Please start this series of posts with #477
This post and the next, concludes Part I of the Africa series. I will return with Part II in a few weeks and
introduce 10 new species. Part I focused on 10 species: cheetah, leopard, lion, rhino, secretary bird, ostrich, flamingo, hippo, hoopoe, and elephant. I currently have 12 block-in sculptures of African subjects in progress
and as the work is completed and prepared for casting, I will post images.
introduce 10 new species. Part I focused on 10 species: cheetah, leopard, lion, rhino, secretary bird, ostrich, flamingo, hippo, hoopoe, and elephant. I currently have 12 block-in sculptures of African subjects in progress
and as the work is completed and prepared for casting, I will post images.
In conclusion, it may be useful to know how I, as a sculptor, use a camera and interpret the results in the field
and in the studio. A sculptor works in a much different way than a painter . . . a painter paints what they see
and a sculptor sculpts what they know. While a painter uses light, color, edges, value, perspective,
and more to create an illusion on a two- diminutional surface, a sculptor creates an actual form of a
figure that exists in space Knowledge of structure and anatomy is a must in order to
build the armature and assemble forms and shapes.
and in the studio. A sculptor works in a much different way than a painter . . . a painter paints what they see
and a sculptor sculpts what they know. While a painter uses light, color, edges, value, perspective,
and more to create an illusion on a two- diminutional surface, a sculptor creates an actual form of a
figure that exists in space Knowledge of structure and anatomy is a must in order to
build the armature and assemble forms and shapes.
Below, is a sculpture of a leopard blocked in and in progress.
As I mentioned in the last post, I prepared a sketchbook of various animal skeletons to use in conjunction with
the camera equipment while on safari in Tanzania. The drawings were invaluable while observing
animal locomotion in the field and while reviewing my digital images.
the camera equipment while on safari in Tanzania. The drawings were invaluable while observing
animal locomotion in the field and while reviewing my digital images.
While on the photo safari in the Serengeti, we achieved the best results by waiting and watching at watering holes in the morning and evening. Most animals ignored us in the Land Rover and we were able to get very close to our subjects without stressing them. Our tent camp was located inside the park so we could stay and photograph until dark.
Below, is a photo of zebras taken at a Serengeti water hole.
While at Tarangire, our camp - Kikoti Camp - was outside the park and we had to exit by 6 p.m.
Many great photo opportunities occurred on the drive back to camp.
Below, are zebras at the watering hole next to Kikoti Camp.
Many great photo opportunities occurred on the drive back to camp.
Below, are zebras at the watering hole next to Kikoti Camp.
In Tarangire, we left camp for the park at dark in the morning and were constantly on the move. We encountered animals at almost every turn and were compelled to keep moving in our excitement. Many times, we would see more than one species together.
Below, is a typical image from our photo safari in Tanzania. . . several species
in one area such as zebra, wildebeest, and African buffalo in the distance.
Below, is a typical image from our photo safari in Tanzania. . . several species
in one area such as zebra, wildebeest, and African buffalo in the distance.
As a wildlife sculptor, I go to the field so I can work and I work so I can go to the field.
Below, is a review of several block-ins of work in progress since my return from Africa.
I will continue focusing on "in the field" photography in the next post.
I will continue focusing on "in the field" photography in the next post.
For anatomy reference, go to posts #563, #616, and #655
Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish Smith
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