I think many of you will recall me being quite blown away by the power of the images and the quality of the printing/ presentation in my review of Nick Brandt’s earlier twin book On This Earth, A Shadow Falls (here). I’m fairly sure many of you were too, judging from my email traffic, the comments, and the number of orders via Amazon. I’ve turned into an enormous fan of Nick’s work: he is the photographer’s photographer, a man who clearly thinks about what he’s doing, photographs with integrity, for a reason, with an idea, with the most appropriate tool for the job, and presents the images in the best possible way. Across The Ravaged Land, the final volume in the trilogy, raises the bar even further. I spent an hour with the book and felt like I’d been smacked upside the head with the Pentax 67II he favours. Allow me to explain why.
Note: in this article, I’ve attempted to reproduce the tonal feel and colour of the images as accurately as possible, but reality is that it’s simply impossible to do so via a screen and a JPEG. Just buy the book, and from the print quality alone you’ll see why every photographer should spend some time making prints. I can’t even begin to imagine the impact of the large format images.
Linen cover and plastic dust jacket replaced with a rubbery, urethane-based paint cover with linen spine and conventional semi-matte dust jacket.
The book arrived before I left for Tokyo, but I wanted to set aside sufficient time to do it justice, so I didn’t open it until recently. I’m glad I did; though we’ve come to expect both compositions and presentation of a certain level following the first book, it was the emotional impact of the book that did me in. The tilted enlarger lens (I think) printing and infrared film of the previous book is gone; so too is the impression of idealism, lightness and hope. Across The Ravaged Land is a very appropriate title: you really feel as though you’re witnessing the struggle for survival of Nick’s subjects.
It’s a very different sort of wildlife photography to the kind you find in National Geographic; it’s not so much reportage as the conveying of an idea and the desperation and hopelessness you feel for the animals and the people trying to protect them. Even the majestic beasts – the lions and rhinos – appear to be not so much on the attack as making one final stand. In the first half of the book, we move from a series of very intimate, human moments punctuated by some of Nick’s signature ‘side on’ style to a centre section where it appears as though the animals are trying to come to terms with what is happening to their home; elephants pondering a skull of their number. I can’t help but feel distinct shades of Dorothea Lange’s Migrant Mother in places, especially in the photographs that include the interactions between parent and child. The end portion is simply quite depressing – animals killed and preserved by the caustic salts of a lake; game trophy heads looking out over a landscape where they once really lived; and finally, the emptiness and finality of old footprints.
Bleak and helpless doesn’t even being to describe the way you feel at the end; this is a triumph of editing* and one of the best demonstrations I’ve seen of the power of the photographic medium. It’s also clear that an enormous amount of thought and dedication has gone into the creation of the images; not just the process, but more importantly, the idea. There are two essays in front: one explaining the context of the situation in Africa and just how fast wild animal populations are declining due to poaching and infringement by man; many of the subjects in the first book are now dead, killed by poachers mainly for their ivory, but also hides or as trophies. It’s immensely sobering, but also a little hopeful since there also appears to be a strong support for the cause both on the ground and internationally, through Nick’s work.
*The proper use of the term: selection and sequencing, not postprocessing
The second essay – I am the walrus – is more interesting to the photographer, for many reasons. It’s full of insights into the creative and technical processes, no doubt questions that were posed after the impact of the first two books. Nick was a former film director who’d worked with Michael Jackson for several videos; but found that creativity-for-pay was pretty much an oxymoron (sounds familiar? Read this essay.). He struck out on his own to shoot as he pleased, with the vision of creating an elegy to the majesty of the creatures he found in Africa. I’d say he succeeded in On This Earth and A Shadow Falls. Across The Ravaged Land is both a tribute and a warning: this is what will happen if we are not careful, but there is still a chance. I feel that the three books really need to be viewed together or in close succession for the full message to come through – even in the titles: “On this earth, a shadow falls across the ravaged land.” As always, it’s proven harder to convince people upfront that there is merit – usually financial – to an idea; if you have the confidence, go out and do it, and if you try hard enough, success and awareness follow. Usually.
Much like the first book, the printing in this one is absolutely superb (see the crops). I was told** that no compromises or expense were spared in the making of these books, and it shows. Those of you who are used to seeing dithered halftone dots on photo books printed via the offset method will be very, very pleasantly surprised when you open either of Nick’s books – they’re entirely gravure, including the text pages. This means the very finest detail structures and tonal nuances are preserved, and there is an overall impression of depth and richness to the images; no doubt the choice of inks and paper (Phoenix Motion 170, I’m told) plays a big part here, too. It feels like the same baryta paper as was used in the first book; silky, smooth, with a hint of bite that compliments the grain of the film used.
This portion is approximately 2″ high in the book. Note lack of individual halftone dots
Print quality of the text is pretty impressive, too.
Nick also uses a hybrid film-digital workflow to produce the images: they were shot on film with a Pentax 67II, and 50/100mm equivalent lenses; the negatives were then scanned and the tonal manipulations and darkroom processes (i.e. dodging and burning) made digitally in Photoshop. Interestingly, Nick tried photographing the same way with medium format digital, but abandoned it (and the much higher hit rate, which is the opposite of my experience with MF digital so far) because it felt ‘too easy’, but more importantly because “…the images were too clinical, too sterile, too devoid of atmosphere. Just too…perfect. In fact, had I photographed with a digital camera from the beginning, I’m not sure I’d have liked a single photograph that I had ever taken.” Readers of this site will know that I’ve been using this kind of workflow for my Hasselblad 6×6 negatives because of the tonal quality and degree of control/ consistency achievable; it’s nice to see that I’m not imagining things. Clearly, doing something different has resulted in something rather special. (And yes, my DSLR film scanning rig is still in the works. We’ve made some improvements to tolerances, rigidity and materials, but these of course have to be thoroughly tested before release…)
I want to end with a short thought on art – we touched on it first here, and again in this article. Nick’s work is unquestionably art. Why? Because it conveys a strong idea? Because it’s well executed? Because it’s aesthetically pleasing? All of the above, really. But because it was created without the inattention of ever being art; it was created without restriction by the photographer simply because he wanted to do it. Fortunately, he had the means to do so – and in the end, the purity of the idea comes through, unfiltered. “I have sought to photograph them not in action, but simply in a state of being.” I’d say he’s done just that. MT
**Coda: After the first review, I received a very complimentary email from Nick thanking me for my review and expressing something between relief and gratitude that the lengths he went to to get to prints right were being appreciated. A short correspondence developed, and he has very graciously agreed to an exclusive interview for the site, which will be published soon. I admit that writing the questions for that interview made me somewhat nervous, because Nick is one of my few true photographic heroes; a rockstar with integrity, talent, and beyond that, passion. In advance – thank you very much, Nick, from myself and all of the readers of my site.
On This Earth/ A Shadow Falls and Across The Ravaged Land are both available here from Amazon, and signed copies here from Photoeye.
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Ming Thein | Photographer 
just got mine and WOW ! I had goosebumps viewing the photographs. It is beyond incredible. Thanks for introducing me to Nick’s work and Nick if you are reading this – lots of man love coming your way. Hopefully amazon gets the other book back in stock quickly so that I can get mine.
A pleasure! Enjoy the book.
Thank you for sharing this review. It may be a bit somber for the final addition to my wife’s X-mas gift, but her love of Africa, and the wildlife contained there, will appreciate this in the future.
I’d also like to thank you for everything you share on your blog. Unfortunately, I came to photography from the technical/hobbyist/geek side and sites like yours have helped orient me on a path where I can start saying something with my images.
No problem. Merry Christmas!
good job, I enjoy the color and the filter that you used 🙂
Reading this article confirms my impression on medium format film cameras. They are truly amazing. Thanks to you Ming, I bought a Hasselblad V series camera a few weeks ago and it’s simply fantastic.
Thanks Ming – another fine review. Nick B is indeed a great photographer, and is making photographs not only as pieces of art in their own right but also as ideas and evidence for campaigning about the loss of wildlife in Africa and beyond. This is a superb fusion of form and content. The monochrome images and portrait lenses evoke the photography of the 19th century, when the animals in question were plentiful and just beginning to be hunted and driven towards extinction; the sepia toning is elegiac, hinting at death and regret, as if these were books from a century hence, showcasing what has been lost irrevocably; and we see at the end images of dead creatures, arranged like memorial sculptures, which suggest the likely fate of all the animals seen in the series.
The work also shows why art is ‘the lie that tells a truth’. The pictures are monochrome, a false representation; and the final photographs are of manipulations of dead animal bodies. But the images tell a truth all the same.
Compare a sequence in the current international competition exhibition of wildlife photography at London’s Natural History Museum: this is in colour, and takes us from tusks being hacked from a dead elephant bull, all the way to the apartment of an ivory ornament collector in the Phlllippines. It works as documentary, but not as art: and maybe that shows the limits to documentary styles in arousing our emotional response and commitment to act.
And that takes me to my final point. It is not enough for us all to admire Nick B’s work and sigh over the fate of the animals. The challenge of the series to us all is to work together to make it impossible for a project like it to be repeated 50 years from now, with nearly all the species shown gone or on the edge of extinction. We can yet safeguard the creatures and habitats, while providing far better living standards for the local people – it’s been done elsewhere and it can be done in Africa. It needs funding for strong protected area management, for local job creation and decent services for a growing population, and smart use of new technologies for monitoring and protecting wildlife. And it needs people in East Asia to campaign long, loudly and passionately about the demand for ivory and endangered animal parts in China, Malaysia etc.
Thank you. It’s about the idea, the message – the means is to an end. And he does that really, really well indeed.
I’ve seen IWP at the NHM several times in the past; it’s always documentary in nature. Some come close to being art, but are missing something – they’re a moment rather than a tribute, if that makes sense.
It’s not just funding: it’s management and education. Both in Africa and the far east. There isn’t that much demand for ivory in Malaysia though…people want iPhones these days.
I think I now know what I want for Christmas. Thanks for the review Ming, it just didn’t make me want to see the book but it also inspired me.
Haha, time to drop heavy hints to somebody 😉
Ming, I just happened to look at this book in Tokyo only yesterday and while the images are stunning and everything you say. the quality of the book, paper, printing didn’t impress me after reading your review of the previous two books. They looked somewhat flat tonally. So I’m wondering if there are different versions of this book, a cheaper consumer grade version ( maybe what I saw ) and the no compromise, high quality ‘Art ‘ edition. i think this must be the case as the book was also fairly inexpensive at about Yen 7000 or thereabouts.
I ask because i want to order a copy of all three from the bookstore here, and want to be sure i get the best quality prints.
Definitely looking forward to that interview. Nick’s creative decision to use film and not digital mirror my own experience. For personal work I still prefer to use film for making the images in camera and digital for everything else, which is why I won’t give up my film cameras. yes, working this way absolutely makes a difference. How much of a difference? Like that of an artist that makes a portrait by directly drawing on paper with his/her hand and a similar image created entirely using a computer. technically proficient but lacking some essence. Nick’s comments about digital being too easy are right on target and so is the message of this book for those of us that care.
There’s only one version as far as I know – and Nick has confirmed that the paper is the same between the first double-book and the latest one. Price seems about right though. Odd…did they have another copy to look at?
Only one open sample copy and one sealed. Hmmm… I’ll investigate next time I visit the store.
Definitely ordering the set though!
I couldn’t agree more with . . . Ming and others here. I saw some of his photographs in an issue of Lens Work a while back and liked them but couldn’t quite get past the “way” he was making the images. And I’ve seen the animals live in Africa myself and . . . as you say National Geographic had its effect on me as well. But his same photos look different to me now. Obviously the photos haven’t changed, so I must have. I have been focusing on black and white photography recently, so that may be one of the reasons. You cannot deny the power of the content of the images themselves. It undoubtedly took much patience and time to capture the images required for such a dramatic (story) portfolio. I’ll look for his book. I also missed his exhibition.
So, what’s left is what he gave or added to the images by the way he took them, developed and printed them. That includes his chosen equipment and film to digital printing process as well. He crafted this himself to create the kind of images that we are now able to look at. That alone satisfies the definition of art for me. So, I like them a quite a lot now. I cannot nor do I want to make the same kind of images myself. Fortunately, because I probably couldn’t. I am inspired by them, however, to try to do more work in black and white. I just saw my second published book on Venice in black and white only. B&W? Venice is the color wonderland of this planet. And I’ve looked at color books of Venice. The black and white images seem much better to me. Oh, and I’ve taken color photographs in Venice already, but was only somewhat happy with them. So, I’m anxious to go back again and try b&w as well as color again. We are getting better each time, right?
Ming’s work in b&w has a similar inspiring effect. All this has made me question–as I always have–the simplistic statement that it’s the photographer not the equipment that makes a great photograph. Wow, obviously true statement. Except for one little problem: Then why do the best photographers and professionals seem to ignore this and acquire the best (and expensive) equipment available for what they want to do? Are they stupid? Not at all. Ming has shown us a wide range of equipment from pocket cameras large film/sensor cameras up to 36 and more MPs. But he’s also made it clear which equipment and process he thinks works best for the type of images he wants to make, let’s say, for now anyway. Obviously, Nick Brandt was in Africa for some time and he could just as easily put himself in front of those elephants with a P&S film or digital camera from 6 MP on up, or used a 1960s Leica M. He didn’t do any of these things. He apparently needed that specific equipment to get what he wanted and the rest of us are gradually learning to appreciate them for what they are. Again, not just the content–which is exceptional–but the way the equipment and artist made the final images as well. So, yes, any equipment including cell phones now will take acceptable images for some purposes, but if you can afford it why not purchase the best equipment for what you want to do. Used or new. Old or new.
Along the same lines, I would like to know or see what kind of images Nick Brandt would make with the new Leica Monochrom digital camera. Images from it are now starting to emerge as people learn how to use it well. It will be interesting to see what good photographers will be able to do with it. The lenses fit within the parameters that Brandt used in Africa, 50mm to 90mm lenses. And I liked the images that Ming took with the Monochrom when he reviewed it.
Nick’s newer work is actually a lot ‘cleaner’ than the earlier books; I personally prefer it because it seems a bit more mature and less ‘gimmicky’ – though that is too harsh a word to use for a tricky process to master especially in the field, I think.
He did mention trying the Hasselblad H series but being unhappy with the cleanliness of the output – I think I know where he’s coming from; I honestly prefer film on the V series for B&W work, but digital for colour.
This brings me neatly to tools: we buy the best there is for the intended purpose because it helps us to concentrate on the creative part; the tools are supposed to be an enabler rather than a challenge. If they let us get 2% closer to the ideal we’re chasing, then it’s worthwhile because it lets us go further. I use an iPhone for some things, but I also use a MFDB and now the Otus and D800E; I wouldn’t interchange them, though. Horses for courses and all that. Not a big fan of the Monochrom, personally: it’s the price. For the kind of money they’re asking for the body, you can buy a D800E and the Otus…
I’ve seen a couple of his books. Appears to be Stochastic Screening (sometimes called Frequency Modulation) printing. The tilt affect in some of his images could be accomplished with slightly unmounting the lens and moving it a bit (free lensing). The digital negative for large contact Platinum prints is a technique I learned from Dan Burkholder around 15 years ago, though he was not the only person teaching that; makes a big difference on contact prints, though there are several counter-intuitive steps to making the printing negative.
Rather than look so much into techniques, there are other take-aways I get from looking at these books. First is to not use the approach so many use, because doing the unexpected can add more interest. Obviously there is a risk to doing that, but if every professional simply followed trends, then we are no longer providing a unique set of ideas. Second is that having the budget to accomplish something unusual can enable impressive results. Unfortunately, if many of us had an unexpected approach and wanted to produce something from that, we would have trouble convincing anyone to fund it. Third, as we have seen far too many times, great ideas evolve over time, and take a substantial amount of time to come together. The world of the past, when Magnum began, and so many other photographer collectives existed, has now become a footnote in photographic history, as the attention spans of art buyers and the public have waned. We may have access to information at our fingertips, though now much more is quickly viewed and forgotten. At least there are some of us who still appreciate the efforts of dedicated individuals.
I don’t think it’s free lensing because there’s no light pollution around the edges, and it would be very difficult to control the effect. Stochastic screening seems more likely, though I think the enlarger was just tilted relative to the print.
Technique doesn’t matter beyond its ability to deliver the vision we intend. The trouble is, so many people get caught up in the technique part because they don’t have a vision to begin with…
I forget where the explanation happened, but Nick Brandt claimed it was “in camera”, which negates the darkroom tilt idea. He also mentioned shooting from a vehicle, though I think that is obvious given the unpredictable nature of wild animals. Must’ve taken extraordinary patience to wait for those moments to develop and all the image captures. The mount on a Pentax 67 is substantial, and with 6×7 even a half degree of movement would alter the plane of focus. Done without light sources pointing near the camera, light leaks can be avoided. You can try this on 35mm, but the effect is usually too subtle. The lens is not dismounted, just loose on the mount. Perhaps that cannot truly be called free lensing, because a slight turn of the lens would lock it onto the mount.
I got to try a loupe on one of the Brandt books, and it appears to be Stochastic, based upon many samples of that type of printing I have here. Just a guess, but I would think it was set-up on a Creo platemaker, though that is because they make the best. Heidelberg offer that too, just slightly different method. (Print geek stuff, really). Creo was bought out be Kodak years ago, though the technology has not changed much. The paper obviously makes a huge difference here. To me that is one of the great tactile qualities of his books, in that there is a weight to the pages.
Quite likely most of us, even if we bought a Pentax 6×7 and hired a guide, would not get the same images. I like to use this phrase often: the camera points both ways. While we do often bring unexpected technical ideas into our images, the biggest thing any of us has to offer is ideas. On the idea of whether Brandt’s books are art, they certainly trigger emotions amongst most people who view them. He pursued these ideas with what appears to be little thought of commercial value, though I’m not so certain he was thinking art, more than he was hoping to convey some very important messages. Hopefully in your interview you can elaborate on that more.
Thanks for the insights, Gordon. Nick’s interview is going up in the next couple of days, so he might well stop by to confirm 🙂
Agreed on the last paragraph: cameras are both devices that capture images, but beyond that, tell us about how we see the world. And that’s rather introspective, I think.
Just came across a video with Nick Brandt talking about a recent exhibit and his work. Really awesome to watch this. http://youtu.be/KWPIFVOIgvw
Aha! Thanks for this.
One comment for all to-be buyers of the book: my very first impression with Brandt’s previous book was almost disappointment. Something in the photographs felt cheap or overly edited, like I was looking at 500px front page. It only took a while of browsing and my brain getting adjusted before the disappointment was gone. After a while I realised what was “wrong” in the first place: as Ming mentioned, the photos do not look like National Geographic or the weekly nature documentary on TV. Seeing a portrait of a lion, shot like a portrait photographer would, in the animal’s natural context, is simply not something we are used to. Fortunately, like many new foods that at first taste strange, the book is a real delicacy. I have no doubt that the new one is just as good if not even better.
The first book had two print runs: the first one was not good, by Nick’s own admission. The second run with a new printer is MUCH better, and matches the sec on book.
Beautiful review. I’ve passed it on to several friends. Look forward to the interview and the scanning rig.
Thanks!
Thank you for bringing Nick’s book “On This Earth A Shadow Falls” to my attention. As a professional custom b/w printer the interpretation and quality of the prints is beyond words.
I’m very much interested in your dslr film scanning rig for my 35mm archive and look forward to its ultimate release.
Thanks Eugene. As for the scanning rig: we’ve made several changes from the early prototypes which should be even better; I’ve got the final one on my desk now, but I need to find some time to shoot some film and test it thoroughly before we release. It’ll be done right, or not at all 🙂
I consider Brandt’s work to set the bar for wildlife photography. That is why I find so much wildlife photography to be boring. No the really interesting question is how do we keep digital images from looking clinical and sterile. Yet it seems to me there are endless discussions in photo forums as to how to improve image quality to get images with exactly those characteristics. Great article as always Ming.
Thanks! It seems that nobody has found a good solution to the clinical problem either: everybody making good output appears to use a hybrid film/ digital workflow…
It might be the answer is to process less. Look up Carolyn Guild, she shoots digital.
I don’t process very much at all, to be honest. If it’s not there in the original composition, no amount of PP is going to fix it. Furthermore, I just don’t have the time. 30s-1min is about all the processing I do on each file, unless it’s commercial retouching.
It better be there in the fist place.
I just saw mr. Brandt’s exhibition in Brussels on Avenue Louise 75B (in the courtyard behind the hotel). Seeing these pictures in very large format was like being right in front of the animals. I wish I had space for one of the large prints but alas. If “the show” comes to a place near you go see it.
Sadly not – but I do wish I could see it. There’s nothing quite like a large format print; as good as the books are, they’re still only 12″ or so high…
Just looked and I’ve missed the NYC exhibition by a month… Bugger!
Oh darn!
First off I just wanted to thank you Ming for bringing both of Nick’s book to my attention. After your first review of On this Earth a Shadow Falls I ordered the book (via referral link as always). I have also ordered and received Across the Ravaged Land as well as a second copy of On this Earth, my first copy ended up a gift for my mother and she absolutely loved it. These books are absolutely amazing.
My second thought was in regards to this site and the struggles that you have openly admitted having. Most of your readers know and appreciate how much work you put into this site. I will readily admit that what you do here is well beyond my abilities and I truly respect what you do here. But I have read posts of yours in the past that expressed doubts with regards to whether all this work was worth it and whether you will be able to continue over the long term. Then I read that Nick Brant emailed you, that you are interviewing him! I am reminded of the movie Field of Dreams and the line in the movie “Built it and they will come.” There is the fruits of your labor. A door has opened, an opportunity to be had. That’s one of the amazing things this site does, it opens doors and creates opportunities for you and you readers. Just one other thought……. A few posts back someone asked if you had a mentor…….. Nick Brant emailed you and you have started a dialog, now if I were you I’d be trying to figure out how to talk Nick into mentoring me. Just a thought!
The third and final thought might be a bit of a stretch, but what the hell. What do you think about setting up some kind of donation pool or fundraiser for Nick’s Big Life Foundation as a show of appreciation for his work and his upcoming interview. It would be a great way for all us readers to contribute to a worth while cause. I don’t know, it might be a logistical nightmare for you Ming, but I thought I’d at least mention it.
Thanks for the support, Jeff. The thought if asking him had crossed my mind, but it also occurred that it’d be a bit presumptuous. Still…who dares wins and all that!
I shall consider the pool – but know that the book proceeds and visibility certainly go towards the cause.
I have ordered his book On this Earth a shadow falls but hasnt arrived yet (the supplier sent it through snail mail 😦 )Really looking forward to it. Would have to get this one as well.
The photos of the elephants are classics. If I ever have to donate money to save the wild animals it would be Nick’s foundation as he does appears to be someone who cares for what he is doing.
Impressive! Looking forward to the interview. Such a wonderful work.
Soon! 🙂
Amazing! Maybe a Christmas gift will be making it’s way to me. I love the post. I could easily imagine everything in my minds eye from the way you describe Across The Ravaged Land, and the work of Nick Brandt. Congratulations on the interview! Looking forward to reading it.
I hope so – you’ll definitely enjoy it.
The unfamiliarity of a camera to challenge your way of seeing and thinking is something I am slowly starting to understand in pushing myself as a photographer.
Also love the quote “I have sought to photograph them not in action, but simply in a state of being.” Look forward to the interview Ming and I will definitely have to pick up Nick’s books. Takes some balls to capture the beasts that close with ‘only’ a 100mm lens being the longest in your armory!
I think it’s also very much an attitude thing – both forcing different results with a different camera and approaching animals with 100mm. It can be done. I’ve shot birds at 28mm, at one of my workshops. Truly wild animals are not naturally afraid of or confrontational towards humans, because they have no experience of us being a threat. It’s what mankind as a whole has done that has changed that…
My experience with wild animals doesn’t lead me to the same conclusion of “they have no experience of us being a threat”. Yesterday I drove through Nairobi National Park. In National Parks, where people are theoretically confined to vehicles, animals have learned not to fear vehicles because they represent no threat. If you step out of the vehicle near animals their behaviour changes immediately. In the “real” African wild, where humans have interacted with animals for eons, animals instinctively see humans as a threat and we always have been; long before National Parks were conceived. Humans have always hunted animals, from day one. As wildlife photographers (and both ethical hunters and poachers for that matter) know, your presence has to be determined not to be a threat, or be unseen, to get close. This is usually achieved through a very long and very patient non-threatening presence or camouflage. Nick Brandt’s work is remarkable in that sense, since he isn’t using ultra-long telephoto lenses. It is incredibly difficult to approach most wild animals in any natural setting, more so where human-animal interaction is rare. Wild predators, such as lions and crocodiles, kill hundreds of people every year in Africa. You may not be reading Tanzanian or South African or Zimbabwean or Botswanan newspapers on a regular basis, but bven non-predator non-carnivorous animals such as hippos and elephants also kill humans in increasing numbers every year, mostly through habitat encroachment. Almost all animals are territorial; get into their space and you are taking a risk.
Hmm…the animals you speak of clearly have had experience with humans though, hence the dual behaviour towards vehicles and people. However, I admit my opinions are limited to our local wildlife, which certainly isn’t composed of apex predators…
Thanks for your review. I’ve added this to my wish list.
It strikes me that Brandt’s work would resist much of the acid criticism of Sontag’s “On Photography.”
It definitely would. Is it art? Unquestionably: he does it because he wants to, and it shows. Power to the man, I say.