Many Elephants in Kenya are under the auspicious care of the Amboseli Elephant Research Project founded by Cynthia Moss and Harvey Croze, which was started in 1972. Amboseli was chosen as the location because the elephants were relatively undisturbed in the sense that they were not fenced in, were still moving freely in the ecosystem, and were not being heavily poached. It is also from the project that many of the Tuskers get their name.
This year saw British photographer Harry Skeggs in Kenya, before the global outbreak of the virus, leaving him with some of the greatest moments of his photographic career - his encounter with some of the last great Tuskers in Africa who range over Kenya and Tanzania.
This trip to Kenya, it was just Harry, Charlotte (his fiance) and their guide. Harry recounts his encounters with one of the Tuskers: "My meeting with Ulysses was one of the most touching stories of my life working alongside wildlife. A week earlier we said goodbye to an iconic elephant, Tim, the largest Tusker left on earth. I never had the privilege of seeing him in his element but it was still a huge sadness to hear the news. There are just a handful of these gentle giants left, marked for their huge ivory tusks that denote their station. It’s estimated there are under 25 left in the wild, and only Tim was seen regularly. Their ranges are immense, covering whole countries. So our chance of seeing a tusker were sadly dashed.
Days later we were in the stomping ground of the late Tim. Then, something magical happened. Ulysses, who reportedly had not been seen in these parts for many years, appeared out of the ether. Just days after Tim’s passing, the timing seems extraordinary. The cynics amongst us would put this down to coincidence, but emotion in elephants runs deep. Ulysses and Tim had been close as young men and for me I long to believe Ulysses was back to mourn. I have seen how strong the family bonds are among elephants and in my heart I know this was no coincidence. As soon as I saw Ulysses two photos coalesced in my mind. I needed to be close for both and, with no idea how long Ulysses would be in the area, I could not miss my opportunity. Elephants are sensitive souls and easily disturbed and I am committed to showing wildlife as it should be, unharassed and at ease, so it is imperative to let them come to you if you stand any chance of getting in close. At this time of the morning the elephants descend from the cool of the highlands and head to water, so I knew he would head east to where the water source was. With Kilimanjaro to the West this was perfect as I knew the enchanted peak would sit in the background and the morning light on his face. The challenge was working out where he would pass and set up and wait for him. We noticed his rumblings towards a number of cows and took a chance, positioning ourself between them with enough space hoping that he will head that way and that the cows would stand still long enough. All we had to do now was hold our breaths and keep very, very still.
Our luck held and Ulysses came exactly where we had plotted, long enough for me to get both photos that had appeared so clearly in my mind. One with the mystical Kilimanjaro rising above him, two symbols of Africa colliding. The other a mere couple of meters from my camera proudly displaying his tusks in beautiful symmetry.
My encounter with Ulysses will remain one of the most touching experiences of my career and I am privileged to put that experience to print and share with the world." Harry Skeggs
It is the personal realtionship and experiences that seperates Harry Skeggs from many of those who photograph in the wild. He travels with no entourage, no crew, no gimmicks, instead his trips are deeply personal and respectful toward his subjects. Apparent in every one of his images is the monent of connection between him and the subject - the animals always know he is there, and one likes to believe that they know he means them no harm, and that is why they reward him with these most intimate and breathtaking images. But it is more than just taking the picture, Harry has to take into consideration the placement of the animal or animals in the frame, consider the light and of course also adhere to basic tenets of balance and symmetry, all of which he makes seem effortless.