the cheetahs of the kgalagadi

the cheetahs of the kgalagadi

Written for National Geographic Kids magazine

THE KGALAGADI IS HOME TO ONE OF THE MOST IMPORTANT CHEETAH POPULATIONS IN AFRICA, BUT WE KNOW PRACTICALLY NOTHING ABOUT THEM. A NEW PROJECT IS SET TO CHANGE THAT.

A springbok herd is grazing peacefully in the hot mid-morning sun, the dust irritating their nostrils. Suddenly a cheetah explodes from the grass she has been hiding in. Stealthily she has been stalking the herd from a downwind direction. The springbok run for their lives. Within seconds the cheetah is at full speed, targeting a springbok ram.

The dark stripes below the cheetah’s eyes absorb the harsh sunlight, helping her to see clearly in the bright light. With the cheetah’s long legs moving in a blur, she rapidly gains on the springbok, her flattened tail guiding her like a rudder. Without breaking her stride she pounces, sinking her sharp canines into the back of his neck, avoiding the springbok’s hooves and sharp horns.

The sprint has exhausted her but this time she was lucky and her cubs will eat. Her slim body is built for high speed, making cheetahs the fastest animals on Earth, but they cannot maintain the speed for long distances. If they miss in their sprint, they must stop to rest before they can hunt again.

After catching her breath, she called to her cubs who were hiding under a nearby camel thorn tree. Cautiously they came out. Knowing that lions, hyaenas and jackals would be attracted to the scent of blood, they eat quickly. Sometimes they are chased away and have to watch from a distance as their competitors eat the kill their mom worked so hard for.

Watching from a safe distance is Dr. Gus Mills and his team. They are doing research on the cheetah of the Kgalagadi Transfrontier Park.

Watching you watching me

The Kgalagadi Rransfrontier Park is about 38 000 square kilometers and is one of the largest conservation areas in the world. About two thirds is in Botswana and a third in South Africa. It is called a transfrontier peace park because it crosses a national boundary but there is no fence – just some whitewashed stones to mark the border. Because it’s such a large protected area the cheetahs are able to live without conflict with humans, but it’s a population that we know virtually nothing about.

“We’re concentrating on the South african side because of the huge size of the park, using a combination of traditional and hi-tech tracking methods to monitor the cheetahs,” says Gus Mills.

Working with Khomani San trackers and with the use of radio collars, GPS and digital cameras, they are able to monitor the movements and behaviour patterns of individual cheetahs. Gus reckons that there are about 80 cheetahs in the park. even though it is just a year into a five-year project, they have already found out some interesting things.

 

Hare raising snack

“We thought springbok would be a key prey species, probably the most important food for cheetahs,” explained Gus. “but it doesn’t seem as though this is the case. The cheetahs are feeding on quite a wide variety of food items including animals that we didn’t expect, such as springhares. They are a very important prey and nocturnal and so the cheetahs are hunting at night.

Hares and springhares actually make up the majority of their kills, although because of their small size it means they have to kill more often. They also feed on species like steenbok and duiker. The project team have observed quite a few male cheetahs going for eland calf, which is a really big prey.

The eland have moved south in the park due to the dry conditions further north and so are probably in a weak state.

“The Kgalagadi cheetah may not be as dependent on springbok as we thought they were. It may be that when females have cubs, springbok become very important. It’s all very well snacking on springhares if you’re on your own but when you’ve got kids to feed, a springhare just won’t do,” says Gus.

Going solo

Each cheetah female lives on her own, but some males form groups of two or three called a coalition.

“We have two males collared,” says Gus, “a solitary male and one from a coalition of two. These two cheetah groups appear to have overlapping territories in the southern Auob. The coalition have recently moved into the area inhabited by the single male. Perhaps they will force him out.”

Cheating the lion

A lot of cheetah cubs die young. In the Serengeti, only about five per cent of cubs born there become adults. Most are killed by lions. In the Kgalagadi the population of lions is smaller and more spread out, so there is less pressure on cheetah cubs.

To date Gus has come across one adult male cheetah killed by a leopard. The team suspects that he was injured by one of the male cheetahs from the coalition.

“The cheetah had been chased for about 250 metres. A cheetah should be able to outrun a leopard at that distance so we presume he wasn’t in good condition,” recalls Gus.

Battle of the sexes

In normal carnivore populations there are more females than males. However, towards the beginning of the project it looked like there were two males for every female. As the project progressed the ratio was looking less unusual. Perhaps the females are better at hide-and-seek!

There’s still a lot to learn about how cheetahs survive in such harsh conditions. Gus and his team will be conducting research for another four years. It’s hard, hot work, but for them watching the beautiful sprinters in this peaceful place is a labour of love.

 

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Does a film have the power to change the world? I believe it does.

When you’re making a film and pause, look around the set and see the crew completely quiet, fixated on what we’re shooting, some with tears in their eyes including yours, then you know that this is the one.

There’s a film I’ve been working on with Em Ford of My Pale Skin Blog, Director, blogger, YouTube #CreatorsforChange and influencer.

It’s the film that’s going to break the internet.

If you don’t believe me, see for yourself.

Photo of Aisha by Em Ford

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Henri Cartier-Bresson coined the phrase the decisive moment, particularly in relation to his street photography he became so famous for. Photography is all about the decisive moment, that split second in time in which the photographer chooses to create the image. It’s difficult to teach someone when to press the shutter release button to create an image, the decisive moment comes intuitively. Photographers have to learn to trust our gut as to when that decisive moment that creates magic is and react instinctively.

The other day I went for a walk on my own at sunset. I had been filming the new hovercraft in Portsmouth that runs from Portsmouth to Ryde on the Isle of Wight and it looked like it would turn out to be the perfect evening. It did and people came down to the beachfront to enjoy the sunset. The light kept getting better and better and I kept shooting. As I was about to leave I noticed a man in a turban looking out over the channel. His profile was striking and his pose almost regal, majestic. I shot a few frames of him excited about the shot. I shoot with both eyes open, a skill that took practice to perfect. The benefit of doing it is that you can still use the peripheral vision in the eye not looking through the camera’s viewfinder. I noticed two young women pushing a pram walking into the background and waited for the decisive moment in which magic is created…

 

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“Allier, à la recherche de soi” [Allier, in search of self], is a fine art photography project created in the Allier region of France in 2015.

The body of work is a self-reflection, a time of deep internal turmoil and soul-searching, at a crossroads in life, decisions that will change the course of life forever.

The artworks in this series are collectible original 1/1 giclée prints available to BUY through Saatchi Art. There are no editions. The artist’s final proof becomes the final signed artwork if I approve it. All other works leading up to the final artwork are destroyed.

The body of work is a self-reflection, a time of deep internal turmoil and soul-searching, at a crossroads in life, decisions that will change the course of life forever.

Sometimes the loneliest road is the road we travel surrounded by people, oblivious.

The landscapes were created alone. Whilst wandering and wondering alone. An attempt to capture and portray the inner turmoil I felt whilst at the same time paying homage to Allier, a region of great beauty.

The intention is for the viewer to question, both the medium and the expression. The medium is chosen to confuse and delight, with the appearance of a water colour painting but the realism of a photograph.

There is a 7cm white border surrounding the print that means that the actual image size is 87.6cm high x 131.4cm wide with the total artwork size being 101.6cm high x 145.4cm wide. I title and sign the final original approved print in this border.

There is only one original 1 of 1 artwork per scene, Giclée print on Museum grade 310 g.s.m. 100% cotton fine art and photo paper, with beautifully warm off-white tones and extreme texture. One final collectible original artwork is created, printed to archival standards.

I reserve the right to use copies of the artworks for self promotional purposes, editorial and publishing use but guarantee not to print another fine art copy of the work. Should you choose to buy an artwork you are buying the artwork itself, not the intellectual property to the artwork. The copyright remains mine, my Human Right, for the sake of humanity. Should the artwork be damaged, lost or destroyed it will remain just so.

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50point5 is a fine art photography project that examines the barriers that divide the people of South Africa as a result of apartheid. It is a project of love and loathing that I have been working on for over seven years.Love for the people of South Africa and the art of photography. Loathing for apartheid and what it did to the people.

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The images were created along the 50.5km route from my former home in Vredehoek, Cape Town, South Africa, to a private university in Stellenbosch, one of the wealthiest towns in South Africa, where I lectured in photography on a part time basis for five years. The route took approximately 45 minutes to drive, depending on traffic, giving me time to observe and think. The reality of post apartheid South Africa is blatantly clear along this route with the route running from affluent areas, overlooking the former District Six leaving Cape Town, townships, past the Cape Town International Airport, more townships, farmlands in the wine route, finally arriving at the office park where the university is based that overlooks an access controlled private residential golf estate surrounded by electrified fencing and patrolled by armed guards.

The gap between the haves and the have nots is extreme with the poor living in abject poverty in shacks, entire families sharing a shack, whole communities sharing rows of prefabricated toilets and communal water stand pipes. Serious crimes like rape and murder occur daily, seldom, if ever, featured in the news. The police are so overworked that criminals literally get away with murder. Shack fires occur frequently often destroying hundreds of shacks per fire, the people losing everything they own in the fires. Education at the majority of township schools is poor with teachers often not arriving for work, teen pregnancies high and violence commonplace. The government’s answer to the education crisis in South Africa was to lower the pass rate required to finish high school so that more pupils matriculate.

The wealthy live in luxury protected by private security companies, often in access controlled electrified fenced private estates patrolled by armed guards. Domestic servants (gardeners and maids) come from the surrounding townships to work for the wealthy, often for minimum wage, returning to the townships in the evenings. The extreme in this daily journey from township to private luxury back to township must be mind bending, driving home the inequality as a result of apartheid.

The project comprises of a BOOK of 50 and a half images as well as limited edition fine art gicleé prints, available in a series of a maximum of five prints per image.

Read more about the project here.

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I’ve loved dance music for as long as I can remember. Actually I’ve loved nearly all music for as long as I can remember.

Dance music played a huge roll in my twenty something too much fun years during which I went to just the right amount of dance music events and underground raves and danced my nuts off for hours with people who spent a lot of time touching each other and telling each other how beautiful they are.

Sometimes I create things just for fun, because I can. Not for any particular purpose other then the challenge and fun of doing it. I love messing around with Garage Band and have come up with a style of music I call #ElectroClassicRockDance, basically an eclectic blend of all the musical styles I learned to play and dance to. I’ve never heard of this genre of music before and doubt that it exists outside of my mucking around that I upload to SoundCloud to mess with music purists with.

‘Homage to Dance’ is a marathon piece I composed on very long train journeys to lighten the load. It’s groovy baby!