The art of shooting wildlife

From classical ‘safari’ style photos that bring drama on a big scale, to atmospheric artistic black and white studies and colourful conceptual pieces, this exhibition has rightly earned itself a popular following as an internationally renowned exhibition bringing together some of the best wildlife photography of the last year. I really only became aware of its existence last year and sadly, that attention was due to infamy. In 2009 there was scandal; shortly after José Luis Rodriguez’s ‘Storybook Wolf’ was announced as the overall winner of the prestigious award, gossip began circulating that not all was as it seemed. Following thorough investigations it emerged that, contrary to what Rodriguez had portrayed in his submitted caption, his photo was not a chance encounter with a wild wolf, capturing distinct natural behaviour. Instead, he effectively cheated by using a tame wolf trained to perform for the camera. For the first time in 46 years, there was a blank space on the exhibition wall as the photograph was removed and Rodriquez’ title revoked.

This year captive animals were banned from the competition altogether. As was Rodriguez, incidentally. Harsh. But strict enforcement of such rules is essential to this exhibition and its purpose. In an age when every image we see is manipulated to such a degree that we question what, if anything present, constitutes reality; it’s refreshing to look upon photographs that capture the very concept of magnificence of the untouched. Wildlife is, after all, most incredible without our interference.

When I visited, it was clear that that message of conservation is at the heart of the exhibition. But I was pleased that they managed to put their point across in a way that doesn’t overwhelm what remains a celebration of the stunning work on display. There are specific categories whose photos plainly aim to illustrate the current destruction of wildlife worldwide (including the newly introduced ‘Photojournalist’ award, whose winner this year reported on animal cruelty in Asia), however in general the point is made in a more positive way; by showing us how much we have, it implies how much we have to lose.

However what impressed me most was the dedication the entrants possessed. Beneath every photograph is a list of the equipment used to take the shot, one or two sentences about the creature or its habitat and a caption written by the entrant. It was whilst reading these captions (some authored by 10yr olds entering the children’s category, which was, gallingly, no less impressive in standard) that I realised the photographs on display were not really the product of any expensive or elaborate equipment but, more truthfully, the product of endless patience in often inhospitable conditions, all for the chance of that one magical shot. You will undoubtedly agree, if you take time to visit the exhibition, the end result confirms that their perseverance to wait for that real, truly wild animal is absolutely worth it.