Portfolio: James Lewin
James Lewin is a self-taught, British fine art wildlife photographer and conservationist focused on African wildlife. He found his eye for photography after discovering his passion for conservation in Kenya. In this Portfolio edition from Wilder Volume Six, James takes us behind the lens of the latest photographs in his collection, as well as some of his most recognised images | Photography by James Lewin
The Orphans of Reteti
Location: Namunyak Conservancy, Kenya
Reteti Elephant Sanctuary is the first community-owned and run elephant sanctuary in Africa. It was an honour to partner with them for this shoot, and I thank them dearly for their patience in the months of planning it took to make this a reality. Reteti rescues orphaned, abandoned, injured and trapped baby elephants. After being safely rescued, the journey back to the wilderness in which they were found begins immediately. Over a roughly three-year period, they will learn all the necessary survival skills and become strong enough to venture freely once again.
The logistics required to make this moment happen were not straightforward and, in fact, none of the elephants had ever been to the rock as it is located a few kilometres away from the sanctuary. The orphans are on a strict feeding schedule; we timed the journey to the rock so that they could feed on arrival, allowing us a 20-minute window before they would have to return in time for the next feed.
I interpret the rock painting by the talented street artist, Mantra, as a symbol of remembrance for the orphaned elephants' lost parents. The rock has historically been a hideout for elephant poachers, but today it is a place where community members, elders, visitors, and now orphaned elephants gather. It is a powerful message of what we are all capable of changing if we put our minds to it. I wish each of the orphans the best of luck, and I hope to cross paths with them again in the future, back in the wild.
Image / camera specs: Fujifilm GFX 50s, 45-100 f4 — 1/500 at f7.1 ISO 500 at 45mm
Sale discount and charity: 20% of print sales are donated in support of Reteti Elephant Sanctuary
Lethal Looks
Location: Maasai Mara, Kenya
I was immediately drawn to this lioness. She is one of the most beautiful lionesses I have ever seen, so I felt her face should be the critical component of the image, with no need to include anything else. Cloudless mornings can often be a challenge, but it played a role in the success of this image, as it allows for a strong instant connection.
I captured the frame using a remote camera that poses complications with wild lions. I have found that they either pay the camera no attention, or decide they want it for themselves. Unfortunately, it is more often than not the latter that results in the best images. For this reason, I use a customised protective box and make my attempts early in the morning when lions are most active. Then, it's just a matter of time before they get bored, and I can retrieve the camera to see what was captured. On this occasion, it was a success.
Image / camera specs: Nikon D810, 35mm f1.8 — 1/500 at f10 ISO 250
Sale discount and charity: 20% of print sales are donated in support of The Mara Elephant Project
The Queen of Tsavo
Location: Tsavo, Kenya
It’s impossible to prepare myself to come face-to-face with a Big Tusker elephant. Each time I do, it feels like the first time. I am left in total shock, and am instantly teleported to times long ago where sights of Big Tuskers were more common. I have never encountered another animal or human that commands such instant silence and respect from all around. Yet, today there are fewer than 25 Big Tuskers across the entire African continent. Once prized by hunters as trophies, today prized by poachers for overseas markets. They are on the brink of existence.
In April, I partnered with Tsavo Trust and spent a week with a monitoring team following the elephant photographed, called Dida. Tsavo can be a tricky location to photograph, with much of the landscape covered in thick bush. Waterholes can sometimes offer opportunities if you can get into position before the elephants arrive to drink. Without Tsavo Trust’s knowledge, this portrait would not exist.
To me, Dida represents hope and the resilience of nature when given a chance to thrive. It is remarkable that creatures not so different from mammoths still exist in 2021, despite our best efforts over generations. My sincere appreciation and thanks go to Tsavo Trust for their years of dedication to keeping these last Big Tuskers alive in the wild. Today, they monitor over 30 ‘up and coming’ emerging tuskers that will become the Big Tuskers of tomorrow.
Image / camera specs: Nikon D850, 35mm f1.8 — 1/800 at f8.0 ISO 320
Sale discount and charity: 20% of print sales are donated in support of Tsavo Trust
The Huntress of Namiri
Location: Serengeti, Tanzania
Over the course of a week in Serengeti, we encountered 19 different cheetahs, but this moment is perhaps my fondest memory of all. We found this female cheetah on the hunt, searching for her next target. However, it’s the brief moments in nature with elements of calmness and silence that I search for. In such moments, it feels as if the clocks have been paused, with nothing else existing but me and the subject. I find myself totally connected, and can take the image. These few-and-far-between moments pass by in a matter of seconds, but to me, they feel like minutes that stay with me forever. Termite mounds are dotted across the vast plains of Eastern Serengeti, providing the perfect vantage point for cheetahs on the hunt. They also form an idyllic stage for intimate portraiture that assists in an undisturbed connection.
For cheetahs to have a future, we have a lot of work to do by creating awareness around the world of how threatened they have become. I hope that my portrait can help to do so, and raise funds for The Serengeti Cheetah Project. Their dedicated research can lead to a fine-tuned conservation strategy to better protect cheetahs across Africa as we advance into a more uncertain future.
Image / camera specs: Nikon Z7II, 70-200 f2.8 — 1/2500 at f6.3 ISO 320 at 130mm
Sale discount and charity: 20% of print sales are donated in support of The Serengeti Cheetah Project
Colossal Craig
Location: Amboseli, Kenya
I wanted my portrait of Craig to be different from anything I had taken before, which is why I chose to visit the Amboseli Ecosystem in October, when the dust becomes the defining feature of the area. I used a remote-controlled camera to not disturb him with a vehicle blocking his path. However, when he heard the first click of my camera, he stopped, causing the ultra-fine Amboseli dust to rise around him. I took five photographs before he continued walking towards a water source nearby.
I see the end photograph as an almost biblical scene, with Craig appearing to stand within the clouds. What could be a better setting for one of the largest and most famous elephants on our planet?
Image / camera specs: Nikon D850, 35mm f1.8 – 1/1000 at f8.0 ISO 250
Sale discount and charity: 20% of print sales are donated in support of Big Life Foundation
Instinct
Location: Maasai Mara, Kenya
When photographing lions with remote cameras, you often have to rely on their cat instincts for an image to materialise. This makes lions great subjects for remote cameras, as the smell of something peculiar is often enough to draw them towards the camera. But this also hugely increases the chances of losing your camera.
The best time to photograph lions is at first light when they are most active. This lioness was walking back to her pride after a failed attempt at hunting wildebeest some 20 minutes before. This presented the opportunity to place a camera in her path up ahead. The image was captured at 6.40 am on my last morning in the Mara, but my camera ended up in the possession of the pride for the best part of an hour. This was quite unnerving, but equally interesting, as the cubs took their turn playing with their new toy.
Thankfully, my trusty Pelican case protected the camera from the whole experience, and the image is now with us forever.
Image / camera specs: Nikon D810, 35mm f1.8 – 1/800 at f7.1 ISO 640
Sale discount and charity: 20% of print sales are donated in support of The Mara Elephant Project
The Gentlemen’s Club
Location: Chyulu Hills, Kenya
Finding myself just two metres from such giants while they were drinking as if I was not there, is a memory that will stick with me forever. One Ton, on the right, is one of the largest 20 or so elephants in Africa. He is without doubt the King of The Chyulu Hills, and he is greeted with an immense amount of awe and respect by all animals and humans who are lucky enough to lay eyes on him. Meeting a Big Tusker in the 21st Century is nothing short of a miracle and a privilege to behold.
This image would not have been possible without Richard Bonham, the co-founder and CEO of Big Life Foundation, who knows this elephant better than anyone. Their friendship has grown for more than two decades. One Ton often visits Richard to say hello and to have a drink in what was previously a swimming pool, which created the opportunity for this photograph.
The making of this image has to be one of my favourites of all time. It is an indescribable feeling to sit right beneath an elephant of this size and stature; being so close that I felt the air leaving his trunk, and the splashes of water as his trunk swashed around before taking another drink.
Image / camera specs: Nikon D810, 70-200 f2.8 – 1/400 at f8.0 ISO 250 at 70mm
Sale discount and charity: 20% of print sales donated in support of Big Life Foundation
Drought
Location: Tsavo East, Kenya
This is one of the most dramatic photographs I have ever taken, and I am the first to admit that luck plays a crucial part in the success of the image. This is the beauty of working with nature; moments constantly change and are full of surprises.
There are so many elements to the photograph, allowing us to engage with the scene for considerable time. The fighting zebras are clearly the main focus, with the billowing dust as they rear up in battle. But the locusts were the biggest surprise for me; I had no idea they were there until viewing the file on my computer, and they play an important role in the composition. They fill a void preventing a looseness to the scene while leading our eye around the photograph.
The zebras are not fighting for females; they are fighting because times are tough, with almost no food and limited water. And so, the locusts have another role in that they help communicate the story of how tough a drought is for the wildlife. As they fly away from the scene, it suggests that there is nothing left in this barren landscape. The dramatic skies also aid in telling the narrative but, most importantly, they create the perfect stage for an epic fight.
Image / camera specs: Nikon D750, 24mm 1.8 — 1/3200 at f7.1 ISO 320
Sale discount and charity: 20% of print sales donated in support of Tsavo Trust
This feature was first published in Wilder Volume Six
