Impact

“Impact” - Time stands still in southern Kenya. It’s a flat, raw and elemental amphitheater and a great canvas to tell stories. There’re no tension points and it’s a place of stark contrasts. On one side you have - when lucky - your typical Hollywood-like African scenery with Mount Kilimanjaro as a scenic backdrop. On the other you have the dusty, almost apocalyptic landscape which reminds more of uninhabitable places we know from movies like “The Martian”.

All alike… it is not your typical “Big 5 checklist” destination. It’s really all about the elephants. And the elephants here are the biggest in the world. You want to be a better photographer? Stand in front of the most amazing things you can image and put better things in front of your camera. It’s really that simple. In theory.

In reality we waited hours for this big bull to move in front of the camera. And it was worth it. There is no point in coming all the way here and not getting above the threshold of the mundane. That is the challenge and the epicenter of any transcending photograph. All that matters is if the imagery is strong enough to elicit an emotional reaction, not be taken ever again and stacks up in the final print. That’s when you can look back with a great deal of satisfaction. I think we succeeded… it definitely has an impact on all three dimensions.

The Calm After the Storm

“The Calm After the Storm” - This image was made almost exactly one year ago. Right on the slopes of Kilimanjaro, where Big Tuskers dominate the vast, fabulous plains of Eastern Africa.

EXIF data on this image shows the raw file was captured at 7:16 AM. With some of the earliest light of the day, it creates a fairytale-like image with this mammoth at center stage. It reminds me of this movie quote, courtesy of Christopher Nolan’s The Dark Knight: “The night is darkest just before the dawn. And the dawn is coming”.

This is an adequate metaphor for today's zeitgeist. We’re more resourceful than ever before and hopefully more grateful for the small things in life. Let’s get excited for the near future, because these times define who we want to be.

So wherever in the world you are: good evening, good morning or good night and hang in there a little bit longer. We’re almost through the looking glass 💪🏻

Announcement: Photographic Safaris

A few years ago I started out with a simple idea… “Let’s set a really high and ever-rising bar for timeless wildlife photography as fine art images”. A concept was born and put into reality with images which sell all over the world. From London to Melbourne, from Istanbul to San Diego and from New York to Madrid. It seemed a little crazy at the time and - to be honest - a bit scary to put your emotion and visual stories into the world as a creator.

But for the last couple of months I’ve been working on something that is just, if not more, as exciting. That next conceptual leap which is just… probably even more crazier. Not only because of these travel restricted times, but also because it means opening up creative resources I didn’t have a few years ago. And now, together with some amazing local individuals I met over the last few years, we created what I feel are some of the best photographic experiences.

I believe that the best photographers always stand in front of the most amazing things. And this is why Jochen van Dijk Photography begins to offer photographic safaris in the most beautiful African places out there. Always in equivalent collaboration with fantastic ground support. Because without astonishing people on the ground with experience in both hospitality and excessive guiding knowledge in these places there is no game.

The Big Tuskers of Amboseli from Jochen van Dijk Photography on Vimeo.

Each tour offers a small client-leader ratio that allows for personalized, customized and hands-on photographic coaching from which you will instantly learn how to step up your photography skills. And after the sundowners there will be training on how to post process your images from that very same day. All at the very best lodges at competing rates.

And even though we are restricted in the way we travel, the times when these restrictions are lifted are drawn to a close. We feel like now is the time to put this out there. So when we can experience these visual wonders, we’re ready. I know we are with ”The Big Tuskers of Amboseli”. This is our first photographic adventure on this new journey and more will follow very soon.

-Jochen

The Spa

 I must admit I was a bit reluctant to post any new material over the last couple of weeks. There’re a lot of bad things going on in the world right now, whether it be political inequality, economic issues, conservation deterioration and of course health issues.

However, this is the new new. Our usual perspectives have changed and maybe even completely disrupted. And when looking past the new normal I’m confident there is a silver lining in all of this. Just like the past, there is evolving a whole new kind of creativity and we’re going to find that there is growing a living forrest of ideas. Let’s dream about this renaissance of new creativity and ideas and stepping up our game.

And even though the situation on the stage where most of my images are made has it a lot tougher, people are staying strong. Now more than ever…

This image was made on the Kazinga Channel in Uganda. The channel is among the most paramount geographical features in Queen Elizabeth National Park with a magnificent view of the most vital wildlife in the park. And though it shows tranquility it was - laying in diesel fumes on the metal boarded floor to be as close to the water as possible - not as serene as it looks. But most important… these are scenes to relish 🤍🖤

The Matriarch

The Matriarch” is undoubtedly one of last assignment’s highlights in Kenya. I was doubting when to release this image as there seems no good timing these days. However, there’s probably no better inducement for this image than Earth Day’s 50th celebration.

Scenes like this play out every day on Amboseli’s dry lake. The challenge is to be at the right time at the the right location with the right equipment. And with sunset imminent for just about 15 minutes of Amboseli’s 400 square kilometers it is a lot of ground to cover… Thanks to the amazing speed of my guide and driver Sammy, this was a joint team effort came true at exactly the right time.

The angle of the camera works in this low to the ground “Ant Man” position. The sun is at just the right angle and the mud drying up on her skin while she is looking down… It creates the perfect mood and spotlight on the leader of the heard. She‘s a true power stature, a savage, magnificent, impressive and she shows how fragile and little we are amongst forces of nature.

Jochen van Dijk
Amboseli, Kenya
17/01/2020

Gimme Shelter

Everyone who has seen Disney’s “Elephant” has to agree that baby elephants have a 10 out of 10 cute factor. They are small, their trunk is dangling uncontrollably and they can’t seem to figure out whether they are a jumping impale or a soon to be mammoth.

It’s a big contrast to see a baby elephant weighing 200 lbs (around 100 kg) and 3 feet (1 meter) seeking shelter with their mother.

Cloverfield

Nature is closed for business and we won’t travel for the foreseeable future. So the only way to have a look at destinations which convey the hearth is to look at some catalogue images. And for me, print is the final destination for a good image. You can’t judge an image from the 3 inch sized display of your camera. And images will always look better in the physical rather than the digital form.

There’s no doubt that my images look better when printed. It’s whether an image holds up in print determines if it is any good. Only when being printed the size of a dinner table you can see if it’s good enough to be looked at for a long time. Whether it is strong enough to trigger an emotional reaction.

There’s no point in going all the way up the Jurassic Park like jungle of Uganda and coming back with just a “good” image of these prehistoric primates. And I think I nailed it with this one. Even when printed this size it has ponsharp details which take hours to unravel. You can actually count the individual hairs and the blood vessels in his eyes. And even through all these details, the images breaths tranquility due to the negative space the leaves of the dense jungle provide.

Walk the Line

Talk about contrast… This scene was captured only a few weeks ago in southern Kenia. There was little to no connection or access to news. It was only when I returned to civilization that I learned about something called the “corona virus”, which was spreading in China. No big deal. We can handle this. How things have changed…

This image is a visual disconnect. When most of the world is urged to stay inside, it’s rather surreal this scene - even during these dark hours - plays out every sunset. Up until very recently this was just a beautiful thing to witness. No side notes or contextuality with the exception of wildlife poaching, habitat loss or other man-made tensions.

We have this planet on loan and have to share it with magnificent creatures like elephants. Now there is some time for reflection. Let’s hope these dark clouds pass quickly and conservation and sustainability are on political agendas a few steps higher when this crisis passes. Stay safe!

The Quarterback

Whether it be big cats, primeval tuskers or breaching sharks... when photographing wildlife I have a tendency to go for “the big ones”.

Having traveled to Uganda a number of times to get a big shot of probably the most impressive primate that wanders the earth is a challenge. It’s the ultimate of encounter,but most shots of endangered mountain gorillas are reportage rather than art. To bring home something interesting from these Jurassic World-like jungles is difficult.

There are strict enforcements when it comes to encounters with these primates. To prevent cross-contamination between the animals and humans and safety reasons, you’ll have to keep a 7 meter distance. Everyone, no matter if you are a tourist with an iPhone or romantically reporting for National Geographic, one hour is all you’ll get. Due to this 3.600 second timeframe there’s no time to wander around without a clear plan of action. And to top it all off, this deadline occurs in an extremely vegetated jungle, which kills the possibility for a wide, contextual narrative shot. There’re simply too many tension points which delete the opportunity for a clean image. Due to these variables you can only do it right by learning how to do it wrong.

The plan was simple. Go for the alpha male; the big one which is more impressive and overwhelming than any other gorilla. The group we were tracking came over from Rwanda. Their habitat was growing too small which testifies to their magnitude. After a 2,5 hour hike we found the big ones on a steep hill. This helped as I felt I needed to lie down to make this shot interesting and stand out from the mundane. However, gorillas don’t obey to stage calls and aren’t regulated by the “7 meter rule”. This resulted in some intense moments when the alpha male walked straight towards me. It’s an heart pounding moment while standing ground when a 200 animal walks towards you...

We did a test run for printing this image. It’s pinsharp and is worthy of the magnificence of this guy. It not only holds up in a big format print... It emphasizes the strength of these emotional animals in a whole new way.

Jochen van Dijk
Kisoro, Uganda
23/01/2020

Labyrinth

Zebra’s are the ultimate subject for a black and white fine art photographer. The lines challenge your eyes to convey what they want to see. Composing an image with these African equids relies on contrast, lines and emotion. This sounds fairly easy, but due to the capricious nature of zebras it actually is the biggest challenge in photographing these animals. They tend to run off before you can actually play with the well known patterns, which are visually synonymous for Africa. So you have to rely on trial and error, pre-focus and trust that  your preconception of the right your depth of field pays off.

I am an artist rather than a wildlife photographer. So anything that hints at a sense of interpretation is helpful. And the serene composition, abstract, widescreen cropping of this image is for the most part why it works. It may not be an impressive big tusker. Or a primate which is intimidating. But it is a big image in an artistic kind of way.

Jochen van Dijk
Mburo National Park, Uganda
25/01/2020

Relentless

Chimpanzees may get much less hype than the endangered mountain gorillas, but tracking our closest relative through the African jungle is one of the world's most thrilling wildlife encounters. One of the best places to do so is Kibale Forest National Park in Uganda. With chances of seeing them of probably 99%, it is the prime spot to have an encounter. However, its forests are also crowded. With over 50 people send off into the woods each morning at 8 AM there’s nothing transcending there. Let’s say any of those 50 tourists encounter a chimpansee and take a picture. That’s 350 images a week, or over 18 thousand a year. It’s hackneyed and nowhere near outstanding imagery…

When doing my research for this shoot I didn’t find any fine art images of chimpansees. Sure, there’re some clean National Geographic, journalistic images which show a close up encounter of a chimp posing. But a really intimate image of these primates seemed only preserved for the cover of BBC’s “Dynasties”… The goal was to capture that raw, human like emotion we can relate to so much. And chances are you’re not going to find it within well known locations.

In the search for more remote locations I came at a desolated valley within Queen Elizabeth N.P. Although this is one of Uganda’s most known wildlife parks there’s just one chimp family living remotely in the Kyambura Gorge. This gorge is actually drained by River Kayambura and about 100 meters deep. The gorge is another world on its own. While the savannah above has a reasonable amount of light, the tree canopy brings a somewhat mystic feel to the place.

When we actually heard the chimps they were on the other side of the crocodile inhabited river. While walking towards our position we made a judgement call. Using a fallen log as an overpass we crossed the river and hoped we could intercept them. And it worked out. While laying on the ground, the alpha male walked within one feet besides me. The pursuit of this image was relentless and I think we got it. It shows the humanlike charistics from these primates, like we know from Caesar’s Planet of the Apes and the emotion in his eyes is evidently raw.

Jochen van Dijk
Kyambura Gorge, Uganda
22/01/2020

The Departed

A few years ago I started with one simple mission statement… “Let’s set a really high, continuously rising bar in terms of pictures which are visually strong, immersive and fit in a cohesive fine art series”.

In a way, Amboseli is where this all started. With its dry lake it’s a natural amphitheater like no other. So it only makes sense to return here on my first assignment of 2020. The idea was simple; get my strongest elephant image and make it a threshold for an even bigger image. Lake crossing are rare and each one is different, as the elephant herds are never lined up in the same way.

It all comes down to a split second. I think we nailed it with this one. It’s a strong image, which shows why there’s a conceptual leap between being a wildlife photographer and a fine art photographer. The clouds, the sunset, the ground level perspective and the 35mm wide angle lens all played their role perfectly.

Jochen van Dijk
Amboseli, Kenya
17/01/2020

Bye 2019!

This week not only marks the last week of 2019, but also the end of a decade. And although I not really pass as a melancholic, I couldn’t help but reminisce about the last few years.

About how photography is about the personal mistakes I made more than once (who doesn’t?), but eventually learned from them. About how this personal development acts as a learning curve towards creating more individualism in my art. About the commercial risks which grew over the years, but were never speculative. About how this is isn’t just a bedrock for an emotional window, but also a transgression into making a profit in 2019 and beyond…

We started writing the first chapter of this never ending story a few years ago. It resulted in some of the most incredible moments and as a personal conduit during some tough times. The first chapter ends now with the outcome of more than these five images. But life’s about choices. Early January, the choice to pursuit excellence continues. Hopefully it marks as a kickoff for the next 10 successfully creative years!

For now... happy holidays!

Ted

I believe that one key feature of any good monochrome picture is to be visually as simple as possible. Negative space abstracts visual distractions and helps to focus on emotions. However, the opportunity to photograph an animal with black and white as their main colors is rather special. I can only think of two: zebras and pandas. The latter is probably the flagship in monochrome wildlife photography. There’s simply no other animal with such an extraordinary face!

Generations

The vast majority of my work shows African wildlife. However, for years I’ve been longing to complete the “Big 3 of primates”. And though gorillas and chimpanzees are relatively easily found on the African continent, the last one is arguably more difficult. So this is why I found myself completely off the grid and social media for a couple of weeks, traveling across Asia in search of Orangutans...

Orangutans are visually expressive. Probably more than any other primate or even animal. Their expression is so humanlike that we can relate to them in a rather unprecedented way. They are just like us - some say even more than chimpanzees. According to studies from Pittsburg University, humans share at least 28 unique physical characteristics with orangutans but only 2 with chimps and 7 with gorillas. The orangutan genome hasn't changed in 15 million years. To put that in some perspective, our species didn't even really exist until 200,000 years ago. These facts put our evolutionary tail in another perspective.

The natural habitat of these creatures is rapidly dissolving, along with their future. Borneo’s ecosystem has been well documented. Due to palm oil production - 85% of the forrest is gone due to palm oil harvesters. Nearly 50 years of conservation efforts have been unable to prevent orangutan numbers on Borneo from plummeting. Reports suggest that between 1999 and 2015 the total number of Bornean orangutans was reduced by more than 100,000 animals.

All these facts aside, the location where these big apes can be found is consolidated within imposing rainforests. It’s visually intoxicating and feels like the final frontier; half “Jurassic Park” and half “Predator”. Humidity is so high, three hours could as very well be as demanding as a whole day. The jungle is difficult to get a shot out in the open which tends to suit your character and your traits.

The best images tend to be simple rather than having a visual overload. A great photograph needs to make you feel something. This is why I want mine to be simple. Monochrome doesn’t only suit this style; the subject has to thug on the heart. All an extra challenge due to the thick canopy of the jungle. I didn’t expected to get this shot. You can’t tell from the back of your camera if the image stacks up to these requirements and convey an emotional reaction.

“Fine art” typically passes the test of time as the image has outgrown its artist. And this couldn’t be more true for these species. The future of orangutans is fading at a fast pace and this is a picture the world needs to see. I can’t be held responsible for the declining habitat of these primates. My responsibility lies in photographs like “Generations”. Hopefully it serves as a call to arms for conservationists.

Jochen van Dijk
07/06/2019
Kuching, Borneo

Photographing Iceland - The Wave 🌊

The Fallen Ones

Iceland is so raw, geologically challenging and visually disconnecting that it’s not surprisingly home to some of the biggest box office titles. Whether it’s Star Wars, Justice League, Game of Thrones or The Fast & the Furious… they all set up production here in Iceland. And though I wouldn’t compare my style of photography anywhere near these blockbusters, an equation can be made. Motion pictures are nothing without emotion, just like still photography is nothing without emotion. It has to be contextually, have some kind of narrative and enduring beauty. 

Mark Twain once said: “The two most important days in your life are the day you are born and the day you find out why”. With this image I knew why. I have had a prolonged idea in my mind. And when crafting it at more than 60 degrees north during one of Iceland’s heaviest storms since a long time it came to life. The idea was focused around serenity, exile, motion and raw power. The idea preceded me and was evolved over the last years, influenced by elemental rawness from TV series such as Game of Thrones. 

Even though, Iceland is probably the most challenging location I have ever been. This image - The Fallen Ones - was made on a day with wind gusts up to 180 km/h, road blocks and an everlasting pouring rain. Tourist prolonged their overnight in the hotel and the roads were dead empty. But that’s the way I wanted it. The weather alert is called an “alert” for a reason; you want it to be as raw and dramatic as possible. There’s no point in coming here all the way and taking an average picture with glossy, postcard style skies. 

If it was easy everyone would be doing it. I know how to use a camera. But that is not a transcending skill. In 2019, everyone’s a photographer. We’re the most content spoiled generation that has ever lived. And so, the pressure for someone who tries to stand out of the crowd is irreversibly higher than ever. It’s about dedication, perseverance and - ultimately - luck. And the harder I practice, the luckier I seem to get…

Everyone recognizes a horse. But recognizability without a surprise element leads to dullness. I wanted to have that doomed skies to tell the dramatic story about these tough horses. And make no mistake; these are wild horses and as bad ass as they come.

Jochen van Dijk
Höfn
26/02/2019

Richard Parker

“Richard Parker” - Today’s International Tiger Day. This largest animal of the world’s big cats are on the brink of extinction; 97% of all wild tigers disappeared in the last century, with only around 3,000 left alive.

David Attenborough was quoted saying: “People are not going to care about animal conservation unless they think that animals are worthwhile.” This emotion can be achieved in different ways, but one of the most original was the iconic tiger in Life of Pi.

This image was named after the iconic tiger of the movie, Richard Parker. Though the tiger was partly CGI, a real tiger was used on set. By bringing a real animal you set a standard to bring emotion to the main character. The same goes for this image. It’s not computer generated; the shot was from 2 meters of the cat and from the ground up. Neither was the halo around his head. By photographing directly into the sunlight there’s a natural halo which brings emotion to this image.

If anything, this images shows why these big cats are worthwhile.

The Revenant

I’ve photographed elephants all over Southern and Eastern Africa. And even though places like Chobe and Amboseli prove to be prime stages to witness these prehistoric animals, this image is rather special to me.

It was made a few weeks ago in “Sibuya”; a fairly small game reserve in the Eastern Cape. You may have heard of it as it was all over the news in the last days. Headlines of the unbelievable story of three suspected poachers who where hunting for rhinos and instead found the mauling jaws of the reserve’s lion pride were published across the globe. It is tear-jerking story which illustrates that animal poaching is indeed a serious issue. Sadly the world needs these kind of stories as an everlasting eye opener.

When visiting this place I got into conversation with Adriaan Louw. Adriaan is a professional wildlife tracker and guide with years of experience in trailing dangerous game such as African lions and leopards. He knows Kruger and the Timbavati as the back of it’s hand. Just to be short: this guy has been places. In those bushfire-lit evenings we talked about the other side of those impressive game drives. Because where people hope to spot an elephant, rhino or lion; poaching and criminal tradecraft are just as well everyday - serious - business. Unfortunately…

When returning to the solar powered tented camp and showing this image, Adriaan’s reaction was rather emotional. Completely silent and tears dwelling from his eyes he said: “This is your job as a photographer”. “Not just make pictures, but to show the world these animals’ emotions”. It’s is undoubtedly the the biggest compliment I have ever heard about any of my images.

This feeling grew over the last week. The feeling it’s not about technical greatness but emotion. Even though it’s razor sharp and perfectly balanced with the dust flying. The feeling that it’s not a “proof picture” but an intimate portrait. Deliberately made with a very wide angle lens and from the ground up. It’s the only way to capture the greatness of this animal and to make the camera an emotional extension. Just as cinematographer Emmanuel - “Chivo” - Lubezki did in Leo DiCaprio’s masterpiece this portrait was named after…

Jochen van Dijk
Kenton-on-Sea
10/07/2018

Sharks of False Bay 🦈

After more than 20 hours at sea learning how to do it wrong, it took only 5 minutes to finally get it right.