Big Cat Week

A lion’s tale: Reporting from the front lines of lion conservation.

Here’s something you probably didn’t know.

There are fewer wild lions remaining in the world than rhinos.

Yes, it’s true. For all the recent campaigns highlighting the plight of the rhino — and rightly so — one of the most iconic species known to humankind is on the brink.

That seems hard to believe, as the lion is the one animal somebody thinks of — and expects to see — when going to the zoo.

Numbers don’t lie however. Hardly anyone familiar with the impact of overpopulation and stresses on the environment in the post-industrial age will be surprised to learn that Africa’s lion population has crashed 90% in just the past 75 years.

It’s hard to quantify that figure in real terms, though.

A more telling number is that there are roughly 30,000 rhinos left in the wild, according to recent surveys. (These numbers are especially reliable today because recent media attention  over the illegal killing of rhinos for their horns has prompted a wide range of population surveys. Rhinos are relatively easy to count, too, as they can be spotted from the air, are diurnal and favour open spaces over dense bush.)

Lions, on the other hand, number some 20,000. Little more than a century ago, there were more than 200,000. Lions are extinct today in 26 African countries.

©National Geographic/Natural History Film Unit

©National Geographic/Natural History Film Unit

These figures come from wildlife biologist and National Geographic Emerging Explorer Thandiwe (Thandi) Mweetwa, but have been confirmed by any number of peer-reviewed scientific surveys. We tend to think there are more lions than there really are because they’re social animals. They live in large family groups, so when you see one lion in the wild, chances are you will see several of them together, whether it’s a male coalition, a lone lioness with newborn cubs, or a full-on pride. That gives the illusion that they’re plentiful, when in fact the evidence shows they’re anything but.

Mweetwa, Zambian-born and educated at the University of British Columbia in Vancouver (veterinary medicine) and University of Arizona in Tucson (resources conservation), is a senior wildlife biologist with the Zambian Carnivore Project.

When one thinks of African game parks, one naturally thinks of the Serengeti and Maasai Mara in East Africa, Kruger National Park in South Africa or even Etosha in Namibia, but Zambia is home to several of the less trammelled and most pristine wilderness areas on the entire continent.

2. Thandi NatGeo field image.png

Mweetwa is based in the Luangwa River Valley — South Luangwa National Park rests on one of the main tributaries to the Zambezi River, which feeds into Victoria Falls. Luangwa’s ecosystem is every bit as detailed and complex as anything in Serengeti, but the fact that there so few tourist visitors, relative to its more famous cousins in Kenya and Tanzania, makes Luangwa an ideal test lab for biological field studies.

Mweetwa was one of a handful of scientists, nature photographers and program producers who appeared at the semi-annual gathering of the TV Critics Association in Beverly Hills, Calif.this past summer  — I’m an active member, owing to my regular columns for the New Jersey-based site TVWorthWatching.com — to promote NatGeo Wild’s eighth annual Big Cat Week, designed to raise awareness of, and promote interest in, National Geographic’s self-explanatory Big Cat Initiative. Among its other programs, the Big Cat Initiative helps raise funds for big cat conservation; Mweetwa’s work is supported in part by a grant from National Geographic. 

Mweetwa was just 12 when she moved from a small town in southern Zambia to the rural north. Her parents had died within two years of each other; her uncle agreed to take her in, in her mother’s home village of Mfuwe in Zambia’s far north. She had seen wildlife documentaries on the tiny, 12-inch family TV set as a young child growing up in the south, but now she found herself living in a modest red-brick house with no running water or electricity, let alone a TV. She was exposed on a daily basis to the wildlife she had only seen in pictures, though, and it wasn’t long before she developed an interest in the ubiqitous baboons, vervet monkeys, bushbuck, buffalo and puku antelope that frequented the mango groves surrounding the village. That led to a growing curiosity about the shadowy predators one often hears about but rarely sees — the leopard, a creature of the night; African wild dogs, tireless hunters during the day; and, at the top of the food chain, the lion.

3. Thandiwe Mweeta quote.png

“It was the documentaries,” Mweetwa explained, when asked what first piqued her interest in lions. The irony that her field work is now supported by National Geographic’s network of international TV channels is not lost on her.

“We had a black-and-white TV set, and even then there was no colour,” she said. “But these animals just spoke to me at a certain level that I felt, okay, maybe I should do something to protexct them in the wild. With big cats in partitcular, I was completely sold well I saw my very first lion at the age of, possibly, 21 or 22, when I heard them roar, like, in broad daylight. It was nothing I had ever experienced before, and it completely sold me.”

Today, Mweetwa is a senior ecologist and community educator with the Zambian Carnivore Programme. Her work revolves around poplation dynamics and threwats to the survival of lions and other carnivores in eastern Zambia. She believes the key to any species’ survival is getting local communities involved and convincing area residents to support wildlife conservation and environmental awareness programs. 

Mweetwa’s work gained new attention this past week, thanks to her National Geographic video in which she shows that female lions in a pride often have cubs at the same time, to facilitate group parenting, in which a group of new mothers raise each other’s offspring alongisde their own cubs. 

The situation facing lions is serious, Mweetwa says.

(L-R) Steve Winter, Bob Poole, Thandiwe Mweetwa, Brad Bestelink and Andy Crawford. ©NatGeo Wild

(L-R) Steve Winter, Bob Poole, Thandiwe Mweetwa, Brad Bestelink and Andy Crawford. ©NatGeo Wild

Climate change is, marked by longer and more frequent dorughts, has led to significant human-wildlife conflict in Kenya and Tanzania especially, as livestock herders push their goats and cattle inside park boundaries, in an effort to find water and food, while hungry lions leave park boundaries and cause mayhem. In Zambia, where Mweetwa works, and throughout southern Africa, lions are being hunted for the bushmeat trade, and for ritual charms and would-be cures used in traditional medicine.

Mweetwa is mindful that relatively few travellers from the West will ever visit Africa’s wilderness areas, let alone see a lion in the wild.

That’s where National Geographic’s films and magazine come in. Fantastic beasts and where to find them, and all that.

“It’s important to show people really nice footage of these animals that will make them go, ‘Ohhh, this is really cool,’” Mweetwa explained. “A lot of times people have this  perception that these animals cause more problems than they actually do. It’s difficult living with lions, as you can imagine. But (where I live), there’s too much negative perception, lions being blamed for things they maybe didn’t do. So programming like Savage Kingdom, for instance, is very important in getting people to realize that these are magnificent beasts, and they’re worth keeping in the landscape.”

 

https://www.nationalgeographic.org/projects/big-cats-initiative/updates/


‘A great photo tells a story’ — veteran National Geographic photojournalist Steve Winter.

There are as many photographs as there are photographers with cameras and subjects to photograph, but one thing links them all, Steve Winter believes.

“My father used to say there are three things you need to have in a great photograph: composition, composition, composition,” Winter said, during a wide-ranging, sit-down conversation in Los Angeles this past summer.

The career National Geographic photographer and Wildlife Photographer of the Year 2017 finalist has a new photo essay in December’s National Geographic magazine, “Kingdom of the Jaguar,” with an article by writer Chip Brown, along with a new nature film, Jaguar vs. Croc, which Winter recorded in Brazil’s Pantanal region with cameraman Bertie Gregory. Jaguar vs. Croc will premiere on NatGeo Wild in the US and National Geographic channels around the world on Dec. 10, to kick off NatGeo’s eighth annual “Big Cat Week.”

©Steve Winter/National Geographic

©Steve Winter/National Geographic

“Like any art form, a photograph needs to connect emotionally with the viewer,” Winter explained. “Without that you have nothing.”

Winter wants to give viewers pause, with his own photos. For the past 26 years he has specialized in conservation photography, specifically big cats, a vocation that has seen him journey around the world, to grasslands, savannahs, rainforests, mountain peaks and arid deserts.

“Obviously, with a great photograph, you want your eye to move around the frame, but without that emotion there’s really nothing,” Winter continued. “As far as my work with big cats goes, I want something that also that makes you stop and go, ‘ah.’

“A lot of people look at some of my pictures and think they’re photoshopped. I love that. Because that means your brain had to a connect in a way that you actually had that thought, rather than just look at it and move on.”

©Steve Winter

©Steve Winter

Winter is fastidious about not using bait, or any other form of human interference that could affect the natural behaviour of the animal he’s trying to photograph. Working for National Geographic affords him that luxury, he says: He lives, breathes and sleeps in the field for months at a time, in pursuit of that elusive, all-important single image that tells a story that hasn’t been told before.

Arguably his most famous photograph, of a wild mountain lion living in Griffith Park the Hollywood Hills, in the heart of the Los Angeles metropolitan area, was taken with a camera trap. The cat, dubbed P-22 and fitted with a remote-control tracking collar by local field biologists, arguably became the most famous city-dwelling big cat on the planet, if only for a moment, owing to that one image.

©Steve Winter

©Steve Winter

Without camera traps, many of the world’s most elusive animals would never be captured in the wild, exhibiting natural behaviour. The world might not even know they exist. It’s good that people know such animals do exist, as habitat destruction is the single greatest threat facing them. The camera trap has done more to aid wildlife conservation efforts than perhaps any recent breakthrough in scientific technology.

“The Hollywood Cougar,” as Winter’s 2013 photo has come to be known, “looks fake,” he said, “but it’s not.

“I’ve never baited. We never do that. We spend so much trying to get that photograph that nobody’s ever seen — why would I waste my time or my assets or my anything baiting? That’s why I get two-and-a-half months to do an assignment.”

Winter’s recent work with jaguars involved old-fashioned sweating in the jungle and staking out jungle trails, finding and photographing big cats the old-fashioned way, but it was camera traps that shaped his earliest National Geographic  assignments.

“Camera traps changed the game for me because I opened my mouth and said that I would do snow leopards. In 1999 my editor sent an email out and it took me seven years to start the story, because I don’t like the cold. I had used camera traps on jaguars to fairly nominal effect, and that’s how I found the Pantanal. (One of the unintended success stories of my career is finding the Pantanal and it now being where everybody goes to see jaguars.)

©Steve Winter

©Steve Winter

“Camera traps changed the game for me because I said I’d do something that l could never have done without camera traps. To this day, every wild snow leopard picture that anybody gets is one of the  luckiest things they’ve gotten, and will ever get, and it all goes back to that.”

He came to jaguars for Jaguars vs. Croc honestly.

“I did the first ever jaguar story for the National Geographic. I did it partly for economic reasons. I was struggling to do stories other people hadn’t done because I wouldn’t get a ‘no.’ 

©Steve Winter

©Steve Winter

“I had a great interest in jaguars because my first ever animal encounter with a big cat was with a black jaguar, one night in Guatemala. It came up to my door at night because cats are curious. Scratched under the door, sniffed. Luckily the door was locked. 

“If anybody would have told me then my next story would be jaguars I would have told them they were crazy, because I didn’t know anything about them.

“Then I found out that National Geographic had never done a story on jaguars. My wife, who is the smarter of the two, said, ‘If Nat Geo has never done a story on the world’s third biggest cat, don’t you figure there must be a good reason why?’”

Adjusting back to civilization after a long time in the wild can pose its own challenges. Winter, just hours off a flight from Peru, was sitting in the lobby bar of the Beverly Hilton hotel in Beverly Hills, Calif., home to Hollywood royalty and a history that dates back to the silent movies, just a half-hour’s drive inland from Santa Monica and the Pacific Ocean.

“When I first started, I had a very difficult time coming home. Because you could go from the Pantanal, which was my second wildlife story since I was a photojournalist, and then be driving over the Pulaski Skyway through Newark and seeing Manhattan in the distance and going home, after being gone for two months. It was psychologically difficult. How I got through it is I call home twice a day and talk to my wife. In the beginning, it was satellite phones, because I had no choice.

“That’s 100% true. If I wasn’t connected, number one, I couldn’t do my job. Some people say, ‘Oh I don’t call home, because psychologically that’d screw me up.’ No. Because I have a psychological life outside of where I am doing these stories. That life is valuable to me. My family is valuable to me. I have a connection that I found was necessary.

“Now, after all these years, we’re still together, working together, and loving working together. I know a lot of people say, ‘Oh, I wouldn’t want to do that.’ Not me. I’m so lucky in many areas. I’m doing my life. I’m living my dream. And I get to work with my wife.”

©Steve Winter

©Steve Winter

When in public, Winter is often asked if he’s ever been in perilous situations photographing some of the world’s most dangerous predators, in their backyard. It’s not a foolish question exactly, Winter says, but there’s a simple answer.

“Close calls, I’ve had quite a few. The one thing you have to realize is that we’re not a part of any of these predators’ image search, haven’t been for millennia. The reason people fear sharks or big cats is because of a few individual circumstances, whether it’s Jaws, The Man-eaters of Tsavo, Jim Corbett’s tales of man-eating tigers and leopards — these individual tales have created this collective fear in us.

“But these animals have no desire to hunt us. Every situation that I’ve been in where I’ve been scared me to death, where I can’t breathe, has been through accidental circumstances. On my first jaguar story, I was following a cat who decided he was going to follow me, and I accidentally came within 12 feet from him. That’s how I got my opening picture. I couldn’t breathe, I was shaking so bad, I figured it’d be blurry. It wasn’t.

“Usually, for me, it’s coming into an animal’s territory when they don’t want you there. You live and learn. Everything’s a learning experience. One of the most important parts of my life has been making mistakes and or being in uncomfortable situations, and then doing a better job and acting differently the next time. You need to learn that in the natural world. Especially for a layman such as I was when I started out. My education was funded by the National Geographic, I like to say. I learned all about big cats from just doing.”

©Steve Winter

©Steve Winter

Winter is now active on the lecture circuit. Far from being a letdown after the excitement of being in the field, Winter says it has opened a whole new road in his life’s path. Holding an auditorium’s attention is a challenge in its own right.

“I start with a video, and then it’s a constant barrage. Well, not a barrage, exactly but I do try to show a lot of work in a short period of time. I make every effort to make it personal. I always used to say that if I wasn’t onstage, I’d be in the crowd. And as long as I think that way, then I can hold the crowd. Because that makes it personal.

©Steve Winter/National Geographic

©Steve Winter/National Geographic

“The most important aspect to me are the school lectures. Because I can hold people. I’m very proud of my NG Live [National Geographic Live] tour and selling out the Sydney Opera House for the first time in NG Live history, and all that. But to keep kids’ attention and then have teachers come up aghast, where they saying,‘You could’ve heard a pin drop. How did you do that? I know these kids. I’m their teacher; I can’t keep them quiet’ — that means everything to me. Sometimes you’ll have 2,500 kids, and that is a challenge. 

“One other thing I wanted to say. It’s my new career, and I love it more than anything than I’ve done recently — standing in front of a crowd and telling my stories. Because I don’t see people when they turn the page of the magazine. I don’t sit in their living room while they watch the television programs. But I can watch their faces as I‘m standing onstage,  and I absolutely love it.”

https://www.npr.org/sections/pictureshow/2010/08/05/128999515/steve-winter

9. S.Winter Apple caption.png

The images that force you to look away are often the most effective: National Geographic photographer Steve Winter.

It’s the images you don’t want to see — the ones that make you want to turn the page — that are most important to Steve Winter.

The career National Geographic photographer, a past recipient of the UK Natural History Museum’s Wildlife Photographer of the Year top honour — and a nominee again this past year, in the environmental awareness category — doesn’t see his role so much as inspiring a love for nature as galvanizing people to action. And as much as his photos of tiger moms playing with their cubs have moved a generation of National Geographic readers over his 35-year-plus career as a cameraman specializing in big cats in the wild, he sees his role now as warning the world that planet Earth’s remaining wild cats — all of them — are in serious trouble.

Winter’s pioneering work with jaguars in the jungles and riverine rainforests of Brazil — he was the first staff photographer in National Geographic history to do a photo essay for the magazine on the world’s third-largest and arguably most elusive big cat — is on full display in NatGeo’s December, 2017 issue, in an article headed “Kingdom of the Jaguar.” 

Winter didn’t want the article to be another photo essay on the natural history of South America’s most elusive jungle predator but rather a carefully researched treatise on the threats faced by jaguars in the wild, from development projects to poaching, and the effect the jaguar’s population crash is having on local indigenous culture and heritage.

©Steve Winter/National Geographic

©Steve Winter/National Geographic

In a wide-ranging, exclusive sit-down conversation this past summer in Los Angeles, Winter — fresh off a plane from Peru — explained that while he appreciates Sir David Attenborough’s assessment during a 60 Minutes interview that nobody wants to be told the world is going to hell and it’s all their fault, it’s time for all of us realize what’s happening behind the camera on all those pretty pictures.

“I believe you have to find a way to show the reality that these animals are living,” Winter said. “Because that narrow view of a mouse jumping around on a blade of grass that I just saw on Planet Earth II yesterday is just that — a narrow view of that animal’s world. But beyond that, the world could be different.”

As an example, Winter cited his photography of tigers in the wild, a lifelong project that has seen him visit most of India and Nepal’s major wildlife parks over a 30-year period.

“I’m doing tigers,” he recalled, “and I keep hearing about Tadoba, Tadoba, Tadoba. Taboba Tiger Reserve. So, I see pictures of Tadoba. And they’re regular old tiger pictures, nothing unusual. 

“Then, one day, I’m driving up to the park gate and I’m surrounded by the biggest coal mine I’ve ever seen in my life. Open pit. And at the edge of that coal mine is the beginning of this tiger reserve. Now that tiger reserve is under direct threat because of the coal mine — but I’ve never, ever seen a photograph of it.

©Dhiraj Singh/Greenpeace

©Dhiraj Singh/Greenpeace

“So I go in, take pictures, then we do a video for Nat Geo, and I go in again. No one questions me because I’m a westerner. I stand on top of a rise, wait for these giant trucks to come by with tires as big as this ceiling. 

“I feel that that’s important, because you have to understand that all the protected areas in India lie on top of these coal reserves and they have a new prime minister, Manmohan Singh Narendra Modi, who would like to go in and take that.

“Now if you don’t realize the extent of that, that if you walk back not that far from the border of the park you’d fall into one of the biggest mine pits I’ve ever seen — if you don’t know that exists — then you can’t put those two things together. This reserve is under threat, and that’s important because this is the stronghold, the foundation for all the other wild tigers on the face of the earth.

“By telling people about that, you’re not beating anybody over the head. You’re just showing people the reality of the situation. We have problems. We also have solutions. I’m one of the most positive guys on the face of the earth. But I do not believe that if I just showed you these pristine tiger families and their cubs, without telling you about the other issues, I’m not doing my job. The story that needs to be told about tigers is completely different than any story we’ve heard. That was a long answer, but, you know, it’s important that people know this. “

S.Winter Tigers-Forever book cover.jpg

Winter began his career as a traditional photojournalist, covering the world’s hot spots and recording the remains of vanishing cultures. He came to nature photography late in life; he estimates he didn’t see his first big cat in the wild until he was in his early 30s. Interestingly enough, given the subject matter of his photo essay for this month’s National Geographic, that cat turned out to be a jaguar. And a black jaguar at that, that scratched at his screen door late one night while he was overnighting in the rainforests of Guatemala.

It was a very different animal, though, in a very different part of the world, that made him realize the power of those disturbing photos that make you want to turn the page.

“The pictures you don’t want to look at are very important,” Winter said. “Those are the images that have done more in my career than any other. Because I saw how they propelled people to action.

“The best example I can think of, from early in my career, was when I did a story on the Kamchatka bears. We were invited by this outfitter to come to this hunting camp in Alaska. They were losing all these 14-, 15-foot bears. The guy knew why; I just don’t think he wanted to admit it. It was because they had a guaranteed hunt, which means nobody would leave without a dead bear. A bear trophy. Obviously, they were killing everything, including young females.

“I had a picture of all these skinned bears, the heads sitting in the snow, with bare teeth, skinned heads. It couldn’t have been more gross. The heads were getting ready to go into the hot springs, which would get all the dead meat off, leaving a perfectly clean skull, courtesy of mother nature. 

©Steve Winter

©Steve Winter

“Well, right off the bat, that project got a hundred grand. It turns out each hunting outfit was counting each bear three times. So they thought they had three times more bears than they actually had.

“I saw then that the pictures that make people want to turn the page actually brought about more change for that specific species than any of the pretty pictures that I could have gotten.”

Winter’s most famous image — by far — was of a wild mountain lion living literally in the Hollywood Hills, surrounded by a metropolitan area of some 10 million residents. Winter used a camera trap, a technique he pioneered decades earlier while doing a story on the elusive snow leopard in the mountains of Nepal. 

©Steve Winter/National Geographic

©Steve Winter/National Geographic

“The photo of the Hollywood cougar galvanized the people of LA,” Winter recalled. “The image on the front page of the LA Times excited people. It made them realize they live in such a huge metropolitan area, and yet there is actually a mountain lion in an eight-square-mile park.

“There were maybe only five people who’d truly ever seen that cat with their own eyes, and yet there are 10 million visitors a year to that park. That really woke people up.”

In a post later this week, Winter expounds on what makes a great photograph; on how camera traps changed the game, both for him personally and for conservation photography in general; on when he felt most awkward while on the job; on what it feels like to return to civilization after weeks and even months in the wilderness; on what National Geographic meant to him growing up as a small boy in rural Indiana, and what the society has brought to the world today; on the special challenges posed by jaguars; and why he now considers the lecture circuit to be his greatest calling.

©Steve Winter/Finalist, NHM Wildlife Photographer of the Year, 2017.

©Steve Winter/Finalist, NHM Wildlife Photographer of the Year, 2017.

“Pictures that you don’t want to look at sometimes have more power,“ Winters said in a 2014 promo reel for National Geographic. “I mean, beauty’s one thing. Heartbreak is another. Pictures that you just can’t stand looking at are the ones that maybe have the most power.”

Winter’s latest nature film, Jaguar vs. Croc, anchors National Geographic Channel’s “Big Cat Week,” premiering Dec. 10 at 9/8c.