Saving Wild Cats

May 2015
Issue 1
All you need to
know about
butterfly
colouration
Inside:
See Loch Lomond
transformed with
analogue.
Vultures: What’s
the situation
now?
Saving Wild Cats
Are breeding centres
the answer?

Relax and
enjoy our
beautiful
surroundings
A note from the editor
Welcome to the first issue of Nature’s Call, a monthly magazine dedicated
to all things nature. You’ll find everything from wildlife to plants, insects to
landscapes right here along with science and photography.
This month the spotlight is on endangered species with two of our features
on vulture populations and big cats. We look at how the vulture population
is recovering from recent decline and also how breeding programmes in
captivity may help to save endangered tigers and leopards in the future.
In this issue you’ll also find regular features such as exhibition and
product reviews, great tips on image analysis techniques and our day with a
photographer. This month we stepped away from nature and biology to gain
an insight into a day in the life of dance photographer, Ashley Holmes.
I also took a trip to Scotland and visited beautiful Loch Lomond for some analogue photography. It was an
amazing day with thick fog making the already breath taking scenery even more stunning. And of course
developing film and seeing what you have when you get back is always exciting. The trip was definitely worth it and
I hope you like the end result.
Enjoy reading Nature’s Call!
Page 18
Debra McFarlane
Editor
Page 30
3

Can the
Contents
Captive
Animals in Captivity:
Can the Captive Save the Wild?
5
A Day With a Photographer:
Ashley Holmes
Birds:
Vultures, an endangered species
Landscape: Analogue
Photography Loch Lomond
Exhibit Time:
Unstable
11
12
18
24
Fig 5: A captive
Amur leopard
(Panthera pardus
orientalis)
save the
Wild?
Fig 6: A captive
Amur tiger
(Panthera tigris
altaica)
Testing It Out:
Intervalometer
Photoshop Technique:
Image Analysis
Urban Wildlife
Small Worlds:
A Closer Look at Colour
25
26
28
30
Fig 7: A captive Amur
leopard (Panthera pardus
orientalis) feeding

Captivity
In total, approximately 26 billion animals are kept in
captivity whether in zoos, farms, breeding centres or
research labs. There are arguments for and against keeping
animals captive: from positive associations with education
and conservation to concerns regarding animal welfare and
cruelty.
There are over 10,000 different species of captive animals
and the way in which they react to captivity varies greatly.
In general, captive animals live longer, healthier lives with
greater breeding success than those in the wild. This is
due to the fact that they are provided with food and water,
protected from predators and have access to veterinary care
when required. However, this is not the case for all animals; giraffes, African elephants and Asian elephants are
examples of those that have shorter life spans in zoos than in the wild. The stresses induced by captivity itself may
play a role in the negative effect on survival.
Endangered Cats in Captivity
There are approximately 11,000 tigers in captivity
throughout the world. Only 1000 of these are kept in
zoos with the remaining numbers being split almost
equally between private ownership in North America
and breeding centres, the majority of which are in
China. In comparison to the 11,000 tigers in captivity, a
mere 3000 are estimated to be present in the wild. This
is a stark contrast to the 100,000 tigers that were living
in the wild just a century ago, and human persecution is
largely to blame for the population decline. Of the nine
different tiger species that are known, three are already
completely extinct. The territorial range occupied by
tigers stretched from China to Turkey but this has also
shrunk dramatically. Tigers now occupy only 7% of the
area they used to.
Tigers along with many other species of big cats, such
as leopards and cheetahs, are classified as endangered
and there are great fears that they may become extinct
Fig 8: Giraffes
(Giraffa
camelopardalis)
in captivity have a
shorter lifespan
in the wild. The African Lion (Panthera Leo) is
considered vulnerable with population numbers having
declined by 30% over the past 20 years leaving between
30,000 and 35,000 individuals in the wild. Of the key
populations, a number of which are in protected areas
throughout Africa, 40% are in decline. The severest
threat of extinction is that faced by the Amur leopard
(Panthera pardus orientalis) with only around 70
individuals left in the wild. Fifty of these inhabit an area
in Russia’s Far-East and another small population can
be found in China. Like tigers, the population of Amur
leopards has suffered due to poaching and habitat loss.
Amur leopards exist in zoos mainly in Europe, Russia
and North America with a few also in Asian zoos.
Their presence in zoos has contributed positively to
their conservation in the wild through fundraising and
increased public awareness. Research in zoos has also
enabled essential data to be collated and for important
genes to be maintained.
Breeding & Genetics in Captivity
Breeding programmes are one way in which zoos and
breeding centres hope to increase population numbers
with the possibility of eventually releasing individuals
back into the wild.
There are concerns over these breeding programmes
as, with most endangered species, populations within
captivity are relatively small. Even among small
populations in the wild, breeding within these groups
leads to a loss of genetic diversity as the gene pool
is reduced. This can result in genetic mutations and
reduces the chances of that population’s sustained
survival. This is one problem incurred by the small
numbers that make up the current wild Amur leopard
population. In addition to this, captive animals also
develop genetic adaptations in response to captivity
through both natural and artificial selection.
In order to minimise the chances of these genetic
adaptations impacting a species’ chance for survival,
measures are taken to control population growth and
limit the number of generations reared in captivity. One
way to do this is to delay reproduction by separating
Fig 12: A captive
Amur tiger
(Panthera tigris
altaica) grooming
male and female members or by using reversible
contraceptive methods. Separating males and females
can lead to aggression and stress and so contraceptive
methods may be better in terms of allowing social
interactions to remain as natural as possible. The
reversibility of these forms of contraception is vital
especially when administered to individuals with strong
genes and desirable traits.
Contraceptive methods do have side effects however
and these are shown to vary between species. The use
of hormonal implants has been shown to result in a
lower chance of successful reproduction in the Amur
tiger (Panthera tigris altaica) whilst the African lion
displays a loss of secondary sexual characteristics. Oral
contraception leads to aggression in the Amur leopard
and the African lion with the former also refusing food
and the latter exhibiting weight loss and masculisation.
In all three species, some forms of contraception also
increase the likelihood of individuals contracting
disease as a result of reproduction.
Fig 9, 10 & 11: African Lion
(Panthera Leo), Amur leopard
(Panthera pardus orientalis)
and Amur tiger (Panthera tigris
altaica) in captivity
7

Some conservation organisations are
sceptical of breeding programmes and
feel that efforts should be more focused
on individuals that are already in the wild.
They believe that animals such as tigers
will naturally breed and recover population
numbers successfully as long as measures are
put in place to protect them from poachers.
Although critically endangered, the Amur
leopard population has grown from about
35 individuals in 2007 to 70 at present.
This is facilitated through conservation
efforts to supplement feeding by increasing
prey numbers, fighting against illegal
poaching and protecting habitats. The fact
that the ratio of male to females is 1:1 is an
encouraging sign that this species could
recover.
For the regeneration of the Amur leopard,
sourcing and releasing individuals from
breeding populations may be the only
viable option. Although the translocation
of wild-caught individuals is preferable
and also has a greater success rate over the
release of captive-born animals in terms of
reintroduction projects, this is not possible
due to the small numbers that exist in the
wild. Removing individuals and placing
them elsewhere in an attempt to establish
a new population would be detrimental to
the survival of the already fragile species.
Another option is to pair a captive-bred
animal with a wild partner in order to
facilitate learning. As Amur leopards are
not social animals, this is again not a viable
option.
There are two programmes currently
working towards the reintroduction of
Amur leopards. As of 2008, the European
Endangered species Programme (EEP) has
130 leopards in Europe and Russia and the
Population Management Program (PMP)
has 97 leopards in North America. Leopards
kept in zoos in Asia do not qualify for these
breeding programmes due to issues with
accessibility and genetics.
A captive population are preferred to have
90% of ‘wild’ genes present in their genetic
make-up. The EEP population of leopards
have just below that level at 88.9%. Members
of the PMP population have no genetic lines
that are not found in the EEP leopards. This
limits the opportunity to increase genetic
diversity through cross breeding between
the two programmes. However, an attempt
can be made to maintain desirable genes by
pairing up individuals that are the strongest
genetically. In the future it may be possible
to artificially inseminate captive females
with semen from wild males.
All leopards must undergo health checks
and screening before being considered for
breeding programmes. This ensures that the
individuals being used are genetically viable
and will produce offspring that may have a
chance of release into the wild.
Fig 13: Captive animals like the Amur leopard (Panthera
pardus orientalis) are provided with sufficient food

Fig 15: An image
from Ashley’s
banner.
A Day with a Dance
Photographer
Before releasing captive animals into the wild, suitable
areas must first be found. The requirements of these
areas are generally that they are within a range historical
to the species and that they are far enough away from
the current wild population to avoid breeding between
the two. It is believed that it is better to try to introduce
a new population as apposed to building upon the
existing one(s). This will prevent genes that have arisen
due to captivity being passed on to the wild population
and reduces the risk of potentially harming the fitness
and chance of survival as a species.
Other requirements would be adequate space and
an abundance of prey. For tigers, the requirement is
at least 100 km2 per tiger. Areas of this magnitude are
not available in China and perhaps controversially, four
Southern China Tigers (two males and two females)
were released in South Africa in 2006 and 2007. This
drew criticism due to the fact that tigers were never
native to Africa and with only a 13% success rate of
captive born species being reintroduced, many are of
the opinion that money and efforts are best spent on
conserving already wild populations. This low success
rate can be attributed to a captive raised animal’s lack
of experience in instinctive behaviours. These include
hunting, exploring and avoidance of humans and
predators. Captive animals are also more susceptible
to disease and so this can also impede their chances of
survival.
Fig 14: A captive Amur
leopard (Panthera pardus
orientalis) leaping from a
climbing structure
Releasing Captive Cats
Projects such as the release of tigers in South Africa
provide animals with live prey in order to help develop
hunting skills. Few projects however ensure captive
animals are not accustomed to humans. Given the
degree of involvement humans have in caring for
animals in captivity this would be difficult to enforce.
However, releasing animals that do not view humans
as a threat leaves them vulnerable at the hands of
poachers. Ensuring that release areas are protected and
are not within close proximity to areas where humans
live is one way to eliminate this problem.
Although animals may suffer stress as a result of
captivity, many zoos demonstrate a high level of care
for the animals they keep. Allowing people to visit
zoos increases awareness of conservation projects
and the vulnerability of endangered species. This in
turn helps raise funds to facilitate projects and, using
Amur leopards as an example, the majority of funds
contributed to the conservation of wild animals are
raised by zoos. Efforts are also being made to improve
conditions and animal enclosures within zoos. Breeding
programmes within zoos and specialised breeding
centres serve as hope that more and more captive
animals can be successfully released into the wild with
the ultimate goal of regenerating population numbers
and saving endangered species from extinction.
Ashley Holmes (pictured
top right) is a Leicester
based photographer who,
after a career in finance,
began making a living from
photography approximately
four years ago. Starting out as an event photographer
at sports games and tournaments, Ashley now focuses
primarily on dance photography.
I met Ashley for the first time at Groby Community
College where the dance school, Dance Addict’s, were
performing. This was their first show independent of the
college and the dancers involved ranged from three year
old beginners all the way to senior level dancers in their
teens.
Inside the college, the walls leading to the theatre are
lined with photographs of past performances, displaying
a sense of pride and documenting the history of the
school and its students. As the photographer of these
images, Ashley points out a few of his favourites and also
shows me one that is of his own daughter.
‘I fell into dance
photography after
photographing
performances that my own
daughters were part of ’ he
explains. ‘I soon realised
that outdoor photography
in bad weather wasn’t
something I enjoyed very
much so I moved over to
dance where performances
take place inside’. Working
mainly with local dance Fig 17: Ashley in action.
schools, Ashley’s goal is to
document the show and
produce images that act as a lasting memory for both
parents and the dancers themselves. As well as capturing
all the action of the performances, Ashley also attends
the dress rehearsal and at some shows even sets up a
small studio where dancers can pose for portrait images.
Watching the dancers perform can be quite an
emotional experience especially when it involves the
younger ones. You can therefore see the importance of
Ashley’s work and the role he plays in encompassing
that proud moment of a parent seeing their child on
stage. For that reason he focuses on
individuals rather than group shots.
‘Parents don’t tend to want a group
photograph. They prefer an
image of their own child that
they can display proudly in
their home and look back on for years to come’.
Ashley explains to me that when photographing a
Fig 16: Ashley Holmes
dance performance, lighting is the main challenge. As he
has no control over the stage lights and is unable to use
flash, he must do all that he can in camera to overcome
the dark conditions, spot lights and multi-coloured
lights that make up a dance show. Shooting without a
tripod on a Canon 5D Mark II and almost always using
a Canon 70-200mm f2.8 lens, Ashley uses high ISO,
fast shutter speed and wide aperture. Each plays an
important role in the final outcome of his images. High
ISO accounts for the dark lighting whilst wide aperture
allows as much light as possible to enter the camera. This
then allows the use of a fast shutter speed, which freezes
the movement of the dancer.
Fig 18: The lighting
at a dance show
can prove tricky at
times.
After the show it’s time for a quick turn around in
selecting the best images, editing if necessary and
making them available for dancers, teachers, friends and
family to view online. Ashley offers generous discounts
for the purchase of multiple images and his website
testimonials are filled with great reviews and people
thanking him for extra images and excellent deals.
So what does the future hold for Ashley? Continuing
with dance photography whilst pursuing and expanding
on his portrait photography are his main goals. ‘Anyone
with a camera is a photographer. The main thing is
to keep yourself motivated to get out there and do it
professionally’.
You can view Ashley’s images and find out more on his
website at www.ashleyholmesphotography.co.uk
11

Fig 19: The population of cinereous
vultures (Aegypius monachus) came
under threat in Asia.
$6.9 million. In India, the health costs incurred as a
result of fewer vultures is approximately $1.5 billion per
year. This is due to an increase in the number of dogs
feeding on carcasses and the presence of rabies.
Despite the important role they play, little is
being done to raise awareness and document the
consequences of the population decline in recent years.
Of the 23 vulture species present today, 14 or 61% of
the world’s vulture species are in danger of becoming
extinct. The most rapid declines have been seen in
Africa, Asia and parts of Europe where poisoning of
vultures, both intentionally and unintentionally, is
thought to be a major cause. Poisoning is commonly
carried out by poachers in a bid to disguise the locations
of their activities and also as a result of poisoning
carnivores that are predators of livestock. Other causes
of population decline can be attributed to collisions with
power lines and wind turbines, poaching for medicine
and in revenge for the killing of new-born lambs
Vultures have been targeted for centuries due to lack
of education and ignorance with people believing that
they were in fact responsible for filthy drinking water
and the spread of anthrax. They are also connected to
superstitious beliefs and in some cultures are believed to
represent evil spirits.
Why so vulnerable?
Vulture populations are particularly vulnerable to
extinction due to attributes such as delayed maturity,
low reproductive rates and high adult longevity. Their
reproductive rates are in fact the lowest among all
birds. Coupled with the fact that vultures usually feed
communally and large numbers can therefore be wiped
out by feeding on a single carcass, their population
numbers are extremely vulnerable to high mortality
rates. The high longevity of vultures leaves them
exposed to the bioaccumulation of toxins, the effects
of which are sub lethal in terms of immune responses
and reproductive success. The fact that they eat dead
animals and waste products increases their exposure to
contaminants.
Vultures
an endangered species
An Overview
With sharp eyesight and in some species, a keen sense
of smell, vultures have established themselves as the
most successful scavengers and the only known obligate
scavengers on land. As vultures are amongst some of the
largest flying birds,
they are able to cover
vast areas in search
for food. Gliding
allows them to make
use of upward air
movements and they
therefore have the
ability to cover long
distances rapidly and
Fig 20: Vultures cover vast areas
and use their wings to glide.
with relatively little
energy expenditure.
Their large size also enables them to consume a higher
volume of food, store more for energy reserves and take
precedence over smaller scavengers competing for the
same food source.
Although plagued with a generally negative
perception, with Charles Darwin himself labelling
them as ‘disgusting’, vultures contribute greatly to
society in a number of ways. One of the most important
ways is preventing the spread of disease through
their scavenging behaviour and the decomposition of
carcasses. Their digestive tracts are very acidic, with pH
values of approximately 1-2. This plays an important
role in destroying bacteria and limits the chances of
vultures themselves spreading disease.
They have also been shown to be of important
economical value. Through scavenging, vultures in
effect provide a free sanitation service and conservation
efforts in Nepal have saved the country an estimated
ASIA
In India, vultures are relied upon heavily to feed on
the carcasses of cattle, thus aiding in and speeding up
the process of decomposition disposal, which in turn
prevents the spread of disease.
In the early nineties, vulture populations in India
dropped to 1% of what they were. As a result of reduced
vulture numbers, there was an increase in the number
of disease-ridden species of feral dogs and rats feeding
on carcasses. Cases of human anthrax also became more
common as people were themselves handling infected
carcasses in the absence of vultures.
It took ten years to discover the cause however it was
eventually linked to diclofenac, a veterinary drug used
to treat livestock. It caused the population of Gyps
vultures alone to drop by more than 95%. Vultures
inadvertently ingested the drug and become poisoned
when feeding upon the carcasses of livestock that had
received diclofenac as a means of medication. This then
lead to kidney failure in the vultures and consequently,
their fatality.
Studies show that the level of drugs present in dead
livestock was indeed sufficient to cause the population
decline in vultures. The drug was banned in India,
Pakistan and Nepal in 2006 and later in Bangladesh
in 2010. There is evidence to suggest that vulture
populations have begun to recover as a result of
this ban. Between 2007 and 2011, three species of
India
endangered Gyps vultures showed no population
decline in India and the oriental white-backed vulture
showed signs that their population numbers were
beginning to increase in both India and Nepal. The
resident species of Gyps vultures were the most severely
affected populations and two of these (Gyps indicus and
Gyps bengalensis) are classed as critically endangered
on the IUCN Red List. Migratory species such as the
cinereous vulture (Aegypius monachus) were also
affected by the use of diclofenac but their presence in
other areas such as Europe prevented them from being
as badly affected as resident species.
Full recovery will take time as well as continued efforts
from both conservation organisations and governments.
Overall however the rate at which population numbers
are declining has slowed, implying that there is hope for
the future of vultures in Asia.
13

AFRICA
Africa has seen a similar rate of population decline
as India and other parts of Asia. The causes however
are different and unlike in Asia, there has been little
or no government support in vulture conservation.
This may be due to the fact that in Asia, the cause of
population decline can be put down to one specific
reason. In Africa however there are multiple causes and
these also vary from region to region. This may prevent
governments from getting involved, as there is no clear
focus or strategy to work from.
Poisoning and poaching appear to be the main causes
of the decline of vulture populations. In West Africa,
the decrease in vulture numbers has been linked to
poisoning and hunting for medicine and food. In
Eastern Africa, studies in Kenya and Uganda suggest
that poisoning through the use of Ferdan as an
agricultural pesticide may be a major cause. Despite
these findings and a plea to the Kenyan government
to ban the sale of such pesticides no action has so far
been taken. There have been dramatic decreases in
population numbers of other species and so such a ban
or at least stricter control is imperative for the sake of
other wildlife as well as vultures. In Kenya, without
vultures, the time taken for the decomposition of a
carcass was shown to triple. The number of mammals,
the time they spent at a carcass and the contact each had
with other scavengers also increased. This suggests that
a decreased vulture presence could result in diseases
being transmitted between animals at carcasses.
Another way that vultures play an important role in the
environment is by indicating to predators the location
of a potential food source through their scavenging
behaviour. This has been shown to occur with hyenas
and lions although vultures are at a distinct advantage
given their aerial point of view and the ability to arrive
at a food source rapidly and in larger numbers. This aid
in detecting a food source however does encourage the
flow of energy within the ecosystem.
In some parts of Africa, certain species are considered
to be extinct. In Morocco, the lappet faced vulture
(Torgos tracheliotus) and the cinereous vulture are no
longer present. Globally, they are classified as vulnerable
and near threatened respectively. In Southern Africa,
the Egyptian vulture (Neophron percriopterus) is
now extinct as a breeding species and is considered
endangered.
Africa
Fig 21 : The lappet faced vulture (Torgos
tracheliotus) is extinct in parts of Africa.
The lappet
faced vulture
is extinct in
Morocco
The Egyptian
vulture is
extinct in
Southern
Africa
Fig 22 :The Egyptian vulture (Neophron
percriopterus) is now classed as endangered.

The Future
Spain
EUROPE
In Europe, deliberate poisoning of carnivores was a
major threat to vultures that then fed on the carcasses
of these animals. The introduction of strict regulations
and penalties has reduced incidents of poisoning. In
Spain, dogs are now trained to detect such poisons and
the success rate is 70% higher than when humans work
alone.
Although the risk of poisoning has been reduced,
vulture populations are still at risk of decline. In Spain,
the closure of supplementary feeding stations due to
concerns over bovine spongiform (more commonly
known as mad cow disease) and the spread of infection
as a result of cattle carcasses not only lead to a food
shortage but also put birds at an increased risk of
collision with wind turbines due to a change in foraging
behaviour.
Studies in Spain show that griffon vultures (Gyps
fulvus) are the most commonly killed bird species
and whilst these types of mortalities may not have a
significant effect on all bird populations, they do appear
to impact vulnerable species such as vultures.
One suggestion as to why griffon vultures are more
frequently killed by wind turbines than any other bird
species is that their visual field contains large blind spots
which in effect make them sightless in terms of the
direction in which they are travelling.
Wind turbines are positioned in windy regions in
order to optimize the conditions and maximize the
2005 - 2009:
45% increase in
the presence of
wind farms in the
European Union
potential for energy production. Birds, likewise, use
wind to their advantage to increase gliding efficiency
and to conserve energy during flight. This increases the
likelihood that wind farms will be in the flight path of a
number of birds, especially raptors.
A study in 2008 showed that selectively stopping
wind turbines that were found to cause the majority of
fatalities, significantly decreased the mortality rates of
vultures. Calculations suggest that the stopping of wind
turbines for that reason would result in only 0.07% less
energy production per year. It therefore appears to be
a viable option to prevent further decline of vultures in
Europe.
Fig 23 : Griffon vultures (Gyps fulvus) are vulnerable to
collissions with wind turbines in Europe.
Although many may find vultures vulgar and repulsive,
there is no denying the fact that they play an integral
role in the sanitary conditions of our environment.
By aiding in the decomposition of carcasses vultures
therefore prevent the spread of disease and deter the
presence of disease-ridden animals such as rats and
feral dogs. Continued efforts in Asia are vital to ensure
the recovery of vulture populations after almost being
wiped out through the use of diclofenac for livestock.
Although efforts are being made by conservationists
in Kenya and South Africa, more widespread action
and support from governments both financially and to
implement laws will be fundamental in the progress of
protecting and saving vultures throughout the African
continent.
In Europe, reduced cases of poisoning has helped
towards conserving vulture populations however
increased use of wind farms appears to be posing a new
threat specific to vultures. Care must therefore be taken
in the positioning of new wind turbines to ensure they
do not coincide with the flight path of vultures and
Birds in
Flight
11:30am 2:00pm
4:15pm
other raptors. Breeding programmes are in place and
the success of these in terms of releasing captive bred
birds into the wild may be imperative to the recovery of
vulture populations especially in Africa.
Fig 24 : The claws of a of cinereous
vulture (Aegypius monachus).
Gloucester
GL18 1JJ
www.icbp.org
17

Analogue
Fig 25: The view from Loch Lomond captured using a medium format camera
Photography

Loch Lomond
Fig 27: The top of Ben Lomond on a misty day
Loch Lomond and the Trossachs National Park
comprises an area of 720 square miles including
farmland, forest and moorland as well as 39 miles of
coast line. With breath taking scenery and diverse
landscapes the park is situated conveniently within a
one-hour drive of half the Scottish population. It is also
home to over 15,000 people and attracts tourists from
all over the world who come to enjoy both land and
water activities such as walking, climbing, canoeing and
water skiing.
The national park was officially opened by Princess
Anne in July 2002 and is split up into four areas: Loch
Lomond, Argyll Forest, The Trossachs and Breadalbane.
Although classed as a living, working area, the park
is also abundant in wildlife. It is one of the few places
where red squirrels can still be spotted and also provides
habitats to otters, water voles, black grouse and deer.
There are a number of osprey breeding pairs that return
to the park each spring to mate.
The park consists of 22 large lochs, which make
up 6.5% of the total area. Loch Lomond is the main
attraction with respect to these lochs and is also the
largest body of freshwater in Great Britain.
On the East shore of Loch Lomond stands Ben
Lomond, a mountain that is 3193 feet tall (974 metres).
Ben Lomond is Scotland’s most southerly munro. A
munro is a mountain that is 3000 feet or higher and
within the national park, there are 23 of them.
The majority of Ben Lomond is designated as a Site
of Special Scientific Interest (SSSI) due to its range of
upland habitats present at both low and high altitudes.
It is also part of the National Trust for Scotland and is
home to a national memorial for those who lost their
lives at war. Being one of the most popular hill walks
in Scotland, the trust must work hard to ensure the
conservation of natural wildlife and their habitats.
It also works in conjunction with tenanted farmers
to ensure grazing activities by sheep and cattle are
balanced with nature.
Fig 26: A pier and hills in the distance at Loch Lomond

Digital vs
Analogue
Fig 28 & 29: Comparison of a view taken with a digital then
medium format camera
Photography has always been popular and, by the
early 1970’s, a camera could be found in almost
every household in the USA and Western Europe.
The function of photography in analogue and digital
processes has always been the same. The hierarchy of
these functions however has changed as we have moved
into the digital era. Analogue photography was a means
of creating memories first and foremost and images
were usually put together in photo albums or kept in
shoeboxes. More often than not a date, location and
the names of those in the photograph
would be listed. This served primarily
as a way of capturing and preserving
memories and images would later be
used to illustrate stories and to share or
reminisce with others.
In comparison to analogue
photography, digital images are rarely
transformed to hard copies and are
instead posted on social media, blogs
or sent to others electronically. Images
are now shared as experiences rather
than a physical, tangible object. Digital
photography, especially with the
introduction of smart phones, provides
a real-time experience whereby a person
can take, send, receive and even edit
images in a matter of seconds. Due to
the abundance and saturation of digital
images, they are less frequently put
together as a collection and although
these images serve as memory also,
the primary function has shifted to
that of communication. Nowadays,
images are so easily taken and shared
online via social media or messaging
services that it is use as a method
of conversing. Whereas in the past
photography was used as a means of
capturing important, special or unique
events, digital photography now allows
people to capture everyday incidences such as a pretty
sunset, delicious food or a new purchase. The younger
generation more often than not regards their images
as temporary reminders as apposed to a permanent
record of their memories. Reminiscent of postcards as
a snapshot of a person’s holiday, digital images are to be
discarded. Especially for those documenting every day
occurrences, they serve more as moment in time rather
than mementoes over time.
Digitisation of photography offers more control
over the final outcome of our images, as we are able
to process, edit and manipulate them with both ease
and speed. Other than the initial cost of a camera,
editing software and equipment, be it a laptop, smart
phone or desktop computer, digital photography is a
relatively inexpensive process. Compared with analogue
photography where there are only a certain number of
exposures per roll of film, digital photography offers an
almost endless capacity for image capture. Along with
the ability to review and delete images as you go, there
is no real need to be selective with regards to where,
when and how
often you release
the shutter. As
mentioned before
however, this
saturation of
images is what
leads to them
being overlooked,
left aside and
perhaps stored
in a computer
file never to be
looked at again.
With analogue
photography
more care and
consideration
is taken before
taking a picture
and there is
a sense of
anticipation
and pride over
what will be on
the film when
it is developed.
The downside
of analogue
photography
is that if an
image goes
wrong, it won’t be apparent until after its been taken
and developed. With digital cameras, reviewing the
image allows you to check the settings are correct and
depending on the subject, enables you to take as many
images as needed to get it right. This is a wonderful
development as with analogue photography, a wasted
film costs not only money but also time spent capturing
and developing the images. Of course, things can go
wrong with digital photography as well in the form of
erased or faulty memory cards and depleted batteries.
For professional photographers using digital SLRs,
the ability to review images and make adjustments
accordingly is of great benefit to their work. Likewise,
the average person taking images of a special event such
as a birthday celebration or a wedding will be safe in
the knowledge that their photograph has turned out
ok and the moment has been captured successfully.
However, advances in photography have taken away
the ability for one to take a picture and forget about
it. Analogue photography allows you to appreciate
your surroundings and to stay in the moment as once
you have taken an
image there is no
Fig 30: A digitally coloured image of the view
going back. With
from Loch Lomond
digital photography,
there is a tendency
to take a picture
then scrutinize
over it whilst
simultaneously
missing what is
going on around
you.
Although unique
entities, analogue
and digital
photography do
not always need to
be thought of as
separate from one
another. Advances
in technology and
image manipulation
can be applied to
analogue techniques
also. The scanning
of film allows us
to convert our
negatives into
a digital image.
An under or
overexposed image
may be salvaged through editing and adjustments to
exposure, highlights and shadows. An image can be
transformed from black and white to colour using
colourisation techniques and images can be stored or
shared without incurring the cost of printing.
Even with such advances in technology, there is room
for both digital and analogue photography. Digital
brings with it fresh, modern images whereas analogue
produces classic, timeless pieces that remind us of the
history of photography.
23

Review Corner
Exhibit Time
Review Corner
Testing it Out
This month we’re in Derby at the Format International
Photography Festival. With multiple exhibitions featuring
contemprary photography, we decided to check out
Unstable, an exhibit that challenges the concept of
photography as we know it.
Unstable is an exhibition that makes
up part of the Format Photography
Festival in Derby. Featuring
the work of five photographers,
Unstable defies the concept of
photography as a permanent record
and challenges us to look beyond
our initial perception of what we see
and accept as reality.
Each artist displays a body of
work that has been developed using
heat sensitive materials or that is
left unfixed. As a result, the images
displayed will change throughout
the exhibition and will be destroyed
by the very same thing that is
required to create them – light.
Regardless of whether or
not you are interested in the
Exhibition Highlight
Anthony Carr’s exhibit
entitled Lost Moon is the
most interactive and perhaps
most awe inspiring of the five
exhibits. With an interesting
story behind it, this exhibition
is a combination of fact
and imagination, depicting the
whereabouts of the Apollo 13
rocks distributed by the Nixon
Administration in the 1970’s, a
number of which were stolen or
misplaced.
Using thermochromic ink over
black and white photograph
we see what appears to be a
solitary piece of rock on a black
background.
techniques behind these images, this
exhibition provides an interactive
and wondrous experience that
people of all ages can appreciate and
enjoy.
The Space
Photo Parlour is a small but open
space tucked away on Monk Street,
away from the main hub of venues
playing host to Format Festival’s
other offerings. Located above an
old garage, you get a sense that you
are entering an abandoned, arty
warehouse. As Photo Parlour is a
traditional dark room, it seems a
Fig 32: One of Anthony Carr’s heat sensitive pieces.
By heating the images using the
hairdryer provided the blackness
disappears to reveal a setting
within which the rock is situated.
At first glance you believe you
are looking at something that is a
part of a outer space. The reality
of where the piece of rock actually
is however, is quite different from
the one that we perceive.
Fig 31: Ky Lewis’ lumen prints
entitled ‘Evanecent Growth’.
particularly fitting venue for this
exhibition.
The Exhibits
Unstable showcases a series of
images that are not always what they
seem, do not remain
the same over time but
still portray a sense of
honesty and realness.
Each exhibitor has
contributed a unique
diplay that enables the
viewer to question the
role of photography
in both a comparative
and contrasting way.
From highlighting
how history can
be portrayed in an
untrue manner to showing that
without photography it can be
forgotten completely, this exhibit
leaves food for thoguht as to how
essential it is that an image leaves
behind a permanat record. In terms
of preserving and documenting
history it would seem yes, however
in the eyes of an artist it may not
always be necessary.
What is an intervalometer?
An intervalometer is a device
that releases the camera shutter
at specific intervals without you
having to manually do so. It allows
you to control how often your
camera’s shutter opens, how many
images to capture and even how
long the shutter stays open for.
When would I use an
intervalometer?
An intervalometer can be used to
capture time-lapse sequences or as a
remote shutter release.
Using an intervalometer for time
lapse means that you can set your
camera up and leave it to capture
images over a long period of time.
It also eliminates camera shake
caused by the vibration of manually
pressing the shutter and ensures that
the interval at which the images are
taken is timed accurately.
As a remote shutter realease, the
cord allows you to stand a short
distance from the camera providing
a simple solution for problems such
as you casting a shadow onto your
subject.
What I liked:
The digital display counts down
both the time until the next shutter
release and the number of images
Fig 35 - 38 time lapse
sequence of a daffodil
opening using an
intervalometer set to
capture an image every
five minutes.
left to capture. There are also
warning lights – a green one to let
you know the shutter is about to
be released and a red one that stays
on for the duration of the shutter
being open. An optional ‘beep’ also
sounds when the shutter is open.
The hold button is useful when
using it as a remote shutter as it
prevents you from accidentally
releasing the shutter too early.
Running on two AAA batteries,
the intervalometer does not appear
to use up too much power so
you shouldn’t need to replace the
batteries too often.
What would make it
better?
A keypad that allows you to punch
in the digits to set time and number
of images would be useful. The
arrow keys function well however
if you want to capture say 200
images, that’s an awful lot of button
pressing to set your target number.
The alternative would be to set it
at 399, by pressing the down arrow
once from zero and manually stop it
when ready.
It takes a bit of getting used to in
terms of what to press to confirm
a selection, what to press to move
to the next section etc. After a few
MC-36B intervalometer
Fig 33 & 34 (below):
Intervalometer
attempts however you will soon get
the hang of it.
After the first time using this
intervalometer I can see that the
ink on the digital display is faded
at one point. I can only assume
that this will deteriorate further
with continued use. Overall
though, this is a reasonably priced
intervalometer that will do all most
photographers will need it to.
Key Features:
• digital display
• optional backlight display
• optional warning
sound
• alert lights
• shutter release
‘hold’ button
• stop/start button
• battery life symbol
24 25

Photoshop Technique:
Image Analysis
Our common idea of photography is that our images tell a story, capture
moments and leave us with a lasting memory. From a scientific point of
view however, images can be used for a lot more and techniques in image
analysis to obtain data are becoming more and more common in research
methods.
Here we look at some simple image analysis techniques that can be
carried out using Photoshop. To get started open your image in Photoshop
and follow the steps below:
Measurements
Fig 39: A microscopic image
of a Stensor sp. taken at x10
magnification.
Inset - Fig 40: graticule bar
for reference measurements
also at x10 magnification.
Step 1: Ensure the measurement
log window is visible by selecting
‘Measurement Log’ from the ‘Window’
menu.
Step 2: Set a scale for your image by
selecting ‘Analysis’ followed by ‘Set
measurement scale’ from the ‘Image’ menu.
Select custom to bring up the window
below. The ruler tool is automatically
activated. Drag it along your reference
measurement to set pixel length.
Step 3: Enter the logical
length and logical units for
your measurment. In the
example shown, 431 pixels
is equal to the logical length
and units of 100µm.
Step 4: Select the ruler tool and drag it along the length of the area you would like
to measure. Press record measurements in the measurement log panel and repeat
the process for different ares of your image if required.
Hint: You can save your scale for future use by selecting ‘Save Preset’ and add a
scale bar to your image by selecting ‘Place Scale Marker’ under ‘Analysis’.
Recording Numbers
Fig 41: A flock of American flamingos (Phoenicopterus
ruber) that disappear amongst one another. The counting
tool is an easy way to mark each one without losing count.
Results
This image of flamingos is quite crowded and at times
it can be hard to differentiate one from another. The
counting tool allows us to mark each one as it is
counted and then record the results when finished. The
number of flamingos in the image is 30 as recorded
below. We can clear the counters on the image and
repeat to be sure our results are accurate and correct.
Step 1: Again, select ‘Measurement Log’ from the
‘Window menu.
Step 2: Select the ‘123 counting tool’ from the side
bar. Hint: Its grouped
together with the eye
dropper tool and ruler
tool.
Step 3: Click on your
image once for each
item you would like to
count. In the example image, I clicked once on each
flamingo.
Step 4: Click ‘Record Measurements’ in the
‘Measurment Log’ dialog box. You will then see your
data appear which you can export if you wish.
Data is exported as a txt file, which you can then
easily copy and paste into a spreadsheet for further
analysis if necessary.
By using our custom scale to measure the diameter of
one of the food vacuoles of the Stensor sp. our image
analysis results tell us that it is aproximmately 40µm in
length. We could go on to measure more of the food
vacuoles, comparing them to one another or analysing
their length in relation to another part of the Stensor sp.
Clicking here will record your
measurments below.
Above you can select, deselect,
export and delete records.

Urban
Wildlife
Fig 43: An urban rabbit
(Lepus curpaeums) with
a possible eye infection,
University of Nottingham
campus.
Fig 42: Short tailed field vole (Microtus agrestis) amongst plants, Cambridge Botanical Gardens
The rate at which areas are becoming urbanized is
increasing all the time and, as a result urban ecosystems
are extremely common. As of 2008, half the world’s
population (approximately 3.3 billion at the time)
were recorded as living in urban areas. This number
is predicted to increase to 5 billion by the year 2030.
Urban ecosystems bring with them pros and cons to
both the people living there and the wildlife that inhabit
the area. Advantages include increased awareness of
conservation issues and the protection of different
species, as people are able to connect more easily
with local wildlife. Efforts to conserve natural wildlife
habitats are shown to be in decline and so conservation
in urban areas may take on greater importance in the
future.
The presence of wildlife in urban environments
also results in ecological benefits such as pollination
of flowers and the improvement of air quality. From
an economical perspective, the value of property in
these urban green locations may increase resulting in
financial gain for a number of people.
Disadvantages to wildlife include the isolation
of natural populations, which limits dispersal and
connectivity between individuals. This can result
in a smaller gene pool and therefore lead to genetic
problems in offspring. Animals in cities are also at risk
of suffering injury or death as a result of collisions with
vehicles. To the annoyance of humans, wildlife in urban
areas can cause substantial damage to gardens and
property and at times may attack domesticated pets.
In terms of health, areas that are populated with high
numbers of both people and wildlife run a greater risk
of the spread of zoonotic pathogens, diseases that can be
transferred from wildlife to humans.
Animals living in urban habitats face challenges that
members of the same species in rural environments
do not have to contend with. As a result many urban
populations have adapted their behaviour in order to
better deal with and over come human-induced stress.
Modifications to behaviour include diet, reproduction
and timing of movement and activity. As humans are
more active during the day, some species may adapt
their behaviour so that they venture out less in daylight
hours and more throughout the night. This can have
an impact on food availability especially for predators
attempting to locate prey.
In terms of diet, animals living in urban environments
have access to artificial food sources such as food
provided by humans, discarded food from rubbish
bins and road kill in the case of birds. Urban wildlife
tend to feed on much higher concentrations of these
food sources compared to if they were living in rural
areas. Although not faced with problems related to food
shortage, these animals may be more likely to suffer
from disease. Density related issues could also arise
whereby a higher number of individuals are competing
for the same food sources in a much more confined
area.
These nutritional changes can also have an affect on
reproduction. An increased volume of food can lead to greater
reproductive success with increased litter sizes and offspring
survival rates. In contrast however, common characteristics
of urban environments such as noise, pollution and human
disturbance can have an adverse effect on reproductive
behaviour. Noise caused by heavy traffic may potentially limit
the breeding success of species that depend on vocalisation to
attract and find a mate. Abandonment rates may increase due
to disturbances by humans, which will in turn have a knock
on effect on the likelihood of offspring surviving.
Survival and mortality rates are greatly influenced by an
animal inhabiting an urban area compared to a rural one. As
mentioned previously, the increased potential for collisions
with vehicles puts urban wildlife at a greater risk of mortality.
Just as urban wildlife may attack pets, domesticated animals
are just as capable of attack, with small mammals such as
mice, voles and and rabbits particularly at risk.
Although much information may be known about the
ecology and behaviour of a particular species in a rural
environment, the above must be considered when plans
are put in place to manage and control wildlife in urban
environments. It is not enough to assume that members
of a population in urban areas will behave as they would
in a more natural rural environment. Careful research and
continued monitoring is therefore required in order to reduce
conflict and clashes between humans and wildlife, to assess
if management of a particular species is required and to
implement plans and strategies if necessary.
Fig 44: Short tailed field vole (Microtus
agrestis) feeding on flowers, Cambridge
Botanical Gardens
29

A Closer Look at
Fig 45: Lantana camara displaying unpollinated
yellow flowers and pollinated pink flowers.
COLOUR
Macro photography allows us to capture a subject and view
it at a 1:1 ratio. Some lenses enable you to view a magnified
image of up to five times the actual size and therefore allows
us to notice details we wouldn’t be able to see with the
naked eye. Macro photography not only creates potentially
beautiful images but also plays an important role in science
by allowing people to view small subjects such as insects in
a way they haven’t before. This leads to new perspectives,
sparks interest and curiosity, and facilitates learning.
The use of digital cameras can also improve research
methods in colour analysis of insects and plants.
Traditionally a spectroadiometer would be used to analyse
and record the wavelengths at which an object reflects light.
This piece of equipment however is not only expensive
but also takes an average of reflected light. This can lead to
inaccuracies in recreating colour in way that humans and can
comprehend.
As well as the difficulties in recreating colour, descriptions
of colour by researchers may also lead to inaccuracies.
Colour description may vary between different cultures and
languages. There is also the problem of colour blindness
in some individuals and slight differences in the pigments
absorbed by the cones present in our eyes, all of which make
colour perception a subjective matter. By capturing images
using digital SLR cameras, the pixels that make up an image
can be analysed for their components of red, green and
blue (RGB). By recording these components, colour can
be recreated accurately and consistently for use in animal
behaviour studies. Using macro lenses can further enhance
this process as they allow colour differences to be detected in
areas made up of just a few pixels.
Lantana camara
Lantana camara is a tropical plant originating in South America that is now widely distributed throughout the
rest of the world. As a result of hybridisation it now exists in many different forms with variances in flower colour.
Flowers are usually yellow when they first open and change to pink, white or red after pollination. This change in
colour acts as a visual cue to butterflies and other insects, indicating that the flower has already been pollinated.
Colour change in response to pollination is beneficial to both the plant and insect. It permits the plant a more
impressive, attractive flower display whilst enabling insects to forage more efficiently by avoiding plants that have
reduced nectar.

Butterfly Wing Patterns
Couloration in Butterflies
The patterns and colours on the wings of butterflies are
interesting in the fact that they are individuated characters as
opposed to random markings. These markings are the result of
anatomical elements and each spot or stripe will therefore be
in the exact same location on each member of a given species.
The colours and patterns on a butterfly wings are therefore more
similar to the bones of a vertebrate skeleton rather than unique
characteristics such as human fingerprints and patterns on an
animal’s fur.
Butterfly wing colouration and patterns are formed as a result of
a symmetry system, which is broken up by wing veins that act as
boundaries. The symmetry system is usually made up of three
different parts – the border, central and basal system. Pigment is
distributed symmetrically so that the wings of a butterfly mirror
one another. Between the three bands of symmetry, the pigment
is usually darker accounting for the background colour of the
wing. The emerging patterns within each of the three symmetry
systems also vary between one another. A number of eyespots
are commonly formed along the edge of the wing where the
border symmetry system lies. Within the central symmetry
system, there is usually one large mark that sometimes takes the
shape of a single eyespot.
Fig 49: Tailed jay butterfly
(Graphium agamemnon)
Fig 50: Glasswing butterfly
(Greta oto)
Fig 46 (top): Area of border
symmetry system on the wing of
a blue morpho (Morpho peleides)
butterfly.
Fig 47: (above): Eyspot on the
blue morpho (Morpho peleides)
butterfly.
Fig 48 (right): The underside of a
blue morpho (Morpho peleides)
butterfly.
Although the symmetry system is linear, it does not appear so
due to the wing veins, which as mentioned previously, visibly
cross over and break up each section. In doing so they cause
the dislocation of each band of pigment, separating them into
smaller individual sections.
The colours that appear on butterfly wings are
the result of light being absorbed by pigments at
different wavelengths. Any light that is not absorbed
is reflected and scattered, giving the resultant colour.
In the tailed jay butterfly (Graphium agamemnon),
the bile pigment sarpedoblin is produced through
the conversion of two other pigments, pteroblin and
phorcabilin using light. This pigment is responsible
for blue/green colouration and combined with
lutein, a carotenoid that absorbs blue, results in
green coloured wing patches. This provides G.
agamemnon the ability to blend in with the green
colours of plant leaves.
The glasswing butterfly (Greta oto) is unique as its
wings have a natural transparency. Transparency
is more commonly found in organisms living deep
under water however some moths, butterflies
and freshwater insect larvae display this trait.
Transparency plays an important role in defense
against predators. The glasswing butterfly’s
wings contain submicroscopic protrusions on
the surface that don’t absorb or reflect light at
visible wavelengths. Light is therefore completely
transmitted through the wing, creating a transparent
effect. This serves as a good defence mechanism as
birds that prey on butterflies are less able to spot G.
Colouration in butterflies also plays a role in mating behaviour. The scales present on their wings reflect bright
colours and in some species also cause polarization. This is useful in habitats of dense forest in order to detect
potential mates.
33

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35

Small Worlds: A Closer Look at Colour
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Fig. 4: Egyptian vulture (Neophron
percriopterus)
1/320
f5.6
ISO 800
300mm
Flash: No
Tripod: No
Fig 5: A captive Amur leopard
(Panthera pardus orientalis)
1/400
f5.6
ISO 250
Fig 6: A captive Amur tiger
(Panthera tigris altaica)
1/60
f5.6
ISO 4000
300mm
Flash: No
Tripod: No
55mm
Flash: No
Tripod: No
Fig. 1: Amur tiger (Panthera tigris
altaica)
Fig 7: A captive Amur leopard
(Panthera pardus orientalis)
1/640
f5.0
ISO 250
150mm
Flash: No
Tripod: No
1/800
f8.0
ISO 250
400mm
Flash: No
Tripod: No
Fig. 2: Butterfly wing displaying
large eyespot.
1/250
f5.6
ISO 800
55mm
Flash: No
Tripod: No
Fig 8: Giraffes (Giraffa
camelopardalis) in captivity have a
shorter lifespan
1/800
f5.6
ISO 250
300mm
Flash: No
Tripod: No
Fig. 3: Digital image showing view
of Ben Lomond
Fig 9: African Lion (Panthera Leo)
in captivity *Unmarked
1/250
f16
ISO 200
48mm
Flash: No
Tripod: No
1/640
f5.6
ISO 250
400mm
Flash: No
Tripod: No
37

Fig 10: Amur leopard (Panthera
pardus orientalis) in captivity
Fig. 16: Ashley Holmes.
1/400
f6.3
ISO 250
75mm
Flash: No
Tripod: No
1/60
f4.0
ISO 800
31mm
Flash: No
Tripod: No
Fig 11: Amur tiger (Panthera tigris
altaica) in captivity *Unmarked
Fig. 17: Ashley in action.
1/320
f4.5
ISO 250
130mm
Flash: No
Tripod: No
1/60
f3.5
ISO 4000
21mm
Flash: No
Tripod: No
Fig 12: A captive Amur tiger
(Panthera tigris altaica) grooming
Fig. 18: The lighting at a dance
show can prove tricky at times.
1/640
f5.6
ISO 250
300mm
Flash: No
Tripod: No
1/60
f5.6
ISO 4000
55mm
Flash: No
Tripod: No
Fig 13: Captive animals like the Amur
leopard (Panthera pardus orientalis)
are provided with sufficient food
1/1000
f8.0
ISO 250
300mm
Flash: No
Tripod: No
Fig 19: The population of cinereous
vultures (Aegypius monachus) came
under threat in Asia.
1/160
f8.0
ISO 200
300mm
Flash: No
Tripod: No
Fig 14: A captive Amur leopard
(Panthera pardus orientalis)
leaping from a climbing structure
1/640
f5.6
ISO 250
135mm
Flash: No
Tripod: No
Fig 20: Vultures cover vast areas
and use their wings to glide.
*Unmarked
1/500
f5.6
ISO 800
75mm
Flash: No
Tripod: No
Fig 15: An image from Ashley’s
banner.
1/60
f4.0
ISO 800
30mm
Flash: No
Tripod: No
Fig 21 : The lappet faced vulture
(Torgos tracheliotus) is extinct in
parts of Africa.
1/400
f5.6
ISO 800
300mm
Flash: No
Tripod: No
39

Fig 22 :The Egyptian vulture
(Neophron percriopterus) is now
classed as endangered.
Fig 28: Comparison of a view
taken with a digital then medium
format camera *unmarked
1/320
f5.6
ISO 800
300mm
Flash: No
Tripod: No
1/200
f16
ISO 400
33mm
Flash: No
Tripod: No
Fig 23 : Griffon vultures (Gyps
fulvus) are vulnerable to collissions
with wind turbines in Europe.
Fig 29: Comparison of a view
taken with a digital then medium
format camera * unmarked
1/320
f5.6
ISO 800
300mm
Flash: No
Tripod: No
1/200
f16
ISO 400
33mm
Flash: No
Tripod: No
Fig 24 : The claws of a of cinereous
vulture (Aegypius monachus).
1/320
f5.6
ISO 800
300mm
Flash: No
Tripod: No
Fig 30: A digitally coloured image
of the view from Loch Lomond
1/250
f16
ISO 200
Based on digital SLR reading
Fig 25: The view from Loch
Lomond captured using a medium
format camera
Fig 31: Ky Lewis’ lumen prints
entitled ‘Evanecent Growth’.
1/500
f16
ISO 200
Based on digital SLR reading
1/160
f5.6
ISO 800
22mm
Flash: No
Tripod: No
Fig 26: A pier and hills in the
distance at Loch Lomond
*Unmarked
1/250
f16
ISO 200
Based on digital SLR reading
Fig 27: The top of Ben Lomond on
a misty day
Fig 32: One of Anthony Carr’s heat
sensitive pieces.
1/125
f5.6
ISO 800
Fig 33: Intervalometer
52mm
Flash: No
Tripod: No
1/500
f16
ISO 200
Based on digital SLR reading
1/160
f16
ISO 100
18mm
Flash: Yes
Tripod: Yes
41

Fig 34: Intervalometer
1/160
f16
ISO 100
18mm
Flash: Yes
Tripod: Yes
Fig 40: graticule bar for reference
measurements also at x10
*Unmarked
1/60
x1o
magnification
ISO 640
Flash: No
Tripod: No
Fig 35: Timelapse sequence
of a daffodil bud opening
photographed *unmarked
1/25
f2.8
ISO 100
100mm
Flash: No
Tripod: Yes
Fig 41: A flock of American
flamingos (Phoenicopterus ruber)
*Unmarked
1/1250
f5.6
ISO 200
120mm
Flash: No
Tripod: No
Fig 36: Timelapse sequence
of a daffodil bud opening
photographed *unmarked
1/50
f2.8
ISO 100
300mm
Flash: No
Tripod: Yes
Fig 42: Short tailed field vole
(Microtus agrestis) amongst plants.
1/1600
f10
ISO 6400
300mm
Flash: No
Tripod: No
Fig 37: Timelapse sequence
of a daffodil bud opening
photographed *unmarked
1/8
f2.8
ISO 100
100mm
Flash: No
Tripod: Yes
Fig 43: An urban rabbit (Lepus
curpaeums) with a possible eye
infection.
1/400
f9.0
ISO 400
300mm
Flash: No
Tripod: No
Fig 38: Timelapse sequence
of a daffodil bud opening
photographed *unmarked
1/4
f2.8
ISO 100
100mm
Flash: No
Tripod: Yes
Fig 44: Short tailed field vole
(Microtus agrestis) feeding on
flowers
1/1000
f10
ISO 2500
300 mm
Flash: No
Tripod: No
Fig 39: A microscopic image
of a Stensor sp. taken at x10
magnification. *Unmarked
1/500
x1o
magnification
ISO 1250
Flash: No
Tripod: No
Fig 45: Lantana camara displaying
unpollinated yellow flowers and
pollinated pink flowers.
1/15
f16
ISO 500
100mm
Flash: No
Tripod: Yes
43

Fig 46: Area of border symmetry
system on the wing of a blue
morpho (Morpho peleides)
Ad 2: International Birds of
Prey Centre, Snowy Owl (Bubo
scandiacus)
1/160
f16
ISO 100
65mm
Flash: Yes
Tripod: No
Birds in
Flight
11:30am 2:00pm
4:15pm
Gloucester
GL18 1JJ
www.icbp.org
1/1000
x5.6
ISO 800
300mm
Flash: No
Tripod: No
Fig 47: Eyspot on the blue morpho
(Morpho peleides) butterfly.
1/160
f16
ISO 100
65mm
Flash: Yes
Tripod: No
A day the
whole family
can enjoy!
10% discount
for online
bookings
www.wwt.org.uk
Ad 3: Slimbridge (Phoenicopterus
ruber).
1/1250
f5.6
ISO 200
297mm
Flash: No
Tripod: No
Fig 48: The underside of a blue
morpho (Morpho peleides)
butterfly.
1/100
f9.0
ISO 800
48mm
Flash: No
Tripod: No
Tropical
B
B
Adults: £6.25
Children: £5.25 (under 3’s free)
Concession, group rates and
season tickets available.
utterfly
STRATFORD-UPON-AVON
Farm
Insects
Birds
and more....
Meet our friendly
caterpillars and learn
about their life cycle!
Ad 4: Stratford Butterfly Farm
Image 1: 1/500, f5.6, ISO 500,
55mm (Idea leuconoe)
Image 2: 2.0, f16, ISO 100, 100mm,
tripod (Papilio demodocus)
Fig 49: Tailed jay butterfly
(Graphium agamemnon)
1/25
f10
ISO 800
100mm
Flash: No
Tripod: No
Ad 5: Peak District
Image 1: 1/80, f16, ISO 320, 40mm
Image 2: 1/80, f5.6, ISO 100, 18mm
Image 3: 1/13, f9, ISO 100, 55mm
Fig 50: Glasswing butterfly (Greta
oto)
Ad 6: Yorskshire Wildlife Park,
wallaby (Macropus rufogriseus)
1/4
f16
ISO 100
100mm
Flash: No
Tripod: Yes
YORKSHIRE
Wildlife Park
1/800
f10
ISO 250
300 mm
Flash: No
Tripod: No
Relax and
enjoy our
beautiful
surroundings
Ad 1: Cambridge Botanical
Gardens
1/800
f9.0
ISO 800
300mm
Flash: No
Tripod: No
45

YORKSHIRE
Wildlife Park
Debra McFarlane
MSc Biological Photography & Imaging
CD14204