1/80 of a second and tried to pan with the giraffe to make the background a little blurry. I succeeded to a degree, and feel that probably with this number of animals and the distance to them, this is probably about as much as I can expect to succeed at relatively easily. Next time I think I’ll try around a 1/50 or a 1/40 of a second, as I do for my panning bird shots. Even though the success rate will be lower, if I can pull it off, it will give very beautiful results.

A Fast Journey of Giraffes
A Fast Journey of Giraffes

OK, so that’s about it for the images. We traveled back to Windhoek the following day, and before we all flew home, the group was kind enough to record a few comments for us, which I’ll add into the audio at this point.

<< PLEASE LISTEN TO THE AUDIO TO FIND OUT WHAT PEOPLE SAID >>

They were a wonderful group. Such a pleasure to travel with, and listening to them all again there made me feel as though we were still in Namibia four weeks ago, and in many ways, I wish we were. Life goes on here in Tokyo, though. Having thought about this often over the past six months, I’ve taken up archery since returning. I have joined a local club and enjoying it immensely. I don’t know how it will play into my photography, other than the fact that it’s getting me out and is more physical exercise than I expected it to be, but that is great because I’ve already started to lose a few pounds, so hopefully, this is something that I’ll be able to continue.

As I mentioned a few times during this series of trip reports, I will now set about the task of creating a slideshow to showcase the trip and what can be achieved on my tour. I hope to be able to share that with you in another week or so, alongside some tips on using the latest version of Boinx Software’s FotoMagico.


Show Notes

Check out our tours here: https://mbp.ac/tours

Music by Martin Bailey


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Complete Namibia Tour 2018 Travelogue #5 (Podcast 625)

Complete Namibia Tour 2018 Travelogue #5 (Podcast 625)

This week we conclude our 2018 Complete Namibia Tour travelogue series, with our Wildlife Extravaganza in the Etosha National Park, literally completing the photography of the main photography genres that Namibia offers visitors.

When I put this epic trip together and called it the Complete Namibia Tour & Workshop, I was very conscious that I wanted to make Etosha a part of it, and I am so pleased that I made this decision. Without Etosha on the Itinerary, you generally leave Namibia with a feeling that you didn’t do her wildlife justice. The thing is, there is wildlife across most of Namibia, and we had some beautiful opportunities before getting to Etosha, but you never feel that you’ve really done Wildlife until you spend at least a few days in this beautiful national park.

As I mentioned last week, we actually start our Etosha experience in a lodge with a private reserve adjacent to the park. The animals actually come and go as they please to an extent because neither the owners of the reserve nor the Etosha wardens can keep the animals from breaking down segments of the fences. The great thing about the private reserve though is that the guides know the place and the animals like the back of their hands. I don’t want to play down the knowledge that our two main guides and drivers for the trip have. They know the entire country like the back of their hands, but when in a small reserve, its often a good idea to take the game drives that they offer, as they can be very productive. 

A Lion’s Fierce Yawn!

At the end of last week’s travelogue, I shared a photo of a lioness that I’d shot accidentally in 3D, and that was literally one of the first images that I shot as we started our first game drive with the lodge after lunch on our first day at Etosha. A few minutes later we came across a male lion lying in some beautiful long golden grass, as you can see in the first photo that I wanted to share for today (bel0w).

Fierce Yawn
Fierce Yawn

In my first few shots of this majestic young lion, he was just sitting in the grass. That’s great because it gives me a moment to check my exposure, but then as they often do, he rolled his head back and gave us a great big yawn! If you know lions you can probably tell it’s a yawn, but it also might look like an almighty roar. I love the detail in his mouth with those huge teeth and the rasps on his tongue. To focus I had been careful to not catch the blades of grass in front of the lion, as that would leave the main subject soft.

Back Button Focus

At some points, I think I manually tweaked the focus to ensure that he was sharp. Because I use the back button to focus after I’ve manually tweaked the focus, I can simply not press the back AF button again, and because I have also disabled auto-focus on the shutter button, the camera doesn’t try to focus again as I release the shutter. This is one of the most useful aspects of using back button focus. You can switch between manual and autofocus just by pressing or not pressing the AF button.

In fact, if you are in a continuous focus mode, AI Focus on a Canon camera, you also have access to continuous focus, by keeping your finger on the AF button, or One Shot focus, by pressing the AF button to focus then releasing it. It’s like having three focusing modes without changing anything on the camera. My other settings for this shot were ISO 1600, to get a shutter speed of 1/800 of a second at f/8, and I was using my Canon 100-400mm Mark II lens at 400 mm. 

Rich Dyson

We’ll briefly hear from the co-host that I invited to help me with this year’s tour in the recorded comments that I’ll play you later, but I wanted to quickly give a shout out to Rich Dyson before we move on. Rich lives in Edinburgh, Scottland, and I’d traveled with him before on my own tours. Rich impressed with his professionalism and knowledge of photography, so I asked him to help out on this trip. I want to mention this now for a couple of reasons, but I was reminded of Rich at this point because when I showed this photo to Rich, he said: “You know when you show people this someone will pull you up for the grasses over the lion’s face.”

My reply to this was not really repeatable here, but the sentiment behind it was that if you can only see the grasses in front of the lions face in a shot like this, then you really need to develop a better appreciation for the artistic side of photography over the technical. This wasn’t directed at Rich of course, but anyone that might say that. I’m thinking people at a camera club, who have to find something negative to say because they aren’t able to talk in a positive way, and I think there are way too many people like that out there.

Anyway, before that develops into a full-on rant, I wanted to add that Rich was really good at helping people in our group that was struggling with some of the more basic aspects of photography. I often tend to start at a higher level and need to see some glazed over eyes before I realize that I’m talking over someone’s head, but Rich does short courses starting from beginner level in Edinburgh and is really good at it. Of course, he can help advanced photographers too, so if you live in or can get to his neck of the woods, and want a bit of help with your photography, get in touch with Rich Dyson at richdysonphotography.com.

The Scowl

Literally, just moments after I shot the previous image, as the lion closed his mouth, I got this next image (below) which looks to me like a scowl now, again, not really like a big frightening yawn! There is still grass in front of his face. More now than before in fact, and yes, I notice it, but I think these two photographs go beyond that and guess what, this is the sort of environment that lions like to rest in.

The Scowl
The Scowl

I don’t usually post two images of the same subject, but I’ve been going back and forth between these two photos for the last few weeks, and I simply can’t decide which one I prefer, so I decided to share both of them. They are both cropped very slightly, maybe 7% of the width of the image, so at 50 megapixels, the detail is absolutely incredible. I’m looking forward to getting fully caught up on business so that I can have an afternoon printing some of these photos out and just pouring over them. Having said that, I also now export my images at full size to the Apple Photos application, and because I have the 4K Apple TV, I can view them on my 55-inch 4K television as well, and they are really powerful images to see at that size and with this amount of detail. My settings were, of course, the same as the previous photo. It was not even a full second later. The EXIF data shows them as being shot at exactly the same time.

A Whittling Struggle

At this point, talking out loud as I prepare to record this episode, I’m struggling to whittle down my final selection of images to talk about. I like to keep each episode to ten photos, and I currently still have 14 in my selection, and that was a struggle. I could have easily done more episodes on this wildlife section of the trip alone, but I think we should move on next week, so there are some difficult decisions to make. What I’m going to say for now is that I will also be updating my Namibia Portfolio, and will no doubt include some of the images that I have to cut from my selection here, so if you are interested in seeing the larger body of work, please check out my portfolio at https://mbp.ac/namibiaportfolio or by following the Portfolios link in the menu above.

Edge Case

So, still pained by the photo I’ve just deleted from my selection, let’s take a look at some shots from a visit to a waterhole in Etosha on our second day there. I’m always amazed at the variety of different species of animals that visit some of the waterholes in Etosha, but trying to show them all in a single photo often doesn’t work for me. Although I like to show animals in their environment, especially when the environment is a beautiful landscape, when that isn’t the case, or when there is too much noise, I prefer to get in close and show the subjects in more detail, with as few distractions as possible.

When there are hundreds of zebra at a waterhole though, it can be somewhat difficult to decide exactly where to place the edges of your frame, as was the case with this next image (below). Although I’ve cropped this image on the top and bottom making it a 16:9 aspect ratio, the side edges are exactly as I framed this in the camera, to kind of make a point.

Burchell's Zebra at Waterhole
Burchell’s Zebra at Waterhole

I’m relatively happy with the framing of this image, especially on the left side, but I will probably clone out the bit of a nose poking into the frame just below the young zebra’s head in the middle of the left edge. The right edge is more complicated, and although I considered cropping in to just after the nose of the head in the bottom right corner, because I slightly crop his eye, and there is another zebra just above him with only half a head, I actually found that the chaotic right edge looks better than the cleaner one that I created, with the temporary crop that I tried. I guess that comes from the feeling that there is a continuation of the herd. My settings for this were ISO 800 for a 1/800 of a second shutter speed at f/14, and a focal length of 400 mm.

Elephant Skinship

At the same waterhole, 30 minutes later, I shot this next image (below) of two elephants bonding by rubbing their trunks together. Again, I went in tight on the composition, to reduce the image to what I feel are its necessary elements. This means that I have some animals across the top of the frame that are cropped off, but I opened up my aperture to f/9 to stop them from being too in focus. They still bother me a little bit, but the main subjects hold my attention enough for the blurred animals at the top of the frame not to be too much of an issue. I kind of like the zebra in the center of the frame, although it does fight for attention a little.

Elephant Bonding
Elephant Bonding

I have gone back and forth on this and many of my images as to whether or not I convert them to black and white. I think I prefer the zebra shot earlier in black and white, but this morning I went back to color with this image, as I like the earthy warm tones. With landscape photography, I generally know when I shoot the image if I will convert it to black and white or not, but for me, it’s not so clear-cut when it comes to wildlife. I generally have to convert it and then live with the black and white image for a while before I can fully decide. My settings for this image were ISO 800 for a 1/2000 of a second at f/9 and a focal length of 400 mm. I went to 1/2000 of a second because the elephants were jumping around a fair bit and I didn’t want them to be blurred.

White Rhino

That afternoon, we went back out for a game drive with the guides from our lodge and were treated with some more amazing opportunities. They asked us what we’d like to see, so we requested White Rhinoceros, as we knew there were some in their reserve. Sure enough, after an hour or so driving around, we were presented with a group of seven White Rhinos! I got some shots of the entire group, but here is one of my favorites shots, showing one of the Rhino in great light, allowing us to see the amazing texture in its thick skin, and there is a second Rhino looking in from behind the first (below). 

White Rhinos
White Rhinos

Also, as the bushes and trees in the foreground added a nice oval frame to the image, I added a vignette in Capture One Pro, darkening down the edges by almost two stops, and that helps to draw our eyes to these magnificent creatures. It is of course really nice to get to photograph Rhinos that have not been dehorned in an attempt to prevent poaching. It turns out that a dehorned rhino still has half a horn that can be gouged out if you are an unscrupulous poacher, so that isn’t as effective as they’d hoped anyway. It was a real treat to see these animals though, in such numbers and with their young as well. My settings for this were ISO 1000 for a 1/1000 of a second at f/10, and only 148 mm, so you can tell how close we were to them.

Wide, Not White

Another thing to note is that these animals are called White Rhino based on a bit of a mistake, more than being related to their color. The White is a misunderstanding of the word “wide” which was used to describe the shape of their wide mouths. The White Rhino is a grazer, which eats grass and other low foliage from the ground. You can see how wide and square shaped their mouths are in the previous image. 

In the following image though (below) we see a Black Rhino from the following day in Etosha, and you can perhaps make out his much more triangular shaped pointed mouth. The black rhino is a browser rather than a grazer which means he uses his hooked lips to eat leaves, branches, and roots. As the naming is based on a misunderstanding, these two rhino are also now sometimes referred to as the square-lipped and hooked lipped rhinoceros. You maybe can’t tell from these two photos, but the White Rhino is also up to almost double the size of the Black Rhino.

Black Rhinoceros
Black Rhinoceros

I had no trouble deciding on whether to stay in color with these images. With the rhino being basically large living grey-cards, they really lend themselves to black and white photographs, especially when the surroundings aren’t adding much color-wise. I think the conversion really helps to see the texture in their skin too. I added just over a one-stop vignette to this image as well, for the same reason as the previous image. I’m actually thrilled that we were able to photograph the two types of rhinoceros in Etosha, both with their horns as well. I had shots of them from last year, but none with horns. Now, of course, I fully support any attempt to stop the poaching of animals in Africa, but these were very special photography opportunities, that I was very grateful for. My settings for this shot were ISO 800 for a 1/800 of a second shutter speed at f/11, and I had my 1.4X Extender fitted to my 100-400mm lens for a focal length of 560 mm.

A Journey of Giraffes

The next photo (below) is another image that I have decided to overlook an imperfection for the greater good. As we headed for our lodge for the second two nights we’d spend in Etosha, we stopped to photograph this “journey” of giraffes. I love that collective noun for giraffes on the move. A Journey! How cool is that!? The imperfection might not be obvious in the web-sized image, but as with the Oryx image I spoke about in episode 623, the heat is causing the air to shimmer like a mirage, so the giraffes are actually all wobbly. We can, of course, see exactly what they are, and depending on how you look at it, the shimmer might even add to the story by showing us that the air is hot.

A Journey of Giraffes
A Journey of Giraffes

I toyed with the idea of cropping this down to a 16:9 or even 2:1 aspect ratio, but the foreground isn’t distracting, and I placed the giraffes at the top of the frame to emphasise the fact that they were in the distance, as well as minimize the boring pale blue sky, so I think I’m going to leave this in the original 3:2 ratio crop, at least for my base copy. I may crop it for specific uses later, but that goes for all of my work really. My settings for this image were ISO 800 at a 1/1000 of a second, at f/11, and a focal length of 400 mm.

Elephant at Waterhole

I’m really quite happy with the next image (below) as I’ve been hoping for a shot of an elephant looking straight back at me from the waterhole for a number of years. I’m particularly happy that the waterhole looks relatively natural because from a few paces to the right of the frame here the concrete edge of the waterhole starts to become visible and doesn’t look nice at all. I would have liked to have a bit more of the elephant’s reflection in the water, but this waterhole is very narrow, so if I pulled back any more, you start to see the bank on this side. Still, I like the way the elephant’s ears are spread out a little, but that he’s not really in a defensive pose. 

Elephant at Waterhole
Elephant at Waterhole

I decided to convert this to black and white because I think it adds to the mood, and as with the rhino shots, it helps us to see the texture and detail in the skin of the elephant. I also think the shadows look better in black and white, and with the lack of color, I think we depend on the contrast between the shadows and the highlights a little more. My settings were ISO 800 for a 1/800 of a second at f/11, and a focal length of 271 mm. I have cropped in on this slightly in post.

Cheetah Family

The following day we heard from a few people and also checked the sighting log at a nearby park office, and there had been multiple sightings of both a family of cheetah and leopards in the same area. After looking around for a while, we figured that the leopard sighting was probably someone somehow mistaking the cheetah for a leopard, but we did indeed find the cheetah. In fact, despite us driving along the area of the sighting for a while, on our second pass, our driver and guide found the mother sitting on the edge of the salt basin so far away that literally no-one in the car would have thought it was any more than a stick or small bush. Surely enough though, I shot a photo of it at 400mm and zoomed in to 100% on my camera, and confirmed it was indeed a cheetah. In my photo, it was probably around 20 pixels tall.

We waited for a while, but she was obviously not going to come close enough for us to photograph her for a while, so we decided to go and get lunch, and hoped that she’d come back to the shade of the closer trees as the midday sun got the better of her. We also knew that she had to be hiding her cubs somewhere, and that may well have also been the shadow of the trees that we could see. This turned into a bit of a test of the group’s patience, as after lunch she did come a little closer to the road, and we started to see her with the three cubs that had been sighted, but we weren’t really able to get any great shots for a number of hours. We voted, in our car, and a little bit of persuasion on my part led to my group staying, and the second vehicle went off to try and find something else to shoot.

Personally, I’m pleased we stayed, because there were a few beautiful shots for the making shortly before 4 pm, as the cheetah family became a little active, as you can see in this photo (below). We can see the mother looking out vigilantly for any possible predators that might threaten her cubs, but also here we can see all three of the cubs up and about, with one of them catching some nice light on his face as he leans against the low bow of the tree. There were very few moments when all three cubs were visible like this, along with the mother, so I’m really pleased to have been able to shoot this.

Cheetah with Cubs
Cheetah with Cubs

The other thing that I really like about this shot is that it’s also a relatively nice landscape image, with the golden foliage and camelthorn trees, and the plain in the distance just visible through the trees. At 400 mm there was also an element of luck, as this image is clear of the shimmer that we sometimes see from the heat, but a few of my other images of these cheetahs were a bit wobbly from the heat, so I was really relieved to see that this one was fine. My settings were ISO 1600 for a shutter speed of 1/2500 of a second at f/8. I was set at a high shutter speed because the mother was also obviously hungry, and there were springbok in the area, so I wanted to be ready if she gave chase. 

One of the great things about photographing in Etosha is that people are very open with their sighting information. They will sometimes stop and ask us what we’ve seen, but quite often if someone has seen something cool, they’ll just stop as they drive past and let us know. After we’d got what I believe were the best shots to be made of the cheetah, with of course the risk of missing a chase for a Springbok, a car stopped and told us that there were some elephants at the waterhole 10 minutes down the road from where we were, so we decided to go and check that out.

Dust Bath

When we got there, the elephants were moving away from the waterhole, but one had stopped, and with one foot up on a rock or dirt mound, was picking up dust in his trunk and throwing it up onto his back, having a dust bath (below). With the sun behind the elephant, it was almost a silhouette shot until I opened up the shadows in post, but that also gave me some great backlight for the dust, highlighting against the side of the elephant, so I was happy with the camera angle.

Elephant Dust Bath
Elephant Dust Bath

We can also see a few springbok on the plain in the background, and that distant shimmer, a telling sign that we’re in Africa, even though it was towards the end of the day in the middle of the Namibian winter. It’s actually a really comfortable time to visit, as it gets hot, but not uncomfortably hot, and the mornings and evenings are actually quite cold, so we generally don’t have any problems sleeping etc. Anyway, my settings for this image were ISO 800 for a 1/1600 of a second exposure at f/11, and a focal length of 400 mm.

Our Galactic Core

OK, so that’s our ten photos Etosha National Park wildlife photos, but I wanted to share one last bonus image that I shot on our last night in the park before heading back to Windhoek to fly home. One of the great things about being in the desert is when there is no moon, the Milky Way looks spectacular. Before I went to bed, I decided to shoot a few frames of the sky, and although I shot some wide angle images with my 11-24mm f/4 lens, with the lights of the lodges at the base of the frame, I actually much prefer this image, shot with my new Canon 85mm f/1.4 lens, to just singled out a small portion of the Milky Way (below).

Milky Way Galactic Core
Milky Way Galactic Core

The f/1.4 lens is actually so bright with its wide aperture, that you can see the stars through the viewfinder, which is nice, as I have only ever done astrophotography with f/2.8 and f/4 lenses in the past, and especially at f/4, you just can’t do that. I took a few shots as I refined my framing, to show this portion of the Milky Way, and having checked on the NASA website after getting home, it seems that I had actually framed up the center of our galaxy, the Galactic Core, where there is a supermassive black hole called Sagittarius A-star, just slightly below and left of the center in this image.

The 500 Rule

Because I was able to see the points of the stars, I was able to focus manually until they were sharp, and I simply decreased my shutter speed over a few frames until I got to 5 seconds, which was the point where I could see that the stars were almost perfectly round, instead of being elongated by the rotation of the earth. Although I’ve heard of the 500 Rule I have to admit that I didn’t really know what it was, until I spoke about the photo the following day with a member of the group who is into astrophotography, and I learned that to get the shutter speed for an image of the stars without them becoming elongated, you simply divide 500 by your focal length. Some people use 600, but 500 divided by 85, my focal length, is 5.88 seconds, and because I’d actually seen a little bit more elongation of the stars at 6 seconds, I was happy that I’d used 5, and that the calculation gave me confirmation that I was pretty much spot on. 

Participants’ Comments

As I mentioned, the following day is really a drive back to Windhoek, where we spend one more night, before everyone flies home, so that really brings us to the end of this travelogue series. As usual, though, no trip would be complete without doing a roundtable with my digital recorder, to get a brief comment from each member of the group, which I have embedded into the audio and you can listen with the player at the top of this post.

As I mentioned at the start of this travelogue series, this really was a great group, and it’s lovely to hear their comments again now, just over four weeks after the tour finished. Of course, I’m fortunate that I have been able to travel with hundreds of really nice people over the eleven years that I’ve been running my tours now, but it’s not often that everyone gets along quite as well as this group did. It’s not just me, but really, everyone seemed to click beautifully, making it a pleasure to travel with these people.

Complete Namibia Tour 2019

If you might be interested in joining the 2019 tour from June 2 to 18, please check out the tour page at mbp.ac/namibia. It really is an amazing tour, so give it some thought and I look forward to getting a chance to travel with you in this beautiful land.

Complete Namibia Tour & Workshop 2019

Show Notes

Check out the 2019 (or future) Namibia tour here: https://mbp.ac/namibia

Visit Rich Dyson’s website here: http://richdysonphotography.com

Music by Martin Bailey


Audio

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Download this Podcast in MP3 format (Audio Only).

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Namibia 2013 Travelogue Part 4 (Podcast 375)

Namibia 2013 Travelogue Part 4 (Podcast 375)

Continuing our travelogue style account of my recent trip to Namibia, I’ve selected the next ten favorites to take a look at today, and I’ll include a little background and my thought process while shooting. We pick up the trail on the morning of May 17, at the Himba village, that we started to look at photos from last week.

To give you an idea of where the Himba village is, let’s start by taking another look at the map that I included in part one of this series.

Namibia Trip Map

Namibia Trip Map

We started our journey in Winhoek, where you can see the number 35 in the middle of Namibia, and worked our way southward over the first couple of days, and then as we traced our route through part two and three, we’ve gradually worked our way up the country.

The flamingos were where it says 148 about half way up the country on the coast, and then we continued north, with the shipwreck shot where it says 96, and that was also where we shot the seals, that we didn’t look at. Where you can see the number 20, was an old abandoned oil rig, which I got a couple of nice long exposure shots of, and then the 1625 and 861 was were we started to shoot lots of wildlife that we were looking at last week. Otgendunda, is the name of the Himba village that we visited, and this is the furthest north that we went, and you can see it here where it says 228 on this map.

We looked at one shot of some of the Himba children before we finished last week, and I want to look at a couple more shots today too, but I’d like to start today by giving you just a little bit of information on the incredible culture of these proud people.

Festus, our guide, gave us a talk on the Himba people over dinner the night before we visited, to prepare us. I had thought the Himba people were nomadic, but they are only semi-nomadic, sometimes spending time away from their homestead to find good grazing ground for their goats and cattle.

The homestead is surrounded by a fence made of tree branches and sticks, and inside is a circular corral. This corral we were told is where the ancestors remains are buried, but also where the livestock are kept. In the Himba belief system, the livestock are closely links to their ancestors in the corral. There is also a circle of stones about 10 meters from the front of the corral with an ancestral fire that is kept burning by the fire-keeper. We were told that under no circumstances should we walk between the fire and the corral entrance. When we asked what the punishment for doing this is, we were told, “just don’t walk across that line”.

Young Himba Man

Young Himba Man

The Himba women wear their hair in two plaits and the men wear one plait, as we can just about see in this first photo of a young Himba man. We had many of the subjects sit in the door of their huts, as the light was way too harsh outside for flattering or artistic photos. I shot this with the 24-70mm f/2.8 lens, with an aperture of f/3.5 for 1/60 of a second, at ISO 400. I used a wide aperture because I wanted the focus clearly on the face but the rest of the man’s body is slightly soft.

I also reduced the blacks slider in Lightroom to -40 for this shot, because I wanted to plug up the dark background a little more. Here we can only really see the center pillar of the hut, but without this modification, there is just a little more clutter inside that didn’t really help the shot.

That was after we’d had them move a few water containers etc. as well. They were incredibly accommodating, and even broke into a smile for us every so often. I found the best photos were when they weren’t smiling though. Although they have beautiful smiles, there initial pose is always with a very serious, almost sullen look, so most of the photos I chose were with this look.

I was kind of surprised to see the Himba wearing plastic beads, but after our few hours of photography, when they broke out their craft market, we’d see that they use all sorts of modern material in their crafts, as well as traditional material. I guess for me this just reinforced how well these people are holding on to their rich culture.

They are surrounded by and exposed to western culture and materials all the time, but they choose to maintain their own values and way of life, which I applaud. On a very different scale, this is actually one of the things I like so much about Japan. They have taken on many western ideas and values, and yet you still see lots of tradition everywhere, on a daily basis, and this makes life a richer, fuller experience in my opinion.

Uapahongua - Young Himba Woman

Uapahongua – Young Himba Woman

This next photo of Uapahongua, a young Himba woman, was shot in the same doorway as the young man we just looked at. I think they were brother and sister, but I’m not sure. Another interesting factoid from Festus is that the Himba are not monogamous. The men will often marry up multiple wives. The guy that was helping with our visit and spoke really good English introduced us to his three wives.

What I though was even more interesting, is that, in Festus’ words, “affairs are tolerated”, so families can include brothers and sisters from multiple mothers, and although this usually centers around one father, because affairs are tolerated, there is no saying that he is actually the father of all the siblings.

We also heard were that most marriage partners are decided by the Uncle of the children. There are virtually no marriages where the couple choose each other. It’s always the uncle that decides.

Again, I shot this photo with the 24-70mm f/2.8 lens at f/5.6 at ISO 800, for a 1/60 of a second. I chose a deeper depth of field for this photo so that we can see better detail in all the decoration that the woman wear, honestly. Apparently the shell that the women wear means that they are eligible for or actually married.

The orange color on their skin is because they grind ochre stones and mix the powder with a type of butter fat, and smear that on their skin. This is both to protect the skin from the harsh sun, and for cosmetic reasons. From the decorations to the extensions in their hair, which as you can see here is also covered in ochre clay, the Himba women are very particular about how they look. After every photo Uapahongua here would ask to see the back of the camera, and then nod with approval if she liked what she saw.

We also heard that the Himba never bathe, which is pretty incredible when you consider the heat in which they live. The women actually sit in smoke huts, and smoke themselves as a way to keep clean. When we set off from their homestead, we actually two women with a child each about 10 kilometers down the road, to a place where they would travel in another direction to a hospital, as the children were sick. It was quite a surreal experience to be sitting in a safari vehicle with two Himba women and children on board, but I have to say, despite them not bathing, they actually smelled pretty good. The mixture of the butter fat and the smoky smell gave them an earthy aroma that was in no way displeasing.

We had lunch under a tree at the side of an almost dried up river on this day, and then spent the afternoon tracking lions that we would not find. The following morning, as we left the lodge and pulled onto the large gravel road running through the area, something large darted across the road in the car lights, and Festus our trusty guide, immediately recognized it as a cheetah. When Festus saw something like this he was incredibly gutsy with his off-roading. Within seconds we were being tossed around as we navigated the basalt boulders strewn evenly across all terrain in this area that had not been cleared as a road.

It was still dark, but the car lights provided enough light for us to be able to make out a mother cheetah and her three almost full grown cubs. I started with my ISO set at 25600, and was able to get a few shots. If that was all I got, I’d have missed the opportunity, because it was still way too dark, even with the ISO cranked up that high. The image was being recorded on the left side of the histogram, which meant it was grainy as hell. Even at 25600 though, as the light got up, the grain became much less of a problem, and the images would have been usable, again, if that is all that I got.

By the time I shot this image though, the light had increased to the point where I could drop my ISO down a stop to 12800, and I was now exposing to the right, so the amount of grain recorded was very manageable. Apart from adding +40 on the Clarity slider in Lightroom, this shot is straight out of the camera. We see one of the cubs sitting in front of a euphorbia bush, looking quite relaxed. This was shot with the 300mm f/2.8 lens with a 2X Extender fitted, giving me 600mm.

Relaxed Cheetah

Relaxed Cheetah

The aperture was set to f/6.3, so stopped down just a third from wide open, and the shutter speed was 1/125 of a second. We had raised the roof panel of the safari vehicle and were resting on the roof for stabilization. I had a bean bag with me, but no-one actually filled them. The vehicles were fine to just rest the lenses on our hands, and we weren’t doing enough wildlife work to make this tiring or uncomfortable.

This next shot was just a few minutes later. I called it “Stalking Cheetah” but that’s really just artistic license. The only thing this cheetah was stalking was it’s brother or sister. The sun was coming up, and I’d changed my settings to f/5.6 for 1/160 of a second, which is basically the same exposure value, but a little hazy cloud had covered the sun, so I increased the exposure of this by 0.1 in Lighroom. Because I was still over the right on the histogram though, this shot is still very acceptable on the grain front, and I like the pose, so I was happy to be able to include it in my selection.

Stalking Cheetah

Stalking Cheetah

We watched the cubs playing, and although I got more shots, these were probably my favorites. I will probably end up picking something else out later though, as I revisit my images in another six months or so, to see what I missed.

Mukaandora - Himba Girl

Mukaandora – Himba Girl

We were out tracking lions and elephants again, and the cheetahs were a lucky bonus. Once they’d headed off down the valley, we pulled back out onto the main road, and literally within a few more minutes, a leopard darted across the road in front of us, but this time he was too illusive. We saw where he went, but we weren’t able to find him again.

As we started heading back to the lodge for breakfast, we saw a small hut on a hill, with some Himba women sitting outside, so we decided to go and see if we could photograph them. Festus negotiated with them so that we could do so. Whether you agree with this or not, the thing to do apparently is to just pay them. The village we visited the previous day were paid a small amount, and given food provisions for their time. This group got fifty Namibian dollars, which is about $5 US. We photographed them all, for about 40 minutes, and after a while I set up this shot of a young girl named Mukaandora, looking out across her land.

I like this because it shows the decorative hair extensions, and the pelt that the the Himba women wear, almost like a skirt, but just at the back. Mukaandora did not have a shell on her chest, as she was too young to be eligible for marriage. They told us she was only 10 years old, but we reckon they’d lost count somewhere along the way.

An interesting experience here was that as we were leaving, one of the women started to complain about something. I asked Festus what the problem was, and he told me that she had not been part of the original negotiation, and wanted paying for having her photo taken. I hadn’t even taken her photo, but asked how much would be appropriate, and Festus told me $20 Namibian would be plenty, so I gave her a $20 note. This is like $2 US, so not a big deal for me, but the look on her face changed instantly. She snapped the note out between her two hands, clapped with it on her palm a few times, then started clapping at having received the money. I don’t think as tourists we should spoil the locals with large sums of money, and this is why we agreed at the start of the trip that all of these kind of negotiations would go through the guides, Festus and Jeremiah. They don’t want to spoil their people any more than we do, so I was happy with the amount, and if I can make someone that happy with $2, I’m happy too.

Later this day, we drove about 50k south, to our next lodge, on the rim of the Etendeka Plateau looking out across the Klip River Valley. In the afternoon we went out for a game drive around the basalt rock strewn plateau, but the main reason we were here was to track black rhino the following day.

After descending the steep road from the lodge down into the valley, we were immediately faced with three magnificent elephants. The foreground foliage actually made it difficult to get a nice shot, but here’s one that I quite like, of a large bull. This is the only elephant shot that I didn’t feel compelled to convert into sepia, because I quite like the sandy tones  here, and the greens don’t get in the way too much.

African Elephant

African Elephant

This was shot with the 70-200mm f/2.8 lens with the 2X Extender, wide open at f/5.6 for 1/500 of a second at ISO 400. While shooting this, there was actually another elephant much closer to our right, but the foliage was really spoiling the shot.

As we stopped for lunch in the shade of a large tree again, three boys sped past on their Damara Ferrari. This was the tour leader Jeremy Woodhouse’s term for the carts that we saw quite often here, that were made of old car axels, and pulled usually by donkeys. Damara was the name of the area that we were in. Earlier in the trip they’d been Kalahari Ferraris.

After lunch, we caught them up, and asked them to wait as we set up a little further down the road to photograph them from the front as they rode past. This is one of my resulting photographs. We also shot some of them speeding down a hill a little further along, but one of our local guides decided that it would be dangerous for them to do that alone, and jumped on the cart with them to help them steer, which kind of spoiled the shot. It was a better action shot, but I think I prefer this one, with the boy in the center smiling broadly as they head towards us.

Three Boys on Damara Ferrari

Three Boys on Their Damara Ferrari

For this I stopped down to f/8 to get a deeper depth of field, and selected a shutter speed of 1/125 of a second, at ISO 125. The boys aren’t quite in the depth of field here, as I focused on the donkeys, but they’re sharp enough to make this photo work I think. I’d prefer them to be a little soft than get too much of the background in focus, so I’m happy with the decision to go with f/8 for this shot.

We’d spend the entire day, literally around 10 hours of driving on the incredibly bumpy basalt tracks, and although it was enjoyable, we almost didn’t see any black rhino at all, but then, way past the time were were supposed to be back at the lodge, the guides from the lodge climbed a hill, and located two black rhino down-wind of us. The rhino apparently have terrible eyesight, but a very good sense of smell, and because we were down-wind, once they’d smelled us, they ran out of the valley where they were, further down into the valley, and we were able to get a few quick shots as they passed us on the other side of the valley wall.

Two Black Rhino

Two Black Rhino

I did opt for a sepia toned image here again, as the color was getting in the way, but this is more of a trophy shot that something I’m really happy with. Again shot with the 70-200 with the 2X Extender, at f/8 for 1/250 of a second at ISO 400. I actually wished I’d gone to ISO 800 for a faster shutter speed because these guys were moving pretty fast, but the movement was adequately frozen, so I got away with it. I also of course wished I’d taken my 300mm lens, but we’d been told to bring just one lens, as there wouldn’t be room for more, though that turned out not to be true. I could have placed a second lens on the seat next to me, so I was kicking myself for not just bringing it, but there’s no use crying over spilt milk as they say.

After the rhino, we started to head out of the reserve, but we were still a good way from camp. Almost an hour and a half later, still driving out of the reserve, we came across the same heard of elephants we’d seen on our way in, and they were still eating very close to where we’d seen them in the morning. I’d love to finish with this shot today, but to keep the images in chronological order, here’s one of my favorite shots of an elephant’s ass.

Elephant's Ass

Elephant’s Ass

The light was dropping, so I increased the ISO to 1600 for this, at f/5.6 for 1/200 of a second. I converted to this sepia tone in Nik Software’s Silver Efex Pro, and added just a touch of additional structure on the elephant to accentuate the wrinkles in the skin, which I think is a wonderful feature of these magnificent animals. It might not be that obvious to shoot a butt shot like this, but I think they’re really effective, and I actually prefer this to this next shot, of an elephant from the side.

Elephant's Curly Trunk

Elephant’s Curly Trunk

I like this because of the shape of the trunk as the elephant fed, and I’d included a bit more of the environment here. I ended up not choosing an even wide shot that I took of these, with some sky in as well, as I’ve switch around again to prefer these more intimate images, but I do like to have the surrounding in like this. Here by the way, I’d increased the ISO again to 2000, still at f/5.6 for 1/200 of a second.

The day after this, we would have another long drive to a place called Okonjima, where we’d shoot cheetah and leopard for the last few days of the tour. this is where you can see the number 995 on the map, just above the capital of Windhoek, where it says 35, right there in the middle of Namibia. I’ve selected 10 more photos from those last few days though, so we’ll conclude this travelogue series with one last episode, number five, next week. Remember that if you would like to see all of the images that I selected from this trip, you can see them on my Portfolios page here https://martinbaileyphotography.com/portfolio/namibia/.


Show Notes

Martin’s 100 Impressions of Namibia: https://martinbaileyphotography.com/portfolio/namibia/

Music used with kind permission from the staff of the Kulala Desert Lodge.


Audio

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