3

Wild Voices Project: the podcast for nature lovers

Wildlife photographers, authors, film makers, fundraisers and change-makers are all coming together to tell their stories — and they’re definitely worth hearing!

I am endlessly inspired by the people who dedicate their lives to protecting nature and wildlife across the globe, and fascinated by their stories. That’s why I became instantly addicted when I discovered the brilliant podcastWild Voices Project‘ by naturalist Matt Williams!

I am already a fan of podcasts and it seems I’m not alone. Figures from March this year show that 23% of people in the UK have listened to a podcast in the past month, and on average, podcast listeners spend 3.6 hours listening to podcasts in a typical week. I personally fall into the category of around that much a day — hungrily drawing on audio inspiration as I work at my desk.

So, given that I’m a bit of podcast addict, here are five good reasons why Wild Voices Project is certainly one to tune in to for all nature and wildlife lovers and those curious about science comms!

 

5 reasons to listen to Wild Voices Project podcast…

 

1. New and surprising people to discover…

Although I’ve spent a long time working in and around wildlife conservation, and I’ve met many fascinating people along the way, there’s always a desire to cast the net wider and find out about the work, issues and lifestyles of nature lovers far and wide. Or those under our noses that perhaps aren’t given the media attention they deserve.

For example, it was a treat to listen to an interview with Skywalker gibbon researcher Carolyn Thompson, (who previously won a Roots & Shoots award) after learning so much about Dr Jane Goodall‘s Roots & Shoots programme over the last few years.

Click the image above to have a listen

 

2. Real voices in their own words…

It is an incredible honour to tell the stories of the people who change our planet, I know this from my own years of blogging. But there’s something quite special about simply framing those stories and allowing the person at the centre to tell it themselves.

From the first episode I listened to — an interview with the wonderful late Dr Alan Rabinowitz that I discovered while further researching the jaguar hero after writing my blog post about him (which you can read here) — to some of the most recent recordings, including an interview with Racing Extinction Director Louie Psihoyos, I have found every podcast inspiring. The authenticity of hearing these conservation heroes telling their own stories in their own words really helps to connect you with their journey.

Click the image above to have a listen

 

3. Voices from very different fields…

“Volunteers, conservation staff, TV presenters, photographers, surveyers, amateur enthusiasts, moth lovers, butterfly netters, dragonfly illustrators, guano collectors and more. They are the people with amazing stories to tell who help wildlife to flourish,” the Wild Voices Project website states. It’s true that a wonderful and diverse range of conservationists are represented on this podcast. And I’ve certainly learnt a little something new about nature from every single one.

Tiffany Francis‘ interview about her book ‘Food You Can Forage‘ was certainly one of my favourite finds. It’s an area I wouldn’t have necessarily researched myself, but after listening to her talk, I genuinely have a new and unexpected interest in foraging!

Click the image above to have a listen

 

4. Doesn’t shy away from debate…

I must admit, I’m impressed with the way that podcast host Matt Williams encourages open and frank debate. Often in the wildlife and conservation world, controversy sparks heated social media arguments, but moving away from the written word gives us a chance to listen more calmly to those who have less popular views. I’ve enjoyed taking the time to listen to opinions that I don’t often hear voiced — or those which would be lost under a stack of heated opposition on Facebook. I was interested to hear Dr James Borrell‘s recent discussion on whether or not we should be focussing on wildlife within country borders (NB: he believes in looking at the wider ecology) and I respect his view that ‘more healthy disagreement is what’s needed to help secure environmental progress’. You can check that episode out below.

Click the image above to have a listen

 

5. New roving reporter…

Ok, this one’s a little cheeky — but I’m absolutely delighted to acting as a roving reporter for this brilliant podcast from time to time! As much as I absolutely love blogging and writing (for my day job at Nat Geo Kids), I’m excited to try out a different format and put my interview skills to the test. Of course I’m used to chatting to my conservation heroes, but it’s certainly a bit different for me to have people listening in! My first foray into this field; an interview with Dr Jane Goodall is live on the podcast now and can be listened to by clicking the link below.

Click the image above to have a listen

 

Do let me know what you think, and if you’ve found any other recommended nature and wildlife podcasts, by leaving a comment in the box below.

kate on conservation wildlife blog logo

Share this post:
RSS
Facebook2k

Google+32

Twitter3k

YouTube24

YouTube
LinkedIn732
Instagram2k
Soundcloud15
SOCIALICON
0

Tania Esteban chats about her role as a Digital Researcher for BBC’s Big Cats, Planet Earth II and Blue Planet II

Tania Esteban behind the camera

I’m sure that, like me, Thursdays for many of my blog readers have meant one thing this January — Big Cats!

The BBC’s natural history programming has started 2018 on a high, with this exciting new series exploring the secret lives of wild cats. This past Tuesday viewers were treated to a rare insight into an international project that’s battling to bring the Iberian lynx back from the brink of extinction through captive breeding and improving wild habitats.

I was fortunate enough to chat to Tania Esteban (whose work can be discovered at TRE Productions) about her work behind the scenes on the series, which involved researching, setting up shoots, storyboarding, and translating for the crew (Tania credits being bilingual as major advantage in securing her role on the project).

Listen to the full interview on the SoundCloud link below.

After discovering her film A Lion’s Tale through Twitter back in 2016 (it featured on my Top 5 ways to beat Blue Monday post in January 2017), I was incredibly excited to chat to Tania about the film; her first big steps into her career in documentary-making; and the amazing work she’s done with the BBC since completing her Masters in Wildlife Filmmaking…

Kate: ‘Big Cats’ was your first project for the BBC, what did you do for the series?

Tania: It was my first foray into the BBC because it was work experience. At the time I was editing A Lion’s Tale, which was good timing, so I applied for the BBC work experience pool. I thought; “I’ll just apply and see if I get it” — it’s usually quite tricky because so many people apply and I knew I may or may not get it. I was at university when I got the call and they said: “We’d love to do a quick interview with you if you’d like to do work experience”, and of course I said; “yeah, I’d love to!”

The reason why was mainly because I could speak Spanish and they sent me to Spain to do a recce of where they were going to film the Iberian lynx for the third episode, on the conservation element of it. So I was very excited because this was my dream project — I wish I could have worked on it for longer. But I spent a month and a half working on it; doing lots of research and getting to learn the ropes of production. We’d just learnt everything on the [Masters] course, so it was fresh in our minds and a good chance to see whether I could do this in the real world of work.

What did the work experience involve?

I helped the main researcher and assistant producer — the lovely Sara [Douglas]. We went out to Spain and actually flew into my home province — which was hilarious; I told the team that I could show them all the best tapas bars. I did a little bit of filming on an Osmo [a type of handheld camera] — so that’s kind of field notes and getting a general scope of the area so that the producer can look and think ‘right, we’re going to film here and we’d like to do this…”.

I did a lot of translating; liaising with the scientist and finding out key facts that would feature heavily in the story. It was my job to work around the language barrier and make them feel comfortable with the team and ask questions about where we could place the cameras and gain their trust — which I love doing, because I love talking to people. 

BBC big cats

What did you enjoy most about working on Big Cats?

I really enjoyed finding pure science, learning how to set up shoots and the storytelling element and thinking about different camera angles and story boards to help the production.

It was very high security and we had to put protective clothes on so we didn’t spread any disease to the animals and they hosed us down, because they’re critically endangered these lynx. And they’re so beautiful; very small animals. I’d never seen them before so that was very exciting. 

It was really inspiring for me actually, because I never realised how many passionate conservationists there are in Spain. I was quite blinded to that in a way because I’d grown up there, but I’d never really had the opportunity to meet any of these people, such as Miguel who features on the programme.

The conservation work is incredible and I’m very glad that — from the perspective of a half Spanish woman — the conservation work that the team is doing is now coming out and being seen. It was brilliant to see that and to start my BBC role and my work as a researcher on a programme that features big cats — as I was obsessed with big cats at that time, after working on my film ‘A Lion’s Tale’.

What’s it like behind the scenes? Did you learn things that weren’t in the final programme? 

Yes. You see all these things behind the scenes and you’ve got your team there; so you find out all of this knowledge and information that embellishes a sequence. And even if that doesn’t make the final cut, you still have that knowledge with you and you still have that bond that you’ve made with these people. I think it’s very important to keep up those relationships where ever you travel in the world, because you never know.

Like the connections you made during the production of A Lion’s Tale; the likes of Ian Redmond, Virginia McKenna and Will Travers. How did that come about and where did you get the idea for the film?

I was studying the Wildlife Filmmaking MA course in Bristol after completing my Zoology course. I’d know for so many years that I wanted to do this particular MA course; since I was 14 and I saw it advertised. So I planned all my A Levels and GCSEs to get to Bristol and do this course. So when I got it I was ecstatic! And as part of our final year projects we had to choose a story we were passionate about; I wasn’t too sure what that would be — I knew I really liked big cats, but wasn’t sure what the story would be. Then Ian Redmond came in [to the university] and gave an inspiration talk — as always. He was talking about vEcotourism and he said this one sentence — that it was the 50th anniversary since the Born Free film was made and I went; “that’s the story!”

A Lions Tale film poster

Click the image to watch A Lion’s Tale

How did you get to work on the filmmaking side?

I’d recently read how lions had declined by nearly 70% over 20 years, and it’s just terrible when you think about how their numbers have plummeted. People always think that lions are so numerous, and they’re really not anymore — so I thought that’s the connection. So I went up to Ian [Redmond] and said “I’m a huge fan and I’ve got this idea for a film I’d like to make with Born Free; could you maybe put me in touch with Will Travers and Virginia McKenna if they’d be interested. And that really got the ball rolling and I got in touch with Will. Will was absolutely incredible — and I’m such a huge fan of his, so I was terrified of meeting him — and of course Virginia has always been such a hero of mine; as I’m sure she is of yours, and many people. She’s got this incredible presence. I even did a presentation about her when I was at school; I was 10 years old and we had to talk about our biggest heroes, and I chose her.

Everyone who I’ve spoken to who’s met Virginia McKenna has said she has such a positive air about her, and she’s so passionate and she ‘does’. She’s an activist — she acts upon her word.

virginia mckenna at home

Virginia McKenna portrait by Tania Esteban

So once the ball was rolling, I spent six months setting up the shoot and liaising with them constantly and then doing all the storyboards, doing all the research; talking to Victor — who’s one of the rangers out in the Kenyan Born Free offices — and then crowd-funded it. It was just a bizarre, really incredible year of planning this dream shoot and I thought: “right, I’ve got 10 days to actually shoot it, just a tiny percentage of a production.”

Actually getting out there was incredible because I got to fulfil a childhood dream of filming a story about one of my absolute heroes and an animal that’s very dear to my heart.

A Lion's Tale film poster

When I started editing it, I want the piece to be very much a memoir of Born Free and of Virginia McKenna as well, because she has dedicated her whole life to conserving wildlife. And her son [Will] is one of the most hard-working people I’ve ever met. He never stops. He’s seriously incredible.

What was it like going to the 2016 ivory burn in Kenya for the film — to witness the biggest ever stockpile of ivory to be destroyed?

That was something that I was unsure as to whether it would come off. A lot of people asked “what’s the connection?” and I said “well, there is a connection”, at the very end — there was a different ending that I didn’t use, it’s a personal copy that I keep — it’s Virginia McKenna saying: “it’s not just about elephants and lions; it’s about the whole eco-system; it’s about the whole of nature — protecting it. It got me really emotional actually.

Being at the ivory burn was one of the most overwhelming, powerful things I’ve ever filmed. You’re so focussed as a camerawoman, thinking: “I’ve got to get this shot, and I’ve got to get that shot — I’ve got to get the president as he comes out to light the ivory, and I’ve got to roam around with my gimbal to try and get some of the shots of the rangers and the burning flames…” and then you look up and see this 50-tonne pile of ivory going up in flames. It was the smell actually, more than anything and you could hear the ivory crackling because bits of it were hollow — it was so powerful.

Tania Esteban film the 2016 Kenyan ivory burn

That’s why in the film I used Virginia’s voice, Will’s voice and Victor’s in the film, to narrate it. I wanted them to give a voice to all those people who had been working together to reach this moment. It’s all about emotion in the storytelling. That’s what I tell a lot of people — especially in conservation — because nobody wants to be lectured anymore. You’ve got to get them emotionally or visually arresting images to try and do these amazing people justice.

Just being there was amazing and I’m so grateful to Ian and Will and Virginia for giving me that opportunity to make a dream film.

Amazing! I know you’ve become a bit of a drone specialist; how has that come about?

Drones are amazing! I got started with them about 2 years ago when I saw a video on Vimeo that someone shot in Scotland on a Phantom 2 — a very old type of drone — and I just thought “god, it really does open up a whole new world!”. It was only then that it was beginning to get more commercial and anyone from the general public could start to buy consumer drones and give it a go. So I bought a secondhand one to see if I could actually fly it before I start taking it seriously — and it was terrible, the drone was quite terrible, but if you can fly a bad drone and a smaller one, then you don’t have to worry about the bigger ones.

I remember flying a drone over my house in Spain, and the mountains there have always inspired me, so just to see it from above and being able to take pictures was incredible — a whole new perspective. And that’s where it all started really. I realised it could add a whole new perspective to my storytelling. 

Tania Esteban holds a drone camera

I was at the BBC at the time and I thought: yes, I’m going to do this. It’s quite a lot of money, it costs quite a few thousand pounds to train yourself to get the license and get qualified, but I knew that it would perhaps open up more opportunities for me to go out on location and also to enhance my own videography and film work.

The conservation element of it is quite interesting, because you can use drones for aerial surveying — such as for monitoring orang-utan nests and tree distribution and species. In the forest it was incredible to pan up the trees that just go on and on, and it gives a good indication of the health of the forest when you see ferns on the trees, etc. And I’m always concerned about the welfare of the animals I’m filming — when I filmed elephants in the forest I didn’t get anywhere near them. So it’s exciting; you’ve got small drones like the Spark, which you can fit in your hand, and because of the size of it, the motors don’t make as much noise. That’s very exciting for wildlife filmmakers.

I recently went to Iceland, which is the most drone-able country — the way the landscape changes is like turning the pages of a children’s story book — and the new series I’m working on now heavily features a lot of drone work, so I’m going off to Canada very soon to go fly my drone. My first paid internal gig with my drone.

Exciting! And it’s always important to think about the welfare of the animals. So, tell me about your work on Planet Earth II and Blue Planet II. What did you do for them?

That came about two months after I finished work experience on Big Cats and I’d finished editing A Lion’s Tale. The film came out at the start of November and at the end of November the BBC got in touch and said “would you like to do digital research for Planet Earth II?” Umm, yeah!

Digital research encompasses all the online aspects: all the video clips, all the behind the scenes pictures and all the social media clips and exclusives that people see online. And I was a part of the team that did all the different additional bits to support the Blue Planet II team. Which is probably why I was very active on social media about it, saying “check this out!” and all the random .gifs you probably saw about it.

Tania tweets about Blue Planet 2

We did some digital exclusives for Snapchat for America, which was interesting. My job was to look into all the archive which wasn’t used for Planet Earth, so I got to see all this amazing footage which wasn’t used on the main episodes and edit up clips for the digital platform.

We crafted these different stories with this incredible footage that wasn’t used on the series. Some of it was breath-taking, I hope its used for something in the future. 

For Blue Planet II I did the equivalent, but also got to do some additional interviews with some of the filmmakers involved and the conservationists — so that was good, as it meant I got to do some more camerawork.

I was so desperate then to move on to production — and I saw that Wild Metropolis was commissioned and so I came up with loads of story ideas and pitched it to the series producer and he said “ok, you can be one of our researchers” — which was great, as I could move on to production which was what I wanted, as it’s pure research. It’s been my favourite project to date. A lot of people don’t see these ‘mega cities’ from around the world as wildlife hotspots, but some of the stories we’ve found: wow! It’s coming out in October time, so keep an eye out for that!

What advice would you give to people who want to go into filmmaking and start a career like yours?

You have to be really passionate — and slightly crazy — about wildlife and natural history. I did the science route, zoology and I studied urban bat ecology for a year and did my dissertation on it and then I specialised in filmmaking, because that’s what I wanted to do. You don’t have to do that, I know plenty of people who didn’t, but I think it just gives you this filmic grammar if you specialise in filmmaking.

So yeah, just get out there, find your own stories — the world has opened up now, anyone can own a camera that shoots 4K now. Talk to people about their experiences, travel — it opens up a whole new perspective of your own life, as well as your career. Keep filming and get on social media. .

Tania with Victor and Born Free team after filming A Lion's Tale

Networking is about 60% of everything that we do. I also believe that if you can specialise in a certain area of wildlife filmmaking: gimbal work, long lens work, drone work, time-lapse, thermal — like you saw in Big Cats, the thermal imagery — there’s so many different niches that you can specialise in, I think you should go for it and pick one that you enjoy. I also believe in developing your own style; don’t just copy.

And always remember your roots; the reason you’re doing why your doing your filmmaking work — to make a difference, to inspire people, which is especially true of wildlife work

 

kate on conservation logo

Want to know more about wildlife filmmaking?

 

Share this post:
RSS
Facebook2k

Google+32

Twitter3k

YouTube24

YouTube
LinkedIn732
Instagram2k
Soundcloud15
SOCIALICON
0

Jonathan and Angela Scott – The Big Cat People: Special Interview Part 1

In the days before we saw life through the eyes of animal robots, we saw life through the eyes of the people who knew them best – and Jonathan Scott was instrumental in that. I was 8 years old when I first tuned in to BBC’s Big Cat Diary, where Simon King and Saba Douglas-Hamilton completed the trio of big cat filmmakers that would change the way we saw lions, cheetahs and leopards forever.

man-with-cubs“I had a unique story unfolding right before my eyes,” Scott acknowledges. From his days of sleeping in his car while following African Wild dogs – which, by his own admission, allowed him to become ‘part of the pack’ –  to becoming famous as ‘the man that a cheetah crapped on’ (who can forget that famous Big Cat Week scene with Kike the cheetah?); it certainly seems he has had a life that many of us can only dream of.

Fast forward almost a decade, and Jonathan Scott is still bringing us ever closer to the formidable big cats of Africa, with a little (or maybe I should say ‘a lot’) of help from his partner in work, as well as in life; Angela Scott – or as he affectionately refers to her in our conversation, ‘Angie’.

At the end of 2016, the pair released an impressive combination of work; Jonathan Scott’s autobiography ‘The Big Cat Man and a coffee table book ‘Sacred Nature: Life’s Eternal Dance, which is predominately Angela’s photography.

img_5518

Angela Scott photographing cheetahs for Big Cat Diary

I spoke to Jonathan in a special interview to find out why he felt it was time to tell his story and what made him want to tell it publicly.

 “It is one thing to write an autobiography, quite another to figure out why,” Scott explains.

The Big Cat Man

“I think in some ways it was wanting to review my life to make better sense of it – I have lived life at such a frenetic pace that I sometimes feel that I need to slow down and take stock and think about the big questions that flash across one’s mind from time to time, reminding us that life is not a dream, that it is real, and that we owe it to ourselves to pay attention to what we are doing with this precious gift of being alive and the amazing opportunity that offers us – both for adventures and for personal growth.”

“Isn’t it an indulgence;” he added, “to think that your memoir is of interest to others – the written equivalent of imagining that anyone might really like to see your holiday photos.”

I actually purchased a copy of the book after listening to Jonathan talk at the Royal Geographical Society in London; guiding the audience through anecdotes of his extraordinary life, in preparation for some of the incredible tales and awe-inspiring photographs that feature in the book. Archives of life that I’ve spent the last month of so poring over as I read page by page before settling in for the night.

It dawned on me that it must be quite a daunting task, to give away the intimate details of human life to complete strangers.

Jonathan, getting ready to take the stand at the Royal Geographical Society, London.

Jonathan, getting ready to take the stand at the Royal Geographical Society, London.

“I never [gave] a thought to who will eventually read it,” he states, “I needed and wanted this book to centre on me and my growth as a human being – not just about what it is like to live in Africa and spend time following big cats.”

 “I have always led two lives – like everyone to varying degrees – the life lived ‘out there’ in front of my eyes, one’s sense of self; and the inner world that for me was a bit of a muddle given the mental health issues I was grappling with. I really felt I was going to die – like my Dad.”

Quite early in the book, you learn the sad revelation that Scott was just two years old when his father died of an inoperable brain tumour.

“I was convinced that something was wrong that some awful disease was working its way into my system. It took me until I was 40 to lay that to rest.”  

“Marrying Angie and having a family gave me something much more important to worry about than my own wellbeing. Writing my story was a way of coming to terms with who I am – or who I think I am. And [a way of] being honest about my life and letting people see that we all have problems and issues and frailties – and that when you consider the lives of other people you need to see beyond the superficial. Particularly with people in the public eye.”

img_4883

“We are all just human – being famous doesn’t mean life is any less complex or angst ridden. I wanted people, particularly younger people who might want to follow the kind of life I have lived, to believe that following your dream is possible. It might be a very bumpy road but in following it you can find the most unimaginable joy and meaning.”

Hearing Jonathan’s words, I feel like, particularly in the current climate, the need to feel like there’s a sense of purpose to be found; a life outside your current existence is a very important rhetoric for young people to hear. 

“The autobiography I wanted to write was a more fulsome account of my life than my celebrity as a wildlife author and presenter of Big Cat Diary merited,” Jonathan explains, as he tells me how finding the right publisher proved to be an ‘elusive creature’.

“People knew me as ‘the bloke the cheetah crapped on’ from my encounter with Kike the car climbing cheetah of Big Cat Week 2003; surely my potential audience wanted to hear stories of daring do among large possibly dangerous wild creatures rather than of growing up on a farm in Berkshire along with revelations of whatever skeletons in the cupboard I might reveal.”  

img_4886

My own collection of Scott’s early books

Like many people, it was Big Cat Diary that first switched me on to the work of Jonathan Scott, and I subsequently began buying the BBC books that accompanied the programmes – originally co-authored with Brian Jackman, then later, Angela Scott – and whilst I came to expect more tales of the big cats we’d got to know on the television, the authors certainly fascinated me too. Skeletons in the cupboard and all.

The Big Cat People

The first thing I learned about the combined force of Jonathan and Angela Scott is that they are the only couple to have won the Wildlife Photographer of the Year Award individually – a testament to their individual skills and vision. Jonathan won the prestigious award in 1987 and Angela won in 2002.

Jonathan Scott's photograph, which won Wildlife Photographer of the Year 1987

Jonathan Scott’s photograph, which won Wildlife Photographer of the Year 1987

The second thing I learnt about them, is that they go by the collective name: The Big Cat People. “Social media is a huge opportunity to have a shop window, but you do have to grow your brand,” Jonathan addressed the audience at ‘The Big Cat People’ talk at the Royal Geographical Society.

The Big Cat People feels a like brand that has been a long time in development. Prior to these book releases, the Scotts have worked on 29 other publications together!

Angela Scott's photograph, which won Wildlife Photographer of the Year 2002

Angela Scott’s photograph, which won Wildlife Photographer of the Year 2002

I asked what makes them such a good team in telling these stories and sharing their world with people who may never get to see these places or animals for themselves. “Angie always says that the key to a great relationship –  both business and personal – is to make it a “Competition of Generosity”, Jonathan gushes.

“If you are always thinking of your partner’s best interests and prioritising them then – as long as you are both doing it – you will be successful. Angie is great organiser: very structured in her way of thinking, whereas I just tend to wing it and believe that things will always work out fine. So it is a great combo.”

“And we both love each other’s work; we think of it as ours. The problem sometimes – and I am always quick to remind people of this – is that because I am on TV I often get the lion’s share of the attention. But when it comes to our photography, Angie is the talent not me. She has a wonderful eye as you can see in Sacred Nature. Eighty per cent of the images are Angie’s.”

img_5517

I can very clearly see their intention in releasing both books together, as a combination of work for anyone interested in their lives and career. As Jonathan puts it, they are ‘very inclusive’ – the personal text of the autobiography with their pen and ink drawings and photographs, and then the splendor of viewing some of their best images in a big folio book.

“The books complement each other. We knew that the autobiography was not the right format to show off our photography to best advantage. Words predominate in the autobiography and images predominate in Sacred Nature. That was our intention.”

Sacred Nature: Life’s Eternal Dance

Sacred Nature comprises 10 chapters, each preceded by a short essay setting the theme and tone of the photographs to follow. As well as being Angela’s ‘mission’, Sacred Nature really is family ‘labour of love’, as their son David is responsible for creating the design concept.

“Our son is incredibly creative. He drew together all the elements that we wanted for Sacred Nature: the right images – both colour and black and white; the tone of the text, and he chose the quotes from great poets and sages to mirror the message of: ‘look, listen and absorb the mood created by the images and the words’.”

“He conjured up a little bit of the magic inherent in the wonder of savanna Africa and the incredible place we call The Last Place On Earth – the Mara-Serengeti – home of the great migration, all the big cats that have been our obsession all the years,  and so much more besides.

A leaflet teasing the design concept of 'Sacred Nature' and the book's review by Keith Wilson in Geographical Magazine

A leaflet teasing the design concept of ‘Sacred Nature’ and the book’s review by Keith Wilson in Geographical Magazine

Keith Wilson writes of the book in Geographical Magazine‘s November 2016 issue: “This may be Jonathan and Angela Scott’s 30th book, but it is without doubt their magnum opus.”

So, what is it that makes the book stand out so much? (Jonathan tells me that one journalist said of Sacred Nature: “It is a coffee table book on steroids.”).

It’s clear from his answer that he agrees with Wilson’s interpretation, which reads: “The Scott’s have been firmly established at the top of their field for decades, during which time the public has grown accustomed to witnessing their spectacular work in print and on screen (through BBC TV‘s hugely popular Big Cat Diary), but this book differs in many ways to any of their previous efforts. Sacred Nature is primarily Angela’s vision.” 

img_5465

Angie is a very spiritual person,” Jonathan tells me. “Compassionate; someone who reaches out to others in need. She grew up in Africa, spent her holidays on safari in places like the Serengeti as a child living in Tanzania.”

“She draws strength from connecting to wilderness – she loves trees and seeing plants growing in her veggie garden. And she is very artistic; she loves to draw and was always very artistic and her great passion was photography and the ocean. She is quiet, and shy and retiring – so photography gave her a voice, a way to express herself.”

“The genesis of Sacred Nature was partly to do with our age. I am 68 this year and Angie will be 64. We have had a long and successful career as authors, wildlife photographers and working in television. This was the time when we wanted to review and assess where we were in our lives and careers and plan the next step.”

img_5467

Some of the incredible photography featured in the book, giving and intimate view of Africa’s wildlife

He also cites concerns about the natural world, loss of wild habitat and diversity, and the surge of the human population across the planet.

“They all played a part in focusing our attention on the reality that most of the world is shut off from nature. Most of the world lives in cities. And the places that still harbour most of the wild animals on earth are mainly the most impoverished parts of the planet – such as Africa.”

The irony of these places, he says, is that local communities are too busy just trying to get by in ensuring they have the basics in life (and many don’t; ‘living on a few dollars a day’), dealing with far more pressing day-to-day priorities to be able either enjoy the natural environment or to see any reason to treasure it. 

“Most people living in East Africa will never see a wild lion or elephant. And those living in rural areas adjacent to wilderness naturally have a very different view of an elephant a lion or a buffalo to the one enjoyed by visitors on safari. Those same charismatic wild animals that visitors so want to see up close and romanticise are often a threat to life and livelihoods for local communities who bear the brunt of living with wildlife. Elephants and buffalos destroy crops at times and predators sometimes kill livestock.”

“We hope to take the message of Sacred Nature: that we need to re-engage with wilderness and to value it as the source of life, as the provider of our fresh water, our food and the air we breathe, and use it to remind people that the world will be a poorer place without other forms of life to share it with and marvel at.

Geographical Magazine publishes images from Sacred Nature

Geographical Magazine publishes images from Sacred Nature

Purchase these incredible books here.

kate on conservation logo

 

Learn more The Big Cat People

Learn more about big cats

Want to know more about other big cat species?

Want to know more about Cecil’s the lion?

Share this post:
RSS
Facebook2k

Google+32

Twitter3k

YouTube24

YouTube
LinkedIn732
Instagram2k
Soundcloud15
SOCIALICON
0

Racing Extinction preview screening: #Startwith1thing

Stepping under the blue lights of the entrance, a rising excitement that just a corridor away would be the preview of Racing Extinction; Discovery Network’s biggest global event.

This was a special one for me, having worked on the school resources that supplement the event as part of my role as a sub editor at Discovery Education — plus, it would bring together two of my biggest passions: my job and my campaign work for Born Free Foundation.

image

Born Free Foundation were one of the partners of the film, along with familiar faces such as Tusk Trust and Save Me.

Coincidently, one of the first people I bumped into at the top of a staircase adjorned with beautiful photographs of endangered species (complemented by their population facts and figures for us all to reflect upon); was Born Free’s Policy Advisor (and head of the Badger Trust) Dom Dyer: a face I have come to be familiar with thanks to demonstrations against Taji Cove, fox hunting, canned lion hunting, and most recently; the Lion Aid event in memory of Cecil the lion.

A deep breath and on through the double doors to the main buzz of the evening; a room of invited guests, Discovery employees and various animal activists, charities and campaigners. There among the crowd stood my dear friend Will Travers (below), whose presence made arriving at such a prestigious event alone slightly less daunting. I’ve said it before, but the close-nit camaraderie among Born Free’s founders, patrons and supporters really is second to none.image

With little time to spare (my ill-prepared decision to walk to the venue from Baker Street Station — a near-on half an hour walk as it turn out — had seen to that); it was on to the main event. The screening of this highly-anticipated, four-years-in-the-making docufilm by director Louie Psihoyos whose work includes the Academy Award Winning documentary The Cove, which I’ve previously written about here.

I hadn’t realised before arrival, that journalist and Born Free supporter Kate Silverton would be hosting the event, which immediately took me back to last year’s Wild Night at the Movies: hosted by a then very pregnant Kate Silverton: this was the event that my subsequent blog post about had earned me an invitation to meet Will Travers for the first time — a serendipitous detail to this evening indeed!image

I don’t know how to possibly put into words the power of the film that Louie Psihoyos has created. It’s a must watch… a must act upon… call to arms kind of film.

I almost feel like we have a duty as part of the human race — or more accurately still, as part of planet Earth — to hear the message that this movie speaks.

With a bigger budget and a cable network’s backing behind him, former National Geographic journalist Psihoyos has taken all the dramatic journalistic investigating; emotional narrative and strong, intelligent ethos of The Cove and mixed in some brilliant visionary talent (in the form of well-documented Empire State Building illuminator and Obscura Digital Founder,Travis Threlkel, and eco-warrior Race Car Driver Leilani Münter) to create something pretty spectacular.

For those interested in joining in the Global Premiere of the film, save the date: 2nd December, where Discovery Channel will be screening the documentary across the globe in a special worldwide event!

After watching the film (which received a standing ovation from its audience), the night concluded with a special panel discussion with a panel that included director Louie Psihoyos himself, and Born Free Patron Dr Brian May.

image

The resounding sentiments from this segment of the evening were Psihoyos’ promotion of the statement: It’s better to light one candle than curse the darkness; taken directly from the film, and Brian May’s admission that Racing Extinction had done more than ignite a candle: it had flipped a switch within him.

“The message of hope is what’s important here” May concluded — and I couldn’t have agreed with him more.

“We have to change us before we can change the policy makers,” Psihoyos closed with, and I think that’s where Discovery’s initative #Startwith1thing really comes in.image

All present fundraising champions and ‘wildlife royalty’ made their #Startwith1thing pledge during the course of the evening, including former Springwatch favourite Bill Oddie (who I had the pleasure of meeting at an Angels for the Innocent fundraiser earlier in the year) — and I’ve already made mine (see below).

CUkP5Q7XAAAe8Bn

What will yours be? If we all start with 1 thing, we could be the candles that light up the darkness!

Share this post:
RSS
Facebook2k

Google+32

Twitter3k

YouTube24

YouTube
LinkedIn732
Instagram2k
Soundcloud15
SOCIALICON