[Skip to content] [Skip to main navigation] [Skip to user navigation] [Skip to global search] [Accessibility information] [Contact us]

Previous Next
of 85 items

Think Pink

Time for perhaps the most divisive of the colours. We take a look at Pink.

How did pink get its name?

We are used to thinking about pink as a colour in its own right, but it is a paler shade of red and as such is the only hue we’re covering in this series.

The word pink was first used related to colour around the 1680s prompted by a type of Dianthus flower known as pinks. These flowers got their name due to their frilly edges, which was known as pynken in Middle English – finishing an edge of cloth with a patterned, cut or scalloped effect, as is done with pinking shears.

  • Dianthus-plumarius - pinks, Pinks or Dianthus-plumarius, Sten CC BY SA 3.0
    Pinks or Dianthus-plumarius, Sten CC BY SA 3.0

In Europe, pink is often referred to as rose relating it closely to another type of flower, and going back to Homer’s “Rosy-fingered dawn” in the Odyssey.

In nature

Pink is very common in nature, mainly in flowers although lots of other species sport the colour. Bright, vibrant colours attract insects and pollinators which are crucial to plants fertilising, or in the case of fruits like raspberries or strawberries, may offer great opportunities for seed dispersal when eaten. Their pigment comes from anthocyanins which are pigments that can appear to be shades of red, purple or blue.

  • Roses in the Horniman Gardens, Roses in the Horniman Gardens, Connie Churcher
    Roses in the Horniman Gardens, Connie Churcher

There are lots of pink animals too. From flamingos to dolphins, pigs to moths. Some animals get their colour from a diet rich in carotenoids, which we looked at in our yellow blog. Other animals, like pigs, have been selectively bred this way or use it as part of their rich plumage like hummingbirds.

  • Elephant hawk moth from our collections, An elephant hawk moth from our collections
    An elephant hawk moth from our collections

There are several pink minerals, including rose quartz, rhodochrosite, and pink topaz. There are rare pink beaches, coloured by years of coral erosion, and pink brick or sandstone buildings can be seen from India to Argentina.

Popular and powerful

According to a study by Eva Heller in 2009, pink is most closely associated with sensitivity, childhood, femininity, sweetness, and romance, in Europe and the US. The association with pink as feminine stems from just before World War I but didn’t become established until the 1940s and the baby boomer generation. Previously, boys were pictured in pink because red was associated with activity and aggression, and pink was a hue of red, deemed to be a stronger colour compared to blue.

Commerce has had a role to play in pink or blue being associated with gender.

In the past, lots of clothes were white, as these could be bleached easily when stained or dirty, and white was (and still is) associated with innocence, particularly in children's clothes. By pushing consumers towards a new colour code for children, shops could sell more products as you would buy different clothes for boys and girls, rather than reusing clothes multiple times across families or generations. Toys aimed at girls featuring pink packaging is also a more recent trend, coming into prominence in the 1980s and 1990s.

  • Gendered toys, An aisle of pink toys, Josh Puetz via CC BY-NC 2.0
    An aisle of pink toys, Josh Puetz via CC BY-NC 2.0

Although is it not uncommon to see men wearing pink, it is still not very popular with men. Only 1% of men would choose it as their favourite and only 7% of women.

In Thailand, pink is associated with the day Tuesday, while in France, a reddish-pink is the colour of medicine in academic dress. In Japan, pink is associated with spring because of the cherry blossoms, but it is also the colour of ‘off-colour’ jokes. In China pink is associated with westernisation, and is considered a foreign colour.

Pink is often used as a symbol of sexuality, particularly in LGBTQIA communities and the original pride flag had a pink stripe to represent sex. Women wore pink pussy hats in the 2017 Women’s March. In Japan, erotic movies are called pink films and recently, Janelle Monáe sang about female sexuality in her song Pynk.

Because of the way the colour has been applied to gender, there is some pink backlash, with campaigns like Pinkstinks opposing the ‘pinkification’ of girlhood. ‘Pink tax’ refers to the higher costs paid by women and girls in products from dry cleaning to bicycle helmets.

Pink in the arts

The phrase ‘in the pink’ means being in good health and dates back to the sixteenth century, meaning to be the very pinnacle of something. It is used by Mercutio in Romeo & Juliet (Act 2, Scene 4):

Nay, I am the very pink of courtesy.

Pink was most commonly used for flesh tones of white people in European art, and features as the colour of male infant dress. It really got trucking in the 18th century with Madame de Pompadour, who made pink and blue fashionable colours at the French court, and the hue Rose Pompadour is named for her.

  • Portrait of Marquise de Pompadour, Portrait of Marquise de Pompadour, Francois Boucher (via Wikimedia)
    Portrait of Marquise de Pompadour, Francois Boucher (via Wikimedia)

In the early twentieth century, Elsa Schiaparelli created shocking pink and used it across her designs, lending the name to her perfume. Marilyn Monroe wore a now iconic pink dress when singing that Diamonds are a Girl’s Best Friend, Mr. Pink rallied against the name in Reservoir Dogs and Mean Girls wore pink on Wednesdays.

From Kay Thompson to The Pink Panther, The Psychedelic Furs to Nicki Minaj, pink pops up in music just as much as film, fashion, and art. Listen to our playlist of pink-influenced songs.


Learn more about colour in our family-friendly exhibition, Colour: The Rainbow Revealed.

The 2018 Artquest research residency

Artquest, in partnership with the Horniman, are offering a research residency for one London based artist to focus on our collections.

  • The Horniman Bandstand, The Horniman Bandstand in our Gardens
    The Horniman Bandstand in our Gardens

The residency includes:

  • An award of £3000 to engage with the work and collections of the museum
  • An additional award of £850 towards a public facing event showcasing the thinking and research undertaken during the residency
  • Privileged access to museum’s music collection objects and curators

For the 2018 residency we are interested in hearing from applicants to engage with any of our collections (Anthropology, Aquarium and Animal Walk, Archive, Butterfly House, Natural History, Gardens or Musical Instruments) and we particularly welcomes applications from artists with a participatory or socially engaged practice.

Please note, that this is not a studio residency and applicants are expected to have their own studio / workspace to complete any work.

Find out if you are eligible for the residency and apply on Artquest by 10am on Monday 13 August 2018.

Saint George, Patron Saint of Ethiopia

We're sure that many of you are familiar with the story of Saint George. As the Patron Saint of England, his legend is one well known across the country.

Even if you aren't familiar with George himself you'll have seen the cross of Saint George everywhere - from flags on government buildings to football strips.

Saint George isn't just the Patron Saint of England though. George's patronage extends to amongst others, Aragon and Catalonia, Georgia (unsurprisingly), Moldova, Palestine, and Ethiopia. In our collections from Ethiopia in particular, Saint George features prominently. So just why has the East African nation taken the Saint to their hearts?

Ethiopia, along with its neighbour Eritrea, is something of an exception in the Horn of Africa, in that it is a nation in which the majority of the population practices Christianity. Christianity in Ethiopia takes the form of the Ethiopian Orthodox Church which traces its roots all the way back to the Apostles. Made the official church of the Kingdom of Axum in the 4th century AD, making it one of the earliest nations to adopt Christianity, it has remained the dominant religion in Ethiopia ever since. In fact, the Kings of Ethiopia claimed descent from the biblical figures of King Solomon and the Queen of Sheba.  

  • Saint George 001, Depictions of Saint George slaying dragons and beasts from horseback are common throughout Christianity, the decision to depict the saint with a darker skin tone, however, is not.
    Depictions of Saint George slaying dragons and beasts from horseback are common throughout Christianity, the decision to depict the saint with a darker skin tone, however, is not.

It is unclear quite how the story of Saint George first came to Ethiopia. Saint George is an important figure in the Middle East particularly in Palestine and Lebanon - it is said he was born in either the Levant or Cappadocia - and may have been introduced to Ethiopia by contact with other Oriental Orthodox churches such as the Coptic Church of Egypt. 

  • 465px-Bete_Giyorgis_03, The Biete Giyorgis is dedicated to Saint George and is considered the greatest example of the rock-hewn churches at Lalibela.
    The Biete Giyorgis is dedicated to Saint George and is considered the greatest example of the rock-hewn churches at Lalibela.

One thing that's very clear though is how important George is in the East African state. In the town of Lalibela, an important pilgrimage site for Ethiopian Christians, eleven churches were hewn from rock between the 7th century AD and the 13th century AD. This monumental task means that the churches are found in subterranean trenches with the earth around them excavated to create the form of magnificent church structures. The best preserved and best-executed church in Lalibela is the Biete Giyorgis, the Church of Saint George. Allegedly, this church was sculpted under the orders of Gebre Mesqel Lalibela - after whom the town is named - in the 13th century AD after Saint George visited him in a vision instructing him to do so. 

Addis Ababa's cathedral is dedicated to Saint George, as is the city's leading football team. There's even a beer named after Saint George.

Saint George is a popular figure in Ethiopian iconography often appearing on horseback driving his lance or spear into the dragon he so famously slew. Just as George's role as a warrior saint made him a popular figure amongst knights and crusaders of Europe, his association with war and battle is prominent when examining our collection of depictions of George in Ethiopian art. The two paintings featured below depict Saint George at the heart of one of Ethiopia's most important historical moments, the Battle of Adwa.

  • Battle of Adwa 01, Depictions of the Battle of Adwa are in ample supply thanks to the significance of the battle in Ethiopian history. In this painting, Saint George provides Ethiopian forces with divine inspiration from the heavens.
    Depictions of the Battle of Adwa are in ample supply thanks to the significance of the battle in Ethiopian history. In this painting, Saint George provides Ethiopian forces with divine inspiration from the heavens.

At the end of the 19th century, Africa had been carved up by the European powers at the Berlin Conference of 1884-85. All of Africa was claimed by European empires with the exception of two states, the Republic of Liberia and the Ethiopian Empire. Despite this, in 1895, the Kingdom of Italy invaded Ethiopia to further its colonial ambitions in the Horn of Africa. Despite initial Italian success, Ethiopian forces would rout their opponents at the Battle of Adwa in 1896, ending their imperial ambitions in Ethiopia. According to the historian Raymond Jones, Adwa stands out as one of the significant events of the 19th century as "In an age of relentless European expansion, Ethiopia alone had successfully defended its independence."

  • Battle of Adwa 02, As above, this painting of the Battle of Adwa portrays Saint George, Emperor Menelik II, and Empress Taytu, leading Ethiopian troops into battle.
    As above, this painting of the Battle of Adwa portrays Saint George, Emperor Menelik II, and Empress Taytu, leading Ethiopian troops into battle.

In both paintings, we see the amassed forces of Ethiopia and Italy facing off against each other across a battlefield. The Ethiopian forces are also led by the same three figures in both paintings - Emperor Menelik II, Emperess Taytu, and Saint George. Saint George soars above both scenes surrounded by a halo of red, green, and gold, the colours of the Ethiopian flag, granting divine inspiration to the forces of Ethiopia. In one case he even hurls his spears into the massed ranks of the Italian army. 

The Battle of Adwa is commemorated to this day in Ethiopia as a national holiday, with public celebrations held in towns and cities across Ethiopia every year. Each year they celebrate the leadership of Menelik II, Tatyu, and of course Saint George.

Artist Commission: The Studio 2019

We are looking for an exceptional artist with a collaborative practice for our 2019 Studio commission. 

What is the Studio?

The Studio is an exciting, new contemporary arts space at the Horniman, as well as a collaboration between the Horniman, artists and local community partners. The successful artist will join the Collective, the working group who programme the Studio. The chosen artist will be commissioned to create a new artwork as part of an exhibition opening to the public in October 2019.

The Studio will open for the very first time in October 2018. We will commission a new exhibition programme each year inspired by the Horniman’s collections.

The Studio aims to be a hub for exciting events and activities alongside its exhibitions programme, co-curated by artists, community groups and partners working with the Horniman.

The Commission

The Studio in 2019 will focus on Memory. Museums play a vital role in mediating memory, since they often present objects, images and stories from the past. 

Anthropology museums have a particular responsibility in how they present the way the past speaks to the present.

They need to provide a space for contested and alternative forms of memory to flourish. Such memories often challenge and re-orientate the Horniman's curatorial voice, creating both social cohesion and disruption amongst its visitors.

Selection Criteria

We are looking for an artist with great experience of working with people, and involving communities within their work. The artist will also have experience of exhibition-making in their portfolio of works but is not required to have had past experience of working with museums or museum collections.

  • Artists with a practice in social arts or socially-engaged arts, who work together with people and community as part of their practice. We will also consider applications from artist-led organisations where artists share a collaborative practice.
  • Artists who have a track record of creating exhibitions as an outcome of participatory process.
  • Artists who can demonstrate best practice and ability to engage the public in critical enquiry through their work.
  • Artist’s Expression of Interest statement on why the area of enquiry is of interest and interest in the Studio.

Please note: we are not looking for a proposal idea response to the enquiry in your Expression of Interest at this stage of application.

Next steps and application

Download and read the Guidance in the open call document below:

Then submit

1. A brief Expression of Interest statement of no more than two A4 sides that include the following information:

  • Why you are interested in the area of enquiry (see above section Commission Area of Enquiry). No more than 500 words.
  • How you may work collectively or collaboratively with community partners and curators. No more than 700 words.
  • How this opportunity will support your own artistic practice. No more than 500 words.

2. Visual examples of your work. Select three examples that best represent your practice in relation to the criteria outlined in this brief. Please send these as a separate document or signpost us to links of these works online. Please note that if you are emailing us images we are unable receive emails over 9MB.

3. An up-to-date CV (Curriculum Vitae).

To Anila Ladwa, Curator of Studio Programmes (aladwa@horniman.ac.uk) by 5pm on Tuesday, 3 April 2018, with the subject line ‘Studio 2019 Expression of Interest’.

British Wildlife Photography Awards 2017 - Your Winner

You voted for your favourite photo in our British Wildlife Photography of the Year Exhibition and now we can reveal the winner of the public vote.

Sadly our exhibition of the British Wildlife Photography Awards 2017 has now come to an end but we're delighted to say it proved incredibly popular.

Although the gongs had been handed out before our exhibition opened, visitors were given the chance to vote for their own winners and leave their comments.

Clearly, the breadth of talent and photography impressed our visitors as competition was fierce, but we are delighted to say we can now announce the three most popular photographs from our exhibition...

*drumroll*

In third place, Grumpy Mountain Hare by David Walker

  • Grumpy Mountain Hare, 'Grumpy Mountain Hare', Dan Walker
    'Grumpy Mountain Hare', Dan Walker

In second place, Balancing Act by Ian Watson

  • 02.24_PORTRAITS_P_609.6_x_406, 'Balancing Act', Ian Watson
    'Balancing Act', Ian Watson

And your Horniman public vote winner is, Peeking Red Fox Cub by Luke Wilkinson

  • Red Fox Cub, Peeking Red Fox Cub, Luke Wilkinson
    Peeking Red Fox Cub, Luke Wilkinson

Congratulations to Luke, whose shot of this young cub was clearly too cute for our visitors to ignore.

You can read more about wildlife photography in our interviews with the photographers from this exhibition on our blog

About the Art: Mark Thomas

As our blog series highlighting the work of photographers featured in the British Wildlife Photography Awards comes to a close, Mark Thomas tells us why diving with seals can create some unforgettable moments.

Can you tell us the story behind your photo in this exhibition?

The Farne Islands have one of the largest populations of grey seals in the UK with hundreds of pups born each autumn. Diving with these beautiful, gentle creatures is one of the highlights of UK diving. The pups will sometimes approach divers, nibbling on fins, mask straps, and camera gear. Diving with seals can be hit and miss - on occasions the seals keep their distance and watch the strange, cumbersome, bubble-blowing creatures from afar. When you encounter a particularly inquisitive pup, however, the experience is unforgettable and results can be spectacular.

  • OpenWide, 'Open Wide' by Mark Thomas which features in the 'Behaviour' category at this year's British Wildlife Photography Awards, Mark Thomas
    'Open Wide' by Mark Thomas which features in the 'Behaviour' category at this year's British Wildlife Photography Awards, Mark Thomas

How did you go about getting that shot?

I took this photo on a dive club trip to the Farne Islands in May 2017. The pup was one of a trio who joined us in a shallow bay - the other two kept their distance and can be seen in the background. This individual was especially bold, swimming alongside and mouthing the camera housing - perhaps seeing its reflection in the dome port.

Did you use any particular equipment or software?

I was using a Nikon D3 with a 15mm fisheye lens, in a Sea & Sea underwater housing, with twin strobes. I use Photoshop to process the RAW images.

  • Grey_seal_pup_FarneIslands, Mark Thomas
    , Mark Thomas

What are your favourite scenes, species or motivations behind your photographs?

The bulk of my diving is around UK and Ireland - especially Connemara in the west of Ireland, the west coast of Scotland, and North Wales. I have dived further afield, including around the Galapagos Islands, Revillagigado Islands, and Sulawesi Islands, but the thought of lugging expensive, heavy kit on long-haul flights puts me off.

What are the difficulties of wildlife and nature photography that you face?

Diving in the UK and Ireland is often quite challenging - bad weather, tides, and poor visibility together with cold water add to the difficulties for the underwater photographer. Despite this, it is well worth the effort - with wonderful underwater scenery, wrecks and a rich diversity of colourful and strange marine life. Non-divers are constantly amazed at what can be found a few metres beneath our seas and it is a pleasure to be able to showcase the sights we see underwater. 

  • Corkwing-wrasse_Connemara, Mark Thomas
    , Mark Thomas

How long have you been a photographer and how did you get started?

Photography has been a hobby since my teenage years, when a summer job enabled me to buy my first camera - the Pentax ME Super. Rugby was my passion for over 30 years but once the knees gave out I decided to take up a long-standing ambition to dive and in 1998 I joined the local dive club in Northwich - Hartford SAC. Several talented photographers in the club encouraged my interest in underwater photography and in 2002 I bought a secondhand Nikon F90 film camera and housing before joining the digital revolution a few years later. 

  • Lumpsucker_MenaiStraits, Mark Thomas
    , Mark Thomas

What would you advise someone wanting to start taking photos of wildlife or nature in their local environment?

Underwater photographers should be comfortable in their diving, with good buoyancy control and a healthy regard for the underwater environment.

What projects are you working on now or have coming up?

In the winter months, diving is usually restricted to freshwater quarries and rivers, and recently Liverpool docks. These dives are useful for keeping skill levels up and practising techniques. Again, people are surprised at what can be found in these underwater environments. Next year there are plans to dive in  Donegal and Connemara in Ireland, the Scottish lochs, and the Farne Islands.

  • mauve_stinger_Connemara, Mark Thomas
    , Mark Thomas

About the Art: Phillip Price

As part of our ongoing blog series on the work of photographers featured in our exhibition of the British Wildlife Photography Awards, Phillip Price tells us about how he hopes his photography work will make the case for a wilder Scotland.

Can you tell us the story behind your photo in this exhibition?

I am a photographer for Scotland: The Big Picture and beavers are one of our key species to highlight the benefits of having a wilder Scotland. As a result I spend a long time with this animal trying to showcase the huge benefits they can have to our ecology and society. People perceive bracken as a nuisance, to find out that beavers eat it, means there is another wonderful reason to make space for beavers in our landscape.

  • Beaver Bracken Eater, 'Beaver Bracken Eater' which appears in the 'Behaviour' category in this year's British Wildlife Photography Awards., Phillip Price
    'Beaver Bracken Eater' which appears in the 'Behaviour' category in this year's British Wildlife Photography Awards., Phillip Price

How did you go about getting that shot?

I was running one of my Beaver photography workshops when I saw an island float down from the far end of the loch. It was luminous green and was moving quicker than the current, eventually, the penny dropped that the floating island was in fact a beaver carrying an enormous mouthful of bracken. The client and I then ran to a safe position at the loch's edge in line with where it was heading, got down to eye level to the water and waited. The Beaver eventually swam past enabling a handful of shots to be taken with this being the best. We were both elated and knackered as beavers swim much quicker than they look capable of.

How long did you have to wait for this shot?

The evening workshop was around four hours and this happened right at the end, but I have been waiting to get a shot like this for Scotland: The Big Picture for two years so a fair amount of time in the field.

Did you use any particular equipment or software?

Canon 6d and 500mm f4 lens, Adobe Lightroom to process raw file

  • Phillip Price 2, Phillip Price
    , Phillip Price

What are your favourite scenes, species, or motivations behind your photographs?

All the motivation now is to see Scotlands' wildlife and ecology improve, it is the only reason I do what I do. Through the project Scotland: The Big Picture we aim to use our images to argue the case for a much wilder and richer use of our landscape. To do away with unhealthy mono-cultures and towards a much richer and diverse spread of species and habitats. As a result, my favourite locations and animals are linked to this ideal, sea eagles soaring over a great coastal oak forest and Otters swimming below the limbs of an ancient temperate rainforest. I tend to run all my workshops in these mind-blowing locations and hope to help create more.

  • Phillip Price 6, Phillip Price
    , Phillip Price

What are the difficulties of wildlife and nature photography that you face?

The huge damage caused to and disregard of the natural world by our decision makers and some businesses, this is by far the biggest challenge to taking great nature shots in the UK.

What would you like people to think about when they see your work?

How exciting and amazing the natural world is and how much fun it can be and hence we need more of it.

How long have you been a photographer and how did you get started?

12 years ago. I started in a studio photographing people then quickly moved into wildlife 11 years ago, which is when I started my guiding and photography workshop business Loch Visions.

  • Phillip Price 5, Phillip Price
    , Phillip Price

What would you advise someone wanting to start taking photos of wildlife or nature in their local environment?

Local is the key. Start with a project of spiders in your garden or squirrels at the park. Understand your subject, spend time and you will reap the rewards.

What projects are you working on now or have coming up?

Sea Eagles for Scotland: The Big Picture is my main freelance job at the moment. My brief is to showcase the huge benefits these animals are bringing to rural communities and also show the solutions to some of the perceived difficulties.
I am also in the middle of setting up a wildlife photography 'park' idea for all my workshops, set in temperate rainforest on the west coast of Scotland which is very exciting

  • Phillip Price 3, Phillip Price
    , Phillip Price

About the Art: Lucien Harris

We spoke to Lucien Harris as part of our blog series looking at the work of photographers featured in our British Wildlife Photography Awards exhibition. 

Can you tell us the story behind your photo in this exhibition?

I was walking through a field in Cornwall and I spotted a dead tree. I noticed there were tiny boreholes all over it and wondered what had made them. After a while, I noticed a tiny wasp land and crawl inside. Luckily, I had my camera with me and I thought I'd wait for it to re-emerge so I could get a clear photo of its face. After a while it did and it just sat looking at me for just enough time to get the shot.

  • Wasp you looking at, 'Wasp You Looking At?' which appears in the 'Hidden Britain' category of this year's British Wildlife Photography Awards, Lucien Harris
    'Wasp You Looking At?' which appears in the 'Hidden Britain' category of this year's British Wildlife Photography Awards, Lucien Harris

How did you go about getting that shot?

I didn’t have a tripod so I used twin flashes with diffusers I made in order to light up the scene.

How long did you have to wait for this shot?

I waited around 20 minutes.

Did you use any particular equipment or software?

I used a 105mm macro lens with a 1.4 teleconverter and two twin flashes with homemade light diffusers.

What are your favourite scenes, species, or motivations behind your photographs?

I love capturing the unseen as there are so many minibeasts that not many people get the chance to see.

What are the difficulties of wildlife and nature photography that you face?

Timing and weather, especially the wind. A slight breeze can turn a good shot into a blurry mess very quickly.

What would you like people to think about when they see your work?

About the diversity of British wildlife and how we can keep it all safe for future generations.

How long have you been a photographer and how did you get started?

I've been a photographer for 10 years. I started off shooting photos of skateboarding but when I went travelling I noticed all the amazing wildlife and really wanted to capture it for memories when I got home.

What would you advise someone wanting to start taking photos of wildlife or nature in their local environment?

It doesn’t matter about equipment. Just be patient and concentrate on the composure of the photograph

What projects are you working on now or have coming up?

I'm working on a calendar of British bugs which involves local illustrators as well.

About the Art: Ross Hoddinott

As part of our ongoing series on the work of photographers featured in our BWPA exhibition, we met Ross Hoddinott who looks for beauty in the less obvious places.

Can you tell us the story behind your photo in this exhibition?

I love springtime and spend as much time as I can exploring the countryside close to my north Cornish home at this time of year looking for close-up subjects. The hedgerows and banks are full of new plant-life during April and May and uncurling ferns look fascinating and beautiful at high magnification. Hart’s-tongue ferns are particularly photogenic and when I noticed these two ferns creating a heart shape when aligned together I couldn’t resist shooting them.

  • 04.41_BOTANICAL_P_609.6_x_406.4_1171709178_HR, 'Hartstongue Heart' appears in the 'Botanical' category of this year's British Wildlife Photography Awards, Ross Hoddinott
    'Hartstongue Heart' appears in the 'Botanical' category of this year's British Wildlife Photography Awards, Ross Hoddinott

How did you go about getting that shot?

I used a dedicated macro lens – optimised for close focus – to enable me to capture a frame-filling shot. I opted for a large aperture of f/4.8 to create a shallow zone of focus. A tripod helped me to carefully compose the image and fine-tune my focusing.

How long did you have to wait for this shot?

I probably spent around 30 minutes fine-tuning the image, experimenting with settings, and perfecting the composition. I had to carefully remove various bits of dead foliage and debris to ensure the fern’s background was clean and attractive. Background choice is always an important consideration.

Did you use any particular equipment or software?

My 200mm Nikkor macro lens is a great choice for this type of close-up and a tripod proved essential too. Otherwise, my set-up was relatively simple for this image.

  • Wingtips, 'Wingtips' is the winner of the 'Close to Nature' category in this year's British Wildlife Photography Awards., Ross Hoddinott
    'Wingtips' is the winner of the 'Close to Nature' category in this year's British Wildlife Photography Awards., Ross Hoddinott

What are your favourite scenes, species, or motivations behind your photographs?

I specialise in landscape and close-up photography, with a real passion for insects and wild flowers. Dragonflies, damselflies, and butterflies are among my favourite close-up subjects. Highlighting the beauty and form of less obvious or appealing subjects is always a motivation for me.

What are the difficulties of wildlife and nature photography that you face?

The unpredictability of nature and the weather are the most obvious challenges. With the great popularity and accessibility of photography today it is also getting increasingly difficult to produce truly original or innovative work.

  • Banded_Demoiselle-9637, Banded Demoiselle, Ross Hoddinott
    Banded Demoiselle, Ross Hoddinott

What would you like people to think about when they see your work?

I’d like to help heighten their appreciation and passion for the landscape, nature, and the great outdoors. Hopefully this – in turn – will encourage a connection with nature and conservation.

How long have you been a photographer and how did you get started?

I’ve been a professional landscape and natural history photographer since my late teens – 20 years now. I began shooting wildlife at the age of 11 and never considered anything else as a profession. I’m fortunate to make my living from something I find so fulfilling and rewarding.

  • RHO_Common_blue_damselfly-2614, Common Blue Damselfly, Ross Hoddinott
    Common Blue Damselfly, Ross Hoddinott

What would you advise someone wanting to start taking photos of wildlife or nature in their local environment?

Get to know your subject intimately – for example, its habitat, diet, and behaviour. Spend time observing and enjoying your subject – a good understanding and passion for your subject is essential if you wish to capture its character or beauty.

What projects are you working on now or have coming up?

I’ve just finished writing two new books – ‘Masters of Landscape Photography’, published by Ammonite Press and on sale now, and also “Landscape Photography – From Dawn to Dusk’ which is due to be published next Spring – again by Ammonite. It’s been a hectic year – I’m hoping to have more time behind a camera in 2018.

  • Wood_Anemone-6370, Wood Anemone, Ross Hoddinott
    Wood Anemone, Ross Hoddinott

About the Art: Duncan Eames

We spoke to Duncan Eames about his amusing photograph from this year's exhibition of the British Wildlife Photography Awards in which a jackdaw provides a stag with some fashion advice.

Can you tell us the story behind your photo in this exhibition?

I try to document the rut in Richmond Park every year since I’ve started my photography hobby– I’ve only missed one due to a broken camera (I broke it while setting up for the rut three weeks after I’d purchased it). Last year’s self-imposed rut assignment was deer with anything on their heads be it flora or fauna.

My wife and I were watching this particular stag having a good thrash while sheltering from the rain. He eventually seemed satisfied with his efforts and settled for what you see in the photo which wasn’t as impressive as most of the others around that day. Soon after a Jackdaw flew in and landed on his back. Although I did notice that it was a little special, at the time I didn’t spot the apparent eye contact between the two until much later. I like to think the Jackdaw was giving the stag some fashion advice.

  • What do You Mean "it Does't Suit Me?", 'What do You Mean "it Does't Suit Me?"' which features in the 'Behaviour' category of this year's British Wildlife Photography Awards, Duncan Eames
    'What do You Mean "it Does't Suit Me?"' which features in the 'Behaviour' category of this year's British Wildlife Photography Awards, Duncan Eames

How did you go about getting that shot?

I wish I could say I was waiting patiently for hours and there was meticulous planning beforehand but it wasn’t anything like that. I just happened to be sheltering from the worst of the rain while trying to protect the camera with a rain cover on the way to having a much-needed coffee. It just so happened that this stag was thrashing about in the grass between resting and a bit of bolving (roaring) - probably part of the reason for choosing the tree for cover. I think we were just about to move on, so I’m glad we actually stayed a little longer.

How long did you have to wait for this shot?

Not long at all. From the moment we had sheltered to the shot probably about 10-15 minutes.

  • Defiant Roar, This is one of my best-known photos. It taken in October 2013 and used in the BBC Wildlife magazine in their 50th-anniversary edition, and their How to Photograph Wildlife special.  , Duncan Eames
    This is one of my best-known photos. It taken in October 2013 and used in the BBC Wildlife magazine in their 50th-anniversary edition, and their How to Photograph Wildlife special. , Duncan Eames

Did you use any particular equipment or software?

I used a Nikon D810 with a 500mm f4 lens on a Gitzo Tripod with a lensmaster gimbal head. I actually had the wrong white balance set as I was experimenting with a manual setting that worked before the cloud and rain came in. This was corrected in Lightroom along with cropping (the original was in portrait orientation) and sharpening.

I had the aperture set to f/5.6, in hindsight I probably would have set the aperture to f/8 or more but I am really pleased with how this came out.

What are your favourite scenes, species or motivations behind your photographs?

I wouldn’t say I have any favourite species or scenes as such. Given most of my well known work are Red Deer photos; I’d have to say one of my favourites has to be the rut in Richmond Park. The sounds, smells and the sight of the deer and the park keep drawing me back.

One of my main motivations for wildlife photography is that I find it is a great way to relieve stress. I couldn’t just watch wildlife all the time, so the camera comes too.

What are the difficulties of wildlife and nature photography that you face?

One is Time. Currently, I’m lucky to get out once a month as real life takes over. So any photo opportunities other than small walks that have been tagged on the end or before shopping trips have been few and far between. I haven’t had much chance to get around some of the better wildlife sites around town for a while either. Sometimes, because I haven’t been consistent with my trips I forget about camera set up or technique (technical and field craft) so it can take me a while to get back into the swing of things. Likewise, my time for processing the photos can be limited. I usually have a couple of hours to process the images. I’m still trying to work out a way to process that works for me.

I currently don’t drive so getting to certain places is harder. I try to turn this into a positive and concentrate on the more accessible places and the wildlife around me.

  • Fieldfare, This Fieldfare photo was one of the first photos I felt that I got right with my first DSLR and long zoom lens. (Nikon D80 and Sigma 150-500mm). Taken in the first big snow of 2010, I took a snow day off from work. I still remember phoning in while up to my knees in snow while on my local patch. , Duncan Eames
    This Fieldfare photo was one of the first photos I felt that I got right with my first DSLR and long zoom lens. (Nikon D80 and Sigma 150-500mm). Taken in the first big snow of 2010, I took a snow day off from work. I still remember phoning in while up to my knees in snow while on my local patch. , Duncan Eames

What would you like people to think about when they see your work?

To be honest I’ve not really thought about this, other than that I hope they enjoy what I have to show. As I have mentioned in the previous question, I currently try to document what is around me. A lot of the wildlife around us is taken for granted so I hope that people also find the native nature as interesting as I do.

With regards to the photo in the exhibition, I hope the interaction between the Red Deer and the Jackdaw raises a smile.

How long have you been a photographer and how did you get started?

I started with wildlife photography in about 2009 when I purchased a telephoto zoom lens a few years after I got my first DSLR. I blame my wife and the Polish countryside around where she grew up as a more recent catalyst as I wanted to document what I found around there.

What would you advise someone wanting to start taking photos of wildlife or nature in their local environment?

When it comes to equipment you do not need to spend lots of money. Just because you don’t have the big, heavy, shiny kit doesn’t mean you won’t take good photographs. Choose the right camera make that suits you. It’s no good if you don’t like how it’s balanced or how the controls are laid out. If you can, spend the money on the lenses over the camera body. Unless you have more cash than you know what to do with you are likely to be sticking with one make. If you are also considering stabilisation, ensure that you pick the best tripod your budget will allow. This should be as high as lenses on your list of equipment. Don’t make the same mistake I did or you’ll end up buying another tripod later.

Just get out there and take photos. Practice will mean your photos get better regardless of what you’re trying to achieve be it something creative or just a decent record shot.

There are plenty of places to practice be it urban, coastal, or countryside. For animals and birds, an ideal place to start is in a local park as they are likely to be used to people. I have found that ducks, other waterfowl, and garden birds are very good to start with. Don’t just rush in or get too close. If you can get level with or lower than your subject it can give a better shot. Sometimes sit back and watch the behaviour you can learn a lot and apply it to the photography.

Experiment with your technique, try and emulate others and put your own spin on it. Share your photos and get feedback, post them online or join a camera club. Learn from your mistakes and from others.

  • hedgehog, This is one of the five hedgehogs that visited my garden over the summer. I was laying in wait for it to snuffle its way through the plants at the back of the garden. It heard the camera going and paused for a while (it stayed like this for the time I took the photos). I stopped after five minutes and walked away. To be honest this was the bravest of all the five hedgehogs and after this would walk around me and eat right next to me if there was hedgehog food out for the â which there often was.  It never seemed to mind the camera and often appeared to pose for me. , Duncan Eames
    This is one of the five hedgehogs that visited my garden over the summer. I was laying in wait for it to snuffle its way through the plants at the back of the garden. It heard the camera going and paused for a while (it stayed like this for the time I took the photos). I stopped after five minutes and walked away. To be honest this was the bravest of all the five hedgehogs and after this would walk around me and eat right next to me if there was hedgehog food out for the â which there often was. It never seemed to mind the camera and often appeared to pose for me. , Duncan Eames

What projects are you working on now or have coming up?

I don’t tend to plan photo projects too much as real life gets in the way. It's not that I don’t have ideas, it’s more whether I get the opportunity to carry them out. At some point, I think I may have to change my outlook on taking photos and concentrate more on getting the subject and its habitat rather than the close-up portrait.

Over the last few years, I have occasionally thought about the Wagtail roosts around my town, it might be a good opportunity to have a go with them. One site and probably the best roost around the town happens to be on private land so I’ll have to ask permission. As the area is very busy and usually with far too many people I’m not sure they will allow me.

Next year I hope that I can document the hedgehogs visiting the garden. I had five this year and they seemed to tolerate me being close. Sadly none of them have stayed despite my best efforts to make them feel at home with food, shelter and a section of my garden that is less attended to than the rest. If they do come back, I may even be allowed a trail camera or two to help me document them. If I get the right camera there could be live streaming.

I have repeatedly promised to go and photograph the Peregrines at Charing Cross Hospital in London when I’m in the area and I have always been carried away with other things and then not going. If I mention this here I have no excuse but to visit now.

Previous Next
of 85 items