Best recent black-and-white bird-photographs

Transcription

1 Best recent black-and-white bird-photographs In recent years, it has become clear that most bird-photographers work in colour, and, as a consequence, the number submitting prints for consideration for this feature has fallen. There still remains a number of aficionados, however, who enjoy working in the medium and are attracted by the total control over their work that they can obtain by carrying out their own processing of the film, and then printing their own enlargements. There is, too, considerable aesthetic satisfaction to be obtained from the tones and degrees of contrast obtainable in black-and-white work, and in the manipulation of these to achieve the photographer's desired result. As will be seen from the following, we have again been able to make an interesting and varied selection of black-and-white bird-photographs for this thirty-second annual display. There may be fewer workers in the medium, but the quality of the prints which they produce is well up to the standard of previous years. The work of five photographers is represented: Harold Grenfell and Tony Hamblin have both had four prints selected, and there are three examples of Tony Bond's work, two of Dr Kevin Carlson's and one of Mike Weston's. From the two extremes, Mike Weston's work appeared for the first time only last year, while Kevin Carlson is represented for the nineteenth occasion. As our readers will know, we try other factors being equal to add further bird species that have not previously featured in this series. This year we are able to include no fewer than five 'new' species: Spoonbill Plataka leucorodia, Mallard Anas platyrhynchos, Gadwall A. strepera, Lapwing Vanellus vanellus and Sandwich Tern Sterna sandvicensis. The first photograph (plate 208) is of one of these new species: two Spoonbills at the nest. The off-duty bird is preening, a task that should be awkward with that long, spatulate bill, but which is in fact carried out with great dexterity. This photograph represents quite an achievement by the photographer, Kevin Carlson, who installed the hide in 2 m of water. The end of summer is epitomised by the next photograph (plate 209), which Harold Grenfell took by stalking, using a monopod to support his camera. The result is an attractive and instructive group of Sandwich Terns: four adults with a juvenile for comparison. The preoccupation of the terns with preening or simply just roosting and their obvious lack of concern at the presence of the photographer displays all that is best in this type of bird-photography. Kevin Carlson's Linnet Carduelis cannabina (plate 210) was photographed from a hide, but, since the bird is not carrying food, we guess that the hide was set up for wait-and-see work, perhaps close to water. This can be an exciting and rewarding form of bird-photography, and we commend the method to other photographers. Waders, too, lend themselves to wait-and-see photography. Tony Hamblin's Little Ringed Plover Charadrins dubius (plate 211), taken in [Brit. BirdsBi: , October 1991] 405

2 406 Best recent black-and-white bird-photographs Menorca, Spain, is another attractive example of the genre, the shells providing an indication of the very small size of this wader. We like Mike Weston's Woodpigeon Columba palumbus (plate 212), because the bird in the photograph seemed so typical of the species: cautious and wary, taking great care to ensure that it is safe for it to venture beyond the pear tree in which it is perched. Fulmars Fulmarus glacialis are not difficult to photograph, providing you can get a good view of their nesting ledge, but Tony Bond's shot (plate 213) is a particular delight, the birds allopreening, pigeon-like. An added attraction of the photograph is the flower heads of thrift Armeria maritima, just in the frame at the top of the picture. Another striking photograph is provided by Tony Hamblin's Lapwing (plate 214): a female, feeding in calm water, with one of the most striking reflections that we can remember seeing. The circular ripple adds an ephemeral touch to what might otherwise almost be a still-life pose. Two wildfowl follow, both the work of Tony Bond. We much admired the Whooper Swan Cygnus cygnus (plate 215); it is all too easy to burn out the feather detail on white birds, but Tony has retained this, while at the same time providing action in the form of ripples and a dribble of water from the bill as the bird raises its head after a bout of feeding. The pair of Gadwalls (plate 216) is most attractive, particularly the drake, whose vermiculated flanks show the considerable detail that Tony has managed to achieve in this shot. We also enjoyed Harold Grenfell's Mallard (plate 217), another photograph which is improved so much by the reflection. This is another result of Harold's wait-and-see hide work, other examples of which we have shown in the past. A similarly watery photograph, with yet another engaging reflection, is provided by Tony Hamblin's bathing female Sparrowhawk Accipiter nisus (plate 218). Though many raptors bathe regularly, they are not often photographed doing so. There are many birdphotographers who will envy Tony this well-composed shot. In July, adult Greenshanks Tringa nebularia reappear in southern Britain as they move southward towards their wintering grounds. At this time of the year, their plumage is worn, and, as a consequence, they look considerably darker than the juveniles that will follow two or three weeks later. One of these adults has been well caught by Harold Grenfell (plate 219) at his wait-and-see hide; this type of shot makes the sometimes interminable waits of this type of photography well worthwhile. Wait-and-see photography at wetland localities often results in Blackheaded Gulls Larus ridibundus appearing in front of the hide; this juvenile (plate 220) was particularly obliging for Harold Grenfell, paddling vigorously to maintain its position against the falling tide in an estuary stream whilst it fed from the water surface. In recent years, a number of photographers have exploited the ability of wide-angle lenses to show birds in their habitat. We particularly liked the example, by Tony Hamblin, showing a winter Great Spotted Woodpecker Dendrocopos major in a woodland area (plate 221), taken using remote control with a 28-mm lens.

3 208. Spoonbills Plataka leucorocha, Portugal, May 1990 (Kevin Carbon) (Nikon FE; 300mm Nikkor; Ilford FP4) 209. Sandwich Terns Sterna sandvkensis, Dorset, September 1990 (Harold E. GrenfeU) (Nikon; 300mm Nikkor with 1.4X converter; Ilford XP1)

4 210. Linnet Carduelis cannabirm, Portugal, June 1990 (Kevin Cor&on) (Nikon FE2; 600mm Novoflex- Ilford FP4) 211. Little Ringed Plover Charadrms dubius, Menorca, May 1990 (Tony HambHn) (Canon T90-500mm Canon; Ilford XP1) -^ _

5 212. Woodpigeon Columba palumbus, Netherlands, August 1990 (Mike Wfoton)(Canon A-l; 600mm Canon; Ilford XP1) 213. Fulmars Fulmarus glacialis, Islay, June 1990 (Tony Bond)(Canon A-l; 500mm Canon; Ilford XP2)

6 214. Female Lapwing VcmeUus vanellus, Derbyshire, May 1990 (Tony Hamblm)(Canon T90; 500mm Canon with 1.4X converter; Ilford XP1)

7 215. Whooper Swan Cygnus cygnus, Lancashire, January 1990 (Tony Bond)(Canon A-l; 500mm Canon- Ilford FP4) 216. Pair of Gadwalls Anas strepera, Norfolk, May 1990 (Tony Bond)(Canon A-l; 500mm Canon- Ilford FP4 )

8 217. Mallard Anas platyrhynchos, West Glamorgan, August 1989 (Harold E. Grenfell)(Nikon; 300mm Nikkor; Ilford XP1) 218. Female Sparrowhawk Accipiter nisus bathing, Warwickshire, July 1989 (Tony Hambliri) (Canon T90; 500mm Canon; Ilford XP1)

9 219. Adult Greenshank Tringa nebularia, West Glamorgan, July 1990 (Harold E. Grenfell) (Nikon; 300mm Nikkor; Ilford XP1) 220. Juvenile Black-headed Gull Larus ridibundus, West Glamorgan, August 1989 (Harold E. Grenfell) (Nikon; 300mm Nikkor; Ilford XP1)

10 221. Great Spotted Woodpecker Dendncopos major, Warwickshire, March 1988 (Tony Hamblin) (Olympus OM2n; 24mm Zuiko; Ilford XP1)

11 Best recent black-and-white bird-photographs 415 We look forward to selecting next year's photographs, and hope that there will be a nucleus of black-and-white bird-photography enthusiasts who will let us pick examples from their recent work. We also take this opportunity to remind photographers of the need to respect the provisions of the Wildlife and Countryside Act (1981) when attempting nest-photography. R. J. CHANDLER, J. T. R. SHARROCK and DON SMITH