#497 In the field: photography in Africa

Please start this series of posts with #477 

The recent trip to Africa was the most productive and exciting "in the field" experience of my life.  Productive, because we returned with over 20,000 digital photos of animals we had never seen before in the wild . . . we are still going through and editing them.  Most important . . . I returned with motivation, inspiration, and urgency, that I have never felt.  There was not a moment in the field that we could put our cameras down because we encountered so many animals and there was so much action.  While on safari Trish and I each had two cameras with us at all times in addition to a little pocket camera we called our "mouse cameras" and fresh back-up batteries for all.  We both relied on our telephoto zoom lens for the many close-ups that are proving to be invaluable in the creation of sculpture.

The images presented in this post are currently being used in the studio as reference for several lion and elephant sculptures in progress.  As mentioned in previous posts about the African adventure, a sculptor must collect reference and data regarding detail, texture, form, proportion, and more to create sculpture.  However,  the only way an artist can connect with their subject is the up-close and personal, "in the field" experience with the animal itself.

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish Smith

#496 In the field: Africa . . . conclusion of Part I

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.

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.  

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.  

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.

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.   

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.

For anatomy reference, go to posts #563, #616, and #655

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish Smith

     

#483 In the field: Africa . . . the big cats: Lion, part 2

Please start this series of posts with #477

Before I approach the sculpture stand and begin to model clay, most of the actual work has been completed through planning, researching the species to be depicted, drawing, photography, and importantly . . . in  the field work.  Being there is a huge part of the process for without it, the desire, inspiration, interest, and knowledge is simply not realized.

Below, are images of Lions from a recent trip to Tanzania.

If I struggle with a design, typically I'll either put the work aside or start over. . . rarely, will I force the sculpture to completion if the concept continues to present problems.  If I need additional understanding regarding anatomy, I will return to my reference and resources . . . but planning and envisioning what the finished work will look like, 

BEFORE I begin the actual sculpting, is paramount.

More than anything, I'm in search of the essence  and  essential character of the species I'm working on in the studio and I constantly ask myself:  "What is the most significant thing that I felt when I first laid eyes on this animal?"

I keep in mind the fact that feelings cannot be forced and I continue to seek meaning and substance in my work by constantly seeking the basic nature and spirit of the animals I've experienced in the field.    

Below, are drawings from my sketchbook in the Serengeti.

Below, is an etching drawn from a zoo animal before I travelled to Africa.  Although I've created a handful 

of works from zoo animals, it's not the same as seeing a species in the wild.  I see animals in a totally 

different way in their natural habitat  . . . not only do they look different, but they evoke an emotional 

response  and connection that is conducive to creativity.

Below, while photographing in the field, I take many close-ups of various details which are great reference in the studio.

I was very anxious to start work in the studio upon my return from Africa . . .  with over 20,000 digital photos and lots of drawings and inspiration, I could hardly wait for the clay to warm!  I have several works started and blocked in. 

Below, is a head study of a male Lion, in progress.

For anatomy reference, go to posts #563, #616, and #655

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish Smith

#482 In the field: Africa . . . the big cats: Lion, part 1

Please start this series of posts with #477

This post spotlights the LION.

Unlike the Cheetah and Leopard - see post # 479, 480, and 481 - Lions live in a family
group called a pride.  A pride can be as small as 4 lions or contain as many as 30 or more.

Below, is a pride of lions photographed in the Serengeti.

The females in a pride usually do the hunting . . . but once a kill is made, the male typically will drive the females away and eats his fill first . . .  afterwards the females and cubs eat the rest.

Lions typically work together when they hunt, which increases their chances of catching prey.  They usually hunt at dusk and the female does most of the work.  Lions kill only when hungry and their immense physical strength places them at the top of the savannah food chain.

While in Tanzania a few weeks ago, we spotted many lions in the Serengeti, Ngororgoro Crater, 

and Tarangire . . .  including the pair below, on their "honeymoon."

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott

#481 In the field: Africa . . . the big cats: Leopard, part 2

Please start this series of posts with #477

Due to the proficiency and experience of our excellent guides, we had successful sightings of Leopards in both
the Serengeti and Tarangire.  The guides coached us to look in trees for the hanging tail of the elusive animal.

Below, the Leopard's tail hangs below a branch in the Tarangire.

Below, even though we knew to look for the cat's tail hanging vertical from a branch,
the guide always spotted the beautiful creature first!

Leopards have been ranked among the least visible and the most difficult to spot due to their hide and stalk hunting technique . . . typically in low-light conditions; and their camouflage; especially in sun-dappled trees.


When hunting, approximately one in four attacks is successful.  When a kill is made and as soon as the Leopard has satisfied its appetite, it drags its prey up a tree, out of the reach of scavengers.

Of all of the big cats, Leopards are the best at stalking prey.  They are silent,  move with stealth  and can get
within a few feet of their intended prey.  Below, is a drawing from my sketchbook.

Below, are more images of one of my favorite African species:  The Leopard!

Below, Leopard at ease on a termite mound.

Below, Leopard descending a termite mound.

Below, are drawings from my sketchbook.

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott

#480 In the field: Africa . . . the big cats: Leopard, part 1

Please start this series of posts with #477

This post and the next, spotlights the LEOPARD . . .
one of three big cats experienced "in the field" on a recent trip to Tanzania, Africa.

Please note, the previous post was about the CHEETAH and after two posts about the LEOPARD, I focus on the LION.

Unlike the Cheetah and Lion, Leopards are known for their ability to climb trees and are routinely seen dragging 

their kill up trees, hanging and securing them on branches, and returning to feed, again and again.      

Below, is a photo of a magnificent Leopard surveying its territory in the Serengeti.

The LEOPARD is smaller than the Cheetah and Lion but due to their massive skull and jaw muscles, 

they are able to take large prey such as impala, Thomsons gazelle, bushbuck,  warthogs, primates, 

and even young giraffe as well as smaller prey such as rodents, birds, and reptiles.  

They silently stalk their prey, pounce, and strangle the throat with strong teeth and jaws or bites 

on the back of their neck and typically, drag them up a tree, safe from other predators, to feed.

Below, are studies of the Leopard from my sketchbook.

Below, while in the Serengeti, we saw this Leopard with a kill in a fig tree.  We watched the cat move the kill to a different branch and after it had eaten its fill, descend and - according to our guide -  probably went to a nearby waterhole.  I'll never forget the profound drama of this encounter with hyenas circling the tree!  We spotted this incident  at a kopjes, which is a rock outcropping on the savannah plains.  Kopjes is the Dutch work for "head." 

Several hyenas were under the tree, waiting for dropped morsels of meat.  Although Lions are occasionally successful in climbing trees and stealing Leopard kills, hyenas can only take a kill away from a Leopard on the ground . . . 

if the cat is unable to move the kill to a tree.

Below, a hyena waits under the fig tree for the leopard to drop morsels of meat. 

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish Smith