World Image Issue 34 July 2016

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Gordon Longmead - England - CEO
Peter Hogel - Uganda - Deputy CEO
Scott Hurd - Namibia
Tom Coetzee - South Africa
Paul Welch—Australia
Contents:
National and Regional Management
4 South African Wildlife with Tony Sparkes
7 Personable Portraiture
8 Hitchin, A Town In Hertfordshire by Gordon Longmead
14 A Study in Greyscale - Harbours - Pictures by Alan Griffiths
16 Anthropics, LandscapePro - Product Review - Gordon Longmead
22 Another Day in Paradise - Sabah Reef by Gary Bridger
24 Stags - Pictures by Scot Latham
26 Wild Horses of Namibia - Pictures by Scott Hurd
27 2016 Indian Roadmaster By Louise Bradt
28 Great Spotted Woodpecker - Pictures by Scott Latham
30 Zakynthos Beaches - Pictures by Gordon Longmead
32 Red Squirrel and Barn Owl - Pictures by Scott Latham
34 The Netherlands. By Paul Weijenberg
40 Rhino Fund Uganda - Ziwa Rhino Sanctury 2015
49 Travel Supplement
Steve Cook - USA
Robert Murray - Scotland
Tina Andreasson - Sweden and Mexico
Jack Glisson - Kentucky USA
Rodger Lee - Steam Punk Events
World Image Magazine on Fine Art America
Peoples Photographic Society Member galleries
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As part of the expansion and ongoing development of the World Image
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for the presentation and promotion, and sale of member images.
Members wishing to add their own gallery should contact Gordon@worldimagemag.co.uk for details.
© Please remember that all articles and images published in this magazine are copyright protected
Cover picture - Beachwood Canopy by Gordon Longmead
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Early morning in Cornwall by Robert Murray
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Zebra Tone by Rodger Lee

South African Wildlife with Tony Sparkes
An iconic species racing towards extinction, due to
the continued 'poaching' of this species, particularly
in South Africa which holds the majority of the
worlds 'White Rhinoceros' (Ceratotherium simum)
population.
When you have an itch... Black and white treatment
of a giraffe(Giraffa camelopardalis) with a scratch.
Kruger National Park - South Africa
One of a species of Barbet found in South Africa a little
less frequently then the Black-collared Barbet (Lybius
torquatus) or Crested Barbet (Trachyphonus vaillantii)
this is an Acacia-pied Barbet (Tricholaema leucomelas).
As you can see happy amongst the Acacia Thorns. This
tree I think is a (Vachellia erioloba) or Camel Thorn but
would be glad to be corrected by our African tree
specialists out their if not correct.
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This is a Spectacled Weaver (Ploceus ocularis) - for
obvious reasons. You see they love the fruit
Pawpaw, a good favourite at the table for many
'fructivorous' (fruit eaters) birds.
I just love these little guys, this is a Malachite
Kingfisher (Alcedo crista) it's only 13 cm (5.1 in) in
length. Colours are stunning, checkout that electric
blue back. This little guy is 'straight out the camera'
no colour adjustments in post. Natures colour
awesomeness to its extreme.
The African Black Oystercatcher (Haematopus
moquini). I had to use a little stealth to take this
photograph and had to go on all fours. This one
captured on our East-West-East road trip back in Feb
2016 in South Africa's West Coast National Park.
As the name suggests African Black Oystercatchers
predominantly feed on molluscs such as mussels and
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oysters of course.....

Winter is fast approaching in South Africa and it is one of my
favourite times of the year there. With the wild Aloe's in full
bloom the Sunbirds are attracted to them like magnets to
gather that sweet nectar and of course in the process of
feeding, pollinate the female plants as they travel from aloe to
aloe (nature gives - Nectar but it wants something in return -
Pollination)
You can see here along with his beautiful iridescent colours
shimmering in the afternoon sun the male Marico Sunbird
(Nectarinia mariquensis) has specialist apparatus (beak &
tongue) for this feeding purpose as the pollen is collected on
the bristles at the base of the beak when he feeds and thus is
passed on when he moves to the next flower to feed.
A Fork-tailed Drongo (Dicrurus adsimilis) has a 'watery' take
off - Kgalagadi Transfrontier Park - South Africa
Just a nice pic of a fairly common bird in its habitat. The male African
Stonechat (Saxicola torquatus)
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Personable Portraiture
THE WITCH HUNTER .self teaching again , 5 photo's in to one
y Alan Griffiths
First light in Cochin, Kerela, India, has the beaches full
of men pushing out boats, rowing and pulling in nets to
bring in small catches of fish. This young boy shows
the typical fish brought in by all the hard work.
Picture by Robert Murray
Picture by Alan Griffiths
Usually when we consider
portraiture, we see the formal
studio portrait. But once you
get past that view there is a
whole world of variation that
can be explored.
For example, a portrait can be
used to show an aspect of life
or a style (top left), or a social
reality (right).
There are many options both in
camera and post processing
that can be used to change the
appearance of the subject to
create a statement.
Ed.
Hope by Alan Griffiths
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Hitchin, A Town In Hertfordshire
Gordon Longmead
Hitchin sits about 30 miles to the north of
London, and seven miles away from my home.
It is one of those towns that you see and wonder
why it is not the county town.
That honour went to Hertford which forms the
other point of the seven mile triangle with
Welwyn.
The panorama above is taken from the main car
park beside the market place in the middle of
the town, distorted due to the method of taking
it, but it does show a different view of the
scene.
Those who have seen my other
articles will know that I am all
in favour of different views and
the way that changing position
or elevation can alter the picture.
In the second image the view is
the same one but taken from 20
paces to the left, down the steps
seen in the left of the panorama.
St Mary’s Church is the
centrepiece of the town, a
stunning piece of architecture
within well maintained grounds.
Needless to say there is a great deal about this building that would deserve closer inspection from the
photographic viewpoint, the opportunities for sectional and close-up work, and of course the internal picture
opportunities, would be worth a day trip on their own. Perhaps I will get the opportunity to indulge and do
the return trip another day.
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The church is encompassed on three sides by small
pedestrian streets which combine the old tudor
buildings with the more modern shops.
Unlike the shopping centre in Stevenage, these have
character and seem to blend in well with the
surrounding area.
That being said there is always the exception to the
rule as in the street shown below. That is until you
realise that the buildings on the left are the rear aspect
of buildings on the main road beyond.
At the end of this street is one of the four roads that
form the boundary to the old centre of Hitchin. These
roads can be busy, as between them, they carry all of
the through traffic heading towards Letchworth to the
north.
But even here the older Tudor style buildings take
pride of place, and blend well with the newer
developments on either side.
This is the main road junction on the edge of the older
part of the towns shopping area.
The picture on the right is the view along the second
of the main roads which turns away at this point.
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The reason it turns away is that the rest of the road
becomes a pedestrian area where only delivery vehicles
and permit holders are generally allowed.
There are times that other vehicles are permitted to
enter, but most chose to go the long way round due
to the narrowed streets on the far side of the town
square.
There is a great deal of history tied into the town
and especially the buildings. More especially the
pubs of the town that were part of the coaching era.
Regrettably much of that coaching heritage has
long since past, but the buildings and their history
still carry the torch for a bygone era that many wish
was still the norm.
There are towns who, if they had a square like this
one, would have long since built shops or a
children's playground on it. I am pleased to say that
this square is still being used as was originally
intended, for people to use and enjoy.
This is the north of the town
square. Charities and other
worthy organisations are
allowed (with permission) to
set up shop in the square, but
not so many that the amenity is
swamped with tents and people
rattling their money boxes.
The area has character even
when it is raining. During the
weekend it is bustling with
shoppers.
And here is another difference
from Stevenage, the people are
smiling, and that makes a
tremendous difference to the
visitor.
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The previous panorama was taken from the point at the top left of this image. This being the other half of
the square. The tents in the foreground disguise the mobile tea van, the sort you see in lay-bys, which
serves the customers using the tables in front of it. Why is it hidden by the tent? So that it does not look out
of place in this historic location. It has been here for many years, and long may it remain.
There are three other roads connecting with the square, two are one
way streets for access, the picture on the left is the route in from the
south west, on the right the route out on the south east of the square.
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The third (right) leads back to the church. All of the
shops around here have a character born of the Tudor
style, sadly my favourite was a general store at the
end of the row on the right of the picture which has
now closed and is up for rent. Shop rents are high and
getting higher, which is the main reason such areas
are losing their character.
The third of the four roads mentioned earlier is now a
no through road and so is a very quiet place.
Those shops that are here tend to be ones that do not
rely on passing trade, which is just as well, there is
one. The last one was Tim’s Art Supplies which has
now moved into the market place.
One place that resides on this road is the Hitchin
Priory which has enjoyed a change of use and is
no longer a Priory.
At the roundabout at the bottom of this road is an
old book shop which is crammed full of literary
works both old and new and is well worth a visit
for the bookworms amongst us. Turning left at
that same junction brings us on to the forth road
surrounding the town centre and back to the car
park from where we started this little walk.
One place that should be mentioned on this road
is the British Schools Museum which is between
the aforementioned roundabout and the bus stop
in this picture.
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Beyond the town centre there are the housing estates and commercial areas, but they do not detract from the
town. Many of the estates are older and planned for utility, but the newer estates are open plan with space
designed into the layout. To the north of the town is the railway station, and further out is the home of the
famous Harkness Roses.
So far all the pictures have been taken using the 10 - 18mm Canon lens, but as I am always saying that we
should be looking for the pictures within pictures, I thought that I would change to the 70- 300mm to see
what else I could capture.
I am not going to write on every
image, and they are certainly not the
best in the world, but to prove a point,
every picture on this page was taken
while sitting in the café on the square.
Gordon
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A Study in Greyscale - Harbours
Pictures by Alan Griffiths
Photography and boats go together
well, especially if the boats are
wrecked or beached. Boats on the
water are a part of the overall scene,
but when the water is gone the
scene and focus changes.
In the harbour picture below there
are dozens of different opportunities
that can be explored. The wreck is
also excellent fodder for the camera.
Changes in position and lighting
work wonders.
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Anthropics, LandscapePro
Product Review - Gordon Longmead
When I was invited to review LandscapePro I was reluctant to accept. Not because it is a bad product, but
because I considered it another tool designed to avoid the necessity for users / photographers to learn the
basics involved in accomplishing the same tasks. When we apply automation before we know how that
automation is created and applied, we trust that the software knows all and we tend to accept its results
blindly.
I make this opening statement so that readers are fully aware that I am looking for the faults, failings, and
those bits of the program that may not be as user friendly as we might like. Those who know me will be
aware that I like to give a warts and all reviews.
In fairness to Anthropics I have put some of my findings to Tony Polichroniadis who is the Chief Scientist
at Anthropics, and the lead developer of LandscapePro, in order that he may guide me and of course, you,
through those difficulties. His answers are in italics.
My first use of the program has been in ‘Stand Alone’ mode. The first discovery was that once you have
worked the picture and saved it, you apparently had to close the program and reopen it to do another image.
Normally we would close the current image and continue. You can open a new image by returning to the
Home page which automatically closes the existing picture.
To load another picture, click on the "Home" button, then click on "Open Image". This doesn't work in
plugin mode as you are always operating on a single image. Another user also didn't find that, so we might
try and improve the discoverability of that.
One observation that was quickly identified in the tutorials, a worthwhile visit at http://
www.landscapepro.pics/tutorials/ is to do with the adjustable lighting, When a picture is lit from one side
and has appropriate highlights and you use the 'sun' to change the direction of the lighting, the highlights
remain so the image looks wrong. For example, with the sun set behind the subject the sun shining and
casting shadows on the front of the face is definitely wrong.
That's true. It is very difficult to change strong lighting to a completely different direction. Where we see
our lighting as adding the most benefit is either enhancing existing lighting, or by adding more interesting
lighting when it is very flat to begin with.
This I agree with, any variation in the direction of the lighting must take into consideration the direction of
the original source. As a rule of thumb, you have a 10% leeway for lighting deviation from the original.
So my first look at the software was short so foraging around was not done, the program leads you through
the controls by a series of unobtrusive on-screen hints, once you start using the preset controls you quickly
fall into the easy way in which they work.
I started with the picture of Tower Bridge in London with the original JPG file size being 6.32mb. This
raised my first problem in that the opened image was full screen and although it could be enlarged (zoomed
in), it could not be reduced in size (zoomed out). The picture is also obscured on the left by the presets
menu.
Now this was the first time I had opened the program, however the second time I opened the program, this
particular problem did not occur, so it was possibly a computer glitch. I have left the comment in as it may
be you experience the same situation.
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The first stage is to identify the elements in the picture by applying labels, there are 15 to select from, I used
Sky, Buildings, and objects in the sky for this image.
The second stage allows you to correct the horizon by adjusting the line provided. This is the first time you
realise that the image size can not be reduced. The horizon however is easy to set, but be aware that in some
pictures, this one included, the horizon is not the waterline. The horizon line is not a levelling tool.
From the help that appears when you are asked for the horizon (Click on the drop down labeled > Help,
when asked for the horizon in the initial steps):
Q: Why do I need to label the horizon?
A1: It's used to calculate depth for: relighting, depth colouring, depth of field and haze removal.
A2: It can be used to remove water from above the horizon and sky from bellow it, when turned on in the
Horizon Line area editing tool.
A3: In the Fixes section, you can use it to straighten the horizon.
So, you can use it to level the horizon in the Fixes section.
From here we continue in to the preset area, seven preset menus and an edit button. The first menu is ‘Add
and edit Areas’ which opens up the previous labelling menu to allow for additional changes or indeed to add
the labels because you skipped that stage. Although you can undo changes in the picture, there is no option
to ‘go back’ to the previous page.
There are two ways to edit the horizon. They appear when relevant. If you are using the horizon to level
the picture in the Fixes section, it appears on the image. You can also edit it by clicking on Horizon line in
the Add & Edit areas panel, where all the controls that don't directly adjust your image belong. All the
other things you have been asked to do in the front panel are all accessible after finishing .
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Now the preset menus change
appearance depending of whether or not
you selected the different tagged areas of
the picture.
The program does not tell you this, and
neither do the tutorials., but I suppose
that comes down to common sense.
For example, if you do not label the sky
in the image, the starry Night option I
have used will not be found. Add the
label to the sky and hey presto it will
appear in the Global presets.
When you select a preset a bar/slider
appears which controls the brightness
of the resulting image , use this wisely
and remember to keep the lighting in
context or it will look silly.
Speaking of silly, you need to
remember also that presets must be
used in context not only with the
lighting and subject, but also in their
direction of view.
The northern lights appearing to
the south of Tower Bridge is just
not an option.
If you've not labelled any sky then it has no
way of knowing where the sky is, so it
would not be able to change the sky in the
night preset, for example, however the
preset still exists and adjusts the rest of
the image appropriately, as if there were
no sky visible, by making it darker
reducing the colours etc. Each type of
label you drag in will create a section of
that name, e.g. if you have not labelled
any water in the scene then there would
be no water section and no way to
adjust the water.
Another thing you may discover is
that these presets can be moved in
relation to the subject, which could be why it needs to know
where the sky is, and what to do with the foreground.
The other problem here is the lighting on the towers and gantry
shows that the sun is behind and to the right of the camera.
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It may look pretty and fall into the category of PhotoArt, but do this and present it as a landscape or
cityscape picture and you will definitely lose any credibility you may have possessed.
There are many presets which, if used correctly, will produce some good pictures. But like all such
programs, you need to understand the environment and more importantly, how nature controls the lighting
of the landscape , in order for the presets to enhance the image.
Here we have a sunset preset showing
behind the bridge. The problem here is
that the original picture was taken with
the sun shining on the right hand side so
that the highlights cause on the bridge are
facing the photographer.
This scenario is not remotely possible and
undermines the validity of the final
image. So be aware.
Sunlight travels in a straight line, so
remember the 10% rule for lighting
deviation.
Moving on to a different type of landscape, I decided to try a
tough one for even the most experienced to deal with.
The left picture above, is the original as it was taken on a
misty evening in the Austrian Alps.
After going
through all of
the available
presets the left
image was the
best I could do.
In all the others the rock of the mountains looked wrong
except the one on the lower right (punchy).
In some the others the mountains ‘separated’ from the
background (left). The only time I found this was not the
case was when the areas were not selected and the global
and whole image presets were used.
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I must point out that this was not the case with
many of the presets, and may be something to do
with how I was trying to use them.
It may also have something to do with the style of
the image, as I said, it was a tough one to start
with.
Moving away from the high mountains, I thought I
would try with the Welsh area around Cum Idwal.
The top image on the left was my starting point.
Under exposed shadows as it was exposed for the
water and sky. Not a good image by any standard,
but it serves a purpose. (never throw a picture
away, you never know when you might use it).
Being dramatic I decided to try the storm clouds
and part of this was to use the tree/sky tool for to
blend the edges, having squiggled, the result is as
shown on the left middle. I also changed the grass
and water to add colour.
Squiggling the edge of the sky/tree line with the
hand pointer is not probably the easiest way to get
all the details, this may benefit from a brush
pointer instead to catch all the very small areas that
may otherwise be missed and show up in the final
image.
Then it was the turn of the sunset, the water first,
but I was disappointed to see that the sky presets
bore no relation to the water, or the trees and grass.
My problem here is the same with any picture
involving reflections in water. Whatever the sky is
doing above it is reflected in the water, this
includes the colour and the cloud formations. This
is where the presets fail.
For this to work, not only does the colour have to
be reflected in the same way, although it will
appear darker, but the clouds, or at least a
semblance of the clouds should also be reflected.
By way of contrast, the last image was done by
altering the natural saturation through CS6, no
sunset and I have not changed the sky .
The sliders mentioned previously should perhaps
be explained in more detail as to their design and
function. As I know very little about either, I will
allow Tony to explain the basics for you.
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Most if not all of the sky presets adjust the colour of the rest of the image to match the new sky colour. It
can be controlled by using the Copy to image slider. The slider fades the preset out. So if you are using a
brightening preset it would fade that out, but if you were using a contrast preset, it would fade that out. You
can use it if you find the Presets too extreme. We've purposely made some of them dramatic, as we've
found lots of customers liked that, but made it easy to pull it back for a more subtle effect if that's what you
want. The caveat is that it wouldn't fade out a cloud replacement as that would result in ghosted clouds.
I found that there were a small number of other issues that presented themselves, the most annoying was the
save / save as command box. Having created you initial masterpiece and saved it, for which you have to
ensure it renames the file, if you continue working and then try to save as, it invariably ‘saved’ before you
got to the ‘save as’ command line and so over wrote the original file which of course could not be
recovered.
One other issue was the selection of the various elements, grass, water etc., was not very precise with areas
being missed or ignored, and some occasions the selected areas would suddenly deselect. This could latter
observation could be the glitch in the program or my use of it.
Do not be surprised if the images on the presets suddenly disappear to be replaced by enlarged sections of
the image you are working on or by a set of micro images, normal service will be resumed as soon as you
mouse over the image.
So this is my initial view of the software, and it should be remembered that I am a newby to it with much to
learn. It is written so that as a newby you may see the pitfalls, real or imagined, and my learn from them. I
will continue to work with it to try and discover the many other points, both good and bad that come form
my learning, and will pass these on to you. Meantime, if you do decide to get the software, enjoy it, and if
you discover any difficulties or bits that do not work for you, tell me about them and I will pass them on to
Tony.
When I first wrote this I asked myself the question, “Would I invest in this”? And my answer was “Probably
not in its present form. Once the niggles are ironed out and the presets balanced, then may-be”. Having
persevered with it, and discovered a few more of the tricks, and knowing that the more obvious problems
are being addressed, I may be changing my answer. The program has its place. It can’t do everything, and if
you wanted it to, you are not a photographer. My view is always that the most important thing about a
finished picture is that it reflects the ideas and impressions of the person who took and processed the image.
If you use the program, do not present the final image as being an as taken original, you are creating an
artwork to your own style, for that purpose it is a good bit of software to have in your kit.
I leave you with the a before and after created from LandscapePro (and CS6.)
More information at
http://www.anthropics.com
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The underwater world of Sabah Reef is threaten
Here is just a glimpse of the fragile
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Wild Horses of Namibia
Pictures by Scott Hurd
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Just before sunrise a view from the 'bird hide' at Witsand Nature Reserve - Northern Cape. This from our East-
West-East road trip in South Africa recently.
Tony Sparkes
2016 Indian Roadmaster
By Louise Bradt
We traded in our 2008 Honda Goldwing
for this beauty, and what a massive
difference she has made. She may be
louder than the Goldwing, but instead of
feeling like you are sitting on the bike
like you do with the 'Wing' with this
beauty you literally feel as if you are a
part of the bike, and for me a passenger
who is relatively new to the world of
motorbikes this is a huge thing. I went
from closing my eyes every time I felt
myself tensing up to having my eyes
wide open for every mile we covered
making sure I never missed a thing and
feeling completely relaxed and at ease.
I can see why Steven, my hubby loves
Indians so much. I am looking forward
to lots of great rides. One thing we are
doing with this baby, is having the seat
switched out for a black one instead.
Hopefully that will come in soon, and
then I will take more photographs
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Great Spotted Woodpecker
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- Pictures by Scott Latham
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Red Squirrel a
Pictures by S

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The Netherlands.
By Paul Weijenberg
This time we travel through the country that has
made a lifestyle of living with a long coastline.
The province of Zeeland was inundated in 1953 and
that hastened the Deltaplan: dikes and barriers to
hold the sea where it belongs.
Many container ships pass close to the shore.
Regularly this channel must be freed of an surplus
of sand.
The protection against the sea water is massive,
giant dikes, heavily reinforced.
The lighthouse in the back is not functional
anymore. Here a closer look.
So strong that we Dutch have such a trust in them,
that we allow a restaurant to be placed on the sea
side of this dike! You can even park you car there.
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A unique array of moveable doors that can be
opened and closed at will, in the Oosterschelde,
there is a museum where you can see how this is
built.
A bit to the north on this immense structure. In the
back is the village of Domburg.
Here too, we drive by car over this structure, it is
that strong.
How high these dikes against the sea are is shown
here. The village lies below sea level, as is often the
case in the western parts of Holland, hence the
Netherlands.
There are gateways to the sea, here we cross such a
lock.
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Of course these windy places are perfect as a source
of energy.
When you pass the lock you see at your right hand
this museum and you arrive in the safe harbour.
There are a lot of little harbours for boats that can go
out to sea. In Vlissingen (Flushing) there is a
museum as well.
The lock (on the right, under the bridge) is operated
from the restaurant that is placed on top of the wall
that serves as protection against the water. To the
left you see the harbour of the pilot boats.
Large ships pass the boulevard of Vlissingen.
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Vlissingen is well protected with concrete and (a lot
of) stones.
Just a fun shot, you can see how close by this ship
passes, and also how well the statue in the back fits
here.
All the way along the coast to the north we find
Callanstoog. We see the same: to the left the dike, to
the right the village below sea level.
Over to the other side over land to the east coast. At
least, this was the east coast, before the dike
(Afsluitdijk) this was open water, leading to the
North Sea.
In Middelburg, the capital of Zeeland, we see
beautifully restored houses from the 17th century.
We find many old fishing harbours, now for yachts
and sailboats for pleasure. Hoorn, Enkhuizen, Urk.
This is Medemblik.
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The large white building is the Erasmus university.
Rotterdam has on of the largest sea ports that are
easily accessable from sea in the world. There is a
very high tower (185m), the Euromast from which
you have a stunning view over this city. It is the
highest tower in the Netherlands that is open for
visitors.
There is so much history to see along the waterways,
you do that by boat preferably.
We find a lot of points where you can cross the river
on a ferry.
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Just behind the dunes, on the fertile grounds, we
find the largest garden for bulbous plants of the
world: Keukenhof.
It is open in spring only for a few weeks. It is really
something else.
Paul.
Hummingbird sitting on her nest by Georgene Bergstrom
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Gorilla tour, Queen Elizabeth and Lake
Mburo NP.
Day 1
Day 2.
Day 3.
Day 4.
Day 5.
Day 6.
Day 7.
Day 8.
Day 9.
Arrive Entebbe, pick up and transfer to accommodation.
Early morning from Kampala to Queen Elizabeth,
Evening game drive.
Full day in Queen, Lion experience, boat cruise, bush
dinner.
Morning game drive while heading for Bwindi.
Gorilla tracking in Bwindi.
Transfer to Lake Mburo NP, with evening game drive.
Full day in Lake Mburo NP.
Morning game drive before heading back to Kampala.
Transfer to Entebbe Airport.
Price for two persons sharing, inclusive of full board, Uganda
airport transfers, Gorilla Permits.
USD 7300$.
Flights to Entebbe and Bar Tabs not included.
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Murchison Falls – Ziwa Rhinos…
Day 1. Arrive Entebbe, pick up and transfer to
accommodation.
Day 2. Early pick up from Kampala and drive to Murchison
Falls national Park and a short game drive in the
afternoon.
Day 3. Full day in Murchison and an afternoon boat cruise on
the Nile .
Day 4. Morning game drive before transfer to Ziwa Rhino
Sanctuary.
Day 5. Morning or evening tracking for Rhinos (time for extra
activities such as bird watching from canoe or nature
walk, additional cost)
Day 6. Transfer to Kampala. (This day has time for additional
activities)
Day 7. Departure from Entebbe airport. (Activities can be
arranged depending on departure time)
Price for two persons sharing, inclusive of full
board, Uganda airport transfers.
USD 5000$.
Flights to Entebbe and Bar Tabs not included.
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Endangered Species Tour.
(This trip aims at the more or less endangered species, besides the other
animals in the Ugandan fauna like hippos, crocodiles, buffaloes, and
various antelopes it includes meeting, Gorillas, chimpanzees, Rhinos,
Rothschild’s giraffes, Lions and elephants…(the leopards are hard to spot
but they are there)).
Day 1 Arrive and pickup at Entebbe Airport.
Day 2 Transfer to Ziwa Rhino sanctuary for evening rhino tracking.
Day 3 Transfer to Murchison Falls, afternoon game drive.
Day 4 Full day at Murchison Falls and afternoon boat cruise.
Day 5 Morning game drive, heading toward Kibale, overnight in Hoima.
Day 6 Transfer to Kibale.
Day 7 Chimpanzee tracking in Kibale.
Day 8 Transfer to Queen Elizabeth NP, Afternoon boat criuse.
Day 9 Full day in Queen Elizabeth NP, Lion experience and bush dinner
Day 10 Early game drive in Queen, transfer to Bwindi.
Day 11 Gorilla tracking.
Day 12 Batwa experience (meet Ugandas last pygmies).
Day 13 Transfer to Lake Mburo NP.
Day 14 Full day in Lake Mburo.
Day 15 Transfer to Kampala.
Day 16 Transfer to the airport, Activities depending on departure time.
Price for two persons sharing, inclusive of full board,
Uganda airport transfers, Gorilla and Chimpanzee permits.
USD 12700$.
Optional Extra:
A Hot Air Balloon trip with bush breakfast is available at the
Queen Elizabeth National Park. P.O.A.
Flights to Entebbe and Bar Tabs not included.
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Kuyimba means 'to sing' in the
Zambian Chinyanja language and
this site is a celebration of the sights
and sounds of southern Africa. Join
us to experience it for yourself.
Derek & Sarah Solomon
www.kuyimba.com
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Use the Member Code: GL415. Enter the code in the box
before checkout to get 10% discount.
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TECHNOLOGY EQUIPPED FOR GRIP
MacWet Technology
Most gloves on the market today are bulky and uncomfortable, causing a negative impact
on your favourite sport. MacWet's unique Aquatec® fabric responds to moisture and
climate change, ensuring maximum grip, sensitivity, feel and comfort at all times, no
matter how wet or humid. The groundbreaking MacWet Sports glove marks a turning
point in glove technology with characteristics that ensure user comfort, durability and
performance. MacWet gloves' groundbreaking technology uses natural 'wicking'
properties. This allows water to be readily transported along, around and over the gloves`
surface to the fabric face, where it quickly evaporates, thus providing the ultimate in
comfort and gripping power.
The breathable, all-purpose MacWet sports gloves offer a comfortable fit and the
performance you desire. Man made fabric permits the hand to breathe ensuring
maximum grip consistently, with absolutely no compromise to the feel or comfort of the
products. The second skin fit allows for fine adjustment of equipment without the need to
remove the gloves.
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Tour Operators
Members who operate, or work on behalf of Tour Operators are invited to submit reports on their
tours as a feature of the magazine. These can be a regular feature if desired and may include
pictures to highlight aspects of the article. The first of these reports should be an introduction to
the company area of operations and its tour guides and staff.
Although the Society can not be held responsible for the conduct and safety of the tours, the tour
operators that advertise on, or have links within, this site or provide reports within the societies
magazine, do so on the understanding that they undertake to conduct the tours in a professional
manner, be customer focused, with an emphasis on safety and value for money.
As many of the tour operators and guides are members of the society, they are knowledgeable both
on the areas they visit and on the subject of photography and will be willing to offer tips and
guidance if required. Feedback about your tour is always welcomed and may appear in the society
magazine.
Magazine Submissions
Members are welcome to submit Bio’s and other articles relating to expeditions and equipment
reviews. Small file size pictures may be included. Recognised wildlife trust and Nature
Conservation group adverts may be included free of charge per quarter page subject to approval.
Any one who would like to write a feature article for the magazine, please do. I have no real limit
on the magazine size but for ease I will find a comfortable limit depending on the method used for
circulating it.
Trade Adverts
Adverts may be placed with the magazine at the editors discretion. A charge will be made in
advance of publication towards the running costs of the society amounting to 10 GBP per quarter
page per issue.
Submissions should be emailed to magazine@photosociety.net please state ‘magazine article or
advert’ in the subject line.
The Photographer Academy is the largest European
photography training company providing the award
winning training to get inspired or instructed every day.
http://thephotographeracademy.com
The Cat Survival Trust was registered as a charity in
1976. The Trust's on-site objective is to promote
education regarding the conservation of wild cats and
their habitat by housing an array of species in natural
enclosures.
http://www.catsurvivaltrust.org
We hope you like the magazine, the size and content of future issues depends on you.
Submissions for the next issue are being accepted
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