{"id":16023,"date":"2011-07-14T08:33:00","date_gmt":"2011-07-14T07:33:00","guid":{"rendered":"http:\/\/amateurphotographer.co.uk\/uncategorized\/masterclass-with-paul-hobson-at-west-country-wildlife-photography-centre-16023"},"modified":"2014-10-23T11:35:28","modified_gmt":"2014-10-23T10:35:28","slug":"masterclass-with-paul-hobson-at-west-country-wildlife-photography-centre","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/wildlife_photography\/masterclass-with-paul-hobson-at-west-country-wildlife-photography-centre\/","title":{"rendered":"Masterclass with Paul Hobson at West Country Wildlife Photography Centre"},"content":{"rendered":"

Photo by David Morton <\/em><\/p>\n

Producing strong images of small British mammals in the wild can be tricky. Some photographers would even go so far as to say that, with certain species, it’s almost impossible. That’s why Paul Hobson took three readers to the Westcountry Wildlife Photography Centre in Lifton, Devon. The centre provides an opportunity to photograph a range of captive mammals, such as brown rats, otters and voles. Importantly, the site offers the opportunity to photograph these small mammals in constructed sets, allowing for shots that, in the wild, would be a time-consuming and headache-inducing endeavour.<\/p>\n

Paul explains that producing strong images of small mammals can be difficult because they are seldom seen in their natural environment.<\/p>\n

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\u2018These animals can be difficult to track down because they are so small and secretive,’ says Paul. \u2018Unlike photographing humans, animals can be frustrating to work with as they don’t follow verbal commands. They’re incredibly active, so the photographer has to be able to call upon his or her skills and work quickly to maximise the opportunities as they occur. Specific sets will allow us to explore the basics of creating good images and to consider different approaches. There will also be an opportunity to look at some of the larger animals they have here, such as the European beaver and wild boar, and we’ll see that the same rules apply.<\/p>\n

\u2018Strong mammal portraits produce powerful images that are always in demand,’ Paul continues. \u2018Working at the Westcountry Wildlife Photography Centre gives us an excellent opportunity to practise techniques that will increase the ability to capture successful wildlife images.’<\/p>\n

Each AP reader was asked to bring along their own cameras, lenses and tripods. Paul asked the readers to bring a lens that allowed close focusing, such as a macro or a lens with a macro feature. Alternatively, they could bring a mid-sized lens such as a 200-300mm with extension tubes.<\/p>\n

Paul is passionate about wildlife photography and feels strongly that British wildlife is a subject that is being sorely neglected in contemporary photography. <\/p>\n

\u2018From a conservation point of view, I think there’s a danger that we’ve become transfixed by big foreign animals,’ says Paul. \u2018So many British wildlife photographers seem to have lost touch with their immediate environment. They’re zooming all over the world just to capture the same few images of the same tigers and zebras. But that neglects the kind of wildlife that could easily be found in their back garden. There’s no reason that creatures such as bank voles and harvest mice can’t be interesting.’<\/p>\n

Westfield Wildlife Photography Centre<\/h3>\n

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