The Orphans of Reteti.
Namunyak Conservancy, Kenya, 2020.  
20% of sales in aid of Reteti Elephant Sanctuary.
The idea of this image came to life while enjoying a sundowner on Borana with Michael Dyer (Managing Director, Borana Conservancy) one evening. After discussing the crazy dream of an idea, I couldn't sleep thinking about how this would even be possible to pull off or how I would even get access to make such a photograph. I thank Michael Dyer and Ian Craig (NRT, Director of Conservation) immensely for their introduction to the delightful community at Reteti.

Reteti Elephant Sanctuary is the first community-owned and run elephant sanctuary in Africa. It was an honour to partner with them for this shoot, and I thank them dearly for their patients in the months of planning it took to make this a reality. The sanctuary rescues orphaned, abandoned, injured, and trapped baby elephants. After being safely rescued, the journey back to the wilderness in which they were found begins immediately. Over a roughly three-year period, they will learn all the necessary survival skills and become strong enough to venture freely once again.

I interpret the rock painting by the talented street artist Mantra as a symbol of remembrance for the orphaned elephants' lost parents. Thanks to the dedicated community at Reteti, these orphans now have a second chance in life.

The elephant depicted on the rock was a well-known individual to the local community, and many members visit the rock to remember him. Mantra painted him using a photograph taken by the fantastic NatGeo photographer, Ami Vitale.

The logistics required to make this moment happen were not straightforward, and in fact, none of the elephants had ever been to the rock, as it is located a few kilometres from the sanctuary making this a first for all involved. The orphans are on a strict feeding schedule; therefore, we timed the journey to the rock so that the feeding would take place on arrival allowing a 20-minute window before the elephants would have to return in time for the next feed.

Of course, there was no guarantee the elephants would face the correct direction or line up beautifully as I had imagined in my dreams. This truth hit home on the first attempt as a few of the elephants walked straight towards me and others walked out of the frame before any composition had presented itself. We got very close to a perfect shot on one occasion, but one elephant was turned sideways, blocking the face of another elephant, ruining the composition. For our final attempt, Yusuf (Head Keeper) came up with an idea. We collected some acacia seeds (a favourite treat for the elephants) and spread them out in a line so that all 14 elephants could eat simultaneously. They formed a line and thankfully chose to face me and not the rock creating an opportunity that lasted for less than 1 minute. The moment I took this frame remains one of my most treasured memories of all.

Moments later, we celebrated all together by eating honey collected by one of the keepers from a nearby tree. I will always treasure the moments I shared with the community at Reteti, and I recommend all to visit, if ever in Kenya. It is a project where the elephants benefit the community as much as the community helps the elephants.

This rock has historically been a hideout for elephant poachers, and today it is a place where community members, elders, visitors, and now orphaned elephants gather. It is a powerful message of what we are all capable of changing if we put our minds to it. These orphans are happy, eating at a place previously associated with poachers. I wish each of them the best of luck, and I hope to cross paths with them again in the future, back in the wild.
Platinum - 30”x44.83” (unframed) Platinum Palladium. Edition of 1.
X Large -  58”x86.68” (unframed) Archival Pigment Print. Edition of 3.
Large – 48”x71.73” (unframed) Silver Gelatin. Edition of 6.
Standard – 38”x56.79” (unframed) Silver Gelatin. Edition of 6.
Medium - 28”x41.84" (unframed) Archival Pigment. Edition of 8.
Small - 18”x26.90” (unframed) Archival Pigment. Edition of 8.
Lethal Looks.
Maasai Mara, Kenya, 2020.  
20% of sales in aid of The Mara Elephant Project.
 If looks alone could kill.

I was immediately drawn to this lioness. She is one of the most beautiful lionesses I have ever seen, so I felt it should be the critical component of the image, with no need to include anything else. Cloudless mornings can often be a challenge, but it played a role in the success of this image as it allows for a strong instant connection.

She is the loyal female to arguably, the most famous lion in the world, Scar. Scar is thought to have lived for more than 15 years and be the oldest lion in the Maasai Mara. Over his years, he and his brothers have dominated two prides in the reserve, including the most famous of all, the Marsh Pride, which featured in BBC films. He has also survived a spear wound from a Maasai Warrior and received his defining facial injury while expanding his territories in 2011.

It is only fitting for such a powerful lion to have a lioness in her prime by his side. It is as if Scar's story has become most interesting towards the end of his life. Scar, although severely injured, continues to be protected by his entire pride from menacing hyenas and other intruding male lions. As well as being protected, he is the first to eat even though he is unable to hunt himself. It was surreal to spend time with a limping lion that commanded such respect from all around him. It is nothing but remarkable in the world of lions that he has been cared for in such a way which is a testament to what an incredible individual he is.

I captured the frame using a remote camera which poses complications with wild lions. I have found they either pay the camera no attention or decide they want it for themselves. Unfortunately, it is more often than not the latter that results in the best images. For this reason, I use a customised protective box and make my attempts early in the morning when lions are most active. Then, it's just a matter of time before they get bored, and I can retrieve the camera to see what was captured. On this occasion, it was a success.
Platinum - 30”x40.82” (unframed) Platinum Palladium. Edition of 1.
X Large -  58”x78.95” (unframed) Archival Pigment Print. Edition of 3.
Large – 48”x65.34” (unframed) Silver Gelatin. Edition of 6.
Standard – 38”x51.73” (unframed) Silver Gelatin. Edition of 6.
Medium - 28”x38.11" (unframed) Archival Pigment. Edition of 8.
Small - 18”x24.50” (unframed) Archival Pigment. Edition of 8.
The Queen of Tsavo.
Tsavo, Kenya, 2021.  
20% of sales in aid of Tsavo Trust.
 I can never do anything to prepare myself for coming face to face with a Big Tusker elephant. Each time, it is as if it were the first. I am left in total shock and am instantly teleported to times long ago where sights like this were more common. Never have I encountered any animal or human that commands instant silence and such an amount of respect from all around. Yet, today there are fewer than 25 across the entire African continent. Once prized by hunters as trophies, today prized by poachers for overseas markets. They are on the brink of existence. 
The first time I met Dida was in 2017, and I remember Richard (Founder & CEO, Tsavo Trust) telling me every time he sees her, he believes it will be his last. At the beginning of 2021, she ventured away from her herd, which matriarchs do when they feel their time has come. Another giant cow tusker named Mudanda did precisely this before she died in 2017, and so the Tsavo Trust were worried that Dida’s days were almost over. Following some favourable rains, she is remarkably still with us and reunited with her herd looking in better condition. This granted me the opportunity to photograph her again four years later, something I could never have imagined. Dida is one of the oldest matriarchs in Africa, at close to 60 years old. She has guided her herd for decades across a landscape the size of Switzerland. I cannot begin to imagine the knowledge she holds or the stories she could tell of periods of extreme poaching and immense droughts.
In April, I partnered with the Tsavo Trust and spent a week with a monitoring team following her every move. Tsavo can be a tricky location to photograph, with much of the landscape covered in thick bush. Waterholes can sometimes offer opportunities if you can get into position before the elephants arrive to drink. Without the Tsavo Trust’s knowledge, this portrait would not exist.
To me, Dida represents hope and the resilience of nature when given a chance to thrive. It is remarkable that creatures not so different from mammoths still exist in 2021 despite our best efforts over generations. My sincere appreciation and thanks go to the Tsavo Trust for their years of dedication to keeping these last Big Tuskers alive in the wild. Today, they monitor over 30 “up and coming” emerging tuskers that will become the Big Tuskers of tomorrow. With continued efforts, we may witness a time where there are more tuskers in Africa than there are today.
Platinum - 30”x40.48” (unframed) Platinum Palladium. Edition of 1.
X Large - 58”x78.27” (unframed) Archival Pigment Print. Edition of 3.
Large – 48”x64.77” (unframed) Silver Gelatin. Edition of 6.
Standard – 38”x51.28” (unframed) Silver Gelatin. Edition of 6.
Medium - 28”x37.78 (unframed) Archival Pigment. Edition of 8.
Small - 18”x24.29” (unframed) Archival Pigment. Edition of 8.
The Huntress of Namiri.
Serengeti, Tanzania, 2021.  
20% of sales in aid of The Serengeti Cheetah Project.
Eastern Serengeti is a vast expanse of open plains and is one of the few remaining strongholds for cheetah. Namiri is an area that was closed to tourism for two decades to rebuild numbers and conduct vital research for identifying why this most elegant of cats is on a quiet road to extinction. Today, Africa is home to only 7,100 individuals. They have disappeared from over 90% of their historical ranges as competition for land continues to rise. Cheetahs are perhaps the least adaptive to shrinking habitats of the big cats because larger predators put them and their cubs at significant risk. The Serengeti Cheetah Project found that in the past, cheetahs positioned themselves in further off regions in ecosystems, away from concentrated game where lion and hyena dominate. They also found that only 5% of cheetah cubs survive their first two years, and this figure is decreasing because they are forced into areas with greater competition due to human encroachment on habitat.
Over the week in Serengeti, we encountered 19 different cheetahs, but this brief moment is perhaps my fondest memory of all. We found this female cheetah on the hunt, searching for her next target. However, the moments in nature with an element of calmness and silence are what I search for. At the time, it feels as if time has been paused, with nothing else existing but me and the subject. At this very moment, I am totally connected and can make the image. These few and far between moments pass by in a matter of seconds, but to me, they feel like minutes that stay with me forever as memories and in photographs. Termite mounds are dotted across the vast plains of Eastern Serengeti, providing the perfect vantage point for cheetahs on the hunt, but they also form an idyllic stage for intimate portraiture that assists in an undisturbed connection. 
For cheetahs to have a future, we have a lot of work to do in putting them on a stage for the world to see how threatened they have become. I hope my portrait will raise awareness for our fastest land mammal and support The Serengeti Cheetah Project. Their dedicated research can lead to a fine-tuned conservation strategy to better protect cheetahs across Africa as we advance into a more uncertain future. 
Platinum - 30”x32.29” (unframed) Platinum Palladium. Edition of 1.
X Large - 58”x62.44” (unframed) Archival Pigment Print. Edition of 3.
Large – 48”x51.67” (unframed) Silver Gelatin. Edition of 6.
Standard – 38”x40.91” (unframed) Silver Gelatin. Edition of 6.
Medium - 28”x30.14 (unframed) Archival Pigment. Edition of 8.
Small - 18”x19.37” (unframed) Archival Pigment. Edition of 8.
Colossal Craig.
Amboseli, Kenya, 2020.  
20% of sales in aid of Big Life Foundation.
I find it a daunting task to portray such a famous and well-photographed individual, and I think most photographers from all genres would agree. For a new image to be a success, something must be unique, which is not always easy.
After Tim's passing (the largest recorded tusker in over 35 years), Craig is arguably the most famous of all African elephants. Of course, it was primarily due to his mammoth-like tusks, but Craig is such an exceptional elephant in that his character is as unique as his ivory. I found it hard to understand how trusting and friendly this elephant was when he is well aware of the danger his most magnificent feature places him. I have been lucky enough to spend a lot of time with several tuskers over the past few years. On several occasions, I have witnessed them sticking their tusks inside bushes to hide them from humans, face the opposite direction, or other elephants moving in front to conceal the mighty tusks.
His character is as unique as his tusks because, within the same Ecosystem, other tuskers such as Tolstoy do not have anything like the same temperament. If Craig were not the legend that he is, this portrait would not exist. 
I wanted my portrait of Craig to be different from anything I had taken before, which is why I chose to visit the Amboseli Ecosystem in October when the dust becomes the defining feature of the area. I used a remote-controlled camera not to disturb him with a vehicle blocking his path. However, when he heard the first click of my camera, he stopped, which caused the ultra-fine Amboseli dust to rise around him. I took five photographs before he continued walking towards the water, and in the next frame, the dust covers the bottom half of the frame, distracting our attention from his tusks. 
I see the end photograph as an almost biblical scene with Craig appearing to be standing within the clouds. What could be a better setting for one of the largest and most famous elephants on our planet?
I want to mention special thanks to Richard Bonham (Big Life Co-Founder, CEO) for facilitating the Big Life Partnership and for hosting me in the Chyulu Hills since I was 18 years old. To Daniel (Big Life Ranger) for being with me every moment of each day and for his dedication to conservation. Without his knowledge, understanding, and excellent tracking skills, this image would never have materialised. And to the entire Big Life Foundation team for their dedicated efforts in securing a future for the entire Ecosystem and the people and wildlife that live within.
Platinum - 30" x 31.17" (unframed) Platinum Palladium Print. Edition of 1. 
X Large - 58" x 60.27" (unframed) Archival Pigment Print. Edition of 3.
Large - 48" x 49.88" (unframed) Silver Gelatin Print. Edition of 6.
Standard - 38" x 39.48" (unframed) Silver Gelatin Print. Edition of 6. 
Medium - 28" x 29.09" (unframed) Archival Pigment Print. Edition of 8.
Small - 18" x 18.70" (unframed) Archival Pigment Print. Edition of 8.
Maasai Mara, Kenya, 2020.  
When photographing lions with remote cameras, you often have to rely on their cat instincts for an image to materialise. This makes lions great subjects for remote cameras as the smell of something peculiar is often enough to draw them towards the camera; but this also hugely increases the chances of losing your camera.
The best time to photograph lions is at first light when they are most active. This lioness was walking back to her pride after a failed attempt at hunting wildebeest some 20 minutes before. This presented the opportunity to place a camera in her path up ahead. The image was captured at 6.40am on my last morning in the Mara but my camera ended up in the possession of the pride for the best part of an hour which was quite unnerving but equally interesting as the cubs took their turn in playing with their new toy. 
Thankfully, my trusty Pelican case protected the camera from the whole experience and the image is now with us forever.
Large - 40" x 45" (unframed) Silver Gelatin Print. Edition of 6. 
Standard - 30" x 34"(unframed) Silver Gelatin Print. Edition of 10. 
Small - 18" x 20"(unframed) Archival Pigment Print. Edition of 15. 
20% of sales in aid of The Mara Elephant Project.
A Leopard's Dream.
Maasai Mara, Kenya, 2020.  
Watching a leopard lying graciously in a tree with its legs dangling from a branch has been a moment I have always been eager to witness since my very first visit to Kenya. On that first visit, I spent a few nights in the Maasai Mara, and we did not have a sighting of a leopard, but what my guide said to me certainly had a profound effect. He told me that those who do not see a leopard on their first trip are destined to return. It couldn’t have been more accurate as I returned at the very next opportunity, and now a few years later, I am writing this from my home in Kenya.
The leopard is one of the most elusive cats on the continent, and they say you should never look for one because you only find one when they want you to. This is the magic of spending time in the bush. My trips are often solely focused on one species or even one particular individual animal, but a leopard is a special animal to photograph because they are rarely seen. Every time I have seen one, I have stumbled across it unexpectedly, making every moment one to cherish.
Large - 40" x 45" (unframed) Silver Gelatin Print. Edition of 6. 
Standard - 30" x 34" (unframed) Silver Gelatin Print. Edition of 10. 
Small - 18" x 20" (unframed) Archival Pigment Print. Edition of 15. 
20% of sales in aid of The Mara Elephant Project.
Game Over.
Borana, Kenya, 2020. 
This unusual frame was captured while my camera was in the possession of an entire lion pride. The young male lion, as seen in the photograph, was extremely keen to investigate the strange object that was my camera sitting on the floor several meters from where the pride were resting. 
I am quite certain that I will never capture an image like this again, as it was the lion himself who positioned the camera with his mouth. It was nothing short of luck that his eye would be at the minimum focus distance of my 24mm lens; if the eye wasn’t sharp, the image simply wouldn’t work.
My trusty Pelican case box protected the camera inside, but to my surprise the teeth of the lion had pierced right through the box as if it was butter. It certainly made me realise that if I had taken this image thought the viewfinder, it would have been game over. 
Medium - 28" x 41.9" (unframed) Archival Pigment Print. Edition of 8. 
Small - 18" x 26.9" (unframed) Archival Pigment Print. Edition of 8. 
20% of sales in aid of Borana Conservancy.
On Parade.
Borana, Kenya, 2020. 
Old bull elephants have to be the most interesting of all to photograph and with a tight portrait being all about textures, there is no question that a weathered and wrinkled individual would be the perfect subject matter.
Photographing an elephant at 3.30 in the afternoon allows for an element of harsh light which helped me give emphasis to the deep folds and wrinkles on the elephant’s face through the use of strong shadows. He was proudly on parade as he marched in the direction of females and I love the way he is resting his trunk on his tusk. He doesn’t have a care in the world as he marches on with swagger and grace.
Large - 40" x 50.5" (unframed) Silver Gelatin Print. Edition of 6. 
Standard - 30" x 38" (unframed) Silver Gelatin Print. Edition of 6.
Medium - 28" x 35.4" (unframed) Archival Pigment Print. Edition of 8. 
Small - 18" x 22.5" (unframed) Archival Pigment Print. Edition of 8. 
20% of sales in aid of Borana Conservancy.
Three of the Few.
Borana, Kenya, 2020. 
The Lewa-Borana landscape has become a true success story in rhino conservation. The landscape is home to about 13% of Kenya’s rhinos making it a great place to photograph them. 
This landscape serves as an example of what conservation is capable of and it acts as a model for others to follow. Both Lewa and Borana were originally cattle ranches that converted into conservancies. In 1983, there were 11 rhinos. Today, there is over 200. 
The situation for wildlife in Africa can appear bleak at times, but there are a great number of success stories out there. We need to take the positive stories and use them to help and encourage others to make the same decisions.  The biodiversity on this planet is extremely resilient and can bounce back if given the chance. We must ensure that it does not become too late as our own future depends on our planet, and its biodiversity. 
Standard - 38" x 67.9" (unframed) Silver Gelatin Print. Edition of 6. 
Medium - 28" x 50" (unframed) Archival Pigment Print. Edition of 8. 
Small - 18" x 32.1" (unframed) Archival Pigment Print. Edition of 8. 
20% of sales in aid of Borana Conservancy.
The Gentlemen's Club.
Chyulu Hills, Kenya, 2020.  
Finding myself just 2 metres from such giants while they drink as if I were not even there is a memory that will stick with me forever. One Ton, to the right, is one of the largest 20 or so elephants in Africa. He is without doubt the King of The Chyulu Hills and he is greeted with an immense amount of awe and respect by all animals and humans that are lucky enough to lay eyes on him. Meeting a Big Tusker in the 21st Century is nothing short of a miracle and a privilege to behold.
This image would not have been possible without Richard Bonham, the co-founder and CEO of Big Life Foundation who knows this elephant better than anyone. Their friendship has grown for more than two decades and One Ton often visits Richard to say hello and to have a drink in what was previously a swimming pool, which now created the opportunity for this photograph.
The making of this image has to be one of my favourites of all time. It is an indescribable feeling sitting right beneath an elephant of this size and stature; being so close that I feel the air leaving his trunk and splashes of water as his trunk swashes around the water before taking another drink. 
Large - 42" x 95.4" (unframed) Silver Gelatin Print. Edition of 6. 
Standard - 32" x 72.7" (unframed) Silver Gelatin Print. Edition of 6.
Medium - 24" x 54.5" (unframed) Archival Pigment Print. Edition of 8. 
Small - 16" x 36.3" (unframed) Archival Pigment Print. Edition of 8. 
20% of sales in aid of Big Life Foundation.
The King of the Chyulus.
Chyulu Hills, Kenya, 2020.  
One Ton, one of the largest 20 or so elephants in Africa. He is without doubt the King of The Chyulu Hills. He is greeted with an immense amount of awe and respect by all animals and humans that are lucky enough to lay eyes on him. Meeting a Big Tusker in the 21st Century is nothing short of a miracle and a privilege to hold onto forever. 
Large - 48" x 66.4" (unframed) Silver Gelatin Print. Edition of 6. 
Standard - 38" x 52.6" (unframed) Silver Gelatin Print. Edition of 6.
Medium - 28" x 38.7" (unframed) Archival Pigment Print. Edition of 8.
Small - 18" x 24.9" (unframed) Archival Pigment Print. Edition of 8. 
20% of sales in aid of Big Life Foundation.
Blow Dry.
Borana, Kenya, 2020. 
This image was taken shortly after a storm at the beginning of the November raining season in 2019. Without the storm, the image would not have presented itself in the way it did. This handsome male lion received a Blow Dry from the winds after the rain storm had passed, causing it to dry pinned back and on end.
All I had to wait for was the sun to poke through a gap in the clouds to highlight his beautiful eyes and noble mane. 
Large - 57" x 40" (unframed) Silver Gelatin Print. Edition of 15. 
Standard - 43" x 30" (unframed) Silver Gelatin Print. Edition of 15. 
Small - 25" x 18" (unframed) Archival Pigment Print. Edition of 15. 
20% of sales in aid of Borana Conservancy.
Curious Cub.
Borana, Kenya. 2020
Many lion populations across Africa are declining at an alarming rate, with total extinction possible as early as 2050. It is, therefore, always a pleasure and a relief to witness future generations. Kenya has been at the forefront of lion conservation, and for the first time in decades, lion numbers in Kenya are increasing. 
I took this portrait as this cub curiously approached my vehicle one late afternoon on Borana Conservancy. She is part of the largest pride in Laikipia County, Kenya, with more than 30 individuals. Lions can bounce back quickly if given the space and chance, which must be our priority from now on. All species can thrive if given the space and freedom to do so.
Standard - 42" x 28" (unframed) Archival Pigment Print. Edition of 8. 
Small - 27" x 18" (unframed) Archival Pigment Print. Edition of 15. 
20% of sales in aid of Borana Conservancy.
Back to Back.
Borana, Kenya. 2019
I have been predominately unsatisfied with my Rhino photographs of the past, as I have struggled to achieve clean backgrounds with lots of sky which I find so important in my approach. This often makes White Rhino superior subjects as they are grazers as oppose to browsers. You don’t often find Black Rhino out in the open.

When I found these two White Rhino at the top of a hill in Borana, I knew I had the chance at something as I waited for the right composition to present itself. This is the only photograph in the sequence where the Rhino’s backs actually cross and where they were at the same distance from me, allowing them both to be in sharp focus. All the other photographs do not work, as a gap between the backs leads our eye into the distance, ruining the composition.

This image is a reminder about how important it is to be patient in wildlife photography, and to spend as much time with your subjects as possible.
Large - 48" x 74.1" (unframed) Silver Gelatin Print. Edition of 6. 
Standard - 38" x 58.6" (unframed) Silver Gelatin Print. Edition of 6. 
Medium - 28" x 43.2" (unframed) Archival Pigment Print. Edition of 8.
Small - 18" x 27.7" (unframed) Archival Pigment Print. Edition of 8. 
20% of sales in aid of Borana Conservancy.
The Cheetah and I.
Borana, Kenya. 2019
If you look closely, I have taken a self-portrait of myself in a Land Rover within the cheetah’s eyes. It is always a thrilling experience being in the company of the world’s fasted land mammal, especially when they allow you to be within just a few meters.
Standard - 38" x 38.9" (unframed) Silver Gelatin Print. Edition of 6. 
Medium - 28" x 28.7" (unframed) Archival Pigment Print. Edition of 8. 
Small - 18" x 18.4" (unframed) Archival Pigment Print. Edition of 8. 
20% of sales in aid of Borana Conservancy.
Shadow Huntress.
Borana, Kenya. 2019
​​​​​​​Standard - 38" x 50.9" (unframed) Silver Gelatin Print. Edition of 6. 
Medium - 28" x 37.5" (unframed) Archival Pigment Print. Edition of 8. 
Small - 18" x 24.1" (unframed) Archival Pigment Print. Edition of 8.
20% of sales in aid of Borana Conservancy.
A Duel at Dusk.
Borana, Kenya. 2019
Almost exactly a year after I took one of my strongest images, “Drought” I found my lens once again pointed in the direction of two fighting zebras. There are clear similarities and differences between the two. The obvious similarity is that both frames display zebras reared up and in heated battle, but here a far more endangered species is shown. There are roughly 2,500 Grevy’s Zebra’s left in Africa with the vast majority being located in Northern Kenya. The Lewa / Borana Landscape is simply the best place to photograph them.
The challenge that comes with photographing in Borana is that in almost every direction there are huge rocky hills making a clean background a real difficulty. I find big skies so important in my photography to accentuate the drama within the scene. My usual way to combat this is to use wide angle lenses from a ground up perspective but the grass was too long, and the subjects chased and fought for over 10 minutes moving considerable distances which made remote photography impossible. Therefore, unlike in “Drought”, I selected a telephoto lens, but stayed as low as possible to ensure the Zebra’s heads were set against a minimal background.
I was lucky enough to witness this epic duel but equally lucky that they reared up in such a dramatic way just 15 metres from me. Much of the fight took part behind trees and bushes some distance away. The beautifully backlit scene is what truly brings this image alive. It is as if the grass has turned into flames and the clouds into smoke. Nothing else would do for a duel at dusk.  
Large - 40" x 53" (unframed) Silver Gelatin Print. Edition of 15. 
Standard - 30" x 39.5" (unframed) Silver Gelatin Print. Edition of 15. 
Small - 18" x 24" (unframed) Archival Pigment Print. Edition of 15. 
20% of sales in aid of Borana Conservancy.
Two by Two.
Lewa, Kenya. 2018
The Giraffe has to be one of the most graceful and peculiar animals to walk the earth, and I have always been particularly drawn to the Reticulated sub-species due to their more defined patterns. Standing at up to 18ft tall, they almost always break the horizon line and are associated with some of the most majestic views in Africa.
Somehow, they have been largely overlooked and at around the same time this image was taken, the Reticulated Giraffe was announced endangered after their numbers plummeted from 100,000 to fewer than 15,000 between 1980 and 2018. 
I don’t believe that this pair are aware of their species decline. They seemed relaxed and graceful as ever as they walked across the plains of Lewa Conservancy.  
Standard - 30" x 30.5" (unframed) Silver Gelatin Print. Edition of 15. 
Small - 18" x 18.5" (unframed) Archival Pigment Print. Edition of 15. 
20% of sales in aid of Lewa Conservancy.

The Big Friendly Giant.
Tsavo, Kenya. 2018
This is the shot of my dreams and I had tried time and time again without success. Twenty minutes earlier, my head was in my hands because after waiting two hours for HA1 to approach the waterhole where I was waiting. He gently strolled past, pushing my remote camera out the way with his tusk. After careful planning, I was certain it was a success as I waited eagerly to inspect my camera.
On retrieving my camera, which was thankfully in one piece. I was only to find that no pictures had been taken at all! I was sure that such an opportunity would never repeat itself. We followed him for a week and knew our best chance of achieving this image was when he was approaching waterholes to drink. You don’t get many chances as in the dry season, elephants in Tsavo often drink every third day and our trip was coming to an end. Usually, once an elephant has quenched its thirst, their movements become unpredictable slashing the chances of achieving my dream shot.
After some encouraging advice from Tamara, my girlfriend who knows the African Bush far better than most. I tried again, and this was the moment I managed to capture after he had finished drinking.
I will never forget the days I spent with this remarkable and friendly bull, he is a prehistoric survivor living in a modern age. I hope we meet again. 
Large - 40" x 64" (unframed) Silver Gelatin Print. Edition of 15. 
Standard - 30" x 48" (unframed) Silver Gelatin Print. Edition of 15. 
Small - 18" x 28" (unframed) Archival Pigment Print. Edition of 15.
20% of sales in aid of Tsavo Trust.
Lewa, Kenya. 2018
This is one of the most dramatic photographs I have ever taken, and I am the first to admit that luck plays a crucial part in the success of the image. This is the beauty of working with nature, moments constantly change and are full of surprises. 
There are so many elements to the photograph that it allows us to engage with the scene for considerable time. The fighting zebras are clearly the main focus with the billowing dust as they rear up in battle. But the locusts were the biggest surprise for me; I had no idea they were there until viewing the file on my computer and they play an important role in the composition. They fill a void preventing a looseness to the scene while leading our eye around the photograph, from left to right and then back to the main subjects.
The zebras are not fighting for females, they are fighting because times are tough, with almost no food and limited water. And so, the locusts have another role in that they help communicate the story of how tough a drought is for the wildlife; as they fly away from the scene, it suggests that there is nothing left in this barren landscape. The dramatic skies also aid in telling the narrative but most importantly, they create the perfect stage for an epic fight.
There is something so thrilling about not knowing whether or not you got the shot you hoped for, and this was an occasion where everything came together. Every time I look at this image, it motivates me to continue my attempts to capture photographs that cannot be re taken.
Large - 34" x 91.4" (unframed) Silver Gelatin Print. Edition of 15. 
Standard - 24" x 64.5" (unframed) Silver Gelatin Print. Edition of 15. 
Small - 14" x 37.6" (unframed) Archival Pigment Print. Edition of  15. 
20% of sales in aid of Lewa Conservancy.
Man Eater. 
Tsavo, Kenya. 2018
The Lions of Tsavo were famous for dragging railway workers from their tents during 1898 and were responsible for killing around 35 people. They do not pose like other lions I have seen; they give you a menacing stare. 
Large - 40" x 60" (unframed) Silver Gelatin Print. Edition of 15. 
Standard - 30" x 45" (unframed) Silver Gelatin Print. Edition of 15. 
Small - 18" x 27" (unframed) Archival Pigment Print. Edition of 15. 
20% of sales in aid of Tsavo Trust.
Road Block.
Lewa, Kenya. 2018
Placing a well positioned remote camera with a wide angle lens allows for unique and intimate images. It is as if the rhino is walking out of the frame. 
This shot was a big moment for me. This was my first real success with remotes and has always reminded me that it’s worth going for the low percentage opportunities, because the rewards are so much greater when you do pull it off. Seeing the three dimensionality for the first time made it clear to me that photographing dangerous wildlife with wide angle lenses from intimate viewpoints was the way forward. 
Large - 40" x 51" (unframed) Silver Gelatin Print.  Edition of 15. 
Standard - 30" x 38" (unframed) Silver Gelatin Print. Edition of 15. 
Small - 18" x 23" (unframed) Archival Pigment Print. Edition of  15. 
20% of sales in aid of Lewa Conservancy.
© James Lewin Photography 2018-2021
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