endangered species

‘The sheer size of what we were looking at took our breath away.’ Now for the hard part — keeping it that way.

Hearing of that super-colony of Antarctic penguins spotted from space, I immediately thought about The Lost World.

Not the part about how Sir Arthur Conan Doyle’s band of Victorian explorers discovered a lost world of dinosaurs and early humans hidden on a towering mountain plateau in the jungles of Venezuela, but rather the part about how, having stumbled over a find of extraordinary and rare beauty, they weighed whether or not to tell the outside world.

Late last week, the journal Scientific Reports announced the discovery of a previously unknown “super-colony” of Adélie penguins in the east Antarctic peninsular.

The find was dramatic, the “how” somewhat less so.

The colony numbers more than 1.5 million birds, a sizeable number by any reckoning, but especially in the facts-challenged world of 2018.

The penguins were spotted living among and around a rocky archipelago in east Antarctica known as the Danger Islands — aptly named, as it turns out — after gargantuan  patches of their guano appeared in images taken by the US Landsat satellite.

This was one satellite picture of the polar regions that wasn’t all about the melting ice cap. For that reason alone, it immediately caused a stir.

©Pixabay/CCO Creative Commons

©Pixabay/CCO Creative Commons

Researchers used a computer algorithm to scan images for signs of possible penguin activity. The scientists were genuinely surprised by the scale of their find, as University of Oxford researcher and science team-member Dr. Tom Hart told BBC News.

“It’s a classic case of finding something where no one really looked,” Hart told BBC. “The Danger Islands are hard to reach, so people didn’t really try that hard.”

As Heather Lynch, a researcher with Stony Brook University in Long Island, New York, told BBC.

“The sheer size of what we were looking at took our breath away,” she said. “We thought, ‘Wow, if what we’re seeing is true, these are going to be some of the largest Adélie penguin colonies in the world, and it’s going to be well worth our while sending in an expedition to count them properly.’”

©Pixabay/CCO Creative Commons

©Pixabay/CCO Creative Commons

Knowing how many penguins there are is one thing.

Ensuring their survival for future generations — future generations of people, as well as penguins — is another entirely.

The discovery will only truly mean something if a long-proposed marine protected area is signed into international law, a super-protected area, if you will, for the super-colony of penguins, and other Antarctic species.

It’s a big deal because, continent-wide, Adélie penguin populations have fallen by more than 65% in just the past 25 years, according to some estimates.

Just in the last seven years, thousands of chicks died in an unexplained mass die-off of chicks and stillbirths in the west Antarctic peninsular.

Some conservationists are concerned that the discovery will lead people to think that the Antarctic isn’t in so much trouble, after all.

To most people’s minds, endangered animals are either endangered or they aren’t. Mid- and long-term factors like habitat loss caused by climate change, which manifests itself in the form of warmer, more acidic waters, loss of sea ice and mass die-offs of krill, plankton and other micro-organisms that underpin the entire ecosystem, are harder to weigh in the mind than waking up one morning to learn that all the penguins have suddenly disappeared.

The Danger Islands lie in an area of the Weddell Sea that has yet to feel the effects of climate change the way other parts of Antarctica have.

©Pixabay/CCO Creative Commons

©Pixabay/CCO Creative Commons

That doesn’t mean the Adélie penguins, all 1.5 million of them, are out of danger, though.

As conservation writer Lucy Siegle noted this past weekend in the UK Sunday Observer,  “Enthusiasm for this (discovery) needs to translate into a legally enforceable marine protected area, so that the penguins, left undisturbed for 60 years, remain that way.”

It was Einstein, after all, who said that whoever is careless with the truth in small matters cannot be trusted with important matters.

 

https://news.nationalgeographic.com/2018/03/adelie-penguins-colonies-discovered-antarctica-environment/

 

https://www.theguardian.com/environment/2017/oct/12/penguin-catastrophe-leads-to-demands-for-protection-in-east-antarctica


A passion for nature: The brave new world of conservation photography.

“Can a photograph change the world?” has become, “Can a photograph save the planet?”

More and more, nature and wildlife photographers prefer to label themselves as conservation photographers, in part to reflect the perilous state of the environment today, and in part because the word “conservation” suggests a bigger scale and broader reach.

“Conservation” sounds more important, somehow, though old-school nature photographers will argue that nature itself is the reason conservation matters. Nature, after all, provides the foundation on which conservation is built.

Voting has now closed for the People’s Choice Award in the 54th Annual Wildlife Photographer of the Year Awards, or WPOTY 54 in the photography community argot. Last year’s winners in all categories are on display at the Natural History Museum in London until May 28th; if past history holds, this year’s winners will be announced in October.

In a somewhat controversial decision — controversial to the outside world, that is, as the jury vote was unanimous, a first in the 50-year history of the WPOTY awards — the grand prize went to Getty Images photojournalist Brent Stirton for his gripping, tragic image of a slaughtered rhino. 

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Stirton’s background is hard news, not wildlife per se. After decades of covering conflict zones throughout his home continent of Africa — he cut his teeth photographing the anti-apartheid struggle in his native South Africa, before moving on to cover that country’s devastating HIV/AIDS crisis —  he says he had an epiphany 10 years ago, in 2017, after photographing DRC (Democratic Republic of Congo) park rangers dragging a dead mountain gorilla out of the Virunga National Park rainforest, using makeshift ropes and heavy wooden beams. 

Stirton had just enough time to take three frames before he had to leave, because, as he told The Guardian in Oct., 2015, “The army were looking for me.”

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Stirton vowed then and there to become a lifelong crusader for the environment, using what he knows best to document the plight of endangered species, ecosystems and vanishing cultures throughout the developing world.

The People’s Choice award, by definition, is a vote by the people, and all that that implies.

It’s unlikely a picture of a dead rhino with its horn unceremoniously sawed off with a chainsaw would make the final cut for the People’s Choice Award, even if the finalists were chosen by a judging panel first and then submitted to the general public for a vote.

Even so, it’s hard not to look at the finalists’ images — a handful of which appear below — and not view them through the prism of what’s happening right now in the world’s few remaining wild places. It’s tough to see an image of a mother polar bear huddling over her newborn cubs and not realize that, within 20 years, polar bears may vanish entirely, owing to the catastrophic — and accelerating — ice melt in the northern polar regions.

Big cats often make for dramatic photographs, but again it’s hard to see a picture of a tiger today and not be reminded  that it was the apex predators — the sabre-toothed cat, a remnant of the Pleistocene epoch for some 42 million years before dying out just 11,000 years ago, or the “super croc,” Sarcosuchus, an early ancestor of the crocodile, some 12 metres (39 feet) in length — that perished in the end, leaving their legacy to their smaller, more adaptable successors.

The difference now, of course, is that much of what’s happening is caused by human hands, and humans alone have the power to make a difference. Conservation photography is part of that.

This is not new. In 1864, Abraham Lincoln was famously so moved by Carleton Watkins’ stereographic illuminations of Yosemite, on the other side of the American continent, that he signed into law a bill declaring Yosemite Valley to be inviolable. Theodore Roosevelt enacted further protections in 1908, at the urging of his naturalist friend John Muir, founder of the Sierra Club. Yosemite played a key role in Woodrow Wilson establishing the U.S. National Park Service in 1916.

Carleton Watkins, "View from Inspiration Point," 1879, ©Princeton University Art Museum

Carleton Watkins, "View from Inspiration Point," 1879, ©Princeton University Art Museum

Today, photographers who document the beauty and wonder of the natural world have an added responsibility — wanted or not — to shine a new, white-hot light on the crisis facing the planet today, whether it’s something as simple and life-affirming as a sloth hanging out in the rainforests of Brazil, or as complex and hard-to-take as the bloodied hand of a poacher handling an elephant tusk in Central Africa.

Both have a story to tell. They are different, and yet tragically connected. It’s good that people know that.


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THIS JUST IN — Jo-Anne McArthur's "Pikin and Appolinaire" has been declared the People's Choice. Word broke late last night from the UK.

A strong image from a strong field, and well-deserving of the recognition. The conservation message is profound, no?

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‘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

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The Photo Ark: critically endangered species’ last stand?

Joel Sartore, born June 16, 1962 in Ponca City, Oklahoma near the Arkansas River, is a 20-year contributor to National Geographic magazine. 

Arguably, though, none of his projects — not his 1993 story on the trail of ruin left by Hurricane Andrew, not his 2003 story on B.C.’s embattled Clayoquot Sound, not even his self-explanatory 2009 story “Vanishing Amphibians” — can hold a candle to the substance, scope and potential significance of the Photo Ark, an A-to-Z portrait record of critically endangered species that are still with us. 

©National Geographic, Joel Sartore

©National Geographic, Joel Sartore

 

Since October, 2013 Sartore has labouriously tracked down living specimens of critically endangered animals — sadly, nearly all of them in zoos, aviaries and botanical gardens — and photographed them the way Annie Liebovitz might, in solo poses, against a plain backdrop that forces the eye to focus on the subject and nothing else.

© Joel Sartore

© Joel Sartore

Sartore’s passion for nature was kindled when he was a child, when he learned about the last passenger pigeon from one of his parent’s Time-Life photography books. Last year, he had a brief cameo in the film Racing Extinction, photographing the last known Rabb’s fringe-limbed tree frog (Ecnomiohcyla rabborum) at the Atlanta Botanical Grounds in January, 2013.

That frog, which Sartore dubbed “Toughie,” has since passed away. It was the last of its kind.

Over a lifelong career in journalism and nature photography, Sartore has contributed to Audobon Magazine, GEO, Sports Illutsrated, Newsweek, and, bringing his life’s calling full circle, Time-Life, but it’s his National Geographic work that has made his name.

And it’s the Photo Ark, for all the right reasons — and wrong reasons — that will stand the test of time. “No matter its size, each animal is treated with the same amount of respect and affection,” Sartore explains on the National Geographic Society’s main web site. “The results are portraits that that are not just stunningly beautiful, but also intimate and moving.”

Sartore’s efforts have seemed especially relevant in recent days with the discovery — and concerns — that snow leopards and common leopards have been found sharing the same territory for the first time, owing to pressures from climate change and human expansion. 

In North America, red foxes are now commonly seen in territories previously occupied by Arctic foxes. Rival predators don’t get along: They compete for food and so invariably the less adaptive of the two dies out. By definition, that favours the invasive species, not the endemic species. It’s an invasion that snow leopards, like Arctic foxes, may not be able to stop.

© Joel Sartore

© Joel Sartore

The snow leopard report was followed just hours later by a New York Times story that suggests most of the world’s remaining primates are threatened by extinction in the wild, according to a recent scientific study by 31 primatoglosists that, like the Photo Ark, is unprecedented in its scope.

“The typical nature photograph shows a butterfly on a pretty flower,” Sartore has said. “The conservation photograph shows the same thing, but with a bulldozer coming at it in the background.”

Sartore made that comment to conservation writer Jaymi Heimbuch on the Mother Nature Network’s web site (www.mnn.com) in 2014, in a story headed, “How One Photographer’s Foolishness is Saving Endangered Wildlife.”

The world could use a little more foolishness like that.

 

http://www.nationalgeographic.org/projects/photo-ark/