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Meet the BPOTY Judges - Georgina Pavelin.

A new addition to our judging panel for 2019, Olympus Marketing Manager Georgina Pavelin shares her photographic credentials and her passion for promoting great photography and talented photographers.

‘I started out as an artist, drawing and painting for magazines, exhibitions and commissions; following in my mother’s footsteps as a photographer I also enjoyed playing with creative shooting techniques and processes. With bills to pay I ended up in a corporate role; to most this could be the end of their dream, but luckily for me, Olympus is a forward thinking and positive organisation. I am able to support artists and photographers via the various campaigns and projects with the backing of a global brand. Our most recent gallery opening in London is a testament to the awareness of sharing talent to inspire and educate others. 

Through competitions and educational events, we are able to offer support to passionate photographers working in a variety of genres. Bird Photographer of the Year is a fantastic example of that; working with a brand that shares our values, promotes talented photographers and elevates exceptional images to the world is the epitome of what we hope to achieve. I distinctly remember the day BPOTY came to our stand at The Photography Show in Birmingham grasping the latest book of the competition and explaining the opportunity… I rudely cut them short with a simple reply – ‘it’s a no brainer, yes’. 

Personally, knowing the passion for creativity along with the struggle to raise your profile in a competitive world makes it important to support opportunities which work with talented individuals and help their journey. 

Olympus has been part of many photographic competitions and we are proud to support BPOTY – the level of entries is consistently high, making the judging process a tough task. There is a battle of technical considerations, creativity via composition or process and, of course, passion in rare species and the documentary element. 

Congratulations to all who have taken part in this exceptional competition.’

Georgina Pavelin. November 2018.

 For details on our photographic events –

https://www.olympus-imagespace.co.uk/

The Bird Photographer of the Year 2019 competition is now open for entries, but you don’t have long left to enter as entries close on 30 November 2018. Head to our website for more information and to enter - www.birdpoty.co.uk

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Meet the BPOTY Judges - Brian E. Small.

California-based Brian Small is one of the most experienced and widely published photographers in the United States. In the latest of our meet the judges features, Brian shares his love of bird photography, offers some advice to entrants and explains what he looks for in a photograph.

Quite simply, bird photography is my passion.  I love the artistry of it, the creativity involved and at times, the challenge of trying to outsmart my subjects. I have been a professional bird photographer for more than 25 years and worked as the Photo Editor at a magazine for 15.  I've probably judged a dozen or more photo contests and have looked at literally hundreds of thousands of bird images through the years.   

Being asked to participate as a judge for the Bird Photographer of the Year contest was a great honor for me and one that I take very seriously.  The folks behind the contest have given the judges complete freedom to use their best judgement without any restrictions or hard guidelines.  I feel this is the best way to judge a photo competition because everyone sees things a little differently and, in the end, the best images will find a consensus of opinion. As a judge, I'm always looking for those images that in one way or another set themselves apart from the rest.  There is no single criteria for this but I know it when I see it.  Whether it's amazing action, creative lighting, unusual behavior or some other factor that makes an image stand out from the crowd, it's often easy to see when compared to the other entries. 

The best advice I can offer is to strive for something in your photography beyond what you may normally do.  Go past the standard portrait and push your creative boundaries out of your comfort zone.  Get dirty.�� Get low.  Get into your subjects' world.  Push your own limitations and I think you'll find inspiration in new ways to photograph birds.  Create something in your minds' eye before you even go into the field and then try to achieve that image.  It's challenging but a lot of fun.  I can tell you from personal experience this is how I've improved my imagery through the years and found myself creating exciting new photographs I didn't know were possible before.  

The Bird Photographer of the Year competition is wonderful way for you to share your passions and perhaps win a few prizes along the way.  But try to think of it as more than that.  At its core, it's a community of people with a similar love of birds and bird photography and not just a photo contest.  It is a collective of people who enjoy sharing their ideas through their photography.  I hope you'll find photographic inspiration through the contest as much as I do.  I can't wait to see this year's entries!!

Brian Small. November 2018.

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Meet the BPOTY Judges - Lindsay Janes and Lee Morgan.

In the latest of our insights into the BPOTY judges, Canadian-based husband and wife team Lindsay Janes and Lee Morgan share what drives their passion for wildlife and photography, and the elements they look for in a winning image.

Lindsay: ‘My love of photography started with a desire to capture the beauty in life, and the greater story in both every-day and extraordinary moments. While photographing birds or other animals, I always strive to capture the essence of that moment spent with my subject, in as genuine a fashion as possible, and with as little impact to that animal’s life. I also love working with contrast, and creating an image that is aesthetically pleasing, even before you know what the subject is. For me, therefore, composition is the most important part of a picture. A photograph that both pleases the eye with its uses of colour, light and shadow, and also gives insight into the greater story of the bird, beyond a single frame, is what really catches my attention. I want to be able to create in my mind the moments that came before and after an image was taken, and gain insight into the subtle differences between species. What makes this moment unique, and why should we care about it. 

In my work as a Naturalist, I’ve had the good fortune to observe many different birds along the coast of British Columbia, and to gain a deeper understanding in the subtle differences in behaviour. I never tire of watching the same species, as each new moment brings different light, different interactions, even if with the same individuals. In the several years that I have been judging photographs with BPOTY, some of my favourite images are of species most common to the bird watcher. They were simply captured in a very skilled or creative manner.

Although good composition is essential in all categories, I always look forward to the images submitted to Bird Behaviour (where photographers can showcase their observation skills and understanding of their subject), and the Creative photography category (which allows for the creation of inspiring art using unique photographic styles). I am looking forward to seeing yet another collection of inspirational images in this year’s competition.’

Lee: ‘Having spent a significant part of my working life as a wildlife and photographic guide I have had the good fortune to spend many long hours watching and photographing a host amazing wildlife and have worked alongside many talented wildlife photographers.  As such, I have been privy to countless numbers of wonderful wildlife images and I still enjoy seeing all the different ways people choose to capture the opportunities they are presented with. Birds have always been a great passion for me, so it is fantastic to have this opportunity to view so many wonderful images of birds each year. 

As a judge, there are several factors that make an image really stand out in this competition. First and foremost, is impeccable photographic technique; sharp focus where needed, soft blurs when effective, and careful consideration of lighting and exposures. These should be critical considerations for all competition entries. (Like most photographers, I am constantly trying to achieve these details in my own images, so it is only natural that I judge other photographs with that same critical eye). I really want to see all those photographs that make me feel jealous and inadequate as a photographer. 

Interesting and exciting compositions always catch the eye too, and they often reflect the distinctive  style or individuality of a photographer.  I enjoy anything that draws my eye into a photograph and tells me more about the bird, its environment or its behaviour. 

Above all, I love to see work that captures a level of intimacy with the subject. Photos that can demonstrate that the photographer really understands their quarry and has used good fieldcraft to carefully cultivate a sensitive, ethical, photographic opportunity. Natural and relaxed bird behaviours all shine through in this competition. 

Ultimately, I love every photo that reminds me of all the wonderful encounters I have had with birds, and every photo that leaves me longing to see all the wonderful birds I have yet to encounter.’

Lindsay Janes and Lee Morgan. November 2018.

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Meet the BPOTY Judges - Matt Mendenhall.

We are delighted to welcome Matt Mendenhall, editor of BirdWatching Magazine in the US to the BPOTY judging panel. Matt brings years of experience to the team and adds to the overseas perspective of the panel. Matt shares his credentials and his thoughts on judging the competition.

Ever since it was founded in 1987, the magazine I edit has been known for publishing fantastic bird photography. Founding Editor Eldon Greij and his team quickly established that Birder’s World, as it was then known, would not only connect the birding community through articles, bird-ID columns, and the like, but that it would also present the best photographs of birds, especially from North America.

When I joined the staff in 2000, and for several years afterwards, all of our photos were submitted through the mail or delivery services. We would receive stacks of slides sheets and after returning those we didn’t need, we’d store the sheets in fire-proof filing cabinets. For a while, we also accepted CDs and DVDs of photos. Now, of course, all of that is in the past. 

Whether photos came to us on film or in digital files, readers of Birder’s World and now BirdWatching have enjoyed images by Arthur Morris, Tom Vezo, Gary Kramer, Marie Read, Glenn Bartley, Dubi Shapiro, Melissa Groo, Noppadol Paothong, Robert McCaw, Dave and Steve Maslowski, Jeffrey Rich, Alan Murphy, Gerrit Vyn, and many other top bird photographers. And of course, Brian Small, a fellow BPOTY judge, contributes photos to our “ID Tips” column, published in every issue.

We also publish images taken by readers — in print, in our robust online galleries, and on our social media pages. And we have conducted various photo contests over the last three decades and plan to launch more in 2019. All of this is simply to note that I have judged thousands of bird photos over the years. 

What makes a photo stand out? There is no shortage of ways to answer that question. It could be a bird’s pose or behavior, its eye contact with the viewer — or lack thereof, or the scene the image conveys. The truth is that in a world awash in photographs — of every subject under the sun — it can be difficult to capture something unique. But as the past winners of the Bird Photographer of the Year have demonstrated, one-of-a-kind images are achievable. I can’t wait to see what you submit.

Matt Mendenhall. November 2018.

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Meet the BPOTY Judges - Klaus Bjerre

Danish wildlife photographer Klaus Bjerre explains his photographic journey and what has driven his passion for wildlife, and in particular birds, for over four decades.

Although I am resident in Copenhagen, I spend a large part of the year in my family’s cottage in Rørvig, North West Zealand; it provides the perfect antidote to city life and being a migration hotspot, it is also a wonderful place for birding and bird photography. My love of birds goes back to my childhood and I have been photographing them since 1973. But it was after my first trip to Israel in 1976 that my camera and telephoto lens became more important to me than my binoculars. And Eilat was key to that transformation and where I really ‘found myself’ photographically. To this day, Israel remains my favourite photo-destination.

 When I am not in Israel, I love to photograph in the vicinity of the cottage in Rørvig. There, in what you might call my spiritual retreat, I try to capture the seasons through the eyes of a bird photographer. Over the years, my photographic motivation and aspirations have shifted from capturing hardcore bird motifs to imagery where birds, scenery and light are equally important elements in my pictures. If I had to point to a word that encapsulates what I am trying to create with my images, it would be ‘aesthetic’.

 In Denmark like so many other places on earth, nature is under pressure. An old saying goes that 'a picture's worth a thousand words' so I think it is imperative that nature photographers have their pictures shown as widely as possible; as much as anything else to open the eyes of people to the beauty and fragility of nature, and our moral responsibilities as custodians of Planet Earth. I take real pride in being part of the judging panel of the Bird Photographer of The Year and it is a great pleasure to see the many amazing pictures sent to the competition.

Klaus Bjerre. November 2018.

Klaus selected this image as his judge’s choice in BPOTY 2018.The photograph of Glaucous and Iceland Gulls was taken at Ilulissat Icefjord in Greenland by photographer Arturo de Frias. Here is what Klaus had to say about the image and why he chose it:

‘This is not a traditional bird image, but I think it brings another layer of bird photography into the competition. Traditionally, most bird pictures are photographed with long lenses, focused only on the bird. In this picture you get the whole scene: weather, landscape and the birds themselves. The birds are not the most important part of the picture but comprise an element of the scene, together with light and landscape.’

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Meet the BPOTY Judges - Peter Antoniou.

A member of our judging panel from the start, our spotlight turns to Peter Antoniou, Swarovski Optik Country Manager for the UK and the Republic of Ireland.

I have been working in the optics and photographic industry for 38 years, the last 11 years as Head of Swarovski Optik in the UK. As a company we produce premium observation optics to enable people to get closer to the fascination of wildlife and nature, to see the beauty which sometimes we take for granted. We want people to experience the moment and See the Unseen. 

I really enjoy being part of the judging for the Bird Photography of the year, the standard of the entrees is amazing which makes our job even harder. I have the greatest respect and admiration for wildlife photographers, they need a lot of patience, a real understanding of their subject, and a drive to produce something out of the ordinary. It's an art form which takes months and years of practice, but it is possible to catch that one outstanding image, sometimes you just need a bit of luck. 

I enjoy taking photographs and being in the countryside where I live, I am not an experienced birder or photographer but I do have a great appreciation of nature and wildlife. 

Swarovski Optik have been a proud sponsor of this competition from the start, it’s a wonderful opportunity to celebrate the art of photography, and the beauty of birds.

Peter Antoniou. November 2018.

This image of a Sunbird by Alan Grant of the United Kingdom was Peter’s judge’s choice in BPOTY 2018. This is what Peter had to say about it:

‘Although this photograph doesn’t have the dramatic impact that other images have, I selected it because I like its simplicity. The colour of the plant brings warmth to the photo, the depth of field ensures that the bird takes centre stage, and its vibrant colours make it stand out. This photograph is really pleasing to the eye; I could also image it as a lovely water colour painting, maybe hanging prominently in my office at home.’

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Meet the BPOTY judges - Rebecca Nason.

We are delighted to welcome ecologist, birder, tour-leader and wildlife photographer Rebecca Nason to the BPOTY judging panel this year. Rebecca gives us an insight into her life on the Shetland Islands and the love she has for the spectacular bird life found there.

Shetland – For the Love of Birds 

My life currently revolves around my young family, wildlife boat business, B&B and bird photography in Lerwick, Shetland. I had never set foot on the Shetland Islands until I took a job on Fair Isle back in 2003, but it’s influences from day one were to enhance my life and concentrate my bird-filled passions for work and pleasure dramatically. I remember being initially blown away by the rawness of these northern isles, the ever-changing light conditions, the enormous skies and seas and the sheer wealth of wildlife regularly encountered. I had travelled extensively abroad in my youth, often to wildlife-rich exotic locations, but this, this was just incredible and still in Britain! I felt then, as I still feel, so inspired and excited by the environment here that a permanent move was not really a hard one to make. It’s a bird photographer’s playground and a birding Mecca. 

In spring and autumn Shetland’s geographical position means that it temporarily becomes a much-needed landfall for many birds moving with the changing temperatures and food availability along north and south migration routes, particularly to and from Scandinavia.

Along with these regular migrants, other more unusual birds are blown off course from the West, with strong westerly winds bringing in rare vagrants from the USA and strong easterlies bringing birding delights from the far-east and Siberia. Birding and bird photography can be extremely exciting and addictive here, you never know what’s around the next corner, virtually anything is possible and it makes for often random opportunistic bird photography, sometimes more akin to a small paparazzi style frenzy. But more often than not on these remote isles, more a battle with the elements than a battle with other photographers!

Aside from the enjoyment of common migrant and opportunistic rare bird photography, Shetland has the extremes of both summer and winter for the photographer where perhaps more time and pre-planned shots and photographic projects can take form. Winter is harsh, often challenging with prevailing strong winds and much reduced daylight hours. Yet you soon learn to utilise the good days when they do arise, the low silvery light, the mill-pond reflective waters and the change in bird species with the majority of seabirds long gone. Common Eider and Long-tailed Duck gather in the relative shelter of the harbour, scarce white-winged gulls arrive in varying numbers from the high arctic joining the mixed gull flocks around the fish factory. Ravens scavenge for bin scraps, brought into suburban Lerwick from more exposed rural localities. Winter urban birding and photography in Britain’s northern-most harbour town is refreshingly different for me, certainly challenging and since moving to Shetland, opened my eyes to the incredible opportunities for potentially inspiring images mixing the wild with the distinctly urban. The difficulties involved with this category of photography has made my appreciation of urban bird imagery grow tenfold. 

Summer is a frenzy of breeding activity for thousands of seabirds who choose to spend the summer months here; the sight, smell and sounds are breath-taking, the photographic possibilities endless! With time and a little ingenuity, the overwhelmingly high bird to human ratio can be capitalised on by the keen photographer. The subjects are out there, often at close range; it’s the ability, in the face of thousands of photographers coming and going, to find the unique, the striking, the different, to still produce that ‘wow factor’ of originality. I love to see popular subject matter reignited with a different perspective or creative approach. I delight in seeing clean simple forms of other photographer’s artistic creativity and strong design elements captured in the field rather than behind a computer. 

I have found my little piece of bird paradise in the rugged north of Britain, where I can pander to my love of science but also of art through my photography. I’m sure every photographer has their own special place be it where they live or a special place they visit. Developing a passion and deep understanding and respect for a place and the birds you share it with on a daily, monthly, yearly basis gives you a solid platform in which to hone your bird photography skills and to capture those outstandingly different, memorable bird images. The extremely high quality of the stunning ‘bird candy’ imagery showcased in the last 3 years of the BPOTY competition is second-to-none and extremely inspirational. I can’t wait to see what beautiful, boundary-pushing bird photography awaits us in this year’s competition. I hope to see a continued increase in the number of female bird photographers entering the competition too, some serious ‘girl power’ at the cutting-edge of world bird photography would spice up the competition considerably in what has been a predominantly male dominated area for many years.

 Rebecca Nason. November 2018.

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Meet the BPOTY judges - David Tipling.

David Tipling is a professional wildlife photographer with an international reputation and decades of experience. His highly distinctive images have earned him many awards and accolades. Here he gives us an insight into what makes him tick and what he looks for in a winning image.

Taking pictures of birds has been my life for more than four decades. As a keen birder in my early teens, I picked up a camera for the first time at the age of 13 - that was it, I was hooked. I knew by my late teenage years that photographing birds was what I wanted to do, but it seemed an impossible dream. In the early 1980’s only a very few were making a living photographing wildlife. But nearly 10 years later after a series of jobs, culminating as a stint as an auditor for a building society, I got my break. 

During those early years I had many influences on my photography, not least a great mentor in Roy Coles who was the Kent Wildlife Trust warden at Bough Beech Reservoir in Kent, close to where I lived. Roy not only encouraged my photography, but helped me along the way with constant advice, introduced me to hide work and the many aspects of fieldcraft and also encouraged me to appreciate other peoples pictures. I became, and still am, a voracious consumer of all genres of photography and art; I like to think that by looking at other peoples work it has helped shape my own style. It continues to drive my creativity today, not to copy but to sow seeds that germinate into ideas, pictures in my head that I try then to create. 

This creative process, as all of us who take pictures know, is hard. In a World awash with imagery, to produce something eye-catching with that ‘wow’ factor is a rare event. I aim to take around three images each year that stand out from the rest and can be added to that special family jewels folder. It’s those family jewels we are looking for in BPOTY, the pictures that make all of us say ‘wow’.   

I feel very honoured to have been a judge since the competition’s inception, not least because, unlike many other wildlife photography competitions out there, in my eyes BPOTY stands out as being brave in the pictures it chooses as its winners. These choices, aimed at rewarding outwardly creative photography, seem to be working in really engaging the public - both through the roving exhibition and in the beautiful book published by HarperCollins. I do believe it is helping to push the creative boundaries of bird photography forward and I hope, in turn, encouraging experimentation. 

So what do I look for as a judge?  First and foremost a winning image needs to leap from the screen and make me go ‘wow’, then stay in my head. That is what has happened in the last three years, each overall winner has been a standout picture that felt really exciting to see for the first time. So they are often the more experimental or slightly abstract shots, or just plain beautiful in lighting, composition and colour terms - photographs that make you look and linger. So my message is be brave in what you send in, show us those shots you might not be sure have universal appeal but are in your own family jewels folder. Because if you felt the ‘wow’ factor when you took it, chances are it will stand out when we are judging.  

David Tipling. November 2018.

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Meet the BPOTY Judges - Matt Bennett.

In the latest of our ‘Meet the BPOTY Judges’ features, the spotlight falls on Digital Photographer Magazine editor, Matt Bennett.

'As the editor of a photography magazine, I look at photos all the time. A lot of photos. If you love photography, as I most definitely do, that's pretty cool, but it does mean that you grow somewhat inured to them too. In other words, you realise that there are an awful lot of rather ho-hum photos out there. 

Photographers get very passionate about their work. That's generally a really good thing, as anyone who's creative should be passionate about their art. It's vital. But it can also mean that people don't always view their work with an objective eye. True objectivity is of course very hard to attain - but some photographers simply aren't self-critical enough. 

Let's be clear: it's the very, very best photos that we want to see in Bird Photographer of the Year. Photos that make us remember exactly why we first fell in love with photography; photos we haven't seen before; photos with something to say. 

One of the reasons I love street and documentary photography is that such photos tend to be very unique, with no two exactly alike. It's impossible, virtually, to repeat such spontaneous moments, moments with so many nuances, and as a result people don't generally try. 

With landscape and nature photography, there can be a tendency to attempt to replicate 'classic' scenes and subjects. But if we've seen that puffin looking off to the edge of the frame surrounded by slightly out of focus grass one hundred times before, your version had better be absolutely perfect if you want us to sit up and take notice. 

We know that there are great images out there; we see them every year in BPOTY. So, take the best photos you can possibly take; look back at your portfolio, be self-critical, and send us the very best entries and help us to make Bird Photographer of the Year 2019 the best yet.'

Matt Bennett November 2018.

This image of a Eurasian Blue Tit taken in Finland by Fahad Alenezi, was Matt’s pic of the bunch from the 2018 competition. Here is what he had to say about the image:

‘This elegant image caught the eyes of many of the judges, and throughout the judging process it remained a particular favourite for me. It has a rather classic feel to it; as an image, it is not trying too hard, and works precisely because of its simplicity, both in terms of the colour palette and the composition. The tit’s posture and the angle of its head could not be more ideal if the bird had actually been instructed to pose that way - and the overall effect is an enchanting, rather painterly, portrait of the natural world.’

Bird Photographer of the Year is an international bird photography competition with a prize fund value of over £17,000, including a top prize of £5,000 for the overall winner. The competition is open for entries, closing on 30 November 2018. Visit our website for more details and to enter.

www.birdpoty.co.uk

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Meet the BPOTY Judges - Victoria Hillman

Continuing our ‘Meet the Judges’ series, photographer Victoria Hillman provides us with an insight into her work and her approach to photography. 

From an early age I have enjoyed being outdoors and had a fascination the natural world. This was an interest that was encouraged and nurtured by my family and we would spend many a happy Sunday morning helping with small mammal surveys and various other tasks at a local nature reserve in Dorset, where I grew up before moving to Somerset. In the years that followed, I developed a deep understanding and passion for the natural world. Working with wildlife and nature was the obvious career path for me and I was lucky to have wonderful teachers that, not only encouraged my passion, but also helped steer me in the right direction – encouraging me to pursue my interests in science which would give me a good grounding later in life.

I went on to study for a BSc in zoology with marine zoology from the University of Wales, Bangor and an MSc in Wildlife Biology and Conservation from Edinburgh Napier University. My science studies have given me an understanding of the natural world, and I continue to read and study alongside my photography. When it comes to photography, I am completely self-taught, continually learning as I go, looking at what I like or don't like, what works and what doesn't, being self-critical and looking at ways to improve and embrace new ideas. In recent years I have enjoyed developing my own style and ways of photographing the natural world; particularly looking for connections with my subjects, their characters and their habitats.

A few years ago, I became an Ambassador for Manfrotto and this role has really helped me to push boundaries and look at more innovative ways of photographing my subjects. Although I now mainly concentrate on macro photography I have in the past enjoyed photographing both mammals and birds – a passion reignited by a tip to Skomer Island earlier this year. I am developing a new love and interest of photographing birds employing the methods, ideas and techniques I have developed in my macro photography.

My passion is to share with people the way I see the natural world in the hope that I can help to change peoples’ perceptions, inspiring them to get outdoors, understand, enjoy and conserve its beauty for generations to come. The trust that I build up over time with my subjects is very rewarding, allowing me to enjoy and capture aspects of their day-to-day life. I always put the safety and welfare of both my subject and the environment first, even if this means missing a crucial opportunity. The ethics of wildlife photography is something that I feel very strongly about, even more poignant at a time when many species are under increasing pressure; it is something that I feel needs to be talked about more openly.

I am honoured to be a part of the BPOTY judging panel and am looking forward to the challenge of being on the other side of the table and seeing the different images people have captured.

Victoria Hillman. October 2018.

Forgotten Little Creatures by Victoria Hillman

Published in 2017, Forgotten Little Creatures is Victoria’s first book project and is a collection of her amazing photographs, celebrating the forgotten little creatures local to her Somerset home. Here BPOTY director and competition co-ordinator Rob Read reviews Victoria’s book.

The world is awash with photography books. A trawl through the pages of Amazon will reveal hundreds of titles on the subject covering every conceivable photographic genre. My shelves are stacked with them, and it seems as if I am not alone with my never-ending appetite for the visual stimulation that this art form offers. 

With a keen interest in nature and the outside world, there is no surprise that wildlife, nature and landscapes form the vast majority of my shelves’ subject matter. But dozens of these titles lie largely dormant, the initial wave of appreciation having sadly waned, leaving them collectors of dust as I move on to visual pastures new. 

But every now and then a book appears that bucks this trend and elevates itself to the ‘well-thumbed’ section of my collection. Something which not only inspires admiration for the talent of the photographer, but also makes me look at my own photography in ways I had never considered before. Perhaps the best photography books not only take you on a journey through the photographer’s eyes, but their mind too. 

Victoria Hillman handed me a copy of her ‘Forgotten Little Creatures’ at this year’s Rutland Birdfair. It was some weeks before I managed to sit down over a cup of coffee and take time to enjoy the delights that each image delivered. A Snake’s Head Fritillary rising majestically through the bokeh of dew-soaked water meadow; the googly eyes of a Damselfly isolated deliciously by the shallow depth of field; the somewhat sinister outline of a backlit spider waiting for the morning sun to dry the dew droplets from its body - just some of the many gems in this collection. 

But it’s not just the images, there is a nice balance of text to accompany them written by someone with the experience to deliver the information with equal amounts of authority and passion. A trained scientist, Victoria provides a nice blend of scientific fact, technical photographic information and personal anecdotal text to balance the pictures and inform the viewer. 

I am often asked ‘what ingredients make a good picture?’ – a difficult question to answer. As with all art forms, and photography truly is art, it is perhaps up to the viewer to decide. After all, we all look at things in unique ways. When I see an image that makes me wish I had taken it myself, that perhaps is the truest test of a good photograph in my eyes. I don’t take photographs like Victoria’s, but I wish I had taken a good many that grace the pages of this collection. Perhaps I will try. 

Put simply, this book is like a good bottle of wine, delightful from the first to the last glass. Steal yourself from drinking the whole bottle in one go and savour every sip.

Rob Read.

Forgotten Little Creatures can be ordered directly through Victoria’s website - http://www.vikspics.com/_photo_15771324.html

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Meet the BPOTY Judges - Chris Packham.

TV presenter, naturalist, conservationist and campaigner Chris Packham is known to millions of us through our television screens. A passionate photographer, Chris has headed the Bird Photographer of the Year judging panel since the competition’s inception. Here Chris gives us an insight into what he looks for in an image.

‘I’m ruthless. Always privately, normally publicly and essentially when judging photographs. They need to be good - very good, they need to be images which make me want to shout ‘YESSSSSS!’ . And if they are so good that they make me wish I’d taken them then my envy is my greatest endorsement. 

Every pixel counts. It’s not about the subject - it’s about the picture. I think some photographers only ever look at the subject, even when they are processing their image. If it’s not wholly considered, then it’s out because there will be errors and we are in the game of trying to reach perfection. The most frustrating thing is when a photographer photographs an opportunity and misses the actual picture that’s there. That upsets me a lot, that makes me shout ‘NOOOOOO!’. 

This competition’s rise to prominence has been astonishing - meteoric. The winning images are of an exceptional standard. I think the judging plays a role here – the judges have to be brave - not practical. We want to raise the bar, so we have to reward those who try and those who succeed. Too many competitions are too conservative, rewarding new versions of the same old - same old. Frankly, if something is not going forwards then in my opinion it’s going backwards. 

The one disappointing thing is the standard of young photographers’ work. There is good stuff out there - I see it in other competitions, but we have yet to get a consistent core of top-quality images from young photographers. We’ve got to find them. 

Ultimately, it’s about imagination and vision and art and love. When these fuse in a unique moment, and there happens to be a bird involved, then we have the something special we all want to see and celebrate’. 

Chris Packham.

This image of a female Mallard, taken by Swedish photographer Daniel Stenberg, is one of Chris’s favourite images and was his judge’s choice from our 2017 competition.

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Bird Photography for commericial markets - editorial use.

Co-founder of Bird Photographer of the Year and Director of specialist photolibrary Nature Photographers Ltd, Paul Sterry starts a series of tips on bird photography with commercial markets in mind. Here he provides his tip on taking photographs for editorial use.

'Entrants to Bird Photographer of the Year (BPOTY) are judged in part on composition and the way the image has been cropped and presented to the judges. However, it can pay to have a commercial eye too: in the world of stock photography, photolibraries such as Alamy and Nature Photographers, and picture buyers such as Bird Watching Magazine, value peripheral space surrounding the subject. This allows designers to work creatively and, for example, overlay text on neutral parts of the image. This image would be a suitable candidate for the BPOTY 'Birds in Flight' category, but it also has plenty of neutral space for designers to work with.'

Paul Sterry.

Bird Photographer of the Year is now open for entries until 30 November 2018. Enter now for your chance for a share in the £17,000 worth of prizes, including our top prize of £5,000 and the title 'Bird Photographer of the Year. www.birdpoty.co.uk

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Meet the BPOTY judges - Director of Community at image library Alamy, Alan Capel.

In a new series of articles, Bird Photographer of the Year will be providing a detailed insight into each member of this year’s judging panel. To start the series, Alan Capel - Director of Community at UK-based photo agency Alamy - tells us what inspired his fascination with birds.

My fascination with birds predates my fascination with photography. I’m so much more of an illustrator than a photographer and I remember very early days pouring over my parent’s ‘Book of British birds’ a big thick A4 tome that was shamefully raced through until I got to the Birds of Prey section. Hours would then be spent doing pencil drawing copies of Goshawks and Hen Harriers and I remember being particularly proud of my Little Owl.

My enthusiasm was fuelled by trips with my Dad with the Loughborough naturalists who would organise birdwatching trips, I vividly remember a very cold day at Eyebrook Reservoir and being embarrassed that I couldn’t even identify a Pied Wagtail, probably because it wasn’t posed like it was in ‘The Book of British Birds’.  

Fast forward to my career in the photography business and wildlife Photography has always held a particular interest. The drama and theatre that can be captured, plus the humour and intrigue one can get from depicting nature, still fascinates me.

Birdwatching was and is a challenge and so is capturing the perfect shot, in both cases you can come away with a real sense of achievement and of having been at one with nature, even if only fleetingly.

At Alamy we are always building our collection, looking for something new, maybe an old take on classic cliché or something more fundamentally ground-breaking. I run the sales and the content (the photography) divisions of the business so my view on photography is often influenced by its commercial worth. Not all images will have broad appeal, some may only work, albeit fantastically as large-scale art prints, others may be more ambiguous and multi-functional. For example, if an image is both illustrative (yes it perfectly depicts a Pied Wagtail!) and conceptual (the image tells a story or conveys an emotion) the likelihood of a customer wanting to licence it is doubled.

The opportunity to help judge BPOTY is one I relish and helps me reengage with wildlife photography and I continue to be astounded by the entries we receive. It’s great to see the world of birds from a fresh perspective.

An entry into the very first Bird Photographer of the Year competition, this image of a Striated Heron taken by Roy Mangersnes remains one of Alan’s favourite images.

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The Ethics of Wildlife Photography - BPOTY judge Victoria Hillman shares her approach to this important aspect of wildlife photography.

Over the last few years, the ethics of wildlife and nature photography has played a huge part in not only my own photography work but also in my workshops and talks. All my work, unless otherwise stated, has been photographed where found, I never garden around my subjects or move them to somewhere just to get a cleaner shot. If the habitat is tricky I just find a way to incorporate it into the image or find another subject. I am very careful as to where I not only put my feet, but also my camera bag and tripod if I have them with me.

Research into your subject is a great way to a more ethical approach to wildlife photography. The more you understand about your subject and their habitat and how they interact the better the chance you have of capturing something truly beautiful and natural, be it a portrait or a behaviour.  It's important to check whether the use of flash may cause disturbance and this will vary on the time of day and subject.

We are constantly being encouraged to go and take photographs be it for competitions, both weekly ones through social media and larger international competitions, and also to share regularly on social media so should the organisations that run these have an active role in promoting responsible and ethical wildlife photography rather than just encouraging people to take photos?  Personally, I think yes they should be promoting responsible and ethical wildlife photography rather than just saying get out and take photographs. If they are encouraging people to go and take photographs then they should be providing information on the importance of being responsible about it to protect wildlife and their habitats, otherwise there are those that will do whatever it takes to get the shot at whatever cost to the subject if they think it will win them a competition or a whole load of sharing and likes on social media. 

I am very pleased to see that many of the top competitions are doing more to consider the ethics behind images that are submitted and including ethics guidelines in the rules, not only that but more competitions are including people on the judging panels that are able to question the ethics of an image from forced portraits to unethical means of capturing a behaviour. Furthermore many of these competitions are now thinking carefully about the partners and sponsors they have on board, to me this really shows they are leading the way to more ethical wildlife photography.

So here's some food for thought next time you go out to take photographs, be it for a job, a competition or just for fun. The welfare of your subject is the most important thing you need to consider, you should never put your need for an image before the welfare of your subject, and it certainly isn't worth damaging nature in the short term or permanently just because you may win a competition. Our nature is undergoing enough challenges right now, we don't need to add careless and thoughtless photographers to that mix.

To all those careful and responsible photographers out there, great job keep it going and encourage others to do the same. We all have the chance to promote ethical wildlife photography to protect our wildlife and its habitats so it can survive for generations to come.

Please do make sure you read the rules of the competition carefully so your images don't get thrown out on ethical grounds and good luck.

Victoria Hillman.

October 2018.

To view the all the rules for Bird Photographer of the Year, visit our website www.birdpoty.co.uk

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Victoria Hillman - Inspirational Encounter, ‘Puffins’

This year we are really delighted to have photographer and author of 'Forgotten Little Creatures' Victoria Hillman join our judging panel. Here Victoria shares her 'inspirational encounter' with a Puffin on the island of Skomer. Inspirational Encounters is a new award for BPOTY 2019 with a prize of a £1,500 travel voucher from Wildlife Worldwide and their sister company The Travelling Naturalist. Visit our website for more details. The competition is open for entries until 30 November 2018. https://goo.gl/xLvNLv 

 For many years I have wanted to visit the puffins on Skomer and finally in 2018 I had the chance and so took it and was lucky to be able to stay on the island for a few days. The weather was less than ideal most of the time with wind, rain and sea mists but I had set myself the challenge of trying to capture something different, maybe a unique portrait or behaviour and these conditions eventually added to the encounter. I spent many hours watching individuals and groups, learning their patterns and behaviours and found some away from the main area who's burrows were in amongst the bracken. I set myself up and just waited knowing that they would be coming and going from their burrows at some point and would occasionally pop up in-between the fronds. Having spent many years photographing invertebrates, amphibians and reptiles in their habitats and often shooting through foliage I thought it would be something that would work well with the puffins. This individual was standing for a few minutes looking around and eventually turned in my direction with just part of the head showing through the bracken with the mist providing a soft diffuse light. Being able to spend so much time observing and photographing these birds was a real pleasure and has opened my eyes to the possibilities that are there if you spend the time looking for them even with a popular subject such as puffins.  

Canon 5D MKiii with Sigma 150-600mm C Lens @600mm.  

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Bird Photographer of the Year - Inspirational Encounters Award

We are really excited about our new award for 2019, The Inspirational Encounters Award is sponsored by Wildlife Worldwide in association with their sister company, The Travelling Naturalist. This award is a little different to the other categories in the competition as a small amount of text to accompany the image is required from the photographer. The image and text combined should convey an inspirational encounter with birds. The prize for winning this award is a £1,500 voucher towards a Wildlife Worldwide or The Travelling Naturalist holiday. In addition, Wildlife Worldwide will also be donating £1,500 towards the annual conservation cause nominated by the Rutland Birdfair.

As an example of what the BPOTY team are looking for, Wildlife Worldwide tour leader and photographer, Bret Charman provides us with his own Inspirational Encounter.

'I was 22 when I took an opportunity of a lifetime. I was offered a job running a remote bush camp in Zambia's South Luangwa National Park and it started a journey into the unknown. I still remember the first day I saw a Southern Carmine Bee-eater, surely one of the world's most striking birds. A flash of iridescent, cadmium red streaked across the sky as I sat on the banks of the Luangwa River. I approached the colony and was astounded by the riot of colour that lay before me. It was only now I was a little closer that I could appreciate the bird's finer details. A magical green cap and black eye stripe contrasting against the pinks and reds of a bird's breast and wings, while the rump is a rich sky blue. Before my experiences with the carmines of South Luangwa I had always liked birds, but I never loved them as I do now. Now whenever I travel, it is these finer details that draw me in with my camera and inspire me to work the way I do.'

To enter your Inspirational Encounter visit the award page here - https://goo.gl/KwJczf Entries are open until 30 November 2018.

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New for 2019 - Inspirational Encounters Award explained

As well as the familiar categories from previous competitions, Bird Photographer of the Year is pleased to announce the addition of a new award for the 2019 competition, Inspirational Encounters. This category is sponsored by leading natural history travel company, Wildlife Worldwide. It celebrates all that is positive about the impact of the avian world on people and the potential that it has to inspire all of us. This innovative category aims to combine imagery and text: entrants are invited to submit an image that represents an inspirational encounter with birds accompanied by approximately 150 words describing the encounter. The imagery and text combined should tell a story and convey to the viewer and reader the significance of this moment to the photographer.

To help explain the category, BPOTY founder and director, Paul Sterry shares the experience of his encounter with the Bermuda Petrel:

"The Bermuda Petrel is a legendary seabird whose rediscovery story unfolded as I was growing up. Echoing the fate of seabird species elsewhere it was extirpated from Bermuda's main islands by human settlers soon after their arrival. For 300 years the Cahow, to give it its local name, was considered extinct until the rediscovery in 1951 of perhaps 18 breeding pairs on a few precarious offshore islets. A few years ago I visited Bermuda and met David Wingate, architect of the Cahow's salvation. And under the supervision of the species' new Guardian Angel Jeremy Madeiros I had the privilege of holding a bird. But watching this 'Lazarus' seabird at sea was the jaw-dropping highlight: as inspirational as meeting its dedicated human saviours was humbling. The Cahow's population continues to grow slowly but it remains perhaps the second rarest breeding seabird on the planet with an estimated population of 335 birds."

The prize for the winner of this award is a voucher of £1,500 for a Wildlife Worldwide trip of the winner’s choice. Wildlife Worldwide will also be donating a further £1,500 towards the annual cause supported by the UK’s Rutland Birdfair. We are delighted to be able to do more to celebrate the artistry of bird photography, promote the photographers themselves and raise money for conservation with the addition of this award. The competition is now open for entries, closing on the 30 November 2018. Visit the BPOTY website for more information and to enter the competition.